CARNEGIE HALL, NEW YORK.

Boston Sympftonu Orcftestia

WILHELM GERICKE, Conductor.

Twentieth Season in New York.

PROGRAMMES

OF THE FIFTH and LAST CONCERT

THURSDAY EVENING, MARCH 15,

AT 8.J5 PRECISELY,

* AND THE

FIFTH and LAST MATINEE

SATURDAY AFTERNOON, MARCH 17, AT 230 PRECISELY.

"With Historical and Descriptive Notes by Philip Hale.

Published by C A* ELLIS, Manager,

l THE

PIANO

During the musical season of 1 905-1 906 is being played in prin- cipal cities from Boston to San Francisco, in Recital, before Musi- cal Clubs, leading musical organizations, with the great orchestras, and by the greatest pianists, among whom may be named the

following : Boston Symphony Orchestra, Wilhelm Gericke, Conductor. HAROLD BAUER Pittsburgh Orchestra, Emil Paur, Conductor. Indianapolis Orchestra, Hans Schneider, Com- ductor. Kneisel Quartet.

Chicago Orchestra, Frederick Stock, Conductor. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. RUDOLPH GANZ New York Philharmonic Orchestra, Felix Weim- gartner, Conductor. Philadelphia Orchestra, Fritz Scheel, Conductor. Kneisel Quartet.

Boston Symphony Orchestra, Wilhelm Gericke, Conductor.

) New ANTOINETTE SZUMOWSKA Haven Orchestra, Horatio W. Parker, Con- \ ductor. / Chicago Orchestra, Frederick Stock, Conductor. \ Adamowski Trio.

EMIL PAUR . . . Pittsburgh Orchestra.

( Boston Symphony Orchestra, Wilhelm Gericke,

HEINRICH GEBHARD . { Conductor. ' Kneisel Quartet.

( Kneisel Quartet. VINCENT D'INDY . . ( Longy Club.

C Boston Orchestral Club, Georges Longy, ALFRED De Coa- VOTO . . \ ductor. Longy Club.

139 Fifth Avenue New York City Boston Symphony Orchestra. PERSONNEL.

Twenty-fifth Season, 1905=1906.

WILHELM GERICKE, Conductor.

First Violins Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. D. Hoffmann, Fiedler, Kuntz, J. E Mullaly, J. C. Moldauer, A. Strube, G. Rissland, K.

Second Violins. Barleben, C. Schuchmann, F. E. Kurth, R. Kuntz, A. Akeroyd, J. Tischer-Zeitz, H. Goldstein, S. Fiedler, B. Fiumara, P. Marble, E. B. Berger, H. Traupe, W. Swornsbourne, W. W. Eichler, J. Edw.

Violas. Zach, M. Sauer, G. F. Hoyer, H„ Krauss, O. H. Ferir, E. Kolster, A. Kluge, M. Gietzen, A. Heindl, H. Zahn, F.

Violoncellos. Warnke, H. Loeffler, E. Barth, C. Hadley, A. Heindl, A. Nast, Keller, J. Nagel, R. L. Adamowski, J. Heberlein, H.

Basses. Keller, K. Bareither, G. Butler, H. Schurig, R. Kunze, M. Seydel, T. Gerhardt, G. Elkind, S.

Flutes. Oboes. Maquarre, A. Brooke, A Longy, G. Sautet, G. Fox, Paul Maquarre, D. Lenom, C.

English Horn. Clarinets. Bass Clarinet. Grisez, G. Mimart, P. Vannini, A. Fntzsche, O. Mullerr F.

Bassoons. Contra-bassoon Debuchy, A. Sadoni, P. Regestein, E- Helleberg, J. Horns. Hain, F. Hackebarth, A. Lorbeer, H. Schumann, C. Hess, M. Phair, J.

Trumpets. Trombones. Hampe, C. Mausebach, A. Kloepfel, L. Mann, J. F. Kenfield, L. S. Brenton, H. E. Merrill, C. r Drums. Harp. Tuba. TYMPANI. Rettberg, A. Ludwig, C. R. Schuecker, H. Dworak, J. F. Castanets. Librarian. Cymbals. Triangle, etc. Bass Drum. Bower, H. Ludwig, C F. Sauerquell, J. Senia, T. Burkhardt, H. Represented in New York by JOHN WANAMAKER : Boston CARNEGIE A HALL, Symphony i new york.

r Twenty-fifth Season, 1905-1906. Orr hPh Cf'f*Cl V-fI WI ICd Lid Twentieth Season in New York.

WBLHELM GERICKE, Conductor.

FIFTH AND LAST CONCERT,

THURSDAY EVENING, MARCH 15, AT 8,15 PRECISELY.

PROGRAMME.

Johann Sebastian Bach Suite in D major I. Overture: Grave; Vivace.

II. Air : Lento. III. Gavotte I.: Allegro.

IV. Bourree : Allegro.

V. Gigue : Allegro vivace.

Jaques-Dalcroze . Concerto in C minor, for Violin and Orchestra, Op. 50. First time here I. Allegro con ritmo. II. Largo. III. Finale quasi fantasia (Allegro appassionato).]

Debussy . . . Prelude to Stephane Mallarm^'s Eclogue, " The " Afternoon of a Faun

Beethoven . . Symphony No. 3, in E-flat major, " Eroica," Op. 55

I. Allegro con brio.

II. Marcia funebre : Adagio assai. ' III. Scherzo : Allegro vivace ; Trio.

IV. Finale : Allegro molto.

SOLOIST Mr. HENRI MARTEAU.

There will be an intermission of ten minutes before the symphony. 6 HARDMAN PIANO

THE genius employed for the past sixty- four years in the manufacture of these

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Established in 1842. Booklets of information.

Hardman, Peck <§>f Co., Makers Ftoh Avenue and 19th Street, New York Brooklyn .... No. 524 Fulton Street Suite in D major, No. 3 Johann Sebastian Bach (Born at Eisenach, March 21, 1685; died at Uipsic, July 28, 1750.) This suite is one of four which were probably composed during Bach's stay at Cothen (,717-23) whither he was called zs chapel-miter to Prince Leopold, of Anhalt-Cothen. The prince was then nearly twenty- four years old, an amiable, well-educated young man, who had travelled and was fond of books and pictures. He played the violin, the viol da gamba, and the harpsichord. Furthermore, he had an agreeable bass voice, and was more than an ordinary singer. Bach said of him "He loved music, he was well "' acquainted with it, he understood it The music at the court was chiefly chamber music, and here Bach passed happy years. Unfortunately, we know nothing of the character of the choir or the orchestra at this court; nor was the indefatigable Spitta able to find even a mention of Bach in the town records, except in a few notices scattered through the parish registers. The term "suite" was not given by Bach to the four compositions that now are so named,—the suites in C major, B minor, and two in D major. He used the word "ouverture." The separate dances of old German suites were called "Parties," yPartheyen." They were brought together into a musical whole and in the same tonality, and they were prefixed by an overture in the French style. The whole set was sometimes known as "Orchester Partien." The form of the overture fixed by Lully in France served as a model for pieces of the same class composed in Germany and in Italy, as well as in France. This overture was composed of a first part, which was a slow movement, characterized as "grave," connected with a second part, which was longer and of a livelier movement. The overture was generally completed by a repetition of the first move- ment. The first suites which appeared between 1670 and 1680 were written for a solo instrument, especially for the harpsichord; but the title soon served to designate pieces written for a considerable number of instruments. The overture was followed by airs of dances which were then popular or fashionable. No wonder that Bach, whose father,

p The Element of PIANOFORTE TECHNIC RHSB.r By RALPH H. BELLAIRS, Mus. Doc. Oxon. This work approaches the study of the pianoforte from an entirely new point of view. The simultaneous development of the rhythmical with the mechanical side of pianoforte playing constitutes its subject. It has received endorsement in the highest quarters, and may be accepted as the latest utterance in connection with scientific pianoforte technique. The section devoted to scale-playing alone will illustrate this fact. have In framing this work, the eminent labours of Tausig, Pischna, and von Bulow received the greatest appreciation. Thus, from the earliest stage transposition has been as well as of key has been sedulously eschewed, freely adopted ; but monotony of rhythm and herein lies the novelty of treatment. are — The points of immediate import which have been consistently kept in view : The normal musical sentence, as most commonly found in instrumental music. The rhythmic or metrical figure. The transposition of keys (varied tonality). major will be The old-fashioned five-finger exercise in semiquavers in the key of C

vainly sought for within these pages. , 4 BOOSEY & COflPANY, 9 EAST 17TH STREET, NEW YORK : . SECOND EDITION ELSONS Music Dictionary By LOUIS C. ELSON England Conservatory of Music Professor of Theory of Music at the Nem

Ever since Tinctor, about 1475, wrote tne an endless first music dictionary, there has been succession of books dealing with musical defini- the tions. This is but natural and proper, since musical art is constantly changing. A music dictionary, unless frequently revised, easily drops behind the times. There are no obsolete terms in Elson's Music Dictionary, but every necessary word is included, with its pronunciation. By pronuncia- tion is meant a phonetic spelling in the English language, not merely accent marks. This ap- plies as well to composers' names ; for instance, Rachmaninoff = Ra.chh-mahn -nee-noff In addition to 289 pages containing the defi- nitions and pronunciations of all the terms and signs that are used in modern music, are the following Rules for pronouncing Italian, German, and French. A list of popular errors and doubtful terms in music. A list of prominent foreign composers, artists, etc., with their chief works, the pronunciation of their names, and the date of their birth and death. A short vocabulary of English musical terms with their Italian equivalents.

The rules for pronunciation will enable the student to pronounce not only the musical terms, but every word in either of the three languages. Such terms as Pitch," " Sonata," " Tempera- ment," "Turn," "Scale," "Organ," u Notation," "Form," "Key," etc., are explained at length. In some cases from three to four pages are devoted to a single word. On important subjects full biblio- graphical references are given.

The book comprises 306 pages, and is bound in serviceable cloth covers. PRICE, POSTPAID, $1.00. COPIES SENT FOR EXAMINATION OLIVER DITSON COMPANY, Boston CHARLES H. DITSON & CO., New York J. E. DITSON & CO.. Philadelphia LYON & HEALY, Chicago Order of your home dealer or the aboye house*.

8 —

grandfather, and uncles had all been town-pipers and riven uo to this species of music ? was drawn toward this foraof compSSn ine buite m D major was composed originally two for three tnimnPtQ oboes, kettledrums, first and second^violiL.^^^S contmuo.* Three or four manuscripts were consulted by the editor C S°C1 Wh Prefefred ° the Voice Parts formerfy in Zthe BachI\ archivest atf£Hamburg. and now in the Royal Library at Berlin The version used generally in concert halls to-day was prepared by mand DaVld for Performance in the t J . Gewandhaus, and it was publishedS in 1866. Mendelssohn added two clarinets for the ri^ue to take the place of the original first and second trumpet parts, too high for modern instruments and players, and remodelled the trumpet parts. The first performance of the revised suite, and probably the first performance of the suite in any form after Bach's death was in the Gewandhaus, Leipsic, February 15, 1838, and Mendelssohn conducted it. I. Overture. Grave, D major, 4-4. A vivace in the same key and also m 4-4 follows in the from of a fugue. There are several passages for violin solo, after the manner of the old concerto grosso, in this fugue, which in form nearly resembles Fetis's "irregular fugue." II. Air. Lento, D major, 4-4. This movement is for strings only, and it is undoubtedly the piece of music by Bach that is most familiar to audiences throughout the world, for the transcriptions of it for violin and pianoforte and for 'cello and pianoforte are in the reper- tory of all virtuosos and amateurs. IV. Gavotte. D major, 4-4, Tutti. Johann Mattheson in 1737 considered the "gavotta" as sung by a solo voice or by a chorus, played on the harpsichord, violin, etc., and danced. "The effect is a most exultant joy. . . . Hopping, not running, is a peculiarity of this species of melody. French and Italian composers write a kind of gavotta for the violin that often fills whole pages with their digressions and deviations. If a foreign fiddler can excite wonder by his speed alone, he puts it before everything. The

* "Continuo" or "basso continuo" or "basso continuato" was a name given to the figured instrumental bass voice, which was introduced in Italy shortly before 1600. From this figured bass the modern accom- paniment was gradually developed. Hug* Riemann.

PUBLISHED BY G. SCHIBMER, 3S UNION SQUABE, NEW YORK Piano Music for Four Hands from SCHIDMEfi'S LIBBABY OF MUSICAL CLASSICS At prices considerably less than the original foreign editions. BIZET. L'Arlesienne (two suites) #1.50 BRAHMS. Four Symphonies 2.50 BRAHMS. The same singly, each 75 HOFMANN, H. Italian Love Song 1.00 JENSEN. Wedding Music 1.25 LISZT. Les Preludes .1.00 RAFF. Lenore Symphony 2.00 TSCHAIKOWSKI. Fifth Symphony, Em 1.50 TSCHAIKOWSKI. Sixth Symphony (Pathetique) 1.50

9 ;

composed for the harpsichord, but gavotta with great liberties is also for the fiddle." it is not so bad as those The gavotte was originally a peasant dance, and it takes its name are called "gavots." from Gap in Dauphine; the inhabitants of Gap century, when, to "It was introduced at court in the sixteenth amuse consisting of the Royal circle, entertainments were given dances in national costume, performed by natives of the various provinces, and to the sound of appropriate instruments." It was originally a line in a circle after kind of branle. The dancers were in or ; some steps made together, a couple separated, danced alone, and embraced then the woman kissed all the male dancers, and the man all the female dancers. Bach couple in turn went through this performance. Ludo- vic Celler tells us that this was the gavotte known at the courts of the Valois: 'The gavotte was not then the dignified, pompous, and chaste dance of the eighteenth century, with slow and measured postures and low bows and curtsies." At the balls of Louis XIV. and XV. the gavotte was preceded by a menuet, composed of the first repeti- tion of the menuet de la cour and danced by one couple; and some say that the menuet itself was preceded by the offer of a bouquet and a rewarding kiss. The best and most minute description of the court gavotte, with all its steps, is in Desrat's " Dictionnaire de la Danse" (Paris, 1895). This court dance was of a tender nature until it became a stage dance. Two gavottes by Gluck* and Gretryf became most fashion- able, and Marie Antoinette made the dance again fashionable in so- ciety. The gavotte was revived after the Revolution, and a new dance to Gretry's tune was invented by Gardel; but the gavotte, which then called attention to only two or three couples, was not a favorite. The gavotte which exists to-day was invented by Vestris; it is not easy to perform; but an arrangement invented in Berlin, the "Kaiserin Gavotte," has been danced at the court balls. Fertiault described the gavotte as the "skilful and charming off- spring of the menuet, sometimes gay, but often tender and slow, in which kisses and bouquets are interchanged." vSuiiK-times presents instead of kisses were interchanged. There is a "tabulature d'une gavotte," with a description, in the Orchesographie" (1588) of Jehan Tabourot, known as "Thoinot Arbeau." Czerwinski, in his "Geschichte der Tanzkunst" (Leipsic, 1862), mentions the introduction of the gavotte in the sonatas of Corelli and m the French and English suites of Bach. He characterizes the ga- votte as a lively, elastic, sharply defined dance, which has no suc- cessor, no representative, in the modern dance-art. There is no doubt that stage gavottes in the eighteenth century ned character. We find examples in TfT Noverre's ballet-pan- ZLtomime, Les Petite Riens," with music written by Mozart in Paris, ** °p6ra Paris une ' The music TnnnLTf ^^ 5* ' J »> *778. a bng e t0 be lost was ' discovered in the library of thpnSiue upera in Q ^ 1873. The score includes a Gavotte joyeuse, allegro vivo, gmCimS andante non troPP°> a Ga™Ue senti- mentalemental andante,^f\ ^ ^ , 4-4; in each instance the gavotte begins on an off beat As a rule, the gavotte was in 4-4 or 22. * In Iphigenie in Aulis " (i 774 ).

18 l0Dg popukr but Ma™ Antoinette preferred the one in ''^P^Ie^fpS^'^^V^S'wmMtTsame composer. ' 10 instances of the use of the gavotte in orchestral t^^ ^ music are Edward Blgar s ''Contrasts-the Gavotte a.d. 1700 and 1900" (pub- lished in and Georg 1899) Schumann's "In Carnival Time"—second movement— (produced in 1899). V. Gavotte No. 2 is omitted at this concert. .VI. Bourree. major, D Allegro, 4-4. This dance originated prob- ably in Auvergne, but some say Biscay was its birthplace. Walther describes it as composed of two equal sections, each of eight beats- "The first has indeed only four, but it is played twice; the second has eight and is repeated." Mattheson found it created contentment and affability, and incited "a nonchalance and a recklessness that were not disagreeable." The dance was introduced at the French court under Catherine de Medici in 1565, but it was inherently a dance of the people, accompanied by song. It may still be seen in Auvergne. At the court the dancers stood opposite each other, and there were various steps, the pas de bourree, the pas de fleurets, the pas de bourree ouvert, the pas de bourree emboite. It was danced in short skirts, and Marguerite of Valois liked it, for her feet and ankles were of marvellous beauty. It was danced at the court until the end of Louis XIII. 's reign. There it was a mimetic dance. "The woman hovers round the man as if to approach him; he, retreating and returning to flee again, snaps his fingers, stamps his foot, and utters a sonorous cry, to express his strength and joy." The dance was revived at balls under the regency, and it may now be seen in Paris at bals musettes. When the peasants of Auvergne dance, they stamp the third beat with their hob-nailed shoes; and in Paris, as coal men, porters, water-carriers, they preserve the character of the dance. Among modern musicians who have used the bourree form are Saint-Saens in his "Rhapsodie d' Auvergne," Raoul Pugno in an entr'acte of "La Petite Poucette," Lazzari in an orchestral suite, Sullivan in his music to "The Merchant of Venice," and Chabrier in his "Bourree Fantasque," scored by Mottl. VII. Gigue. D major, Allegro vivace, 6-8. Dr. Hugo Riemann de- rives the word "gigue" from "giga," the name of the old Italian fiddle, and says that it was originally a French nickname for a violin

CARNEGIE HALL Oratorio Society of New York. FRANK DAMROSCH, Conductor. FOURTH CONCERT Tuesday Evening, April 3 9 1906 " •• SANSON and DELILAH . . Saint=Saens

Miss JANET SPENCER . . . Mezzo-soprano Mr. BEN DAVIES Tenor Monsieur BORDE Bass

Society, No. i West 34th Street; Novello, Reserved seats and boxes for all concerts at Musical Art Hall box office, Ewer & Co., No. ax West 17th Street; Carnegie

11 P .

it looked not unlike . * 1 • ,4 ki,l

(pgue); ™e W°™, a ham TMs form of fiddle was popular in Gcr- deGarlandia (about the JAIL- trou^aour au spoket~ of many, so that the ^JJ^X • 0, tos dispute e (German fiddlers „„ fi „ ^ '" Barre a ,, ger "I fiTdSTs i eaU d hTTe west of England ? > this meaning in « word does not appear with oTthe Dr. Murray s V « Bug •• EnSsh Dialect Dictionary" (.896-1905). .s uncertain. 11k- that the origin of the word lish Dctionary" says literature nt . 56. in in English m 1 fast appearance of the word A giquc ami Tte'nanieof'the dance termed the gigue. "The dance is found the English to be of English origin. from 1 compositions for the virginal, and it went E. Ri< Uh-mai ten, tinent, at first Froberger, 1649, and J.

Gavot I St rass- Ballette, Couranten, Sarabanden, und burg, 1658)." The dance was,a very lively

very seldom and I 9-8, 9-4, 9-16, 12-8, 12-16, and minor; but. as In in 4-4, as in Bach's Partita VI. in E marks in "An Elizabethan Virginal-book" (1905). "even in this out of the- way case, the rhythm sticks to the use of 'pointed 1 Hawk writing in 1776, speaks of the pointed ft

See also his "Shakespeare speare in Music" (Boston, 1901). Jig music was despised by some old Englishmen Thus. Thomas

Mace (1619-1709) spoke of Toys or Jiggs, "light, squib I hinj fit for fantastical and easy light-headed pe< pie." In Ireland the jig was once the favorite let, foi high

and low would step it to the tune of tl mnel ' air. Selden noted the fact that the Irish w : to a dance which he called the "Sprightly Phj r descrip tions of various jigs in Ireland, Scotlan a volume in the Badminton Library. this book says that the dance is a very ancient many nationalities. "The Spanish dam e of Loures." Desrat, in his " Dictionnaire de 1 published in Paris in doubts 1895, whether I origin. There is much 1 about the jig in n Viiilli Hi Dancing (English edition, 1898). The auth ; .vcre jigs christened after each successive English

Anne - s re in hi .J^ - ^h £e^& rer + r . f' °?atl of e Inns of Curt, PkvfoSr \f * an entlemen g ° the Inns IZ^TthiL^crowned their grand i solemnities with admirati

FrSfon^S l£?£l £*"**' teur ""* violinist, was presidentp^e idett > * oferf thet£ Philharmom-& ;, town; 12 nis ' raction, was a pianist, a pupil of Clara Schu- -1 " lh « 'u: was Bunzi, a pupil of Molique. He fter* ird studied w th Leonard, and after the death of that master he I rv, and in 1892, as a pupil of Garcin, nee in public was at Rheims in April 1 with orchestra. In 1885 or 1886 he Knoll's in; in tber, 1887, he played in Vienna; in iSJH d m nd throughout France; in 1890-91 he gave c :n and Dresden, and it was in April, 1891, at Concerto for the first time in

He in the season of 1892-93. He

I in 1898. Hi^> last visit was in 1900,

I in that year he was invited I e of the violin depart- wliii h i^ now his dwelling-place. and he has made the public md unknown

1 1< . i\ d oe d Arc," a scene two string quartets; a 'cello Op. 7

k, pok Vl ka. Op. 50.

1-Mii.i: \.\ Dalcroze

I »m at Vienn.t. Jttl living at Gt

i\ 1st, pedagogue, Wis •1 his p irents were Swiss

.m

i< 1 in one act,

,1 i: Fuchfl and Anton Hnu whicli was per- • to P id ird orchestra* iiiv and com- In 1 hann< ! in th.it city, January, 1893, IT ad «»pera, li: 111 tlu« •lame." hook are i Other works n of 1896; k by Yve-Plessis, the episode music ; the <»f the isl Vaudois," for solo

I enfantines" M [uartet; Senti-

1 string quartet; dlad of .nd book stickers— et rondes; lyric „ „ tn Tihprtv CEuvres enfantines: chansons Chez Nous: 2T»U-b2? te so'rLo, 'cello, and pianoforte; pianoforte pieces nouvelles chansons romandes; # # time at the second Swiss Music This concerto was played for the first by Mr. Marteau. The ch.ef^heme Feldval atGeneva, %L 23, 1901. announced by the orchestra. This? theme and of the first movement is the work The first m the first the second are utilized throughout fugue; and the sob violin takes it at last, movement is worked out in a with other voices, in counterpoint. The in a greatly augmented form, nature. The first theme, broad and second movement is of a pastoral second, which reminds one of the finelv harmonized, is opposed to a tremolo of the tam-tam, after plain-song of the "Dies Irae." "A light the beginning a singular the manner of bells, gives to the second theme at shifting rhythms and mystical color." The third movement, with and nature. curious development of themes, is of a grotesquely gay in The score, dedicated to Mr. Marteau, was published 1903. The (one interchangeable concerto is scored for piccolo, two flutes, two oboes with English horn) two clarinets, two bassoons, four horns, two trum- pets, three trombones, one bass tuba, kettledrums, snare-drum, bass drum, cymbals, triangle, tam-tam, glockenspiel, harp, strings, and solo violin.

Prelude to "The Afternoon of a Faun (after the Eclogue of Stejphane Mallarm£)" Claude Debussy

(Born at St. Germain (Seine and Oise), August 22, 1862 ; now living at Paris.)

"Prelude a l'Apres-Midi d'un Faune (Eglogue de S. Mallarm£) " was played for the first time at a concert of the National Society of Music, Paris, December 23, 1894. The conductor was Gustave Doret. The second performance was at a Colonne Concert, Paris, October 20, 1895. The first performance in Boston—it was also the first in the United States—was at a concert of the Boston Orchestral Club, Mr. Longy conductor, April 1, 1902. The second was at a Chickering Production Concert, February 24, 1904, when Mr. Lang conducted. The Prelude was performed here at a concert of the Boston Symphony Orchestra, December 31, 1904. It was performed at a concert of the Cincinnati Symphony Orchestra, Mr. Van der Stucken conductor, January 2, 1904, and at a concert of the New York Symphony Orchestra, Mr. Walter Damrosch conductor, November 12, 1905. The New York Symphony Orchestra, Mr. Damrosch conductor, played the Prelude in Boston, January 18, 1906. Stephane Mallarme formulated his revolutionary ideas concerning style about 1875, when the Parnasse Contemporain rejected his first poem of true importance, "L'Apres-Midi d'un Faune." The poem was published in 1876 as a quarto pamphlet, illustrated by Manet. The eclogue is to the vast ma ority cryptic. The poet's aim, as Mr. Edmund Gosse expresses it, was "to use words in such harmonious combinations as will suggest to the reader a mood or a condition which is not mentioned in the text, but is nevertheless paramount in the poet's mind at the moment of composition." Mallarme\ in a letter to Mr. Gosse, accepted with delight this understanding of his purpose: I make music, and do not call by this name that which is drawn from

14 the euphonic putting together of words,—this first requirement is taken for granted; but that which is beyond, on the other side and produced magically by certain dispositions of speech and language is then only a means of material communication with the reader as are the keys of the pianoforte to a hearer." Let us read Mr. Gosse's explanation of the poem that suggested music to Debussy: "It appears in the florilkge which he has just pub- lished, and I have now read it again, as I have often read it before. To say that I understand it bit by bit, phrase by phrase, would be excessive. But, if I am asked whether this famous miracle of unin- telligibility gives me pleasure, I answer, cordially, Yes I even fancy that I obtain from it as definite and as solid an impression as M. Mal- larme desires to produce. This is what I read in it: A faun—a simple, sensuous, passionate being—wakens in the forest at daybreak and tries to recall his experience of the previous afternoon. Was he the fortunate recipient of an actual visit from nymphs, white and golden goddesses, divinely tender and indulgent? Or is the memory he seems to retain nothing but the shadow of a vision, no more substantial than the 'arid rain' of notes from his own flute? He cannot tell. Yet surely there was, surely there is, an animal whiteness among the brown reeds of the lake that shines out yonder? Were they, are they, swans?

No ! But Naiads plunging ? Perhaps ! Vaguer and vaguer grows the impression of this delicious experience. He would resign his woodland godship to retain it. A garden of lilies, golden-headed, white-stalked, behind the trellis of red roses ? Ah ! the effort is too great for his poor IVOSCJ'ianos

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lilies, one benign lilyul from the agarth of « t. e if,-f hei,a selecpleetss one brain. Perhaps the memory, the ever- her cup tJ^thirstythirst UppS) and beneficent yielder^of ^ ^ y^ memory, may-be forced Dae , receding tne ^ air and he is wont to toss p y a bunch of grapes, delicious hour

kn w was - and he curls rhimselfrup*again ^X^^^^^^^^yielding; grasses fs warnt the ?he sun wme, that he may pursue the IfterTorshS the efficacious star of of sleep. into the more hopeful boskages dU un- ES in* the so excessively obscure and %^STwhat I read Faune'; and, accompanied as it is mtellidble 'I/Apres-Midi d'un and melody of rhythm, I know not a perfect suavity of language with give. It sup- eight $ages could be expected to what more a, poem J impression of physical beauty, of harmony, plies a simple and direct mellifluous, when once the ear understands of color- it is exceedingly slave of the Alexandrine, weaves his that the poet, instead of being the composer." variations round it, like a musical * * *

flutes, two oboes, one "The Afternoon of a Faun" is scored for three horns, two harps, small English horn, two clarinets, two bassoons, four Bonheur. antique cymbals,* strings. It is dedicated to Raymond tres major, The chief theme is announced by the flute, modere, E is immediately 9-8. Louis Laloy gives the reins to his fancy: "One in the transported into a better world; all that is leering and savage snub-nosed face of the faun disappears; desire still speaks, but there wood- wind, is a veil of tenderness and melancholy. The chord of the the distant call of the horns, the limpid flood of harp tones, accentu- ate this impression. The call is louder, more urgent, but it almost immediately dies away, to let the flute sing again its song. And now the theme is developed: the oboe enters in, the clarinet has its say; a lively dialogue follows, and a clarinet phrase leads to a new theme, mutual which speaks of desire satisfied ; or it expresses the rapture of emotion rather than the ferocity of victory. The first theme returns, more languorous, and the croaking of muted horns darkens the horizon. The theme comes and goes, fresh chords unfold themselves; at last a solo 'cello joins itself to the flute; and then everything vanishes, as a mist that rises in the air and scatters itself in flakes."

Achille Claude Debussy, the "tres exceptionnel, tres curieux, tres solitaire M. Claude Debussy," as Alfred Bruneau characterizes him, entered the Paris Conservatory when he was very young. He studied the pianoforte with Marmontel,—Edward MacDowell of New York

* Small cymbals, as well as the large cymbals, were used habitually in the bawls of the janizaries from the time of organization in the seventeenth century. The ancient ones found at Pompeii were of bronze, con- nected by a bronze chain of twenty-four rings. Mahillon says that the sound is pitched approximately to the first above E the treble staff. [F. A. Lampe thought it worth while to write a book of 429 pages, "De Cym- baks Veterum" (1703). Berlioz speaks of them in his Treatise on Instrumentation: "I have seen some in the Pompeian Museum at Naples, which were no larger than a dollar. The "sound of these is so high and so weak that it could hardly be distinguished without a complete silence of the other instruments. These cym- bals served in anaent times to mark the rhythm of certain dances, as our modern castanets, doubtless. In the fairy-like scherzo of my 'Romeo and Juliet' symphony, I have employed two pairs of the dimension of the largest of the Pompeian cymbals; that is to say, rather less than the size of the hand, and tuned a fifth one with the othen (They were tuned to B-flat and F above the treble staff.) "To make them vibrate well, the player should, instead of striking the cymbals full one against the other, strike them merely by one of their edges, lhey should be of at least three lines and a half in thickness."— v^u^uChausson introduced antique cym- bals m his symphonic poem "Viviane." «»

16 e y ta h which he took tie , <

* In the earlier editions of Maeterlinck's "Pelleas et Melisande" the two e's in "Pelleas" had the acute accent. In the later editions the first e is without accent. Debussy's opera has "Pelleas."

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BATES (SL GUILD CO., Publishers 42 A Chauncy Street, Boston, Mass. IT in E-*lat major, "Eroica," Op. 55- SYMPHONYSymphony No.in u.j,%, LUDWIG VAN BEETHOVEN 1770; died at Vienna, March 26, 1827.) (Born at Bonn, December 16 (?), of Beethoven (Minister, 1840): Anton Schindler wrote in his Life his [Beethoven si mental condition so -First in the fall of 1802 was take hold of his long-formulated much bettered that he could afresh pay homage with a great instnimental plan and make some progress: to Napoleon. Yet not until 1803 did he work to the hero of the time, gigantic work, wh ch we now know under set himself seriously to this on account of many interruptions it the title of 'Sinphonia Eroica': The first idea of this sym- was not finished until the following year General Bernadotte, who was then phony is said to have come from treasured Beethoven. I French Ambassador at Vienna, and highly Count Montz Lichnow- heard this from many friends of Beethoven.

Bernadotte, . . . skv who was often with Beethoven in the company of with reference to the told me the same story." Schindler also wrote, year 1823: "The correspondence of the King of Sweden led Beetho- ven's memory back to the time when the King, then General Bernadotte, Ambassador of the French Republic, was at Vienna, and Beethoven a lively recollection of the fact that Bernadotte indeed first awak- had " ened in him the idea of the 'Sinphonia Eroica.' These statements are direct. Unfortunately, Schindler, in the third edition of his book, mentioned Beethoven as a visitor at the house of Bernadotte in 1798, repeated the statement that Bernadotte inspired the idea of the symphony, and added: "Not long afterward the idea blossomed into a deed"; he also laid stress on the fact that Beethoven was a stanch republican, and cited, in support of his admiration of Napoleon, passages from Beethoven's own copy of Schleiermacher's translation of Plato. Thayer admits that the thought of Napoleon may have influenced the form and the contents of the symphony, and that the composer may have based a system of politics on Plato; "but," he adds, "Ber- nadotte had been long absent from Vienna before the Consular form of government was adopted at Paris, and before Schleiermacher's Plato was published in Berlin."

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CALVIN BRAINERD CADY Mothers!!! VILLA WHITNEY WHITE HELEN HOWARD WHITING Mrs. Winslow's Soothing Syrup ELIZABETH FYFFE LINDA EKMAN has been used for oyer SIXTY YEARS by MILL- IONS of MOTHERS for their CHILDREN while TEETHING, with PERFECT SUCCESS. SEND FOR ANNOUNCEriENT to It SOOTHES the CHILD, SOFTENS the GUMS, CALVIN B. CADY ALLAYS all PAIN, and is the beat remedy. Sold by Druggists in every part of the world. B« sure Suites 312-314, Pierce Building, opposite and ask for " Mn. Winslow's Soothing Syrup," and the Public Library, BOSTON, MASS. take no other kind. Twenty-five cents a bottle. 18 The symphony was composed in 1803-1804. The storv iEmperor, whereat he broke out angrily: 'Then he's nothing but an ord" nary man! Now he 11 trample on all the rights of men to serve hL ,own ambition; he will put himself higher than all others and turn out a tyrant! " Furthermore, there is the story that, when the death of Napoleon at bt. Helena was announced, Beethoven exclaimed, "Did I not foresee the catastrophe when I wrote the funeral march in the 'Eroica'?" The original score of the symphony was bought in 1827 by Joseph Dessauer for three florins, ten kreuzers, at auction in Vienna On the title-page stands: "Sinfonia grande." Two words that should follow^immediately were ' erased. One of these words is plainly ' Bona- parte," and under his own name the composer wrote in large charac- ters with a lead-pencil: "Written on Bonaparte." Thus it appears there can be nothing in the statements that have comedown from Czerny, Dr. Bartolini, and others: the first allegro describes a sea-fight; the funeral march is in memory of Nelson or General Abercrombie, etc. There can be no doubt that Napoleon, the young conqueror, the Consul, the enemy of kings, worked a spell over Beethoven, as over Berlioz, Hazlitt, Victor Hugo; for, according to Mr. W. E. Henley's paradox: although, as despot, Napoleon had "no love for new ideas and no tolerance for intellectual independence," yet he was "the great First Cause of Romanticism." The symphony was first performed at a private concert at Prince Lobkowitz's in December, 1804. The composer conducted, and in the second half of the first allegro he brought the orchestra to grief, so that a fresh start was made. The first performance in public was at a concert given by Clement at the Theater an der Wien, April 7, 1805. The symphony was announced as "A new grand Symphony in D- sharp by Herr Ludwig van Beethoven, dedicated to his Excellence Prince von Lobkowitz." Beethoven conducted. Czerny remembered that some one shouted from the gallery: "I'd give another kreuzer if they would stop." Beethoven's friends declared the work a master- piece. Some said it would gain if it were shortened, if there were more "light, clearness, and unity." Others found it a mixture of the good, the grotesque, the tiresome.

The Boston Symphony Orchestra Programme

For the twenty-four Boston Concerts, with Historical and Descriptive Notes by Philip Hale. Bound copies of the Programme for the entire season can be had at $1.50 by applying before the last concert. Address all com- munications to F. R. COflEE, Symphony Hall, Boston.

19 Italia, was published in October, 1806. The title m The symphony there celebrate the memory of a ^eat man. And staled thaHt Z to symphony is onger than an ordinary sym- was this note: "Since this at the beginning rather than at the end phony t should be performed overture or an ana or after a concerto. If it of a concert, either after an is the danger that it will not produce on be performed too late, there will be already wearied by preceding the audience, whose attention composer purposed in his own mind to pieces the effect which the attain. * * for the first time at a concert This symphony was performed in Boston Webb conductor, December 13, of the Musical Fund Society, Mr. G. J. yfifT brio, K-flat major, 3-4, opens with The first movement, Allegro con chief theme is given two heavy chords for full orchestra, after which the note the same as that of out by the 'cellos. This theme is note for Mozart in at Vienna the first measures of the Intrade written by 1786 performed in for his one-act operetta, "Bastien et Bastienne," 1786 at a Viennese garden-house (K. 50). Mozart's theme is in G major. Beethoven's theme is finished by the violins and developed at length. There is a subsidiary theme, which begins with a series of detached phrases distributed among wood-wind instruments and then the violins. The second theme, of a plaintive character, is given out alternately by wood-wind and strings. The development is most elaborate, full of striking contrasts, rich in new ideas. The passage in which the horn enters with the first two measures of the first theme in the tonic chord of the key, while the violins keep up a tremolo on A-flat and B-flat, has given rise to many anecdotes and provoked fierce discussion. The coda is of unusual length. The funeral march, Adagio assai, C minor, 2-4, begins, pianissimo e sotto voce, with the theme in the first violins, accompanied by simple chords in the other strings. The theme is repeated by the oboe, accom- panied by wood-wind instruments and strings; and the strings give the second portion of the theme. A development by full orchestra follows. The second theme is in C major. Phrases are given out by

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various wood-wind instruments in alternation, accompanied by triolet arpeggios m the strings. This theme, too, is developed; and there is a return to the first theme in C minor in the strings. There is fugal development at length of a figure that is not closely connected with either of the two themes. The first theme reappears for a moment but strings and brass enter fortissimo in A-flat major. This episode is followed by another; and at last the first theme returns in fragmen- tary form in the first violins, accompanied by a pizzicato bass and chords in oboes and horns. Scherzo: Allegro vivace, B-flat major, 3-4. Strings are pianissimo and staccato, and oboe and first violins play a gay theme which Marx is says taken from an old Austrian folk-song. This melody is the basic material of the scherzo. The trio in E-flat major includes hunting- calls by the horns, which are interrupted by passages in wood-wind instruments or strings. Finale: Allegro molto, E-flat major, 2-4. A theme, or, rather, a

double theme, with variations ; and Beethoven was fond of this theme, for he had used it in the finale of his ballet, "Die Geschopfe des Pro- metheus," in the Variations for pianoforte, Op. 35, and in a country dance. After a few measures of introduction, the bass to the melody which is to come is given out, as though it were an independent theme. The first two variations in the strings are contrapuntal. In the third the tuneful second theme is in the wood-wind against runs in the first violins. The fourth is a long fugal development of the first theme against a counter-subject found in the first variation. Variations in G minor follow, and the second theme is heard in C major. There is a new fugal development of the first theme inverted. The tempo changes to poco andante, wood-wind instruments play an expressive version of the second theme, which is developed to a coda for full orches- tra, and the symphony ends with a joyful glorification of the theme. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, kettledrums, and strings.

What strange and even grotesque "explanations" of this symphony 'have been made At the second concert of the Philharmonic Society of New York, February 18, 1843, the following comments were printed on the pro- gramme: "This great work was commenced when Napoleon was first Consul, and was intended to portray the workings of that extraordinary man's mind. In the first movement, the simple subject, keeping its uninterrupted way through harmonies that at times seem in almost char- chaotic confusion, is a grand idea of Napoleon's determination of paid acter. The second movement is descriptive of the funeral honors the to one of his favorite generals, and is entitled 'Funeral March on the Death of a Hero.' The winding up of this movement represents listener hears faltering steps of the last gazers into the grave, and the fired, and repeated the tears fall on the cofiin ere the funeral volley is Trio) describes faintly by an echo. The third movement (Minuet and combination of the homeward march of the soldiery, and the Finale is a no one save French Revolutionary airs put together in a manner that Krehbiel tells a Beethoven could have imagined." And this note, Mr. even twenty-five, years us, was inserted in the programme for several, after. ti of the symphony the incidents of a Marx saw in the first movement The different ba^Tfa^fSoticrived in the mind of the conqueror. chief themes and their develop- mddents are characterized by the of the first theme is the triumph ments The ending with the return funeral march pictures Night spreading her of the victor's plan. The covered with the corpses of those shade over the battlefield, which is heard the rejoicings of the sol- who died for glory; in the scherzo are Peace consecrating the vic- diery homeward bound; and the finale is ' tories of the hero. „ ,. „ '. of the first move- Griepenkerl preferred to see m the fugued passage ment the entrance of the nineteeenth century. of battles or trium- Berlioz insisted that there should be no thought phant marches, but rather profound reflections, melancholy recollec- funeral oration over a hero. tions, imposing ceremonies,—in a word, the Wagner wrote: "The designation 'heroic' is to be taken in its widest sense, and in no wise to be conceived as relating merely to a military hero.' If we broadly connote by 'hero' ('Held') the whole, the full- fledged man, in whom are present all the purely human feelings—of love, of grief, of force—in their highest fill and strength, then we shall rightly grasp the subject which the artist lets appeal to us in the speak- ing accents of his tone-work. The artistic space of this work is filled with all the varied, intercrossing feelings of a strong, a consummate Individuality, to which nothing human is a stranger, but which in- cludes within itself all truly Human, and utters it in such a fashion that, after frankly manifesting every noble passion, it reaches a final round- ing of its nature, wherein the most feeling softness is wedded with the most energetic force. The heroic tendency of this art work is the progress toward that rounding off" (Englished by Mr. \V. A. Ellis). And Wagner explained on these lines each movement. As the second shows the "deeply, stoutly suffering man," so the Bcfaeno reveals the "gladly, blithely doing man"; while the finale shows us finally "the man entire, harmoniously at one with self, in those emotions where the Memory of Sorrow becomes itself the shaping force of noble Deeds." Nor should the "rededication" of the "Eroica" to Bismarck by von Biilow, cher unique, as Liszt frequently called him, be forgotten. Von Biilow said, at a concert of the Philharmonic Orchestra of Berlin (May 28, 1892): "Yes, the hero was the quintessence of the world to Beet- hoven. We cannot know, we cannot surmise, what slumbered in his soul. Perhaps there slumbered the picture of the great American citizen, George Washington. But he looked for a hero of his own time, a European hero; and his eyes fell on the great star of Bonaparte." And there von Biilow might have stopped where Beethoven began.

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B. W. HUEBSCH, New York. .

List of Works performed at these Concerts during the Season of 1905=1906.

Bach Suite in D major Beethoven " Symphony No. 3, in E-flat major, Eroiea," Op 55. Overture to Goethe's "Egmont".

Brahms

Symphony No. 2. Academic Overture.

Dalcroze Concerto for Violin Mr. Henri Marteau

Debussy, Prelude to Mallarme's Eclogue, ''The Afternoon of a Faun"

Dukas . "I/Apprenti Sorcier," d'apres une Ballade de Goethe

Dvorak Concerto in B minor, for Violoncello Mr. Heinrich Warnke

Faure; .... Suite, " Pelleas et Melisande, " de Maeterlinck

Goldmark Overture to "Hiawatha"

D'Indy Deuxieme Symphonie (in B-flat) "Saugefleurie," Legende d'apres un Conte de Robert de Bon- nieres.

Mahler Symphony in C-sharp minor, No. 5 (First time here.)

minor, for Pianoforte and Orchestra Schumann . . Concerto in A Mr. Harold Bauer

Strauss .... Tone-poem, "Death and Transfiguration"

TSCHAIKOWSKY Symphony No. 4, in F minor. "Francesca da Rimini," Orchestral Fantasia after Dante.

Weber Concert Piece in F minor, for Pianoforte and Orchestra Mr. Alfred Reisenauer

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SO FIFTH AND LAST MATINEE, SATURDAY AFTERNOON, MARCH 17,

AT 2.30 PRECISELY,

PROGRAMME.

Weber Overture to " Der Freischutz "

F. S. Converse " La Belle Dame sans Merci " (after the Poem by Keats), Ballade for Baritone Solo and Orchestra, Op. 12. First time here

Goldmark Overture to " Sakuntala," Op. 13

Marschner ." Upon that Day," Aria for Baritone, from " Hans Heiling "

Schubert Symphony in major, ...... C No. 7 I. Andante; Allegro ma non troppo. II. Andante con moto. III. Scherzo: Allegro vivace. Trio.

IV. Finale : Allegro vivace.

SOLOIST:

Mr. DAVID BISPHAM.

There will be an Intermission of ten minutes before the symphony.

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RALPH L. fLANDERS, Manager. Overture, "Der Freischutz" .... Carl Maria von Wbb«* (Born at Eutin, Oldenburg, December 18, 1786; died at London, June, 5, 1826.) "Der Freischutz/' a romantic opera in three acts, book by Friedrich Kind, music by Weber, was first performed at Berlin, Tune 18 1821 It was the first opera performed in the new theatre, Schauspielhausi erected by Schmkel in 1819-21, to replace the original building which was burned down m 1817. Weber wrote in his diary that the opera was received with "incredible enthusiasm ; % Overture and Folk-song were encored; fourteen out of seventeen music-pieces were stormily applauded. Everything went exceedingly well, and was sung con amore. I was called before the curtain, and took Mad. (sic) Seidler and Mile, (sic) Eunike with me, as I could not get hold of the others Verses and wreaths came flying. 'Soli Deo Gloria.'" Some of these verses were malicious, and reflected on Spontini, much to Weber's distress. Weber began work on the overture February 22, 1820; and May 13 he noted in his diary, "Overture of 'Die Jagersbraut' finished, and with it the whole opera. God be praised, and to Him alone be the glory." ("Die Jagersbraut" was the original title of the opera, and it was kept until into the year 1820, when Weber changed it to "Der Freischutz" at the advice of Count Bruhl, Intendant of the Berlin Court theatres.) Weber heard the music for the first time at a rehearsal of the Dresden orchestra, June 10, 1820, and this was the first music of the opera that he heard. The first public performance of the overture was at Copenhagen, October 8, 1820. Weber was making a tour through North Germany and Denmark. The second performance was at Brunswick, October 31, 1820. And, before the performance of the opera itself, the overture was played for the third time at Dresden, December 18, 1820, at a con- cert given by Weber's friend, Heinrich Joseph Barmann, the brilliant clarinetist and the grandfather of Mr. Carl Baermann, of Boston. The performance at Brunswick inspired a favorable review published in the leading music journal of Leipsic. The overture was therein de- scribed as "a most important work of art, which displays the fantasy and genius of a bold speaker of the prologue." Max von Weber tells us that his father's overture brought Barmann money but no glory; for the attention of the audience was fixed on the new work, and the virtuoso was applauded as by absent-minded hearers, although he blew in most artistic fashion. He also says that the themes of the overture were not readily grasped, that the novelty of the orchestration dis- concerted the conservative and elderly of the audience, and that ap- plause at the end was without heart on account of the surprise and perplexity of those who were well disposed toward the composer. F. W. Jahns, on the other hand, says the applause was so great that the over- ture was played the second time. And here it may be stated that Max von Weber speaks as though this performance were the first, and does not mention those at Copenhagen and Brunswick. But see "Carl Maria von Weber in seinem Werken," by F. W. Jahns (Berlin, 1871, pp. 318, 319). . - We have mentioned the success of this overture at Berlm, when it was a played as the prelude to the opera and under Weber's direction, the success that dumbfounded the followers of Spontini, and settled 29 wherever the overture in the capital. And so, future of German opera was overwhelming -as m London where the was Pplayed, the effect English, July 22 (?), 1824, at the English Lera wL first performed in "The music of this opera is such nnera house W T. Parke wrote: and melody as to justify any ^continued' display of science, taste, overture embraces most of the subjects praises bestowed on it. The ingeniously interwoven with each other, and of the airs in the opera, grandeur of some passages and the finely con- is quite original. The an effect which was irresistible. trasted simplicity of overproduced

,. It was vehemently encored." , forty-two meas- Two hundred and nineteen of the three hundred and itself, and yet there is no thought ures of this overture are in the opera well said: "Weber's overture, far of patchwork. As Mr. Mees has is absolutely symmetrical from being a kaleidoscopic series of tunes, of the melodies utilized, a in form, in that it comprises an exposition climacteric coda." section in which they are worked out, and a Although the originality of the music is striking, Weber did not has been repeated by escape the charge of plagiarism ; and this charge some who evidently did not take the trouble to investigate for them- selves. Weber was accused of appropriating a theme from the piano the singular concerto in D major, Op. 8, of J. L. Bohner (1787-1860), being who was supposed to have sat to Hoffmann for his portrait of Johannes Kreisler. This theme was used by Weber, they say, in meas- ures 12, 13, 14, of the Allegro of Agathe's grand aria, as well as at the beginning of the second, chief, and the last theme of the overture, the theme that also occurs at the end of the opera. The arrangements of the overture are numberless, and some are curious. Moscheles made a version for three pianos, twelve hands, which was played in Paris, April 13, 1825, by Mendelssohn, Herz, Pixis, C. Pleyel, Schunke, and the arranger. There are arrangements for one, two, three, and four flutes; for flute, violin, and guitar; for flute and guitar ; for violin and guitar ; for two clarinets ; for cornet. Much has been written about the overture, from the rhapsody of Douglas Jerrold to Wagner's critical remarks concerning the true read- ing. The admiration of Berlioz is well known (and yet perhaps Berlioz is not now widely read in this country): "The overture is crowned Queen to-day: no one dreams of disputing it. It is cited as the model of the kind. The theme of the slow movement and that of the Allegro are sung everywhere. There is one theme that I must mention, be- cause it is less noticed, and also because it moves me incomparably more than all the rest. It is that long, groaning melody, thrown by

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the orchestra, like unto a far-off lamen- the clarinet over the tremolo of £ti2S£d by the winds in the depths of the forest. It strikes me, at least this virginal song, which home to the heart; and for timid reproach, while a sombre harmony seems to breathe skyward a most novel, poetic, and beautiful shudders and threatens, is one of the in music. In this instrumental contrasts that modern art has produced easily a reflection of the character inspiration one can already recognize in all its passionate purity. The of Agathe which is soon to develop the part of Max. It is the cry theme is borrowed, however, from when, from his rocky height, he of the young hunter at the moment a little sounds with his eyes the abysses of the infernal glen. Changed phrase is different both in outline, and orchestrated in this manner, the remarks of Berlioz in in aspect and accent." Compare with this the the section on the clarinet in his "Treatise on Instrumentation." The clarinet, he says, has the precious faculty of producing "distance, echo, an echo of echo, and a twilight sound." "What more admirable ex- ample could I quote of the application of some of these shadowings than the dreamy phrase of the clarinet, accompanied by a tremolo of stringed instruments in the midst of the Allegro of the overture to 'Freischutz'? Does it not depict the lonely maiden, the forester's fair betrothed, who, raising her eyes to heaven, mingles her tender lament with the noise of the dark- woods, agitated by the storm? O Weber!!" * * * The overture begins adagio, C major, 4-4. After eight measures of introduction there is a part-song for four horns. This section of the overture is not connected in any way with subsequent stage action. After the quartet the Samiel motive appears, and there is the thought of Max and his temptation. The main body of the overture is molto vivace, C minor, 2-2. The sinister music rises to a climax, which is repeated during the casting of the seventh bullet in the Wolf's Glen. In the next episode, K-flat major, themes associated with Max (clari- net) and Agathe (first violins and clarinet) appear. The climax of the first section reappears, now in major, and there is use of Agathe's theme. There is repetition of the demoniac music that introduces the WISSNER GRAND AND UPRIGHT PIANOS

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33 dominates the modulation to the coda, alleero and Samiel's motive apotheosis of Agathe. C major, fortissimo, which is the * * Freischiitz" in the United States The hrst performance of "Der York, March 1825. The was an English version produced at New 2, Mrs. de Luce, Woodhull, and Clarke. chief singer's were Miss Kellv, Michael Kelly, singer and the author Miss Lvcfia Kellv was a niece of described as "rather masculine in of the 'amusing' Memoirs. She is appearance." Her costumes were distinguished for "richness and ele- spirits, humor, gance." She had "never-failing animal good and vivacitv." She married a French baron, who left her as soon as she Ritter, in his failed to be a profitable investment. Dr. F. L. "Music in America" (New York. 1883). says that Mrs. de Luce was the wife of the orchestra leader. Agathe was named Bertha in the version ; and Aennchen. Linda. "Of course, the opera was not given in its entirety: parts of it were 'adapted.' The piece seems to have had a long run. The incantation scene was the great theatrical excitement of the day." Ritter gives the date of the first performance as March 2, 1825, but see Ireland's "Records of the New York Stage." The date 1823, given by Richard Grant White in his "Opera in New York," is incorrect. The opera was announced as in rehearsal in Boston by a company of wmcn Charles E. Horn and Mrs. Edward Knight were the chief singers in the Boston newspapers of December 17, 1827, but the opera, or rather an English adaptation of it, was performed here for the first time at the Boston Theatre, February 19, 1828, when Mr. Finn was an- nounced as Caspar, and Mrs. Bernard * as Linda. Especial attention was called to the Wolf's Glen and the fireworks prepared by Mr. Broad, and for some time the scene of the Wolf's Glen was a favorite feature of a miscellaneous theatrical entertainment. The overture was played as early as February 7, 1828, and it was at first advertised as by "Carlo" von Weber. The first complete performance was in Italian on January 27, i860, at the Boston Theatre, when Mme. Colson, Mme. Strakosch, Stigelli, Junca, Quent, and Muller were the chief singers. The first performance in German was on May 6, 1864, when the chief singers were Frederici, Canissa, Habelmann, and Graff.

Mr. David Bispham was born of Quaker stock at Philadelphia, January 5. 1857. He was graduated from Haverford College in 1876. In his early manhood he was engaged in business, but he took lessons in singing of Giles in Philadelphia, and soon became known as a choir and^ concert amateur baritone. In 1886 he determined to be a pro- fessional singer: he went to Italy, where he studied at Florence with \annuccini. He went to London and studied with Shakespeare, and began to be known there as a concert and oratorio singer. He made his first appearance in opera as the Due de Longueville in Mes- sages •'Basoche" (Royal English Opera, now the Palace Theatre, -November 3, 1891). He fitted hims^f for his operati career by studying dramatic art with Marius and Herman Vezin and he began Tild C 1 ^PP'5 statement, in his ' Record* of the Boston Stage" (j 'SM^S^VStSSlSSFreiscllutz !!°S ^ *" produced in 1827 by Horn and Mrs. Knight, is not supported by news- JpUffi year. Holds America's Highest Prize BAKER'S

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36 early in 1892. He was the first to sing to studvy Waznerian parts England. His career at Covent Garden FalS in vSu's op^ra in known. at the Metropolitan is well -ind Boston both in opera and in Mr Bispham has sung frequent y in in Boston was at a Handel and Haydn concert His first appearance 1896). We give a list, no doubt Concert ("The Messiah," December 20, appearances. In opera as incomplete, of his more prominent Alberich, April 5, 1897, March 2, 1898 March 27, April 5, 1899, Telramund, April 7, 1897, March 10, 1898, March 24, 1903. Tristram ("Martha"), April 9, 1897. Wolfram, February 23, March 12, 1898. The Hollander, March 4, 1898, February 3, 1899. Beckmesser, April 13, 1901, March 25, 1903. Urok (Paderewski's "Manru"), March 15, 1902. He has sung at Handel and Haydn Concerts: 1896, December 20, 21 "The Messiah"; 1898, December 26, "The Messiah"; 1902, Feb- Mozart's "Non piu andrai"; ruary 9, Rossini's "Stabat Mater" and 1904, April 3, "Hora Novissima." Song recitals: December 3, 1898 (with Mr. Arthur Whiting); Jan- uary 19, 1904; song cycles, October 25, November 7, 16, 28, 1904. He sang in concert with Mme. Sembrich, January 20, 1900, and in Verdi's Requiem at the Boston Theatre, March 16, 1902. He appeared in Boston as Beethoven in "Adelaide," a one-act play- adapted by him from the German, at the Hollis Street Theatre, April 27, 1898, with Julia Opp, Yvonne de Treville, Mrs. Charles Walcot, Mrs. Thomas Whiffen, and Mr. Perry Averill. He read Tennyson's "Enoch Arden" in Symphony Hall on March 28, 1904, when Richard Strauss played his own melodramatic music

to the poem %

"La Belle Dame sans Merci" (after the Poem by Keats), Ballade for Baritone Solo and Orchestra, Op. 12. Frederick S. Converse

(Born at Newton, Mass., January 5, 1871 ; now living at Westwood, Mass.)

"La Belle Dame sans Merci" was composed by Mr. Converse in 1902. It was written originally for voice and orchestra, but a paraphrase for pianoforte and voice has been published. "The ballade," writes Mr. Converse, "is in the nature of a symphonic poem with voice part. There are extended orchestral interludes expressive of the moods of the text." The orchestral part is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, two bassoons, one double- bassoon, four horns, three trumpets, three trombones, one tuba, a set of three kettledrums, snare-drum, bass drum, cymbals, tam-tam, one harp, and the usual strings. Mr. Bispham sang the ballade with pianoforte accompaniment at a private concert at the St. Botolph Club, Boston, March 29, 1903. Keats s poem was included in the journal letter to George Keats, date February-May, 18 19, and headed Wednesday evening, 28th April. 1 tie revised version, which begins "Ah, what can ail thee, wretched wignt, was first published in the Indicator of May, 1820, with a short — — —— preface by Leigh Hunt. Mr. Converse has set music to the original version The first performance with orchestra was at a Boston Sym- phony Concert at Providence, R.I., March i, 1906. Mr. Bispham was the singer.

O what can ail thee Knight at arms Alone and palely loitering? The sedge is withered from the Lake And no birds sing!

what can ail thee Knight at arms So haggard, and so woe begone? The squirrel's granary is full And the harvest's done.

1 see a lily on thy brow With anguish moist and fever dew, And on thy cheeks a fading rose Fast withereth too

I met a Lady in the Meads Full beautiful, a faery's child Her hair was long, her foot was light And her eyes were wild

I made a Garland for her head, And bracelets too, and fragrant Zone She look'd at me as she did love And made sweet moan

I set her on my pacing steed And nothing else saw all day long For sidelong would she bend and sing A faery's song

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She found me roots of relish sweet And honey wild and manna dew And sure in language strange she said I love thee true

She took me to her elfin grot And there she wept and sigh'd full sore, And there I shut her wild wild eyes With kisses four

And there she lulled me asleep And there I dream'd Ah Woe betide! The latest dream I ever dreamt On the cold hill side

I saw pale Kings, and Princes too Pale warriors death pale were they all They cried La belle dame sans merci Thee hath in thrall.

I saw their starv'd lips in the gloam With horrid warning gaped wide, And I awoke, and found me here On the cold hill's side

And this is why I sojourn here Alone and palely loitering Though the sedge is withered from the Lake

And no birds sing . . .

Mackenzie's orchestral ballad, "La belle dame sans merci," was produced at a Philharmonic Concert, London, May 9, 1883. VLADIMIR RAOUL PACHMANNDE PUGNO BALDWIN PIANOS ARE IDEAL CREATIONS OF ARTISTIC ENDEAVOR USED BY THE WORLD'S GREATEST ARTISTS HONORED BY THE WORLD'S GREATEST EXPERTS GRAND PRIX, PARIS, J900

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38 PRELIMINARY RECITALS

for the benefit of ^f The Aeolian Company, the subscribers and patrons of the BOSTON SYMPHONY and the PHILHARMONIC SOCIETY ORCHESTRAS, are giving cer- tain Preliminary Recitals at Aeolian Hall. The programs to be played a few days later by these two organizations are, as far as possible, played on the Orchestrelle and described.

Recitals are given at 8.15 o'clock ^f These on Tuesday and Wednesday evenings of the weeks on which the Philharmonic Society and the Boston Symphony give their concerts.

shall be glad to send tickets for any or Tf We for the entire series of these Preliminary Recitals to any one who will write or call for them. Tues- % In writing, please mention whether day or Wednesday evening will be more convenient.

THE AEOLIAN COMPANY AEOLIAN HALL Avenue, New York Near Thirty-fourth Street 362 Fifth 38 —

Cari, Goldmark Overture to "Sakuntala," in F major, Op. 13 • 1830;* now living at Vienna.) (Born at Keszthely, in Hungary, May 18, important works in order of This overture, the first of Goldmark's world-famous, was played composition, and the work that made him Concert, Vienna, December 26, for the first time at a Philharmonic at a concert of the Harvard 1865 The first performance in Boston was following preface is Musical Association, December 6, 1877. The printed in the full score : Kalidasa's For the benefit of those who may not be acquainted with famous work "Sakuntala," we here briefly condense its contents. - Sakuntala, the daughter of a nymph, is brought up in a pentitentiary grove by the chief of a sacred caste of priests as his adopted daughter. The great king Dushianta enters the sacred grove while out hunting; he sees Sakuntala, and is immediately inflamed with love for her. A charming love-scene follows, which closes with the union (according to Grund- harveri, the marriage) of both. The king gives Sakuntala, who is to follow him later to his capital city, a ring by which she shall be recognized as his wife. A powerful priest, to whom Sakuntala has forgotten to show due hospitality, in the intoxication of her love, revenges himself upon her by depriving the king of his memory and of all recollection of her. Sakuntala loses the ring while washing clothes in the sacred river. When Sakuntala is presented to the king, by her companions, as his wife, he does not recognize her, and he repudiates her. Her companions refuse to admit her, as the wife of another, back into her home, and she is left alone in grief and despair ; then the nymph, her mother, has pity on her, and takes her to herself. Now the ring is found by some fishermen and brought back to the king. On his seeing it, his recollection of Sakuntala returns. He is seized with remorse for his terrible deed; the profoundest grief and unbounded yearning for her who has disappeared leave him no more. On a warlike campaign against some evil demons, whom he vanishes, he finds Sakuntala again, and now there is no end to their happiness.

The introduction opens, Andante assai in F major, 3-4, with rich and sombre harmonies in violas, 'cellos (largely divided), and bas- soons. Mr. Apthorp fancies that the low trills "may bear some ref- erence to the gurgling of a spring—indicative of Sakuntala's parent- age." The tempo changes to Moderate assai, F major (3-4 or 9-8 time). A clarinet and two 'cellos in unison sing the chief theme over soft harmonies in the strings and bassoons. This yearning and sensu- ous theme is named by some commentators the "Love-theme"; but Dr. Walter Rabl suggests that with the second chief theme it may picture Sakuntala in the sacred grove. Thus do ingenious glossarists disagree. This second theme is introduced by first violins and oboe, and against it second violins and violas sing the first melody as a counter- theme. The figuration has soon a more lively rhythmic character, and a short crescendo leads up to a modulation to A minor, poco piu mosso, in which the brass instruments give out a third theme, a hunt- ing tune. This theme is developed; it is used in turn by brass, wood-wind and strings. After a fortissimo of full orchestra there is a long development of a new theme (Andante assai in E major), sung by oboe and English horn against harp chords and triplet arpeggios in strings. This theme had a certain melodic resemblance to the second chief theme. The sombre theme of the introduction is heard in tne basses. The pace grows livelier (piu mosso, quasi Allegro), found Keller, of Vienna-gives the erroneous date, 1832, still TnUSnVr^ Kt,aDaaai oi musi«ans. See Keller'I "Carl Goldmark" (Leipsic, 's. d. in fbt^iSS^^l^^^ t ) f 40 md the music of the hunt is heard. The climax of the moetM reached in F minor, and a cadenza for wind instruments and striu broken by loud chords, leads to a repetition of the into iductfc m The first chief theme appears, and is soon followed by the second The :oda begins with a crescendo climax on figures from the hunting theme which leads to a full orchestral outburst on the two chief themes in conjunction,—first theme in wood-wind and violins, second theme in horns in unison. A free climax, which begins with the hunting theme which is now naturally in F major, brings the brilliantly jubilant dose. The overture is scored for two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three txomboo Dass tuba, a set of three kettledrums, harp (if possible, two harps),' md strings. It is dedicated to Ludwig Lakenbacher. Schubert thought in 1820 of writing an opera based on the story }f Sakuntala. The libretto was by P. H. Neumann, and the opera was to be in three acts. Schubert sketched two acts, and the manu- script some years ago was in Mr. Dumba's possession. Tomaczek's Dpera was not finished. Von Perfall's opera in three acts, text by reichert (Tischbein), was produced at Munich, April 10, 1853; Wein- jartner's in three acts, text by the composer, at Weimar, March 23, [884. A ballet, "Sacountala/' by L. E. E. de Reyer (scenario by Hieophile Gautier), was produced at Paris, July 20, 1858. Sigismund Bachrich's ballet, "Sakuntala," was produced at Vienna, October 4, [884. Felix von Woyrsch wrote an overture and entr'actes for a Iramatic performance, and there are symphonic poems by C. Friedrich

1905 EIGHTH SEASON J906

SYMPHONY CONCERTS for YOONG PEOPLE

FRANK DAMROSCH, Director

SIXTH CONCERT SATURDAY AFTERNOON, MARCH 3* WAGNER PROGRAMME Spinning 3er fliegende Hollander: Overture, Act II., Scene 1. Prelude, Chorus, Ballade.

Der Ring des Nibeltmgen of the Gods into Walhall. Das Rheingold : Entrance

Die Walkiire : Ride of Valkyries.

Siegfried : Forest Murmurs. Rhinemaidens. Die Gotterdammerung : Song of the

and at Society, 1 West 34th Street, Tickets on sale at the office of.the Musical Art he box office. 41 Scharwenka, for solo voices, and Philipp Scharwenka. The one by at Berlin, March 1885. Chorus, and orchestra, was performed 9 for A. F. Herold's adap- Pierre de Breville wrote incidental music l'CEuvre, Paris, Decem- tation "L'Anneau de Cakuntala (Theatre de taken Miss Mery. ber 16 1895), when the part of the heroine was by The' drama of Kalidasa was played for the first time in English in the Conservatory, Botanic Gardens, Regent's Park, London, July 3, Moeller, 1899. An adaptation in German, by Marx May 1, 1903, was produced at the Royal Theatre, Berlin. "Sakuntala" was produced by the Progressive Stage Society at the Madison Square Garden concert hall, June 18, 1905. Jones's metrical translation was used. Miss Kda Bruna took the part of Sakuntala, Mr. Edmund Russell that of the "Emperor Dushyanta," and Mr. Nathan Aronson that of the "King's charioteer." The New York Sun said it was "mounted with many pretty costumes and effects, of which Mr. Russell, with his four changes of costume, his thumb rings, and his elegant set of turquoises, was by far the prettiest. The play, inter- preted by various undergraduates and late graduates of dramatic schools, assisted by Mr. Russell and two or three real actors, was pre- sented on a bare stage. At the rear ran a balcony arrangement, and a potted palm represented the forest of a terrestrial paradise in which the first act is supposed to take place. Real live East Indians from Mr. Russell's retinue acted as ushers and peddled programmes."

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Aria, "Upon that Day," from "Hans Heiung." Hi-;i.\kicH M (Born at Zittau, August l6 I795; , died at Han,,,:, Decern* -Hans Heiling," a romantic opera in three aets and with a „,iu

An jenem Tag da du mir Treue versprochen Als ich in Wonn' und Schmerz zu deinen Fiissen ran* Da 1st in meiner Brust der Morgen angebrochen brestillt ' zum erstenmal ware meine Seele Drang Aus triiber freudenloser Nacht Bin ich zum hellen Leben da erwacht. Du hast uberschwenglich selig mich gemacht.

O lass die Treue niemals wanken, Halt fest die Liebe in deinen Herzen, In dir nur lebe ich! Ich liebe dich so ohne Schranken, Ich liebe dich mit tausend Schmerzen, Mit Hollenqualen lieb' ich dich!

Konntest du je von mir lassen, Konnte je dein Herz erkalten, |

. Weh ! uns beiden dann ! Weh Schon bei dem Gedanken fassen michjdie finstern Gewalten, Treiben zu grasslicher Rache mich an!

Ich liebe dich mit blutendem Herzen, Ich liebe dich mit endlosen Schmerzen, Mit Argwohn und Bangen, Mit rasendem Verlangen, So lieb' ich dich, So, ja so lieb' ich dich!]

On that day when thou plighted me thy troth, when I was at thy feet in agony of bliss and woe, then, yes, then the dawn was breaking in my breast, then for the first time my soul's throe was soothed. From lowering and joyless night, I was then wakened into bright existence. Thou hast made me rapturously happy. let faith be kept unswerving; hold fast love in thy heart; in thee only do I live. I love thee boundlessly, I love thee with a thousand pains, I love thee with the tortures of hell. If thou couldst ever leave me, yea, if thy heart could colden, woe then to us both. Woe! Now at the mere thought gloomy powers seize me to spur me on to horrible revenge. 1 love thee with bleeding heart; I love thee with endless pangs, jealously, anx- iously, with mad longing. So love I thee; yes, I love thee so.

Philipp Eduard Devrient, opera singer, librettist, manager, a nephew of the famous play-actor, Ludwiz Devrient, was born at Berlin, August u, 1801. As a boy he had a beautiful soprano voice, which developed into a bass baritone In 1818 he entered the Sing Akademie, where Zelter taught him singing and harmony. On Good Friday of 1810 he sang for the first time in public (the bass part in Graun's "Death of Jesus"). His success was such that he soon appeared in opera, but not under his own name, as Thanatos in "Alceste.** His first operatic appearance under his own name was as Masetto on April 25, 1810; and ho was then engaged for the Berlin Royal Opera. From 1820 to 1836 he sang many parts, from the Chief Priest in "Alceste" to the English Lord in "Fra Diavolo," from Iago in Rossini's "Othello' to Figaro in Rossini's "Barber of Seville." He was largely instrumental in bringing about the performance, of Bach's "Passion ac- cording to Matthew" (March n, 1829), when he sang the part of the Saviour. In 1831 he gave a famous Eerformance of the Templar in Marschner's "Templar and Jewess"; but his voice thereafter failed him, and e turned play-actor. In 1844 he was appointed stage manager of the Dresden Theatre, and in 1852 man- ager of the Grand Duke's Theatre at Carlsruhe, where he died October 4, 1877. He wrote the librettos for Wilhelm Taubert's "Die Kirmess" (1832) and "Der Zigeuner" (1834); and he wrote books on various sub- " jects, one of which, "Meine Erinnerungen an Felix Mendelssohn-Bartholdy und seine Briefe an mich (Leipsic 1869), excited considerable discussion and some adverse criticism. 43 „ r MiTnp vn 7 .... Fran: Schubert Symphony in L major, -no. /

i ji. i died at Vienna, November 9) 182S.) rn at I.ichtenthal, Vienna, January 797 I

in the Breitkopf & The manuscript of this symphony, numbered ; known as Xo. 10, bears the date March, 1828. I Uriel list and sometimes work to the Musikverein of Vienna for It is said that Schubert gave the distributed; that it was even tried in performance j that the parts were and difficulty were against it, and it was with- rehearsal ; that its length drawn on Schubert's own advice in favor of his earlier Symphony in doubted; but the sym- C, Xo. 6 (written in 1817). All this has been the year phonv is entered in the catalogue of the society under 1828, and the statements just quoted have been fully substantiated. Schu- bert said, when he gave the work to the Musikverein. that he was through with songs, and should henceforth confine himself to opera and sym- phony. It has been said that the first performance of the symphony was at Leipsic in 1839. This statement is not true. Schubert himself never heard the work; but it was performed at a concert of the Gesellschaft der Musikfreunde, Vienna, December 14, 182 8, and repeated March 12, 1829. It was then forgotten, until Schumann visited Vienna in 1838, and looked over the mass of manuscripts then in the possession of Schu- bert's brother Ferdinand. Schumann sent a transcript of the symphony to Mendelssohn for the Gewandhaus concerts, Leipsic. It was produced at the concert of March 21, 1839, under Mendelssohn's direction, and repeated three times during the following season,—December 12, 1839,

March 12 and April 3, 1840. Mendelssohn made some cuts in the work for these performances. The score and parts were published in Jan- uary, 1850.*

The first performance in Boston was at a concert, October 6, 1852, when the small orchestra was led by Mr. Suck. We are told that on this occasion the first violins were increased to four, two extra 'cellos took the place of the bassoons, and a second oboe was added. The Germania Orchestra played the symphony in 1853 and 1 &54, and the first performance at a Philharmonic Concert was on March 14, 1857. The first performance in Xew York was on January 11, 1 851, by the Philharmonic Society, led by Mr. Eisfeld. The manuscript is full of alterations, and as a rule Schubert made few changes or corrections in his score. In this symphony alterations are found at the very beginning. Only the Finale seems to have satisfied him as originally conceived, and this Finale is written as though at headlong speed.

5 moTeJ the fct compete Mrfo™™^, !- ?^ *ere played, and separated by an aria of Donizetti; that Heub^^^^..*!^^)^^ Grove makes the same statement. But see Richard ; U .

List of Works performed at these Concerts during the Season of 1905-1906.

CHAUSSON Symphonic (in i

CONVERSE Ballade for Baritone and Qrchf Mr. David Bis

Debussy Nocturnes: I. Ntoaga; II. Fetes

Elgar Concert Overture, "In the Smith" (First time at these concerts.) Franck "Psyche et Eros," extrait de "Psyche," Poeme symphonic jue

Goldmark Overture, "Sakuntala"

Haydn Symphony in D major (B. & H., No, D'lNDY Symphony on a Mountain Air, for Orchestra and Pianoforte. (Mr. Heinrich Gebhard, Pianist.)

1 ' ' Istar ' (Variations symphoniques)

Magnard Chant funebre

Marschner Aria, "Hans Heiling" Mr. David Bispham

Concerto for Violin Mendelssohn . Miss Marie Hall

Schubert Symphony No. 7

Schumann 'Symphony No. 1

No. for Violin and Orchestra Spohr - Concerto 9, Professor Willy Hess

Strauss "Till Eulenspiegel's Merry Pranks" Wagner March of Homage. Bacchanale from "Tannhauser." Elizabeth's Greeting, from Act II., "Tannhauser." Nuremberg." Prize Song from "The Mastersingers of Siegfried's Death and Siegfried's Parting from Brunnhilde, the Gods." Funeral March, Closing Scene, from "The Dusk of Mme. Johanna Gadski, Mr. Ellison Van Hoose WEBER Overture, "Freischiitz"

46 —

two flutes, two oboes, two clarinets, two The symphony is scored for two trumpets, three trombones kettledmms, bassoons, two horns, that Schubert was afraid he had made too Strines There is a story and asked the advice of Franz Lachner. free use of trombones, decidedly Slav-Hun- • movement has a The second theme of the first character colors other portions of the sym- garian character, and this mood. pony both in melody and general been used by Schubert as early The rhythm of the scherzo theme had quartet in B-flat. It may also be remarked that the as 1 8 14 in his menuet form, and that there is more scherzo is not based on the old in such movements at that thematic development than was customary period. invention is perhaps the better There is a curious tradition—a foolish phrase—that the Finale illustrates the story of Phaeton and his cele- brated experience as driver of Apollo's chariot. Others find in the Finale a reminiscence of the terrible approach of the Stone-man toward the supper-table of Don Giovanni. Schumann, after a performance of the symphony at Leipsic, wrote a rhapsody which may well take the place of an analysis : "Often, when looking on Vienna from the mountain heights, I thought how many times the restless eye of Beethoven may have scanned that distant Alpine range, how dreamily Mozart may have watched the course of the Danube which seems to thread its way through every grove and forest, and how often Father Haydn looked at the spire of St. Stephen and felt unsteady whilst gazing at such a dizzy height. Range in one compact frame the several pictures of the Danube, the cathedral towers, and the distant Alpine range, and steep all these images in the holy incense of Catholicism, and you have an ideal of Vienna herself; the exquisite landscape stands out in bold relief before us, and Fancy will sweep those strings which, but for her, would never have found an echo in our souls.

"In Schubert's symphony, in the transparent, glowing, romantic life therein reflected, I see the city more clearly mirrored than ever, and understand more perfectly than before why such works are native to the scene around me. I will not try to extol and interpret the sym- phony; men in the different stages of life take such different views of the impressions they derive from artistic fancies, and the youth of eighteen often discovers in a symphony the echo of some world-wide event, where the mature man sees but a local matter, whereas the musi- cian has never thought of either the one or the other, and has merely poured forth from his heart the very best music he could give. But only grant that we believe that this outer world, to-day fair, to-morrow dark, may appeal deeply to the inmost heart of the poet and musician, and that more than merely lovely melody, something above and beyond sorrow and joy, as these emotions have' been portrayed a hundred times 46 ! in music, lies concealed in this symphony—nay, more, that we an- l,v the music transported to a region where we can never remem have been before—to experience all this we must listen to symph< a such as this. "Here we have, besides masterly power over the musical technicalil of composition, life in all its phases, color in exquisite gradations, the minutest accuracy and fitness of expression, and, permeating the whole work, a spirit of romance such as we recognize in other works of IYanx Schubert. And this heavenly, long-drawn-out symphony is like- Borne thick romance of Jean Paul's in four volumes, which can never end— and, indeed, for the very best reasons, in order that it may draw al. >ng reader with it the up to the last moment. How refreshihg this feeling of satisfaction of being deceived by the large wealth of melody, whereas with other composers one always fears the end, and feels often saddened by the impotent conclusion "Schubert's easy and brilliant mastery over the resources of an or- chestra would be unintelligible, if one did not know that six other symphonies had preceded his last effort, and that he wrote it in the full maturity of his powers. Those gifts must be pronounced extraor- dinary in a man who, having during his lifetime heard so little of his own instrumental works, succeeded in so masterly a handling of the general body of instruments which converse with one another like human voices and chorus. Except in numbers of Beethoven's works, I have nowhere found such an extraordinary and striking resemblance to the organs of the human voice as in Schubert's; it is the very reverse of Meyerbeer's method of treating the human voice. The complete independence in which the symphony stands in respect of Beethoven's is another sign of its masculine originality. Let any one observe how wisely and correctly Schubert's genius develops itself. In the con- sciousness of more modest powers, he avoids all imitation of the gro- tesque forms, the bold contrasts, we meet with in Beethoven'^ later works, and gives us a work in the .loveliest form, full of the novel in- tricacies of modern treatment, but never deviating too far from the centre point and always returning to it. This must be patent to any one who often considers this particular symphony. "At the outset, the brilliancy, the novelty, of the instrumentation, the width and breadth of form, the exquisite interchange of vivid emotion, the entire new world in which we are landed,—all this is as bewildering as any unusual thing we look upon for the first time in our feeling which we get from lives ; but there ever remains that delicious some lovely legend or fairy story; we feel, above all, that the composer was master of his subject, and that the mysteries of his music will be made clear to us in time. We derive this impression of certainty from the showy romantic character of the introduction, although all this is still wrapped in the deepest mystery. The transition from to the Allegro is entirely new; the tempo does not seem to vary; we are landed, we know not how. The analysis of the movements piece by neces- piece is neither a grateful task to ourselves nor others; one would sarily have to transcribe the entire symphony to give the faintest notion however, pass from of its intense originality throughout. I cannot, the second movement, which addresses us in such exquisitely moving strains, without a single word. There is one passage in it, that where 47 from a distance, that seems to come to the horn is calling as though everything else listens, as though some us from another sphere. Here the orchestra. heavenly messenger were hovering around as none since The symphony, then, has had an influence on us such amateurs joined in ex- Beethoven's have ever exercised. Artists and words spoken by the master who tolling its merits, and I heard some ensure a grand per- had studied the work most elaborately, so as. to formance and interpretation of so gorgeous a work—words which I as perhaps convey- should like to have been able to convey to Schubert, the sincerest pleasure. ing to him a message which would have given him Years perhaps will pass before the work becomes naturalized in Ger- or overlooked; it many; I have no fear of its ever being forgotten bears within its bosom the seeds of immortal growth."

MUSICAL INSTRUCTION.

Barytone Soloist and STEPHEN TOWNSEND, Teacher of Singing.

6 NEWBURY STREET, BOSTON.

PIANIST. Miss LAURA HAWKINS, /No. 6 NEWBURY STREET, Boston. TENOR SOLOIST WILLIAM KITTREDGE, And Teacher of Singing. 160 Boylston Street, Boston.

TEACHER OF SINGING. COACHING. Mrs. J. E. TIPPETT, STUDIO, PIERCE BUILDING, COPLEY SQUARE, BOSTON. Tel., Back Bay 1576-6. Wednesdays in Portland, Mainb. Clarence B. Shirley, GUSTAV L. BECKER, Tenor PIANIST and TEACHER. Soloist and Teacher. Preparation for public performance CONCERT AND ORATORIO. and Teachers' Course. Monthly lecture-musicales. Studio, Huntington Chambers, Boston. 1 West 1 04th Street, New York City*

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