[OFFICIAL.]

~t

EIGHTEENTH BIENNIAL

MUSIC FESTIVAL

AT CINCINNATI,

~A Y 4:1, 6, ";, 8, 9, 1908.

FRANK VAN DER STUCKEN, Musical Director.

PUBLISHED AND SOLD BY THE FESTIVAL ASSOCIATION. 1908. THE STOCKHOLDERS OF THE FESTIVAL ASSOCIATION.

Alms, William H. Gamble, James N. Maxwell, Lawrence Jr. Anderson, Mrs. Louise N. Geier, Fred A. Meacham, D. B. Anderson, Geo. M. Goepper, Edward. Melish, Wm. B. Armstrong, Geo. W. Graydon, Joseph S. Miller, RoJ:>ert T. Ault, L. A. Halstead, Mrs. Marshall. Mitchell, P. R. Balch, George R. Hanna, Mary. Mooney, James E. Baldwin, D. H. & Co. Harrison, Charles L. Procter, Wm. Cooper. Balke, R. F. Hauck, Louis J. Ramsey, Robert. Ballman, Frank H. Herron, Wm. Christie. Resor, Robert L. Black, L. C. Hinkle, A. Howard. Rhodes, Goodrich B. Breed, W. J. Hinkle, T. M. Schmidlapp, J. G. Carew, J. T. Holden. R. A. Senior, Edward. Chatfield, A. H. Holmes, D. H. Shipley, Edward E. Church, The John Co. Holmes, Dr. C. R. Storer, Mrs. Bellamy. Cunningham, BriI?;gs S. Ingalls, .Geo. H. Taft, Charles P. Dymond, Richard. Ingalls, M. E. Taylor, W. W. Elliott, J. F. Keys, John B. Thalheimer, W. B. Ellis, Frank R. Krehbiel, C. J. Walker, Miss Annie. Ernst, Richard P. Laws, Harry L. Warrington, John W. Espy, Arthur. Lawson, Fenton. Werk, Eugenie M. Fleischmann, Julius. LevY, Harry M. Wiborg, Frank B. Foraker, J. B. Jr. Lincoln, John Ledyard. Wilby, Joseph. Forchheimer, Dr. F. Longworth, Mrs. Nicholas. Wright, Clifford B. Freiberg, J. Walter. Loomis, H. T. Wulsin, Lucien. Freiberg, :Maurice J. McDonald, Alexander. Yeiser, H. C.

GUARANTORS OF THE FESTIVAL.

Alms & Doepke Company. Kleybolte, Leopold. Schoepf, W. Kesley. Ault, L. A. Krippendorf, C. H. Senior, Edward. Emery, Mary M. Kroger, B. H. Taft, Charles P. Fleischmann, Julius. Levy, Harry M. Thompson, Peter G. Freiberg, J. W. & M. J. \ Maxwell, Lawrence Jr. Wiborg, Frank B. Greene, Wm. M. Mabley & Carew Company. Wright, Clifford B. Hanna, Mary. McDonald, Alexander. Wulsin, Lucien.

Hauck, Louis J. Procter, Wm. Cooper. Wurlitzer, I Rudolph. Holmes, D. H. Schmidlapp, J. G.

Total Subscription .•...•...... $25,500.

4 FRANK VAN DER STUCKEN, MUSICAL DIRECTOR

FREDERICK A. STOCK, ASSOCIATE CONDUCTOR

SOPRANOS. MME. JOHANNA GADSKI MBS. CORINNE RIDER-KELSEY MBs. EDITH CHAPMAN-GoOLD MBS. WERNER-WEST,

CONTRAL TOS. MME. ERNESTINE SCHUMANN-HEINK MISS JANET SPENCER MRs. TAYLOR-JONES

TENORS. MR. DANIEL BEDDOE MR. EDWARD JOHNSON

BASSES. MR. DALTON BAKER MR. HERBERT WITHERSPOON MR. TOM DANIEL MR. HANS SEITZ

ORGANIST. MR. ADOLPH, H. STADERMANN

FESTIV.A.L CHORUS ADDITIONAL CHORUS IN THE ST. MATT:J;lEW PASSION THEODORE THOMAS ORCHESTRA CHORUS OF CIDLDREN FROM THE PUBLIC .SCHOOLS CHOIR OF BOYS ORGAN

5 ORDER OF PERFORMANCES.

TUESDAY EVENING.. MAY 5, AT 8 OJCLOCK •••••• FIRST CONCERT

WEDNESDAY EVENING, MAY 6, AT 5 OJCLOCK •••• SECOND CONCERT 1'HURSDAY AFTERNOON, MAY 7, AT 2 O'CLOCK •••• THIRD CONCERT FRIDAY EVENING.. MAY 8, AT 8 O'CLOCK .• , •••••• FOURTH CONCERT SATURDAY AFTERNOON, MAY 9, AT 2 O'CLOCK •••• FIFTH CONCERT SATURDAY EVENING, MAY 9, AT 8 O'CLOCK •••.•• SIXTH CONCERT

Evening Concerts, except the Passion, begin at 8 o'clock. Afternoon Concerts begin at 2 o'clock.

The St. Matthew Passion on Wednesday will be given in two parts, with an intermission of two hours between the parts. The first part will begin at 5 o'clock and end about 6 :30. The second part will begin at 8 :45.

6 PARTICULAR NOTICE.

The doors will be closed and the Concerts will begin at the minute a.dvertised. The doors will not be reopened nor persons admitted until some convenient point in the program is reached.

No encores will be given.

There will be an intermission of two hours between the first and second parts of the St. Matthew Passion, on Wednesday. The first part will begin at 5 o'clock and end about 6 :30. The second part will begin at 8: 45. At the other concerts the intermission will last about half an hour, during which time the audience will have an opportunity to prom­ enade in the corridors and foyer of Music Hall. They will be called to their seats by the sound of a trumpet.

Season Tickets, including reserved seats for all six perform- ances (on sale only until April 25)...... $15 00 Tickets for each performance detachable and accepted separately. Single Concert, reserved seat (for sale on and after April 27) . . 2 50 Single Concert, reserved seat in balcony (for sale on and after April 27) ...... 1 50 General Admission ...... 1 00 Boxes seating six, for the Festival...... 100 00

Auction Sale of choice of seats for Subscribers to Season Tickets and Box holders will be held 'at the 'Voman's Club, New Mercantile Library Building, Walnut Street, Tuesday, April 21, and Wednesday, April 22, at 10 o'clock a. m. Sale of reserved seats for single concerts begins Monday, April 27, at the box office, Southeast corner of Fourth and Elm Streets, and con­ tinues until the close of the Festival.

Persons residing at a distance can obtain reserved seats by address­ ing "The Cincinnati Musical Festival Association, Cincinnati." Plats of the Hall, and other information about the Festival, will be furnished on application.

FIRST CONCERT.

TUESDAY EVENING, MAY FIFTH.

THE SEASONS ...... Haydn An Oratorio.

MADAME GADSKI

MR. DANIEL BEDDOE MR. DALTON BAKER

Chorus, Orchestra, Organ

Intermission between second and third parts.

9 SECOND CONCERT.

WEDNESDAY EVENING, MAY SIXTH.

PASSION MUSIC ...... ••••••••••. Bach According to the Gospel of St. Matthew

MRs. RIDEn-KELSEY MRs. CHAPMAN-GOOLD MIss JANET SPENCEB J\1Rs. TAYLOR-JONES MR. DANIEL BEDDOE MR. EDWARD JOHNSON MR. DALTON BAKER MR. TOM DANIEL MR. HERBERT WITHERSPOON lIB. HANS SEITZ

Mr. L. Kramer, Violin. Mr. L. Becker, Violin. Mr. B. Steindel, Violoncello. Mr. A. Quensel, Flute. Messrs. F. Starke and O. Hesselbach, Oboes d'amour and English Horns. Mr. A. H. Stadermann, Organist.

First Chorus Second Chorus First Orchestra Second Orchestra. Chorus for the Chorals Choir of Boys Organ

Intermission of two hours between the first and second parts. The first part will begin at 5 o'clock and end about 6 :30. The second part will begin at 8 :45.

10 THIRD CONCERT.

THURSDAY AFTERNOON, MAY SnVnNTH.

OVERTURE, Leonore, No.3 ...... ••.1 • ••••••• Beethoven

ARIA, In quali eccessi, Don Giovanni ...... •... . Mozart

MADAME GADSKI SYl\1:PHONY No.3, in F, Op. 90 ...... •...... Brahms Allegro con brio. Andante. Poco allegretto. Allegro.

Intermission.

TONE POEM, Don .Juan ...... •••• ••• J } Strauss DANCE OF THE' SEVEN VEILS, Salome ...... •• ,

TRISTAN AND ISOLDE ...... ••••••••••. Wagner Prelude. ORCHESTRA

]solde's Love-Death.

MADAME GADSKI

11 FOURTH CONCERT.

FRIDAY EVENING, MAY EIGHTH.

THE CHILDREN'S CRUSADE' ...... Pierne I A Musical Legend.

MRS. RIDER-KELSEY

MRS. CHAPMAN-GOOLD MRs. WERNER-WEST

MR. DANIEL BEDDOE MR. HERBERT WITHERSPOON

Solo Chorus of Women

Festival Chorus

Chorus of 700 Children from' the Public Schools

Orchestra Organ

Intermission between the second and third parts.

12 FIFTH CONCERT.

SATURDAY AFTERNOON, MAY.NINTH.

SYMPHONY No.7, Op. 92 ...... Beethoven Poco sostenuto. Vivape.

, • > , • U ••• U A'Zlegretto. Presto. Allegro con brio.

SONGS . . . go ••• 0 •••••••••••• 0 • 0 •••••••••• It 0 ••••• • Schubert The Y:oung Nun. (Orchestration by Liszt)

J Y ) • ~ c ., Death and tke Maiden. (Orchestration by Mottl) . ,:Eke. .ETl-King. (Qrchestration by Berlioz) MADAME SCHUMANN-HEINE:

Intermission.

CONCERT OVERTURE, Cockaigne ...... Elgar

ARIA, My HearL at Thy Dear. Voice, Samson and DeliZah~ Saint-Saens

o , • u • U " , ,¥ADAME SCHUMANN-HEINK

W ALDWEBEN, Siegfried ...... '...... Orchestra

BRANGANE'S WARNING, Tristan and Isolde . .... Wagner MADAME SCHUMANN-HEINK

SIEGFRIED'S RHINE JOURNEY,.' Gotterdammerung...... J 13 SIXTH CONCERT.

SATURDAY EVENING, MAY NINTH.

VORSPIEL, Die Meistersinger ...... 0 • , ••••••• ,_ •• WagneI

THE BLESSED DAMOZEL ... 0 0 ••••••••••••••••••• Debuss)

MRS. RIDER-KELSEY ~SS JANET SPENCER Chorus of Women Orchestra

ARIA, Abscheulicher, Fidelio ...... •...... Beethover

MADA;ME GADSKI

PSALM XIII ...... -... '" 0 •• , o Liszl MR. EDWABD JOHNSON Chorus Orchestra

Intermission.

OVERTURE, Liebesfriihling ...... 00 ••• 0., 0 •• •• Go Schumaru

DIOH, THEURE HALLE, Tannhauser. 0 ••••••••••••• Wagne MADAME GADSK-I

OLAF TRYGVASSON ...... 0 •• 00 •••• 0 ••••••••• t •• Griej

MRs. RIDER-KELSEY ~ss JANET SPENCER MR. DANIEL BEDDOE MR. DALTON BAKER MR. HERBERT WITHERSPOON ChOTus, Orchestra

14 THE FESTIV AL.

HE Cincinnati festivals were founded by Theodore Thomas T in 1873, and were continued under his musical direction until his death on January 4, 1905. During that period all of the great classical choral works, and the more im:2ortant modern ones, were given with the assistance of distinguished solo­ ists. The schedules at the end of this book give in detail the works that were performed at each festival and the soloists who took part. The catalogue . shows that from the beginning there was manifested a catholic and progressive spirit which recognized all schools and every period in the mature development of the art, and that the association was moved always by a spirit of con­ scientious endeavor and high artistic purpose. Mr. Vander Stucken has continued faithfully and worthily the work begun" and carried on so long by Mr. Thomas. The last festival was given under his direction, with the co-operation ,.of Sir Edward Elgar who came from England to conduct his Dream of Gerontius and the Apostles. Mr. Van del' Stucken personally prepared the chorus for that festival and has performed the same important and laborious service for the present festival.

15

FIRST CONCERT.

THE SEASONS ...... HAYDN

HE Seasons might with propriety be called a cantata rather T than an oratorio, for the actors, as Haydn himself naively remarked, are not angels but peasants. It is a picture of country life, with a love duet, a hunting chorus, a drinking song, a rustic dance and other scenes that would not be out of place' in an opera, as well as hymns of praise and invocation appropriate to an oratorio. The text is an adaptation of James Thomson's familiar English poem. Thomson was a contemporary of Pope, but he struck a note which was to be amplified later in the poems of Wordsworth, Coleridge, Shelley and Keats. He was the father of the natural school as opposed to the pseudo-classical school of Pope, which recognized nothing so vulgar as nature or the common people. Thomson loved the fresh air of the fields rather than the- vitiated air of the drawing-room of the eighteenth century. He was born and raised in the country and his education was received from na­ ture. The magnificent panorama of the year was unrolled con­ tinually before him and he was absorbed in its beauties. Haydn, following the text of the poem, divip-ed his work into four parts, Spring, Summer, Autumn and Winter. His characters are Simon, a farmer; Jane, his daughter; Lucas, a young country­ man, and choruses of country people and hunters. It opens with 17 FIRST OONOERT. a vivacious overture expressing the passage from Winter to Spring. Short recitatives by Simon, Lucas and Jane; welcoming the mes­ senger of Spring, lead to the familiar and beautiful chorus, "Co~e, gentle Spring, ethereal mildness, come." Simon sings a quamt melody, ''With joy th' impatient husbandman," full of peace and happiness, in which he calls to the Sull, soft showers and dews to bring the golden ears in plenty. A trio and chorus follow with a noble hymn, "Be propitious, b

This part of The Seasons is rich in instrumental conceits aside from those that have been already noticed. In the opening reci­ tative the oboe imitates the crowing of the cock, in Simon's air we hear the morning call of the shepherd's horn, and in Jane's aria the purling brook and the hum of sportive insects. Haydn was never reconciled to the frog episode in the closing number. He put it in at the compiler's request under protest. "It was urged upon me," he said, "to write this French croak. I trust the critics will not treat me with severity for it. I am an old man, and liable to make mistakes." After a qua.intly melodious prelude, the third part, Autumn, opens with a terzetto and chorus, "Thus Nature, ever kind, re­ wards," ~n invocation to virtue and industry, which is followed by a love scene between Jane and Lucas, "Ye gay and painted fair." Simon's air, "Behold along the dewy grass," gives us a picture 'of a hunter and his dog pursuing a bird, and prepares the way for the great hunting chorus, "Hark! the mountains resound," one of the most graphic and stirring in all the literature of music. The whole scene, the vales and forests resounding with the music of horns, the cry of hounds, the flying stag outstripping the wind, the pack at fault, starting in again as they find the scent, the hunters' tally­ ho, the noble animal surrounded now on every side, and the clamor­ ous joy of shouting crowds are all depicted with masterly skill and worked up to a telling climax. A recitative, extolling the wealth of the vintage, leads to the bacchanalian chorus, "Joyful the liquor flows," composed of two parts; first, a hymn in praise of wine and then a dance tempo, in which the tippling revellers fill their tank­ ards and trip it quick and gayly to the music of bagpipes and rustic fiddles, the melody being a favorite Austrian dance-air. Speaking to a friend of, this closing number of the third part, Haydn said: "My head was so full of the nonsensical stuff that it all went topsy-turvy, and therefore I called the closing fugue the 'dnmken fugue.'" A slpw orchestral prelude, expressing the thick fogs at the ap­ proach of Winter, introduces the last part, Winter. In recitative 119 FIRST OONOERT.

Simon describes the approach of the dreary season, and Jane re­ iterates the sentiment in the cavatina, "Light and life dejected languish." Lucas describes the wild and bleak expanse arid in the aria, "The traveller stands perplexed," gives a graphic tone­ picture of a wanderer lost in the snow. At last he espies a wel­ come light in the cottage. Melodious voices greet his ears, and as he enters he beholds the friendly circle, the old father telling over stories of the past, the mother plying the distaff, the girls spinning, and the young people making the night merry with jest and sport. They join in a characteristic imitative chorus, "Let the wheel move gayly." After the spinning they gather about the fire, and Jane sings a charming love ditty, "A wealthy lord who long had loved," accompanied by chorus, with its laugh­ ing, mocking refrain. Simon improves the occasion in the aria, "In this, 0 vain, misguided man," to moralize on the uncertainty ot everything save truth. In this, 0 vain misguided man, The picture of thy life behold! Soon pass thy hours of blooming Spring Thy Summer's strength anon declines; Then comes the Autumn of thy days, And Winter last, with dreary close, Meet emblem of thy yawning tomb. Where now are fled thy lofty schemes, Thy flatt'ring hopes of wealth, Thy longings after fame, And all thy worldly cares? Where now are fled the mirthful days, In wanton pleasure past? And where, alas, those festive nights, In giddy revels spent? All vanished like a dream, For nought but truth remains. With a general appeal to Heaven for guidance through life this quaint and peaceful pastoral is brought to a close. It wa; the last important work of Haydn, written when he was nearly seventy, but it has all the charm and freshness of youth. 20 THE SEASONS.

Haydn's most important work was his' development of instru­ mental music in the shape of symphonies, string quartets, piano­ forte sonatas and chamber music of various kinds. In the course of his long life he improved the quality of all such music, the treatment of the instruments and the standard of the art as a whole, and is not inappropriately called the father of the sym­ phony and the string quartet. His music is distinguished by pet­ fection of style, neatness of detail, happy arrangement, clearness of expreSSIOn and never-failing gaiety and humor.

CHARACTERS REPRESENTED: Simon, a Farmer ...... MR. DALTON BAKER Jane, his Daughter ...... MADAME GADSKI Lucas, a young Countryman ...... MR. BEDDOE Chorus of Country People and Hunters.

JANE. Forth fly the tepid airs, And from the southern shores allure The messenger of Spring. 1. OVERTURE. 3. CHORUS. Expressing the passage from Win­ ter to Spring. Come, gentle Spring, ethereal mild­ ness, come; 2. RECITATIVE. And from her wintry grave bid SIMON. drowsy nature rise. Behold where surly vVinter flies! GIRLS AND WOMEN. See, gentle Spring delightful comes! Towards the north he passes off. The softness of .its breath we feel­ He calls his ruffian blasts: The joy of renovating life! His ruffian blasts obey, ., And quit the howling hill. MEN. As yet the year is unconfirm'd LUCAS. And oft the cold's returning blast Behold from craggy rocks the snow With black envenom'd fogs the bud In livid torrents melted runs! and bloom destroys. 21 FIRST CONCERT .

CHORUS. .And while his heart with hope ex­ pands, Come, gentle Spring, ethereal mild­ That nature's friendly aid will ness, come I richly crown his toil , . .And smiling on our plains descend; 1 His ardent vows to Heavn ascend. Come, gentle Spring, while music wakes around. 7. TRIO AND CHORUS. 4. RECITATIVE. LUOAS. SIMON. Be propitious, bounteous Heaven: At last the bounteous sun O'er the hills and vales luxuriant

From Aries into Taurus I rolls, Spread the rich autumnal feast I Wide spreading life and heat; Up rise the fleecy clouds sublime, CHORUS • .And stretch their thin and silver Be propitious, &c. wings O'er a.ll surrounding heav'n. LUOAS. 5. Am. o let the gales of grey-ey'd morn­ ing, SIMON. SIMON. With joy th' impatient husbandman Forth drives his lusty team, Upon refreshing dewdrops breath­ To where the well-us'd plough re­ ing, mains, JANE. Now loosen'd from the frost. With measur'd step he throws the The genial sun and ev'ning show'r, grain With pow'r of produce bless the Into the bounteous earth. land. o sun, soft showrs, and dews! TRIo. The golden ears in plenty bring. The hopes of man shall then be With joy th' impatient husbandman crown'd, Forth drives his lusty team, .And songs of joy Thy praise shall To where the well-us'd plough re- ten. mains, Now loosen'd from the frost; CHORUS. There freely yok'd their toil begins, Be propitious, &c. Cheer'd by the rustic lay. MEN. 6. RECITATIVE. o .let the gales of grey-ey'd morn­ LUOAS. mg, Laborious ma.n hath done his part; The genial sun and eV'n ;"'g..... shower, 22 THE SEASONS.

WOMEN. JANE. The ev'ning show'r and genial sun, Let us gaily tr~ad the dew-drops, With pow'r of produce bless the Cull the blooming flow'rs. land. LUCAS. CHORUS. See the valleys, see the meadows, The hopes of man, &c. Where the lilies sip the streamlet.

8. RECITATIVE (ACCOMPANIED). GIRLS ANn YOUTHS.

JANE. Spring, her lovely charms, &c. Our fervent pray'rs are heard; JANE. Th' effusive southern breeze Mark the mountains! see the Warms the wide air with vernal waters! show'rs distent. View the lucid sky! In heaps on heaps the vapours sail; LUCAS. And now their genial stOTes de­ All.is lovely, all delightful, scend, All replete with joy. Wide spreading o'er the freshen'd world. JANE. See the plajful lambkins caper. 9. DUET AND CHORUS.

JANE. LUCAS. Spring, her lovely charms unfold­ Fish disportful skim the water. ing, Calls us to the fields; JANE. Come, sweet maidens, let us wan­ Bees from flow'r to flow'ret ramble. der O'er the fragrant scene. LUCAS.

LUCAS. Tuneful birds thro' blossoms flutter.

Spring, her lovely charms unfold- CHORUS. ing, Calls us to the fields; All is lovely, all delightful, Come, companions, let us wander All replete with joy. Midst the sweets of May. GmLS. BOTH. What enjoyment, 0 what pleasure, Spring, her lovely charms, &c. Swells our grateful hearts! 23 FIRST OONOERT.

YOUTHS. With quicken'd step, at her ap- Soft sensations, rapture's impulse, proach, The lazy night retires. Changeful rule the breast! To gloomy cells repair SIMON. The dismal tribes of fun'ral birds; And with their mournful cries Till the feelings, all extatic, No more the tim'rous heart appal. Own the present God.

GIRLS AND YOUTHS. SIMON. With loud praises grateful flowing, The crested harbinger of day, Magnify His Name. With lively chant the swain awakes, Who from his cottage hies MEN. To breathe the freshness of the Let the voice of pure thanksgiving morn. Rise above the clouds. 12. AIR.

CHORUS. SIMON. Let the voice, &c. . From out the fold the shepherd 10. CHORUS WITH TRIO. drives, His bleating flock and lowing herd, God of light! God of life! Hail, That browse along the verdant hill, mercy's Lord! Dewdrops shaking to the ground. TRIO. Towards the east he gazing stands, From whose abundant stores And on his staff in silence leans, The earth with plenty flows Until the po'W'rful king of day And whose Almighty love Glorious darts his beams around. Makes glad the heart of man. 13. REdITATIVE. CHORUS. JANE. God of light! God of life! Hail, mercy's Lord! Lo, now aslant the glitt'ring earth, Endless praise to Thee we'll sing, In boundless majesty he looks: Almighty Lord of all. And o'er the mountains, tow'rs 'and wand ' rmg . streams, ' Resplendent glowing, spreads ethe­ Summer. real gold.

II. RE.0ITATlVE. 14. TRIO AND OHORUS. LUCAS. Behold on high he mounts Her face in dewy veil conceal'd, The sight no more his bea~s with­ The meek-ey'd morn appears. stands! 24 TIlE SEASONS.

CHORUS. The rustic youth, the ruddy maid; With flames of piercing light The 1!reathing harvest spread He bursts in glowing majesty! around, Hail, 0 glorious sun! Whose fragrance scents the air: Thou source of light and life, all From dale to dale wafting the hail! breeze Hail, 0 glorious suh! Resound the voice of happy labor, Sublime and universal orb, Of jocund mirth and social glee. o earth's pervading I soul, Creation cries all hail! 16. RECITATIVE. LUCAS. JANE, LUCAS, SIMON. 'Tis noon, and now intense the sun Who can express the pure delight Darts down his rays. O'er heav'n Thy cheerful presence yields to and earth man? The eye beholds his mighty blaze Or who recount the mighty good resistless spread. That from thy rays the earth re­ From pole to pole, o'er cleaving ceives? fields CHORUS. Of arid herbs and wither'd flow'rs, Who can express the pure delight A dazzling deluge reigns. Thy cheerful presence yields to man? 17. CAVATINA.

JANE, LUCAS, SIMON. LUCAS. Thy genial warmth gives health and Distressful nature fainting sinks! joy; Drooping foliage, thirsty pastures, But to the Lord our God we owe founts exhausted, The pow'r thy beams display. Show the tyrant rage O'f heat; And panting, languish man and CHORUS. beast, Hail, 0 glorious sun! Outstretch'd upon the ground. Thou source of light and life, all hail! 18. RECITATIVE. Let shouts of joy resound Thy name throughout the world. JANE. o welcome now, ye groves and 15. RECITATIVE. bow'rs! Ye lofty pines, ye aged oaks! SIMON. Whose foliage lends a cooling Now swarms the village o'er the shade; mead, And sweetly, to the list'ning ear, 25 FIRST OONOERT.

In murmurs, whisp'ring speaks. The clouds low rolling on O'er downy moss the purling brook Prepare the elemental strife. Its l~quid silver rolls; JANE• .And 'neath the shade, with sooth- ing hum, Dread thro' the dun expanse The sportive insects play. A boding silence reigns; The balmy scent of fragrant herbs Without a breath the forest shakes On zephyr's wing is borne: .And nature seems to ruin doom'd .And cheery from the ev'ning bow'r The shepherd tunes his lay. 21. CHORUS. Hark! the deep tremendous voice 19. AIR. Of awful thunder roars! The tempest howls around. JANE. Away; ah, let us fly! o how pleasing to the senses Flashes of livid flame dart thro' Comes the sweet and cooling breeze! the air, Beams the eye with joy expanded, .And from the bursting clouds the As the stream of life pervades flood Th' invigorated frame. . In sundry torrents pours. Delight uplifts the heart, Heaven protect us! .And fancy's magic pow'r Drea,dful rage the winds; the sky O'er nature bears the soul is all in flames On sweet enchanted wing. Oh, what horror! Peal on peal, with fearful crash, 20. RECITATIVE. Convulsing heav'n, the thunder rolls! SmON. o God! 0 God! Unto its deep foundations Behold! slow setting o'er the lurid The solid globe is shook., grove, Unusual darkness frowning broods; Through awful gloom the lightning 22. TRIO AND CHORUS. gleams. LUOAS. Eruptive from the clouds, Now cease the' conflicts of the And hark! from heaven's dark winds, canopy .And fast the gloomy clouds retire; The thunder growls. JANE. LUOAS. The sky sublimer swells, In rueful. gaze the cattle stand, Pure azure spreads around, By fearful man forsook: .And o'er the fields the setting sun The 'aerial tribes descend; Displays the sparkling robe of joy. 26 THE SEASONS.

SIMON. 24. RECITATIVE. His flock secure, the shepherd hies JANE. Light-hearted to his home. Whate'er the blossom'd Spring put in white promise forth, LUOAS. Whate'er the Summer's sun to full The quail repeating calls her mate; perfection brought, Rush boundless now to view, JANE. And glad the heart of man. Around the cot the crickets chirp; LUOAS.

SIMON. Rich, silent, deep, the harvest stands, While croak the frogs within the And hangs the full luxuriant head; pool, Th' extensive garners scarce may JANE, LUOAS, SIMON. hold The treasures of the golden ear. And tolls the ev'ning bell. Now shines the glitt'ring host of SIMON. stars: With cheerful looks, delighted man The hour of sweet repose is near. The bounteous produce o'er and o'er TENORS AND BASSES. surveys, And joy pervades his grateful heart. Welcome, gentle sleep! Soothing balm of ev'ry care! 25. TERZETTO AND CHORUS. o thou that in the cot of toil Delight'st to close. the lids of SIMON. health Thus nature ever kind, rewards Welcome, gentle sleep! The pains of virtuous toil:

TREBLES AND ALTOS. The labours of the changeful Spring, To rest, to rest away! And Summer's sultry hour, With Autumn's wealth she richly CHORUS. pays. The ev'ning bell again has toll'd; The wIDking stars to sleep invite; JANE AND LUOAS. The hour of sweet repose is near o Industry, how rich thy gifts! To rest, to rest away! The cottage where we dwell, Our clothing and our food, Health,plenty, and content, :autumn. Are blessings all by thee bestow'd All hail, 0 Industry. 23. OVERTURE. From thee springs ev'ry good. 27 FIRST OONOEIRT.

JANE. All like the fruit they gather up, Each form of virtuous life Fair, ruddy, fresh, and sweet. Thro~ thee 'alone perfection gains. 27. DUET. LUCAS. LUCAS. Thy simply laws from vice defend The erring heart of man, Ye gay and painted fair, 0 come, And mark the simple child of truth! SIMON. No tricks of 'art her charms de- And fix his wand'ring steps form: In paths of tr'uth and pious love. Behold my Jane, behold! The bloom of youth: glows on her JANE, LUCAS, SIMON. cheek; Her smiling eye beams happiness; From thee springs ev'ry good. And faith sincere breathes from her CHORUS. lips, When love to me she vows. All hail, 0 Industry, &c.

JANE. 26. RECITATIVE. Ye false and idle swains away! JANE. Here lures of fraud are spread in Ye swains now hasten to the bank, vain; Where falls the winding brook; And wily tales of passion feign'd Ye virgins come, their latest song No list'ning ear shall find. For you the woodland's raise­ My eye no gaud of dress entices­ For you, amid the secret shade, An honest heart is what I prize; The lover finds the clust'ring nuts; Fulfill'd are all my fondest wishes, VVhilst Lucas true remains. SIMON. And where the topmost bough LUCAS. Spreads forth its tempting fruit, He crushes down the tree, Leaves will fade and fall, Or shakes a glossy show'r; Flow'rs and fruit decay, Then thro' the foliage spies Days and years elapse, The maid he loves approach, Not so my constant love. And sportive at her feet The rolling nuts he flings. JANE. Greener grows the leaf, LUCAS. Sweeter breathes the flow'r, Beneath the orchard's bending tree Brighter shines the day, The smiling damsels stand, When love beams in thine eye. 28 THE SEASONS.

BOTH. And stiff, with open nose, he stands. What delight, where mutual fer- Th' impending peril to avoid, vour The startled fowl flies instant up; Binds two hearts in fond affection! But wings in vain his rapid Death alone such bonds can break. flight: Dearest maiden! Dearest Lucas! The gun darts forth its mortal I .. ove to faithful Jove responsive charge, Is the highest pitch of rapture And strikes him dead from the Heav'n bestows on mortal life. tow'ring height.

30. RECITATIVE. 28. RECITATIVE. LUCAS. SIMON. Lo! where the plenteous harvest Ere yet the orient sun Above the mountain's summit peers, wav'd, His fellow sportsmen to the chase A dreary waste the plains appear; The early huntsman calls. And where the cheerful song was Around his steps the busy pack heard, With cheerful voice delighted The fields, forsook, in silence lie. throng. Now thro' the stubble limps the hare, 31. CHORUS. With timid eye and doubtful step; Or moveless, with 'attentive ear, Hark! the mountains resound! Sits fearful in her form. The vales and :forests ring! Anon the sportsman's voice It is the shrilly-sounding horn! Along the sounding vale is heard, The cry of the hounds and the And ready in the healthful chase huntsman! The lusty swain assists his lord. The fear-aroused stag is up, And eager men, horses, and dogs pursue. 29. AIR. He flies, he flies! behold how he bounds! SIMON. His rapid flight outstrips the wind, Behold along the dewy grass Thro' copse and thicket behold now In search of s~ent the spaniel roves; he bursts! And still obedient to command, And skims o'er the plains to the Attentive seeks the latent prey. shelt'ring wood. But press'd by ardour, now he runs, The pack are now at fault; Nor heeds the call nor chiding And doubtful where to bend their voice- course, Then, scenting the game, he sudden, They stray dispers'd around. stops, Tally ho! Tally ho!

29 FIRST OONOERT.

The hunter's voice and sounding LUCAS. horn The sportive joke makes light the Have brought them back again. toil, Ho! Ho! Ho! Tally ho! Tally From morn to eve 'tis cheerful all, hoI .And oft the creamy gIist'ning juice With' ardour elated, rashly pours Exalts the mirth to shouts of joy. along O'er the plains the rejoicing throng. TaI1y ho! Tally ho! 33. CHORUS. Surrounded now on ev'ry side, Joyful, joyful the liquor flows, His spirits and his vigour lost, The bulky tuns are fill'd; Exhausted drops the trembling deer. Let pleasure reign around, .And now the merry hom resounds, .And joy in loudest strains re­ .And clamorous shout the joyous sound! crowds Free from sorrow, let us revel Huzza! Huzza! Fill'd with mirth and glee; In glad chorus· raise your voices, Merry, merry be. 32. RECITATIVE. Joy! Joy! Joy! All hail to the JANE. wine! And hail to the land that brings it The vineyard now its wealth dis­ forth! plays; Joyful sing! All hail to the .And bending bough:; with clusters wine! clear The vessel be prais'd that gives it Luxuriant thro' the foliage seen, strength! With smiles invite the master's Joyful sing! All hail to the hand. wine! And prais;d be the bowl from SIMON. whence it flows! Exulting o'er the fields, Come, companions, fill the tankard, The youth and virgins rove, Drain the goblet, jocund let us be! E:ach fond for each to cull All hail to the wine! in loud­ The sweet autumnal prime, est strains resound. And speak the vintage nigh. Oh sing, oh sing, All hail to the wine! The merry toned fife and the drum JANE. . are resounding, The full ripe grapes are prest, The bagpipe prolongs the hum of .And foams the ruby flood its drone . That fills of nations round While sporting and dancing The cup of mirth and joy. The nymphs are advancing, 30 THE SEASONS.

All mirthful and joyous Thick mists pour down the moun- What pastimes they're courting tain's side, With frolic and glee. Which soon envelop all the plain, Trip it, trip it, quickly and And shroud the noontide sun, gaily. With mantle of impervious gloom. Companions, come! The tankards fill! the goblets JANE. drain I From Lapland caves now rushes Jocund let us be. forth Hail, all hail to the wine Rough Winter, with his stormy In loudest strains resound. train! , Revel, riot! At his approach appall'd, Frisk and gamble! Exhausted nature t rem b lin g Laugh and carol! shrinks. Merrily, briskly trip! Now let us brim the foaming cup. Push it on, press it on, send it 36. CAV ATINA. around! JANE. Then let us sing in chorus full, The joyous produce of the grape. Light and life dejected languish, All hail to the wine, old age's Vital heat the earth forsakes, friend, Days of deep 'and sullen sadness Of care and grief the cure! Dismal nights of storm succeed. With voice of loud resounding mirth, 37. RECITATIVE. The gen'rous liquor let us praise. All hail to the wine! all hail r LUCAS. A crystal pavement lies the lake; Arrested stands the rapid stream; And o'er the lofty cliff the torrent 'Wltnter. hangs. With idle threat and seeming roar 34. INTRODUOTION. The leafless woods no more resound," E(lJpressing the thiok fogs at the The fields are hid, the valleys chok'd approaoh of Winter. With heaps immense of drifted snow; 35. RECITATIVE. The dreary earth appears a grave, Where nature's splendour lies con- SIMON. ceal'd; Now sinks the pale declining year, A death-like hue o'er all prevails, And vapours, clouds, and stoTms And o'er the wild and bleak expanse descend; Pale desolation spreads her wings. 31 FIRST OONOERT.

3S. AIR. Of feats of valour in his youth perform'd, LUCAs. Whilst round him clam'rous play The trav'ller stands perplex'd, The wanton laughing boys. Uncertain and forlorn, The mother spins on the distaff, Which way his wand'ring steps to On wheels the smiling daughters, turn And render light their task Across the trackless waste. With simple artless melody. No human dwelling cheers his sight, No mark of human f.oot is found;' 40. CHORUS. And onward as he eager toils, In deeper error plunges. still: Let the wheel move gaily, Depress'd his courage sinks, Singing as it circles. And anguish wrings his heart, As night its sable horrors sheds, JAl'il"E. And weariness and col9. Quickly, cheerly, let it turn, Have stiffen'd all his limbs. Twisting fine and tender threads, But to his gladden'd sight appears Virgin cheeks to shelter. A sudden gleam of neighb'ring light; CHORUS. And now reviv'd he springs, Let the wheel move gaily, &c. With joyful panting breast, To gain the welcome cot JAl'il"E. Where all his pains may find relief! Gentle weaver, make thy web Clear and fine, of dext'rous art, 39. RECITATIVE. Gracing her that wears it. LUCAS. As he draws nigh, as yet appall'd CHORUS. By tempest of the howling winds, Let the wheel move gaily, &c. Melodious voices greet his ears, JAl'il"E. JAl'il"E. Pure within as fair without, The fire fair-blazing lets him .see Ought the virgin breast to be, In friendly circle met, Loveliest in concealment. Full many a kind and cheerful guest, CHORUS. To pass the tedious hours away, Let the wheel move gaily, &c. In jocund talk and merry jest. JAl'il"E. SIMOl'il". Pure within as fair without Here grey-hair'd father sits Modest, gentle, heedful mind~ And talks of years long past, Best secure affection. ' 32 THE SEASONS.

CHORUS. And ask whate'er thy heart can Pure within, &c. wish, Thou shalt not want it long."

41. RECITATIVE. CHORUS. LUOAS. Indeed, indeed, that's shrewdly The evening's task anon performed, urged. Collected now they sit Around the sparkling fire, JANE. With eager looks and ears intent, "No, No," she cried, "I must not To listen to the newest tale leave, Which cheerful Jane has now to My simple happy home; tell. My brother toiling for my sake; My father full of love. 42. Am AND CHORUS. In yonder field the plough he guides, JANE. Perhaps-if they-but no, A wealthy lord, who long had lov'd Look o'er the hedge, quite close at An honest country lass, hand, By chance, within a lonely vale, You'll see them 'at their toil." The gentle maid espy'd. Dismounting from his horse, he said, . CHORUS. "Come, give me one sweet kiss!" Ha h~, what next, I pray? To which the frighten'd girl re­ plied, JANE. "0 yes, with all my heart!" And now, as o'er the hedge he peeps, CHORUS. The maid, with sudden spring, Ha, silly girl, ~hy answer so? Leaps on his nag, which swift as Why not say No? winds, Its master leaves behind. JANE. "Farewell," she cries, "my gen'rous lord! "Be calm, my pretty lass," said he, My wrongs I thus revenge." "On me bestow thy heart, Asham'd and vext he gaping stands, For true and constant is my love, To see her thus escape. Not idle trifling SpOl·t. Thou shalt be happy! take this CHORUS. purse, This watch and glitt'ring ring, Ha, ha, ha, ha, in truth well done! 33 FIRST OONOE'RT.

43. RE'CITATIVE. 45. RECITATIVE.

SIMON. ~IMON. Alone it stands; and like a sea­ Now from the east darts forth an mark to the eye icy gale, Of shipwreck'd mariners, directs Whose piercing cold fierce spread­ us thro' life's storms, ing thro' the sky, To everlasting peace and joy. All damp and mist assails, and e'en the breath of living things. The tyrant influence reigns from 46. TRIO, AND CHORUS. pole to pole, SIMON• .And nature lies a vast extended. waste Then comes the dawn of that great Inwrapt in silent gloom. morn, The Saviour's mighty voice awakes The dawn of second life, 44. AIR. From pain and death forever free.

SIMON. LUCAS AND SIMON. In this, 0 vain misguided man, The heavenly gates are lifted up, The picture of thy life behold! The hallowed mount appears! Soon pass thy hours of blooming And on its brow the holy seat, Spring Where peace eternal dwells. Thy Summer's strength anon de­ clines; CHORUS. Then' comes the Autumn of thy But who shall dare those gates to days, pass? .And Winter last, with dreary close, Meet emblem of thy yawning tomb. JANE, LUPAS, SIMON. Where now are fled thy lofty The man whose life was incorrupt. schemes, Thy flatt'ring hopes of wealth, CHORUS. Thy longings after fame, .And all thy worldly cares? .And who the sacred mount ascend? Where now are fled. the mirthful days, JANE, LUCAS, SIMON. In wanton pleasure past? The man whose tongue was void And where, alas, those festive of guile. nights, In giddy revels spent? CHORUS. .All vanished like a dream, What soul within that seat may For nought but truth remains. dwell ? 34 THE SEASONS.

JANE, LUCAS, SIMON. The storms of mortal life. A calm eternal reigns; That soul\ which succors want and grief. And everlasting happiness Is virtue's high reward. CHORUS.

Eternal peace who shall enjoy! JANE, LUCAS, SIMON.

JANE, LUCAS, SIMON. May we alike reward deserve! May our wishes, ev'ry action, The man who gave the guiltless aid.

CHORUS. CHORUS. The everlasting gates of life All our labors, still unwearied, Behold! are. lifted up! To that glory only tend. The great, the glorious morn Direct us in Thy ways, 0 God! awakes, Support us in the strife! The hallow'd mount appears. In triumph thus may we ascend Now are they gone, for ever past, The holy mount of heav'nly bliss. The hours of grief and pain, Amen.

35 SECOND CONCERT.

ST. MATTHEW PASSION . . • . . • ...... • • BACH.

HE St. Matthew Passion is a musical setting of the story of Ohrist's death and the sufferings of his last hours as T told in the Gospel of St. Matthew. It was composed for service during holy week in St. Thomas church, Leipsic, of which Bach was musical director. The narrative of St. :Matthew, in the words of his Gospel, is sung in recitative by the Evangelist, the part which was taken by Mr. Edward Lloyd at the last festival performance in 1890. The other personages are Jesus, Peter, Judas, Pilate, two priests, the two suborned witnesses, the two maids who -interrogated Peter, and Pilate's wife, represented by solo singers, and the disciples, the Sanhedrim, soldiers, and the multitude, represented by choruses, whose utterances are generally short and dramatic. The story as told by the Evangelist and these actors is interrupt~d from time to time by choral hymns, in which the congregation was expected to join, and by meditations in the form of arias and accompanied recitative for solo singers, dwelling upon weighty moments of the play, after the fashion of the chorus in Greek tragedy. The head of spiritual affairs at Leipsic in Bach's time was Solomon Deyling, doctor and professor of theology, and an im­ pressive preacher, who was highly respe~ted for his life and char­ acter as well as for his learning. He is represented as giving to Bach suggestions for a passion service in words something like 36 ST. MATTHEW PASSION. this: Your best singer, who can pronounce clearly and well, must sing the words of the Evangelist in recitative, and in order to produce more expres'sion and life and variety the other persons of the story must be represented by other singers and the J ew­ ish people by a chorus. At the chief points in the story there will be pauses, during which, by means of an aria, the congre­ gation shall lay to heart what they have heard; and that all of us shall be refreshed from time to time, there shall be verses from familiar hymns in which the congregation can join. Now, your business is to carryall this out in a connected and artistic manner. And Bach did. The work opens with a powerful prelude written for two or­ chestras, two choruses, one representing the daughters of Zion and the other the believers, and a choir of boys. The solemn tread of the basses of the orchestra and the wail of violins in the opening bars admonish us that a tragedy is about to be unfolded. Shortly the daughters of Zion are heard singing, "Come ye daugh­ ters, weep for anguish, See Him!" while the believers, with won­ dering question ask, "vVhom? How?" and the daughters answer, "See Him, the Son of Man 1" Then it is that the beautiful voices of boys are heard singing as afar off in unison the choral, "0 Lamb of God all blameless." The daughters of Zion and the believers continue their antiphony. "See it!" cry the daugh­ ters. "\1ilhat?" ask the believers. "His love untold," and the boys come in with the next lines of their choral, "Thy love still interceding for foes who mock Thee shameless." Their voices die away, and again appear, and both choruses and orchestras join to swell the mighty current of the theme, above which is heard the last verse of the boys' choral, "Regard us gently, 0 J esu." The art of the piece is marvelous, not only in the beauty and grandeur of its structure but in the impressiveness with which it presents the immensity of the drama to which it is the prologue. Par­ ticularly' thrilling is the effect produced by the contrast of tone when the boys come in with their choral. The story begins immediately upon the conclusion of the pro .. 37 SEOOND OONOERT. logue. Jesus reminds his disciples that after two days is the Passover, and tells them that the Son of Man is even. now. be- trayed to be crucified. The sorrow of the congregatIOn IS ex- pressed in a choral,

Say, sweetest Jesu, what law Thou hast broken, To bring on Thee the dreadful sentence spoken!

Then assembled together the chief priests and the scribes and the elders of the people unto the palace of the high priest, who was Icalled Caiaphas, and they consulted that Jesus might be taken and put to death. Their determination not to take Him on the feast of the Passover, for fear there might be an uproar among the people, is expressed in the first double chorus of the work. The incident of the woman of Bethany who had a box of precious ointment and poured it on Christ's head, follows" introducing the chorus of the disciples, ''Wherefore wilt thou be so wasteful," Ohrist's commendation of the woman, and his prophecy that' what she had done would be told in her remembrance wherever there­ after the Gospel should· be preached, and also a tender recitative and aria for alto, "Grief and pain." Judas' agreement to accept thirty pieces of silver fot betr~ying Jesus is followed by an aria for soprano, full of anguish,

Only bleed thou dearest heart. Ah! a child of Thine upbringing, To Thy breast for nurture clinging, Coiling there, the snake accursed, Stings where it was fondly nursed.

The celebration of the last supper ensues. At the moment of su­ preme dignity the simple recitative of Jesus rises into measured melody that carries the scene to sublime heights and fills it with supernal tenderness. Jesus tells His disciples that one of them shall betray Him, and they ask, one after another, in a short chorus of remarkable power and beauty, "Lord, is it I? Is it I?" The congregation gives answer in the hymn, "'Tis I! My sins betray 38 ST; MATTHEW PASSION.

Thee." The recitative and aria for soprano, "Never will my heart refuse Thee," which follows the dispensation of the wine, is full of tenderness, loving hope and tranquil feeling. The next scene in the Garden of Gethsemane has two bolos for tenor and chorus that are among the most beautiful numbers in the entire work. They are Zion's recitative, "0 Grief," and the aria, "I'll watch with my dear J esu alway." To each pathet­ ic exclamation of the recitative the chorus of believers respond, ''Why must Thou suffer all these pangs of sorrow?" It is the same choral we heard the congregation sing to the words, "Say, sweetest J esu," when J eaus announced that His crucifixion would follow the feast of the Passover, but here it reveals new depths of feeling. Nothing could be more beautiful unless it be the aria in more buoyant tempo which sets in after it. The pregnant melody sings itself through on the oboe, and is then taken up in fragments by the tenor voice, "I'll watch with my dear J esu." At intervals the chorus repeats, "So slumber shall our sins befall," and stops to listen to the kindred melody of the solo voice and oboe, and then taked up the refrain again. The most picturesque number of the entire work is that which ensues on the capture of the Savior. It begins with a duet for soprano and contralto in which the counterpoint of soft wind in­ struments and violins and violas, without basses, is intricately interwoven with the plaintive vocal phrases of the duet, which i.s interrupted from time to time by the exclamations of the indignant chorus of believers, "Leave Him, bind Him not," with the ac­ companiment of basses, organ, and all the force of the opposite orchestra. "Moon and stars have in sorrow night forsaken," con­ tinues the duet. "Leave Him," thunders again the chorus. "He's led away! Ah! they have bound Him," sing the solo voices in long drawn melting cadence; w;hen suddenly the rising indignation of the believers finds vent in the swift, tremendous double chorus, "Ye lightnings, ye thunders, in clouds are y'e vanished?" The short, stern motive is first given out by all the basses. The tenors answer fugue-like, while the deep basses of the orchestra begin to 39 SEOOND OONOERT. roll and rumble. The theme goes round the circle of the parts, the rolling movement takes possession of the vocal basses also, voices echo voices instantly and sharply, like clap on clap of thunder, and the foundations of the great deep seem upheaved in foaming billows; when suddenly there is a pause, a moment of silence that expresses more than sound, and then upon the major of the key, hitherto minor, with a new motive, gathering up all the forces of the orchestra, the storm, with appalling energy and splendor, waxes to a whirlwind, and is as quickly over as it suddenly came on, leaving the excited hearer listening still with bated breath, "Burst open, 0 fierce, flaming caverns of hell, then I" After the announcement of the Evangelist that all of the disciples forsook Him and fled, we hear the choral which ends the first part of the work, "0 man bewail thy sin so great," set in the manner of which all of Bach's church cantatas contain examples. The choral tune is assigned to one part of the chorus, and the other three parts have counterpoint upon it, sometimes in imitation of its phrases, and sometimes in melodic figures distinct from them. The effect designed by Bach will be accentuated at this per­ formance by giving the choral tune to a choir of boys and the other three parts to the chorus, the sopranos and altos singing together. The vocal parts are relieved against a totally indepen­ dent accompaniment, throughout the whole of which one peculiar motion is constantly maintained, as if to catch the thoughts of them that pray and waft them to heaven. The idea thus beauti­ fully developed constitutes both the counterpoint and the inter­ ludes to the choral tune, not only while the melody is sung, but between its strains. Thus a hymn of the church is appropriately employed to lull the agitation of the congregation, and fit them for the pious discourse which, according to the custom of the church, was delivered between the first and second parts of the oratorio. The second part, intended to be sung after the sermon, opens with a solo for contralto with chorus, in which Zion mourns her lost Jesus, while the faithful muse on her deep affliction. The 40 ST. MATTHEW PASSION. piece is in the form of a dialogue between the solo voice and the chorus, the latter having the air of solace to the anguish of the other, and the pathetic effect being heightened by a fragmentary termination on a dominant harmony. The trial scene before Caiaphas and the threefold denial of Peter follow, leading up to the gr.eat aria for alto, with violin obligato, "Oh, pardon me, my God!" The deep grief of a tor­ mented conscience finds here an utterance which fulfils the pur­ port and far transcends the expression of the words. One might suppose the power of the artist to have been concentrated upon this one incident, so infinite is its be~uty and touching its appeal. The work now rapidly progresses to its beautiful close. The bass solo with violin obligato, "Give me back my dearest Ma.3ter"; the soprano recitative, "He hath done only good to all," in re.3ponse to Pilate's question; the aria for soprano, "From love unbounded" ; the powerful contralto recitative, "Look down, 0 God"; the .choral, "0 Head, all bruised and wounded"; the contralto recitative, "Ah, Golgotha," and aria with chorus, "Look where Jesus beckoning stands"; the peaceful, soothing recitative for bass, "At eventide, cool hour of rest," and the powerful dramatic choruses of the trial scene, the scene before Pilate and the scene on Calvary, ar9 the principal numbers that occur as we approach the last sad but beautiful double chorus of the apostles, "Around Thy tomb, here sit we weeping"-a close as peaceful as the setting of the sun, for the tomb is but the couch on which Jesus is reposing, and the musiq dies away in a slumber song of exalted beauty. How full of grief, of tender, spiritual love, of faith and peace, of the heart's heaven smiling through tears, is this tone elegy! So should the passion music close and not with fugue of praise and triumph like an oratorio. How sweetly the harmony flows on, a broad, rich, deep, pellucid river, swollen as by countless rills from all the loving, bleeding and believing hearts of a redeemed humanity. How full of sacred comfort, even triumph, is this heavenly fare­ well! It is the peace that passeth understanding. "Rest Thee softly" is the burden of the song. One chorus sings it, and the 41 SEOOND OONOERT. other, echoes, "Softly rest"; then both together swell the strain. Many times as it recurs, not only in the voices, but in the intro­ duction and frequent interludes of the exceedingly full orchestra, which sounds as human as if it too had breath and conscious feel­ .ing,you crave more of it, for it is as if the soul were bathed in new life inexhaustible. There are some fifteen choral hymns for the congregation interspersed throughout the work, if we count those that reappear one or more times clothed in new harmony, adapted to new words and situations. Thus, the' first choral, "Say sweetest J esu," will be recognized again in spite of some melodic modifications as alternating with the pathetic sentence of Zion in the tenor aria, "0 Grief," and again in the choral, ''What wondrous punishment." The choral, "Acknowledge me, my keeper," appears again in an­ other key, "1 will stay here beside Thee," and again in the hymn, "Commit thy ways," and a fourth time, wonderfully trans­ formed and colored by harmonic treatment,' in the pathetic hymn, "0 head all bruised and wounded." These choral hymns, har­ monized in four' parts with the consummate mastery of which Bach alone had the secret, were intended in the church service to be sung by the double chorus strengthened by the instruments and accompanied by the congregation singing the tune in unison. At the festival they will be sung by a special chorus. The orchestration of the St. Matthew Passion is interesting not only on account of the number and variety of the instruments employed, but the effective use made of them. Bach did not ~eparate the voices and the instruments so broadly as we are accustomed to do, nor use them in the proportions of the present day. On the contrary, his orchestra outnumbered his chorus. The voice was to him hardly more than any other instrument, and he considered the two elements, not as choir and accompaniment, but as a mas~ of sound composed of two balanced and coordinate parts. Throughout the work the words of the Savior are accompanied by strings alone in four parts, thus distinguishing them as by a halo from the other recited parts, which are marked for accom. 42 ST. MATTHEW PASSION. paniment by the cembalo. At the festival this obsolete instru­ ment will be replaced by its modern and superior substitute, a grand piano. The accompaniment of the arias introduces frequent solo parts of exquisite beauty for violin, violoncello, flutes and oboes. Bach used the organ also in these accompaniments, but did not write out the part. Mr. Van der Stucken substitutes a choir of wind instruments, thereby constituting a 'l5ort of organ within the orchestra, which provides a more flexible and less mo­ notonous accompaniment for concert purposes than the organ. The St. Matthew Passion was given with the usual cuts at the festivals of 1882 and 1890. At this fel5tival it will be sung with out the omission of a note, and with a separate chorus for the chorals. In the performance of 1882, William Candidus took the part of the Evangelist. The other soloists were Materna, Annie Louise Cary, George Henschel, Remmertz, Whitney and T. J. Sul­ livan. In 1890, Edward Lloyd sang the Evangelist; the other soloists being Fischer, Whitney, Winant, Mrs. Toedt and Maish. The English translation used in all the Cincinnati perform­ ances is that of John S. Dwight, of Boston, prepared for the American edition of the work published in 1869. There are sev­ eral other English translations, but Dwight's remains unrivaled in beauty, fitness and faithful adherence to the spirit of the original. It was adopted for the first performance of the work in the United States by the Handel and Haydn Society at Boston, May 8, 1874. The Passion "according to St. Matthew" is one of five settings which Bach is supposed to have written. Of these only three have come down to us, and but two are printed and accessible. That "according to St. John" was probably earlier than the St. Matthew Passion, which is, in many respects, the greatest work of its com­ poser. In its earliest form it was written in 1729, when Bach was forty-four years of age, and was performed for the first time on the Good Friday of that year in the St. Thomas church, Leip­ sic, where Bach was cantor. The altered and extended form in which we now know it was probably not completed before 174:0. This master work was not heard outside of Leipsic, and after 43 SEOOND OONOERT.

Bach's death fell into oblivion even there, until, through the efforts of Mendelssohn, it was performed at Berlin in 1829, exactly one hundred years after its first production. Since that time it has been frequently given in Germany and England, and several times in the United States, and more and more receives the recog­ nition and honor to which it is entitled. This is the first perform­ ance of the work complete on a grand scale in the United States, and one of very few performances of the kind anywhere.

PERSONAGES:

EVANGELIST, Tenor, JESUS, Bass, PETER, Bass, JUDAS, Bass, PILATE, Bass, PILATE'S WIFE, Soprano, Two HIGH PRIESTS, Bass, Two MAIDs, Soprano.

Two FALSE WITNESSES, Alto and Bass. The Disciples, the Sanhedrim, Soldiers, People, the Multitude.

SOLOISTS:

MRs. RIDER-KELSEY MRS. CHAPMAN-GOOLD NUss JANET SPENCER lIms. TAYLOR-JONES MR. DANIEL BEDDOE MR. EDWAnD JOHNSON MR. DALTON BAKER MR. HERBERT WITHERSPOON MR. TOM DANIEL MR. HANS SEITZ

Mr. L. Kramer, Violin. Mr. L. Becker, Violin. Mr. B. Steindel, Violoncello. Mr. A. Quensel, Flute. Messrs. F. Starke and O. Hesselbach, Oboes d'amour and English Horns. Mr. A. H. St'adermarin, Organist.

First Chorus Second Chorus First Orchestra Second Orchestra Chorus for the Chorals Choir of Boys ST. ]IATTHEW PASSION.

PART FIRST. of Man is even now betrayed to be crucified.

1. PROLOGUE. DOUBLE CHORUS AND 3. CHORAL. CHORAL. Say, sweetest Jesu, what law Thou FmsT CHORUS, Daughters .of Zion. hast broken, To bring on Thee the dreadful sen­ SECOND CHORUS, The Believers. tence spoken? Come, ye daughters, weep for an- What is Thy guilt? Of what so guish, grave transgression See Him! Is Thy confession? Whom? 4. Evangelist.-Then assembled The Son of Man. together the chief priests, and the See Him! scribes, and the elders of the peo­ How? ple unto the palace of. the high So like a lamb. priest, who was called Caiaphas; See it! and they consulted that Jesus What! • might be taken and put to death. His love untold. They said, however: Look! Look where ..? 5. The Sanhedrim (Double Our guilt behold! Ohorus) .-No, not on the Feast, Look on Him, betrayed and sold, for fear there may be an uproar On the cruel cross to languish! among the people.

CHORAL (Ohoir of Boys). 6. Evangelist.-Now when Jesus was in Bethany in the home of o Lamb of God all, blameless, Simon the leper, there came to Who on the cross hung bleeding; Him a woman, who had a box of Thy love still interceding precious ointment, and poured it For foes who mock Thee, shameless; on His head,as He at table sat. Our sins upon Thee bearing, But when His disciples saw it, they Else were we all despairing. had indignation, and said: Regard us gently, 0 J esu! 7. The Disciples (Ohorus 1).­ Wherefore wilt thou be so waste­ 2. Evangelist.-When Jesus· now ful ? For this ointment could be had finished all these sayings, He sold for much, and to the poor be said to His disciples: given.

J esus.-Ye know that after two 8. Evangelist.-And Jesus, per­ days is the Passover, and the Son ceiving it, said unto them: 45 SEOOND OONOERT.

JesU8.~Wherefore trouble ye that time sought he opportunity, the woman? It is a good work that he might betray Him. that she hath done. Because the poor ye have 'always with you, but 12. ARIA (Soprano). Me ye have not always. That she hath poured this ointment thus Only bleed, Thou dearest heart! upon My body, this she hath done Ah! a child of Thine upbringing, that they may bury Me. Truly, I To Thy breast for nurture clinging, &!lay to you: Wherever this gospel Coiling there, the snake accursed shall hereafter be preached in all Stings where it was fondly nursed. the world, there too will be told, 13. Evangelist.-Now on the first in her remembrance, what she hath day of the unleavened bread came done. the disciples to Jesus, and said 9. RECITATIVE (Alto). unto Him: Thou dear Redeemer, Thou, 14. The Disciples (Ohorus 1).­ If Thy disciples murmur loudly Where wilt Thou that we now pre­ Against this woman here, pare for Thee to eat the Passover? Who fain with ointment dear 15. Evangelist.-He said: Would bury Thee devoutly; These humble tears at least allow, J esus.-Go ye into the cit,. to With which my weeping eyes run such a man, and say to him: The o'er, Master sait4 to thee: My time is Their water on Thy head to pour. at hand; I will keep with thee the Passover, with my disciples. 10. ARIA (Alto). Evangelist.-The disciples did as Grief and pain, grief and pain, Jesus had appointed, and made Wring the guilty heart in twain. ready there the Passover. And Fall, ye drops, fall faster, faster, when evening came, He sat down Freely from mine eyes, like rain, at table with the twelve, and as Grateful balm to my dear Master. they ate He told them:

11. Evangelist.-Then one of the Jesu8.-Verily, I say to you: twelve disciples, whose name was One among you here shall betray Judas Iscariot, went unto the chief Me. priests, and said: Evangelist.-And they all grew Judas.-Now what will ye give very sad, and they began, every one me, if I to you betray Him T of them, to say unto Him:

Evangelist.-And they offered The Apostles (SoZo Ohorus).­ him thirty silver pieces. And from Lord, is it I T 46 ST. MATTHEW PASSION.

16. CHORAL. the remission of sins. I say to you, I will not drink henceforth of 'Tis I! my sins betray Thee! this fruit of the vine, until that Ah! foully I repay Thee day when I shall drink it new with Who died to make me whole! you in My Father's kingdom. Of all the wrong Thou borest, The stripes, the crown Thou worest, 18. RECITATIVE (Soprano). The guilt lies heavy on my soul. Although my heart in tears do 17. Evangelist.-He answered swim, them and said: That we so soon must part with J esus.-He who his hand with Him; Me in the dish now dippeth, even Yet in His testament we all rejoice: he shall betray Me. The Son of His flesh and blood, 0 gift how Man goeth now away, as of Him it choice ' standeth written; but woe unto Doth He bequeath into my hand. that man by whom the Son of Man As in the world He loved His own shall be betrayed! Indeed, it were here living, better surely for him if he had not Nor could be unforgiving, been born. He loves them still unto the end.

Evangelist. - Thereto answered 19. ARIA (Soprano). Judas, he that betrayed, and said: Never will my heart refuse Thee, Judas.-Lord, is it I? Dwell in me, my Life, my All! Evermore in Thee I'll lose me. Evangelist.-He said to him: If for Thee the world be small, J esus.-Thou sayest. Thou to me art more than all, Evangelist.-And as they were More than worlds, my Heaven, my eating, .Jesus took bread, blessed All. it, and broke it, and gave His dis­ 20. Evan.gelist.~And when they ciples, and said: had sung a hymn of praise together, Jesus.-Take, and eat, for this they went out into the Mount of is My body. Olives. Then said Jesus to them:

Evangelist.-And He took the Jesus.-This very night all of cup and offered thanks, and gave you will fall away from Me. For it to them, and said: it standeth written: I will smite the Shepherd, and the sheep of the Jesus.-Drink ye all of it; this flock shall be scattered abroad. But is My blood of the N~w Testament. when I am risen again, then I will which is poured out for many, for go before you into Galilee. 4'1 SEOOND OONOERT.

21. CHORAL. sus with them unto a place called Gethsemane, and said to the dis­ Acknowledge me, my Keeper, ciples: My Shepherd, own me Thine, Thou fount. of blessings deeper Jesus.-Sit ye here, while I go Than deepest want of mine. yonder and pray. Thy love full oft hath fed me E'/)OJngelist.-And He took with With milk and angel-food; Him Peter, and the two sons of Thy spirit still hath led me Zebedee, and-began to be sorrowful The way of heavenly good. and heavy. Then said Jesus to 22. Evangelist.-Peter answered them: eagerly, and said to Him: J esus.-My soul is sorrowful, Peter.-Though all men be of­ even unto death; tarry here, and fended because of Thee, yet I, Lord, watch with Me. will be never otrended. 25. ZION (Tenor SoZo) AND THE Evangelist.-Jesus said to him: BELIEVERS (Ohorus II). J es'us.-Truly, I say to thee: Zion. This very night ere yet the cock o grief! Here throbs the racked and croweth, that thou wilt three times bleeding heart. deny me. It sinks away; how pale His coun- Evangelist.-Peter said to Him: tenance! Before the judge He must appear; Peter.-Though I should have to No comfort, ah! no helper near! die with Thee, yet will I never deny Yea, all the pains of Hell assail Thee. Him! Nor will His innocence avail Him! Evangelist.-And likewise said Ah! could my love fOT Thee avail, also all the disciples. Thy pain to mitigate, or share it, Or could I only help Thee bear it, 23. CHORAL. How gladly so dear a task I'd hail! Here will I stay beside Thee, Nor Thou my love disdain! The Believers ( OhoraZ) • Whatever woe betide Thee, Why must Thou suffer all these Here steadfast I remain. pangs of sorrow? And when Thy heart is breaking Ah! from my sins they all their In death's relentless grasp, sting do borrow! Thee tenderly uptaking, Within mine arms I clasp. Mine, ah! Lord Jesus, mine the guilt, I own it: 24. Evangelist.-Then came Je- Must Thou atone it? 48 ST. MATTHEW PASSION.

26. ZION (A ria) AND THE BE­ Drink, in my Redeemer's name. LIEVERS (Ohoru.s II). For His mouth, Zion. That with milk and honey :floweth,. To the dregs I'll watch with my dear Jesu alway. Sweeter made this cup of shame, Death no more fear I: Christ is Tasting :first what He bestoweth. gone before! His sorrows are my joy, my glory. 30. Evangelist.-And He came to the disciples, and found them sleep­ The Believers. ing, and said to Peter: So slumber shall our sins befall! Jesus.-Is it so that ye cannot And so for us their piteous story watch with Me one hour? Watch Is bitter, yet how sweet withal! and pray, that ye enter not into temptation. The spirit indeed is 27. Evangelist.-And He went a willing, but the :flesh is weak. little farther, and fell down upon His face, and prayed, and said: Evangelist. - He went a way again, prayed, and said: Jesus.-My Father, if possible, wilt Thou let this cup pass from Jesus.-My Father, if this cup Me; yet not as I will, but as Thou may not pass away from Me, ex­ wilt. cept I drink it, Thy will be done.

28. RECITATIVE (Bass). 31. CHORAL.

The Saviour falls, before His Now may the will of God be done t Father kneeling, His will I would not alter. Thereby He raiseth me and all His help is near to every one, From Adam's fall, Let not our courage falter. The wondrou~ grace of God reveal­ In all our need, our Friend indeed, ing. How tenderly He chideth! Prepared is He To Him hold fast: He builds to The cup, though death so bitter be, last, To drink, Who still in God' con:fideth. And with the sins of all the world that cup is filled, 32. Evangelist.-And again He Ah! loathsome sink! came and found them sleeping; in­ For so the loving Father willed. deed, their eyes were full of sleep. And He left them, and He went

a way again, and prayed i for the 29. ARIA (Bass). third time, and said again the same Gladly will I, all resigning, very words. Then came He to Cross nor bitter cup declining, His disciples, and said to them: 49 SECOND CONCERT.

Jesus.-Ah! will ye sleep and The Believers. take your rest now? Lo! the hour Leave Him! leave Him! bind Him is at hand, and the Son of Man not! into sinner's hands is now deliv­ ered up. So arise! let us be going; Double Ohorus. look ye, he is here who doth be­ tray Me. Ye lightnings, ye thunders, in clouds are ye vanished? EVO/ngeUst.-And while yet He Burst open, 0 fierce flaming caverns spake, came Judas, who was one of Hell, then!. of the twelve disciples, and with Engulf them, devour them, destroy him came a great multitude, with them, o'erwhelm them, swords and with staves, from the In wrathfullest mood. chief priests and the elders of the O! blast the betrayer, the murder­ people. Now he that betrayed Him ous brood! had given them a signal before­ hand, and had said: Whomever I 34. EvangeUst.-And behold, one shall kiss, 'tis He; Him seize yeo of them that were with Jesus And straightway came he to Jesus, stretched his hand out, and struck and said: a servant of the high priest, and smote off his ear. Then said Jesus Judas.-All hail to Thee, 0 Mas~ to him: ter! Je81-£s.-Put up thy sword into Evangelis t.-And kissed Him. its place; for all they that take Jesus sai4 unto Him: the sword shall perish with the J esus.-My friend, wherefore art sword. Or thinkest thou that I thou come? cannot to My Father pray, and He will give Me more than twelve EVO/ngelist.-Then instantly they legions of 'angels? But how then came, and they laid hands on J e­ shall the Scripture be fulfilled, that sus and took Him. so it must be?

33. DUET (Soprano and Alto) AND Evangelist.-In that hour said BELIEVERS (Ohorus II). Jesus to the multitudes: Duet. J esu8.-Are ye all come out now Alas! my Jesus now is taken. as against a robber, with swords Moon and stars and with clubs to take Me? I have Have in sorrow night forsaken; been daily here among you, teach­ For my Jesus now is taken. ing in the temple, yet laid ye no He's led away, ah! they have hold upon Me. Truly, this hath all bound Him. come to pass, that the Scripture Away, away, all pity banished! of the Prophets might be fulfilled. 50 ST. MATTHEW PASSION.

Evangelist.-Then all the disci­ and the elders were assembled. ples forsook Him, and fled. Peter too had followed after Him afar off, unto the court of the high 35. CHORAL (Oharus and Ohair of priest's palace; and entered in, and Boys) . sitting among the servants, he waited there, that he might see the o man, bewail thy sin so great; end. For which, from His supernal state, And then the high .priests and Christ came on earth to suffer. the elders, and the council all Of Virgin Mother, pure and mild, sought to find false witness against Was born for us the holy Child: Jesus, that so they might take His Our ransom would He offer. life; yet found they none. To life did He restore the dead! He healed the sick, the hungry fed, 38. CHORAL. Until the day of anguish, When He for us was offered up, The ruthless world arraigneth me To drink for all the bitter cup, On false report and calumny, Upon the cross to l>anguish. With many a toil to snare me. o Lord, be near to stay my fear; 'Gainst all their arts prepare me. PART SECOND. 39. Evangelist. - Yea, though many false witnesses came forward, yet found -they none. At last there 36. ARIA (AUo) with Ohorus II. came two false witnesses, and said: Ah! now is my Jesu gone! False Witnesses (Alto ana Bass). Is it possible? Can I be1:lold it? -This fellow said: I am able Ah! my Lamb in tiger's clutches! to destroy God's temple, and in Ah! where is my J esu gone? three more days too I can rebuild Ah! what shall I say to my soul it. When she anxiously doth ask me: Ah! where. is my J esu gone? Evangelist.-And the high priest arose, and said to Him: Whither has thy Friend departed, o thou fairest of all women? High Priest.-What answer mak­ Whither is thy Beloved turned est Thou to what they witness aside? against Thee? O! would we knew the way to find Evangelist.-But Jesus was si­ Him! lent. 37. EvangeZist.-And they that 40. RECITATIVE' (Tenor). had laid hold on Jesus led Him away to the high priest called He will not speak; He heareth, and Caiaphas, with whom all the scribes is silent! -, 51 SEOOND OONOERT.

How clearly thus He showeth, that The Multitude (Double Ohm"us). in His infinite compassion He is guilty of death! He is resolved for us to die. 43. Evangelist.-Then they be­ may we, in the like distress, o gan to spit in the face of Him, and Him our example make, and per- buffet Him with blows. .And others secution bear in silence. smote Him with the palms of their hands, saying: 41. .ARIA ( Tenor) . Behold! behold! how still, how The Multitude (Dotto le Ohorus). calm! o tell us, Thou Christ, say whO' So, when evil tongues assail me, gave the blow! My soul, be calm! Must I, innocent of harm, 44. CHORAL. Suffer scorn and shame, Who could so rudely smite Thee, I'll be still; in Jesus' name .And mock at Thee, and spite Thee, Shall mine innocence avail me. Who wrong my Saviour so? 42. Evangelist.-.And the high Thou art indeed no sinner, priest answered, and said to Him: As we and all our kin 'are; Nor of misdoing canst Thou know. High Pri~st.-I adjure Thee by the living God that Thou do tell 45. Evangelist.-Peter was sit­ us, whether Thou be the Christ, ting without there, in the court; the Son of God. -and there came to him a maid, Evangelist.-Jesus said to him: and said: Jesus.-Thou sayest. Yet I say First M aid.-.And thou, too, wast unto you: Henceforth, 'twill come also with Jesus of Galilee. to pass, that ye shall see the Son Evangelist.-But he did deny it of Man sitting on the right hand before them all, 'and said: • of power, and coming in the clouds of heaven. Peter.-I know not what thou sayest. Evangelist.-Then the high priest rent his garments, and said: Evangelist.-And again, as he passed the doorway, he was seen High P.riest.-He hath spoken by another maid, who said to them blasphemy; what need we of fur­ that were there: ther witnesses? Look ye, now ye have heard Him utter blasphemy Second M aid.-This one also was before us. What think ye now? with .Jesus of Nazareth.

E'VQ,ngelist.-They answered Him, Evangelist.-.And again he denied and said: it all, and swore an oath: 52 ST. lIfATTHEW PASSION.

Peter.-I do not know the man. 49. Evangelist. - And when the morning came, all the high priests EvangeZist.-And after a little and the elders of the people took while came they that were stand­ counsel on Jesus, to put Him to ing about there, and said unto death. And binding Him they led Peter: Him away, and straightway deliv­ The People (Ohorus II) .-Surely ered Him to Pontius Pilate, the thou also art one of them, for thy governor. And presently Judas, he speech doth bewray thee. who had betrayed Him, when he \ saw that He was condemned, re­ 46. Evangelist.-And Peter then pented himself, and brought again began to curse and to swear: the thirty silver pieces unto the Peter.-I do not know the man. chief priests and elders, and said: Evangelist. - And immediately Jttdas.-Lo! I have sinned, in the cock crew. Then Peter thought that I have betrayed innocent about the word of Jesus, which said blood. unto him: Before the cock crow Evangelist.-They answered: again, wilt thou three times deny Me. Then went he out, and wept The Sanhedrim (Double Ohorus). very bitterly. What is that to us? See thou to that.

47 ..A.RIA (Alto). 50. Evangelist.-And he cast down the silver pieces in the tem­ o pardon me, my God, ple, and he withdrew, and went And on my tears have pity. and hanged himself. Then did the Look on me chief priests take the thirty silver Heart and eyes do weep to Thee, pieces, and said: Weep so bitterly! Two Priests.-It is not lawful that we should put them in the 48. CHORAL. treasury, for 'tis the price of blood. Though my feet from Thee have wandered, 51. ARIA (Bass). Yet my heart was Thine again, Give me back my dearest Master 1 When on Thy great love I pon- See the price by Judas earned, dered, Flung down at your feet, and Bearing more than mortal pain. spurned: I the guilt do not disown; Heard ye his disaster. But Thy pardoning grace alone Greater is than all the sin, 52. EvangeZist.-And they took That I always feel within. counsel together, and bought with 53 SECOND CONCERT. them the potter's field, for a burial To clouds, winds, waves below, place for strangers. And there­ He toO' will find a pathway fore that field h~th been called the Wherein thy feet may go. field of blood, and, is so to this day. Then was fulfilled what was spoken 54. Evangelist.-Now uPO'n that feast, the governor was wont to re­ by the prophet Jeremiah, when he I said: And they took the thirty lease unto the people a single pris­ silver pieces, which was the price oner, whom they demanded. And of Him that was valued, whom as it chanced, at the time they had they bought of the children of Is­ there a prisoner, one that was no­ rael; and' in return they gave it torious among them all, named for the potter's field, even as the Barabbas. And when they were all Lord appointed me. Then did Je­ assembled, Pilate said untO' them: sus stand before the governor; and the governor asked Him, and said: Pilate.-Which one will ye have released untO' you, Barabbas, or Pilate.-Art Thou the King of Jesus, of whom 'ti~ said that He the Jews? is the Christ! Evangelist.' - Jesus answered to Evangelist.-For indeed he knew him: that for envy they had delivered Him. While he was sitting on the Jesus.-Thou sayest. judgment seat, his wife sent to him, Evangelist.-And when He was saying: accused O'f the chief priests and the Pilate's Wife.-Have thO'U noth­ elders, He answered nothing. Then ing to do with this just man, for Pilate said unto Him: I have suffered much this day in a dream, because of Him. Pilate.-Hearest Thou not how gravely they accuse Thee? Evangelist.-But the chief priests and the elders influenced the mul­ Evangelist.-And He answered titude, that they should ask for him too never a word, not one, sO' Barabbas, and destroy Jesus. The that the governor did marvel governor answered and said to greatly. them:

53. CHO'RAL. Pilate.-Now whether O'f the twain here will ye that I release Commit thy ways, 0 pilgrim, to you! On time's dark, stormy seas, To Him whO' orders all things, EvangeZist.-They answered: Through sweet eternities. The Multitude (Double Ohorus). Who measures out their courses -Barabbas! 54 ST. MATTHEW PASSION.

EvangeUst.-And Pilate said to Lest th' eternal doom, that lieth them: Over all beneath the sun, Be against my soul accounted. Pilate.-And what shall I do now with Jesus, of whom they say 59. Evangelist.-Then cried they that He is Ohrist? out 'all the more, and said: EvangeUst.-Then said they all: The Multitude (Double Ohorus). -Let Him be crucified! The Multitude (Double Ohorus). -Let Him· be crucified! EvangeUst. - And when Pilate saw that all did, avail him noth­ 55. OHORAL. ing, but that rather a tumult was rising, he took water, and washed What wondrous punishment is this his hands before the crowd, and to render! said: For erring sh~ep is slain the Shep­ herd tender; Pilate.-I am innocent of the The Lord, the just one, for the blood of this just man; be it your servant payeth, care. Who H~m betrayeth. EvangeUst.-Then answered all 56. Evangelist. - The governor the people, and said: answered: The Multitude (Double Ohorus). Pilate.-Why, what evil hath He -His blood be on us and on our done? children! Evangelist. - Then he released 57. REcrrATIVE (Soprano). Barabbas to them, and when he He hath done only good to all; had scourged Jesus, forthwith he The blind have back their sight delivered Him, that they might through Him, crucify Him. The lame again are walking; He told us of His Father's word, 60. RECITATIVE (Alto). He driveth devils forth; The mourners hath He comforted; Look down, 0 God! Here standoJ And sinners too He hath received: the blessed Saviour bound. Beside, my Jesu nought hath done. Now scourge they Him! 0 stripes, o wounds! Tormentors, stay your hands! 58. ARIA. (Soprano) • Will not your stony hearts relent From love unbounded my Saviour To see such cruel anguish there? dieth, Ah, no!. Ye have a heart For sin He dies, who sin hath none; That must be like the rack itself, 55 SEOOND OONOERT.

And yet much harder too. In that great day appointed: Have pity, stay your hands! Ah! now so wan and pale! The light, all light exceeding, 61..ARIA {Alto}. That filled those sovereign eyes, Now quenched in death, unheeding, Are my weeping and my wailing Shall shameless men despise? Unavailing, Take my heart, and all of me. 64. Evangelist.-And after mak­ Yes, this heart so vainly pleading ing sport of Him, then they did When the sacred wounds are bleed- pull the mantle off, and clothing ing, Him in His own raiment, they led Shall the altar chalice be! Him away to be crucified. And as they were going out they found 62. Evangelist.-Then straight­ there a man of Cyrene, whose name way the soldiers of the governor was Simon; and they compelled -took Jesus into the. common hall, him to bear His cross. and gathered unto Him all the band of soldiers, 'and stripped Him, and 65. RECITATIVE (Bass). put on Him a scarlet robe; and, platting a crown of thorns, they Yea, truly, to the cross our flesh put it upon His head, and a reed and blood in His right hand, and so they Will only be compelled; bowed the knee before Him, and What most for our own soul is good mocked Him, and said: In terror most is held.

The Soldiers (Double Ohorus.)­ 66. ARIA (Bass). Hail, thou King of the Jews! Come, blessed cross! be aye my Flvangelist.-And so they spit on , song: Him; and, taking the reed, they My J esu, ever give it me! smote with it on His head. And if too gre'at my burden be, Thy help, 0 Lord, will make me 63. CHORAL. strong. .0 Head, all bruised and wounded, 67. Evangelist.-And when they Hung up to brutal scorn! came unto a place called Golgotha ·0 Head, for shame surrounded (that is, the place of a skull), they With crown of cruel thorn! gave Him vinegar to drink, that o Head, to honor wonted, was mingled With gall; and when To splendor all divine, He tasted it, He refused to drink. Now outraged and affronted; And 'after they had crucified Him, All hail, dear Master mine! they divided His garments by cast­ Thou face of God's anointed, ing lots therefor; that it miO'ht be Before Thee all sh'aU quail. fulfiPed, which was said of ~ld by 56 ST. MATTHEW PASSION. the prophet: They parted my gar­ The saving light of all the world ments among them, and upon my Must to th' accursed cross be nailed. vesture did they cast lots. And The Lord, who heaven and earth they all, sitting down, kept watch created, over Him. And over His head they By earth and air rejected, hated! also posted up the accusation in The sinless here for sin must per­ writing, namely: This is Jesus, the ish; King of the Jews. Then along Ah! this indeed afflicts my soul! with Him, two thieves were cruci­ fied, one on the right hand, and 70. ARIA (Alto) with Ohorus II. one on the left. And they that passed by, reviled Him, wagging Look where Jesus beckoning stands, their heads, and saying: Reaching out His helping hands, Come! The Multitude (Double Ohorus). where? -Thou that destroyest the temple o In Jesus' bosom of God, and buildest it again in Seek redemption, find forgiveness; three days, save Thyself. Art Thou Seek it! the Son of God, come down now Where? from the cross. In Jesus' bosom. Evangelist.-And likewise also Live ye, die ye, rest ye here, the chief priests mocked at Him, Ye fors'aken children dear, s'aying, with the scribes, and elders Clinging- of the people: Where? To Jesus' bosom. The Sanhedrim (Double Ohorus). -He saved others, Himself He can­ 71. Evangelist.-And from the not save. If He be King of Israel, sixth hour there was a fearful let Him come down now from the darkness over all the land, until cross, and then we will believe Him. the ninth hour. And near the ninth He in God hath trusted: Let Him hour Jesus cried aloud, and said: deliver Him now, if He will, for He hath said: I am Son of God. J esus.-Eli, Eli, lama sabachtha­ ni! 68. Evangelist.-He was reviled also by the robbers, who were cru­ Evangelist.-That is: My God, cified with Him. my God, why hast Thou forsaken Me! Now there were some remain­ 69. RECITATIVE (Alto). ing there, who heard Him crying out, and they said: Ah! Golgotha! unhappy Golgotha! The Lord of Glory here a felon's The People (Ohorus I) .-He doom must suffer; calleth for Elias. 57 SEOOND OONOERT.

Evangelist. - And straightway Evangelist.-And there were many one among them ran, and took a women there, looking on from afar sponge, and filled it with vinegar, aff, who had followed after Jesus and put it on a reed, and gave Him from Galilee, and ministered unto to drink. The others sajd, how­ Him; and among them there was ever: Mary Magdalene, also Mary, the mother of James and of Joses, and The People (Ohorus II) .-Wait, the mother of Zebedee's children. let us see now, if indeed Elias come At eventide there came a wealthy to save Him. man of Arimathrea, called Joseph, Evangelist.-But once more J e­ who was 'also a disciple of Jesus. sus cried aloud, and departed. This man went to Pilate, and begged of him the body of Jesus. Then 72. , CHORAL. Pilate commanded the body to be delivered. When I too am departing, I Then part Thou not from me. 74. RECITATIVE (Bass) . On death's lone journey starting, My soul will feel for Thee! At eventide, cool hour of rest, When near my end I, languish, ' Was Adam's fall made manifest. All other comfort vain, So now at eve our foe doth Christ Then draw me out of anguish, subdue; Through Thy victorious pain. At eve the dove returning flew, And in its mouth the olive bore. 73. Evangelist.-And now, be­ o lovely time! 0 evening hour! hold! the veil of the temple was The covenant of peace with God is rent in twain, from the top unto sealed, the bottom. And the earth did For Jesus hath His cross fulfilled. quake, and the rocks they were His body sinks to rest. riven, and the graves were opened, Ah! go, my soul, beg thou His and there arose up many bodies of corpse. holy ones, that were sleeping, and Go! shall the dear remains neg­ came out of the graves after His lected perish? resurrection, and went into the holy o precious boon, for heart and soul city, and appeared to many Now to cherish! the centurion and they that were with him, and were watching J e­ 75. ARIA (Bass). sus, when they saw the earthquake, and those things that were done, Cleanse thee, 0 my soul from sin, were greatly afraid, and said: For my Jesu will I bury. So within my peaceful breast The Soldiers (Ohorus I and II). Shall He rest and reign for ever! -Truly, this was the Son of God. World, depart, let Jesus in! 58 ST. MATTHEW. PASSION.

76. Evangelist.-And Joseph took 77. RECITATIVE (Soprano, Alto, the body, and wrapped it in a clean Tenor, ana, Bass) with Ohorus I. cloth of linen, and laid it. in his own new tomb, which he had hewn The Lord hath lain Him down to out in the rock; and having rolled rest. a great stone to the door of the The pains are o'er, He for our sins tomb, he went 'away. And remain­ so meekly bore. ing there were Mary Magdalene and o weary sacred limbs! the other Mary, sitting over against See! how my tears of fond remorse the tomb. Now on the next day bedew Thee, after that of the preparation, came That in my fall such bitter woes the chief priests and the Pharisees were Thine. together unto Pilate, 'and said: My soul shall bless Thee all my days with thousand thanks, Priests ana, Pharisees (Double That Thou hast deemed it worth Ohorus) .-Sir, we remember it well; the sacrifice. we heard that deceiver say, while My J esu, good night! He was yet alive: After three days I will rise again. Therefore com­ mand the grave to be made sure, 78. DOUBLE CHORUS. until the third day, lest His dis­ ciples come by night, 'and steal Him Around Thy tomb here sit we weep­ away, and say unto the people: ing, Surely, He is risen from the dead, Hearts turned to Thee, 0 Saviour so the last error shall be worse than blest: I the first. Rest Thee softly, softly rest. Long, ye weary limbs, lie sleeping. Evangelist.-And Pilate said to This cold stone above Thy head them: Shall to many a careworn' con- science PiZate.-Ye have there a watch; Be a sweet refreshing pillow; go 'and make it secure as ye know Here the soul find peaceful bed. how. Closed in bliss divine EvangeZist.-They went .away, Slumber now the weary eyes. and secured the sepulchre with sol­ diers, and they sealed the stone.

59 THIRD CONCERT.

OVERTURE, Leonore No.3, Op. 72 ...... BEETHOVEN

HIS beautiful and ~ajestic king of overtures is an epitome of the opera, although Wagner declared that it was no T mere overture, but the most tremendous drama itself. It brings before the imagination a touching picture of Florestan's longing and suspense. We hear his pathetic prison song, and then the trumpet call announcing succor, and when finally he is released and restored to his faithful wife, we are carried away in the exultant and tumultuous strains of joy with which the overture comes to an end.

REOITATIVE AND ARIA, Don Giovanni .... MOZART MADAME GADSKI.

[Sung in the second act by Donna Elvira, discarded mistress of Don GiovannL] RECITATIVE. In what excesses, ye powers, in what conditions Of crimes the most tremendous this wretched man hath fallen! But why so tardy withholds thunder from heaven its infallible wrath! Would the thousand imprison'd lightnings within me could leap forth on the monster! 60 THIRD SYlrIPHONY.

Wide yawns to hold the black consuming gulf! Wretched Elvira! to what conflict of contrasts behold thee driven! And why, why these sorrows, poor heart art riven?

ARIA. In a breast betrayed to ruin Still untarnished one gem doth shine. Though abandon'd to worst undoing, Mercy glows, a spark divine. Though· for these the pangs I suffer, Just requital I should offer, Yet, this quality of gentle mercy Bids me toward his aid incline.

SYMPHONY No.3, in F, Op. 90 ...... BRAHIvrs Allegro con brio. Andante. Poco allegretto. Allegro.

Brahms, notwithstanding his modern tendency, was not much in love with the so-called mU13ic of the future. He had warmth and color,. but he appealed more to the intellect and the imagina­ tion than to the senses, and defended his art principles on the ground of absolute music. He wrote four symphonies. The third may be characterized in a general way by saying that it combines something of the grandiose and heroic character of the first, with the more graceful and delicate features of the second. The first and last movements are marked by deep and manly feeling expressed with terseness and energy, skillful construction, powerful develop­ ment, and orchestral coloring at once somber and effective, whil~ the andante and allegretto charm by their exquisite melody and easy grace. This symphony was first performed in Vienna on Decem­ ber 3, 1883. 61 THIRD OONOERT.

The first movement opens with two heavy chords by way of introduction, after which the principal theme is presented at once in the energetic melody beginning -at the third measure of the following quotation:-

No. 1.

AlZegro con brio. J n ,,-----. ~.:::=::~. . ~ ~. • . '17 ·• . · (IU ~ ·--- 1'1 · . · · WI ~..,. · · f~F· f - ~ ~. W/-=::~: .,J J J . ,,~ ---- ~ ~ . :------~ : . ---:::: L -11 JL · ~ " - '" ---.

It is played by the violins in 'octaves over a harmonic back­ ground supplied by the violas, violoncellos and trombones, against which the melodic figure of the two introductory chords rises majestically in the doublebasses and contrabassoon. The theme is carried through a brief development and is followed by a sub­ sidiary theme of more tranquil nature, the melody being in the wood-winds above an undulating accompaniment from the strings. A'modulation ushers in the second theme proper, and the clarinet and bassoon sing a melodious duet to a droning accompaniment from the deeper strings, embellished by little bell-like tones from the flute:-

6·2 THIRD SYMPHONY.

No.2.

The two themes are worked out in orthodox fashion, with sev­ eral interesting episodes, one a melodic figure in which the clari­ net answers the oboe, and another in which the horn and oboe are prominent. \ The following hymn-like passage, given out by the wind instru- ments, constitutes the thematic basis of the second movement or andante.

No.3. Andante espresso --.. , _r l~ ,- J - f ...I --- -.!!: ...I . ~ ;r:~ .. ~ ..... -A. . r r j-r I I I i ,- r i -<:>- -=:: :::- bte. ( .... ~ 'P ,--n;-.[ .JJJ~~ . ,- J I JJ. .. . 1": ~ . .. . I I I -- 1--- .-' i r I i r ------...... _---- This is succeeded by a variation of itself and then, by way of contrast, the following theme is introduced, the melody first in the clarinet and bassoon, and afterward in the oboe and horn, in octaves, to an accompaniment of subdued chords from the strings:- 63 THIRD CONCERT. No.4. d o l ceo • • • 8 I" ~-­ I .~ t- -. . . . . ~ ~ ~ ~ -= .~ -l9- ~:::::=- 'P i ~ 't ~ . "'" ~ -' "iI -z::jo !M -6100 "'i e.::1- A supplemental passage, in which the strings lead off and are answered by the wood-winds, leads to a picturesque transitional phrase of six measures, consisting of a series of discords which move through a maze of harmony to new variations of the prin­ cipal theme. This transitional passage reappears at length as an approach to the short coda, based on the opening theme, which carries the movement to a tranquil conclusion. As a substitute for the traditional scherzo comes a movement bearing the title Poco allegretto, scored for small orchestra to wit, strings, wood-winds and two horns. The principal theme haa this appearance :-_ No.5.

The melody in the inner voice is proposed first by the violon­ cellos with embellishments from the other strings, and is taken up immediately by the first violins an octave higher and with an enlarged accompaniment. Another repetition, with the melody spread out over three octaves, in the flute, oboe and horn, leads to the trio, whereupon the following theme is announced by the 64 THIRD SYMPHONY. wood-winds in harmony, with occasional interruptions from the strings:- No.6.

n.L ....-....-~ -=J~~f=~~ ~ ~ ..~ ~ U~V IJ' .jII '. ~ ~-~.r" -II. ::;:---- ~ ~ ::::--=- etc. =r~ ~--=----:---.... . -.- . jII-' I jill"

A modified repetition of the foregoing is followed by a pas­ sage for the strings alone, after which both are repeated in a much curtailed form. Then the opening theme is taken up again and presented thrice as at first, but by a different set of instruments; first the horn, then the oboe, and lastly the violins and violoncellos spread out over three octaves as in the opening section. With a shori coda, the movement fades away. The finale opens with the statement of its principal theme by the strings and bassoons sotto voce in double octaves:- No.7. r fllegro h iIJ""

...,.bT .... -li- .. tp e 8otto voce ----- "--- .--' - c;CSva. n '­ :::- LI' -~ . • • ,., ...... ; ,.," -- ..- .... .--'~ ,.,~. ::::::=- dim. , ::::-,..-- '" I • • .. ------.--' ~ ~ ------_. 65 THIRD CONCERT.

An elaborated repetition proceeds to a solemn and almost por­ tentous theme half choral-like, half march-like, given out pianis­ simo by the strings and wind instruments in harmony. This in turn is succeeded by an energetic transitional passage which leads up to the statement of the second theme proper-

No.8. 3 _ 3 3

., I I I ~., m I -""'IrP rJ<» -II} I 3

-+ -q~ .,. t , a vigorous, jubilant subject of complicated rhythmical texture an­ nounced first by the violoncellos and horn, and later by the first violins and wood-winds. This theme works up to a fortissimo climax, and after another intermediary passage a third theme of syncopated structure surges into action-

No.9. ~ . .. - ~ - t= "t-_ 'IIIJ ..IIJ li':;I r8-~·ho • -lj!1" I,.,.nil trW- Ie..~- - . - 4- .If- .! + ... ~ ~ . I t'J ,. ,.- -•• IL • ~ III ~....J ~ - - ~ ~ • 66 DON JUAN.

< .,.. ... (AT.-I n L r ID_ -j------j wherewith the opening section of the movement attains its con­ clusion. What ensues is in the nature of a combination of free­ fantasia or working-out, and recapitulation. Structurally it fol­ lows the general outline of the first part of the movement, but its progress is marked by numerous modifications and elaborate treat­ ment. The movement is brought to a close with a long coda founded on the first theme and its choral-like pendent, with ar'­ peggios in the muted violins and violas by way of embellishment, and bringing out one or two faint reminiscences of the introductory figure of the first movement. '

TONE POEM, Don Juan, Op. 20 .... RICHARD STRAUSS

Don Juan, the first of Richard Strauss' elaborate tone poems, was composed in November, 1889, and played for the first time at Weimar, before the close of the same year. The subject of the work is to be found in the following extract from a poem of the same name by-the famous Hungarian poet, Nikolaus Lenau (1802- 1850), which the composer has caused to be placed upon the fly­ leaf of the orchestral score:-

o magic realm, illimited, eternal, Of gloried woman-loveliness I'lupernal! Fain would I, in the storm of stressful bliss, Expire upon the last one's lingering kiss! Through every realm, 0 friend, would wing my flight, 'Wherever Beauty blooms, kneel down to each, And-if for one brief moment-win delight! 67 THIRD OONOERT.

I flee from surfeit and from rapture's cloy, Keep fresh for Beauty service and employ, Grieving the One, that All I may enjoy. The fragrance from one lip today is breath of spring: The dungeon's gloom perchance tomorrow's luck may bring When with the new love won I sweetly wander, No bliss is ours upfurbish'd and regilded; A different love has This to That one yonder­ Not up from ruins be my temples builded. Yea, Love life is, and ever must be new, Cannot be changed or turned in new direction; It cannot but there expire-here resurrection; And, if 'tis real, it nothing knows of rue! Each Beauty in the world is sole, unique: So must the Love be that would Beauty seek! So long as Youth lives on with pulse afire, Out to the chase! To victories new aspire!

It was a wond'rous lovely storm that drove me: Now it is o'er; and calm all around, above me; Sheer dead is every wish; all hopes o'ershrouded­ 'Twas p'r'aps a flash from heaven that so descended, Whose deadly stroke left me with powers ended, And all the world, so bright before, o'erclouded; And yet p'r'aps not! Exhausted is the fuel; And on the hearth the cold is fiercely cruel. (English Version by John P. Jackson.)

DANCE OF THE SEVEN VEILS, Salome ... STRAUSS

This is an excerpt from the much talked of music drama of the most advanced exponent of the music of the future. The drama is drawn from the biblical incident related by St. Matthew and by St. Mark. In the words of St. Mark, King Herod "on his birth­ day made a supper to his lords, high captains and chief estates of Galilee." In the play the scene is laid on a terrace above the 68 DANOE OF THE SEVEN VEILS. banquet hall in Herod's palace. Hither comes the Princess Salome. Herod tries to induce her to dance for him, but she refuses until she has secured his promise to give her as reward whatever she may demand, "and he sware unto her: Whatsoever thou shalt ask of me, I will give it thee, unto the half of my kingdom." Having obtained this pledge she proc~eds to dance the "Dance of the Seven Veils." Slaves bring in the veils and perfume&) and pre­ pare her for the dance amid angry objections from Herodias, -and the sound of solemn warnings from the dungeon cell of John the Prophet. Salome answers merely that she is ready and the dance begins. It is an effusion of surpassing elaborateness, extensive use being made of important motives from the music drama, and all the instruments of the large orchestra are employed. Scattered through the score are the following stage directions which will help more than anything else to a comprehension of the meaning of the music: "The musicians begin a wild dance. . . . Salome motion­ less as yet." The tempo slackens. "Now Salome bestirs herself and gives the musicians a signal, whereupon the wild rhythm sub­ sides forthwith and merges into a gently rocking movement." Then the languorous principal theme of the dance is commenced by the solo viola and flute, "Salome dances the Dance of the Seven Veils." Presently a second dance-theme appears in the strings, horn, clarinet, Heckelphone and English horn, a subsequent cres­ cendo and accelerando leading to a return of the languorous first theme. "Salome appears to grow weary for a moment . . . now she rouses herself to renewed whirling." The movement grows wilder again, mounting to a fortissimo climax and ending shortly with a prolonged and diminishing trilling of the smaller wood-winds and the celesta and a tremolo of the violins. "Salome lingers for a moment in a visionary pause by the cistern in which John is held captive. . then she throws herself at Herod's feet," and we hear the concluding flourish of wood-winds and strings.

69 THIRD CONCERT.

TRISTAN AND ISOLDE ...... WAGNER Prelude. OROHESTRA.

The instrumental introduction to Tristan and Isolde, like that of Lohengrin, is founded on a single motive of great impressive­ ness, whioh is worked out thematically into various shapes of melodious beauty. It appears as a leading motive throughout the opera, suggesting the idea of the love potion or irresistible passion. Although written in D minor, the tonality of the theme is suffi­ ciently undefined to give rise to the most varied harmonic transi­ tions. It begins slowly and gravely, but its languor contains all the possibilities of the intense passion that is developed in the course of the short piece. The final scene, Isolde's death, is conceived as a kind of sad echo of the happy union of the lovers in the second act, the prin­ cipal motives of which appear in the orchestra as a remembrance of lost bliss, accompanied by the broken utterances of -the voice. Of Tristan and Isolde, Wagner himself ha'~ said: "This work I am willing to submit to the severest tests that result from mv oJ theoretic assertions; not because I formed it in accordance with my system-for all theory was completely forgotten by me-but because here at last I moved about with the utmost freedom and the most absolute disregard for every theoretic consideration in such a manner that in the course of execution I became aware that I went far beyond my system." Here is heard, for the first time, the unimpaired language of dramatic passion, intensified by an uninterrupted flow of expressive melody, no longer obstructed by the artificialities of aria or other set form.

70 TRISTAN AND ISOLDE.

Finale, Isolde's Love-Death.

Isolde ...... MADAME GADSKI

ISOLDE.

[unconscious of all around her, turning her eyes with rising inspiration on Tristan's body.] Mild and softly he is smiling: How his eyelids sweetly open! See, oh, comrades, See you not how he beameth Ever brighter, how he rises Ever radiant, steeped in starlight, Borne above? See you not how llis heart With lion zest, calmly happy, Beats in his breast? From his lips in heavenly rest Sweetest breath he softly sends. Harken friends! Hear and feel ye not? Is it I alone am hearing Strains so tender and endearing? Passion swelling, all things telling, Gently bounding, from him sounding, In me pushes, upward rushes Trumpet tone that round me gushes. Brighter growing, o'er me flowing, Are these breezes' airy pillows? Are they balmy beauteous billows? How they rise, and gleam, and glisten! Shall I breathe them? Shall I listen? Shall I sip them, dive within them, To my panting breathing win them? In the breezes around~ In the harmony sound, In the world's driving Whirlwind be drown'd, And, sinking, be drinking In a kiss, highest bliss!

lSolde sinks, as if transfigured, in Brallgana's arms upon Tristan's body. Profound emotion and grief of the bystanders. Mark invokes a blessing on the dead. Curtain. 71 FOURTH CONCERT.

TH·E OHILDREN'S CRUSADE ...... PIERN~

HIS striking composition is a musical setting of Marcel Schwob's exquisite poem based on a pathetic legend of T the thirteenth century, whose outlines are indicated in the following .extract from old chronicles prefixed to the score: About that time, many children, without leader and without guidance, did fly in a religious ecstasy from our towns and from our cities, making for the lands beyond the seas. And to those who asked of them whither they wer.e bound, they did make an­ swer: "To Jerusalem, in search of the Holy Land." . . . They carried staves and satchels, and crosses were embroider.ed on their garments . . . and many of them came from beyond Cologne. They travelled to Genoa and did embark upon seven great vessels to cross the sea. And a storm arose and two vessels perished in the waters. . . . And to those who asked of such of the children as were saved, the reason of the journey, these replied: "We do not know." Pierne divides the poem into four scenes, the departure of the children; their journey to Genoa; the scene by the sea, and the Savior in the storm. In the first scene are pictured the celestial summons, the enthusiastic response of the children, and the vain pleading of the parents. It opens with an ethereal prelude in the orchestra, and the repeated call of mystic voices biddinO' the ~ children to awake and set forth for J erusalem ~here Jesus waits. 72 · THE OHILDREN~S OIRUSADE.

Among the first to respond are Alain the blind boy, who already sees Jerusalem with the eyes of faith, and little Allys, his sister, who offers tenderly to conduct him to the holy city. "I will find the way, Alain, 'tis Jesus calls us; let me hold thy hand." Their song full of religious fervor, sung in unison, is taken up by the children, "There in those fair gardens we'll pluck sweet flowers." The chorus of the fathers and mothers alternates with the canticle of the children and finally unites with them in an ensemble of powerful effect. The second scene shows the young pilgrims on their way wan­ dering in bands through fields bedight with flowers which they pluck and weave into crosses. The instrumental introduction is a masterpiece of musical delineation, with its antiphon of oboe, flute and violin solos. In order to relieve the fatigue of the jour­ ney the children sing a quaint medieval hymn, a march tune of bewitchmg rhythm in alternate triple and double time. First we hear it by a group of children in the distance and then by another group still farther away and alternately by one group after· an­ other, on the stage and behind the scenes, and then in full chorus. As the hymn dies away, Alain prays, "0 Lord! help me bear this my cross that I am blind," and he and his little sister join in a prayer to the Savior, "Suffer little children to come unto Thee." The third scene depicts entrancingly the exuberant joy of the children at the sight of "the wide blue sea." The old chronicles tell that they were amazed that the waters did not roll back to give them passage to the Holy Land, as the Red Sea parted for the children of Israel. The book of Pierne's musical legend barely alludes to this episode and replaces it with a poetical conceit of. its own. The children playing on the beach pick up star fishes which they imagine to be stars that have fallen from heaven into the sea and been drowned, and a sailor sings a legend of the Star of Bethlehem, which, once azure, turned red at the crucifixion and fell into the sea. Beautifully descriptive is all the music, conjur­ ing up visions of the calm sea that is to ''bear the children on to their Lord," the "mighty sea that chanteth for joy," the murmur 73 FOURTH CONCERT. of foaming waves, and the gleaming of the natal star. Frightened by the excited zeal of the host of little ones, the senate of Genoa provides seven vessels to carry them to Jerusalem and as night falls we· hear the chorus of sailors and children as they "sail o'er the deep blue sea onward to the holy city." The last scene describes realistically the tempest, the ship­ wreck, the despairing cry of the children, their prayer for help, and Alain's celestial vision of the Savior.

I see such a radiance, One glorious burst of brightness! Noel ! Noel! I see the Lord!

Eyes that were lately blind on earth now are open forever, and it becomes Alain's turn to lead his sister,

Allys, my beloved! let me have thy hand, For now I am to lead thee, beloved! See! look there, 0 look there into the brightness! Ah! See, there is the Lord! He is there, we shall go to Him.

And Allys in trusting resignation answ€rs:

Take thou my hand, lead· thou me on Toward the radiant brightness!

With tears of joy the chorus of angels welcomes the children, redeemed and saved.

End victorious of every trouble! Joy of joys! Holy joy!

The city of Paris offers ev,ery three years a prize of ten thou­ sand francs for the musical composition in large form which shall be adjudged most worthy by a committee composed of municipal officers and experts. In 1904 The Children's Crusade was awarded 74 THE OHILDREN~S ORUSADE. a special prize by the city, and the work was performed for the first time at the Chatelet under the direction of Colonne, on J an­ uary 18, 1905. Its first performance in Germany was by the Oratorio Society of Augsburg, on April 1, 1906. The Paris per­ formance was with a chorus of two hundred children and five hundred executants in all. The performance at the festival will be with seven hundred children and twelve hundred executants alto­ gether. Pierne was born at lfetz on August 16, 1863, and studied at the Paris Conservatoire. His first intention was to perfect him­ self as a player of organ and piano, but later he turned his atten­ .tion to composition at the advice of friends who saw his creative talent. In 1879 he received the first prize at the Conservatoire for piano playing, in 1881 the first prize for fugue, and in 1882 the first prize for organ, and also the Prix de Rome, which entitled him to study abroad for three years, most of the time in Rome at the academy provided there by the French government for suc­ cessful competitors for the Roman prize in music, painting, sculp­ ture, engraving and architecture.

CHARACTERS:

Alain ...... MRS. RIDER-KELSEY Allys...... , ...... MRS. CHAPMAN-GOOLD A Mother ...... ~S. VVERNER-VVEST The Narrator ...... MR. BEDDOE An Old Sailor...... MR. WITHERSPOON The Voice from on High ...... MR. BAKER Mystic Voices ...... SOLO CHORUS OF VV OMEN

Chorus of Children. Choruses of Men and VV omen.

Period 1212.

75 FOURTH OONOERT.

PART I. Uplifting their hands to the heav- ens. Children, too, in their frenzy, Batter the doors down, THE FORTHSETTING. Leave their parents' homes, Escape from the arms of their A. pubUc square in a Flemish town mothers. in 1212. Night. ° Lord, is this the time appointed? ° Lord, it is a crusade that Thou commandest? MYSTIC VOICES.

Wake! wake! awake! VOICES. Set forth, for Jerusalem, Where Jesus waits. Wake! wake! awake! Set forth for Jerusalem, Where Jesus waits. CHORUS.

What is this marvel that is brood- THE CHILDREN. ing o'er the nations? Is a miracle impending? 0, hear ye not the voices that call Through the night, us? Through the shades of night, Do ye not hear the pale voices? Comes a voice, Alain! Allys! Mysteriously yet plainly Do ye not hear heavenly voices? Athwart the gloom of the darkness, So clear, Comes a wondrous voice from out THE NARRATOR. the gloom of the darkness. Ah! dear Lord, Dost Thou see these bands of little VOICES. ones, That answer to Thy call? Wake!· wake! awake! Set forth fo:r Jerusalem, Where Jesus waits. THE CHILDREN. 0, hear ye not through the night The pale voices that are calling? THE N ARRA.TOR.

Through all the folk are rumours CHORUS OF MEN. astir, And women run about· the streets Dear Lord, and can it be 76 THE OHILDREN'S ORUSADE.

Thou bidst our children seek the Jerusalem is shining, gleaming Cross? through the dark. Then up, children all! VOICES. Up, since our knights have cast aside their armour, Wake! wake! awake! Our kings no longer rule, nay, nor Set forth for Jerusalem, reign! . Where Jesus waits.

ALAIN. THE CHILDREN.

0, hear ye not the voice? Then up! Jesus calls! Ah, where it calls, there fain would Up! since the knights have cast I go. aside their armour. o God, I was born sightless, sight­ No king, no, nor man, less; Dare go to battle for the faith, o God,· Thou mad'st me blind and Then up! Jesus calls! To Jerusa­ sightless, lem! Never yet have I known what the light is. Where is Jerusalem? 0, dear Lord, ALLYS AND ALAIN. Lead me there, help me go. There in those fair gardens We'll pluck sweet flowers, ALLys. And many a cross we'll weave Of green leaves and red roses, 'Tis Jesus calls us, For Jesus. Jerusalem shines brightly through For, like the little swallows in au- the dark, tumn And I, thy little Allys, That flyaway homeward, I will find the way. So must we seek the sun. Alain, 'tis Jesus calls us; let me Let us seek the Holy City, hold thy hand. And Jesus!

ALAIN. THE CHILDREN. Jerusalem is shining, gleaming through the dark. There in those fair gardens Ah! would I might be following We'll pluck sweet flowers, those voices that call us. .And many a cross we'll weave ° Lord, be my guide, for I ne'er Of green leaves and red roses, have known what the light is. For Jesus. 77 FOURTH CONCERT.

For, like the little swallows in au- ALAIN. tumn 'Tis Jesus that will give us our That flyaway homeward, bread, So must we seek the sun, And we shall live even as the birds We must go to the sun, Df heaven, We an shall gather flowers, For Jesus will provide us with And green leaves and red roses, fDuntains Df water, For Jesus. And there in His gardens Shall we gather fruits, Aye! and THE FATHERS; CHORUS OF MEN. thrDugh the, night Alas! foolish ones! We'll sleep out Df dDors Dn the hay, Where think ye now to fare, While the mDDn so friendly o'er When all is darkness? Dur sleep will watch, FrDm up Dn high! THE CHILDREN; ALLYS, ALAIN. Jerusalem is shining, THE CHILDREN. Gleaming through the dark. For Jesus, He will give us our CHORUS OF MEN. bread, .And we shall live even as the birds Jerusalem lieth far away o'er the of heaven, sea. And through the night We shall sleep in the loving em- THE CHILDREN; ALLYS, ALAIN. brace of the mO'Dn. The sea will divide itself, The sea shall becO'me dry land, THE MOTHERS (Soprano Solo and We shall walk between its waves; Ohorus of Women). Unto Jesus we gO', unto Him, untO' Children dear, gO' not! Him! But stay here with yO'ur mothers. To reconquer the HO'ly City! Ah, can you forget What we suffered when we bore CHORUS OF MEN. YO'U, Alas! Alas! FDDlish ones! GO' nO't! And all our care since then! GO' not! fDOlish Dnes! Ye are mad! Ah, can you forget Whither gO' ye intO' the darkness? All that fO'r you we have suffered! Ah, no, Ply little child, dearest CHORUS OF WOMEN. child That I SO' softly used to' rock to But, children, whO' will give YDU, sleep each day, In thy cradle. Sweet my child! Y O'ur daily bread? And at night I used to' wake, 78 THE OHILDREN'S ORUSADE.

Just to be sure thou didst breathe. ALLYS AND ALAIN Thy body itself was once a part of mine. o thou my child, my child! Leave me not behind thee here in the dark! Thou art mi very flesh and blood! Leave me not! Leave me not! Whom I for so long have borne in my arms. Wilt thou force me to weep for everY So much I've wept, That mine eyes 'al'e red with weep­ ing. Ah! Sweet my child, do not leave me here alone, Dear child; remember, ah! remem­ ber, Leave me not! Do not go! Ah! ye children, think of us:'

VOICES.

Depart for Jerusalem! Set forth, Jesus awaits!

.ALAIN. CHORUS ( Tutti) . Ah! Listen to the voice, The pale voice from out the night. o children, think of us! Do not forsake us like this! Forsake, ah! forsake us not! VOICES. !Oh! stay with us! Ah! little ones! IOh! dear children, go not! Set forth for J erusalen;l! Depart, Jerusalem lies far away, For Jesus waits! Far beyond the confines of Ocean! IOh' remain! Ah me! Do not for­ sake us! ALAIN. I 10 do not leave us! Stay with us, Ah! To us He is calling! LLittle children! Ah! go not! 79 FOURTH OONOERT.

CHORUS. of woods. A warm morning in spring• .Alas! Foolish ones! For your guide is a child, and THE CHILDREN. sightless! Children three were we, THE CHILDREN. Who were going on our way. And, as we went, lo! What if this world he sees not, We met with our blessed Lord, Jesus he can see, the Christ he sees! The sea will divide itself, Jesus Christ. The sea shall become dry land, ALAIN. We shall walk between the waves! Unto Jesus we go, unto Him! Allys, this hand of thine I hold is To reconquer the Holy City! all a-tremble; Art thou not weary, my beloved? I ALAIN. Speak to me; Thou, whose face I see not, What if this world I see not, Must be as fair as are the lilies of Jesus I can see, the Christ I see! God.

CHORUS. THE CHILDREN. Children three, what do ye here? Jerusalem lieth far away o'er the Be good to us, 0 Saviour dear, sea. And let us pluck the flower, we o Lord, have pity! Alas! foolish pray, . ones! ~hat all Thy grief shall take away. o Lord, have mercy, and keep them safe, ALLys. Pardon them, and keep them safe. Hear them all singing! Go not, foolish ones! Mad are ye! They are thronging along, o God, keep them safe, pardon They look like a swarm of bees, of them, 0 Lord. white bees. Like pilgrims they go marching on, CHORUS OF WOMEN. And staves they bear of hazelwood, o Lord, protect, 0 God, these in­ And green and leafy crosses. nocents. THE CHILDREN. PART II. And stave,s of hazelwood, I And green and leafy crosses. THE IDGHWAY. Flowering crosses, living crosses, A highroad between a broad meadow Crosses green and leafy. bright with flowers and a strip Be good to us, 0 Saviour dear. 80 THE OHILDREN~S ORUSADE.

ALLys. We shall see Jerusalem. Children three were we, Ah! how bright and fair this year Who were going on our way. is the spring! And, as we went, lo! Ah! how fair! We met with our blessed Lord, For our Lord, He is here with us Jesus Christ. now. Here -in this hawthorn so red, Be good to us, 0 Saviour dear, Behold the Lord, and in all things; And let us pluck the flower, we In the hum of wings, pray, And in the song of the crickets. That all Thy grief shall take away.

THE CHILDREN. ALAIN. Green crosses, white crosses, and o Lord! help me to bear this my in flower. cross, Creature that flyeth, That I am blind. Cricket that chirpeth. Be good to us, 0 Saviour dear. ALLYS AND ALAIN. o Lord, suffer the J..ittle children to ALAIN. come unto Thee. Ah! how bright and fair this year is the spring! THE CHILDREN. For our Lord is in all, Children three were we, In the wind blowing by, Who were going on our way. That over my face doth fling thy golden tresses. Oh! shall we see our blessed Lord PART III. Clothed in holy light?

THE SEA. THE CHILDREN. Shore of the M editerrwnewn near To Mount Olivet now go ye, Genoa, in the Gulf of Lyons. The And pluck the flower from off its silvery sand, spangled with bright tree. seashells and blue-tinted starfish, Come, help us pluck the flower, we sparkle in, the sunshine. pray, That all Thy grief shall take away. THE NARRATOR. Green crosses, flowering crosses, The sea, at last the sea, Lead us on, gladden our hearts. The mighty ocean, whose soft folds Soon we shall come to' the sea, of blue 81 FOURTH OONOERT.

Are edged abDve with white, THE CHILDREN. As were't 'a heavenly garment! N Del I Oh I here we are at last Sky sO' deep, alive with thy stars. At the wide blue sea! The sea! Crystal waters clear, pure and hDly! ThDU receiv'st that river divine, Where Saint JDhn did cleanse man- ALLYS. kind frDm evil. The sea; NDel1 In 'thee were reflected Here is the glDriDus Dcean I The faces and fDrms Df the ApDS':'" NDel1 The sea! tIes. Df o thDU cradle blue, THE CHILDREN. ThDU dDst nDt ebb nDr flDW, Bear thDu to' their Lord Hark! the sea is mDaning, These children that stray! Hark! the sea is murmuring. TO' the Christ I Jerusalem lieth there at the end of Bear the children Dn D'er thy blue this IDvely sea I waters, o hear hDW it laughs, ShDW them a face eve:t: fair Df Hear hDW it is moaning. heavenly blue; Hark I the sea is murmuring, Thy vDice to' them the gentlest Df LDOk hDW it laughs bright and blue! murmurs, And wear, thDU fDr them thy rDsiest ALLys. smile. With children thou shDuldst play, NDel! The sea! Noel! Caress them with thy tDuch. Jerusalem lieth there! o thDU cradle Df blue, 0 sea, NDel! NDel! Bear these children Dn to' their Jerusalem lieth there Lord! At the end Df this IDvely sea!

THE CHILDREN. THE ·CHILDREN. The sea! Oh here we are at last, The sea I The sea I Here's the wide blue sea! See there the lDvely sea, 'Tis the wide blue sea! NDel! NDel! THE NARRATOR. J erus·alem lieth there At the end of this IDvely sea I LDDk! lDDk I See these blameless Dnes All singing fDr JDY by thy bDrders! ALAIN. o thDU cradle of blue, take these Allys, I hear sDmething great com­ children to thee I plaining,

82 THE OHILDREN'S ORUSADE.

Hear it groan, hear it weeping. THE CHILDREN. Where are we now? Oh, where are we? Blue sea, bl~st waters, Baptize us all, be kind to us, ALLys. Thy children all. Alain, rejoice, dear! There is nothing complaining ALAIN. Or groaning or that weeps, Noel! It is the glorious sea, 'Tis the mighty sea that chanteth 'Tis the wide blue sea. for joy, It is the lovely sea, And its foaming waves, 'Tis the wide blue sea. Noel! Are murmuring and cooing like doves together, ALLyS. And each one of its murmuring waves sings Noel! Thy foaming billows are Hallelujah! Hallelujah! chanting for joy. Noel! Each of the foaming waves is sing­ ing THE CHILDREN. And is cooing for joy! Noel! Jerusalem lieth there o'er the lovely Noel! Noel! sea! Hallelujah! THE CHILDREN; ALLyS, ALAIN. I Hark! the sea is moaning, ALAIN. Hark! the sea is murmuring. 0, beautiful water blue! Jerusalem lieth there 0, let me now but dip my hands At the end of this quiet sea! In waves that lap on Palestine's border! ALLys.

CHORUS. Oh hark, hear it laugh! Its foaming waves are chanting for Hallelujah! Hallelujah! joy!

ALLyS AND ALAIN. ALAIN. Blest waters, blue sea, Hear, hear, now 'tis murmuring, , Baptize us thou, be kindly thou, Its foaming waves are chanting for Be kind to thy children twain. joy!

THE CHILDREN. CHORUS. Blest waters, blue sea, Hear, hear it laugh! Caress and baptize them, Hear how it laughs, the bright blue These little children all. ocean! 83 FOURTH OONOERT.

THE CHILDREN; ALLyS, ALAIN. With flowers of luminous tissues that move. Jerusalem lieth there, Jerusalem But come, children, come aboard! lieth there! All aboard! Noel! Noel!

THE CHILDREN. CHORUS OF MEN (SAILORS). Ahoy! sailor-lads, ahoy! A wonder! Here are the ships that by the They're the stars of the sky. town are sent, That have been drowned in the sea. The town of Genoa! A wonder! A wonder! The magistrates have ordered out these ships THE SAILORS. For Palestine land! Come aboard! Ahoy! Come aboard! Come! come! Many a time for a distant shore Have we chartered our courses, A SAILOR. Never yet have we had Such a force of fair hair among Nay, the stars there in the sea the canvas. Come from the Holy Land. 'Tis a flight of pretty little swal­ Lend an ear, young things, lows, And I'll tell you their story. A flight that's starting for the East Upon that Christmas night, Jesus, Jesus, guide Thou this pas­ When came to earth our blessed sage of swallows, Lord, Guard them, safeguard this passage (Lord of children is He, ) of swallows, On that same night was a star Guide them to Thee, created: Watch over Thy children. 'Twas great and blue. Watch did it keep o'er Him in the manger; THE CHILDREN. When He walked abroad, that star Look, Look! followed Him, See the stars here on the seashore, And the star did Jesus love. See the stars there in the sea! But when evil men slew Him wick­ Look, look! See, see! edly, See, they're all either violets or And when the blood of the Christ roses, flowed forth, Are the stars of the sea! This bright blue star did turn red and lurid, THE SAILORS. There fell from it tears of blood. In curious creatures the sea doth The .:fire that it wept dropped like abound, ram from the sky, 84 THE OHILDREN'S ORUSADE.

And when our Lord was dead, then CHORUS OF MEN. died the star, as well; Ahoy! sailor-lads, ahoy! And then fell the star in the sea, Come aboard now! it is time to and there was drowned. sail! Board the ships sent by the town THE CHILDREN. of Genoa! Noel! 'Tis for Jesus that all the (The Ohildren embark j it grows stars have been drowned, dark.) And have perished in the sea! CHORUS OF MEN.

ALLyS, ALAIN. The evening falls o'er the sea, And there the crescent moon rises Noel! Noel! 'Tis for Jesus that all redly, the stars have been drowned, And she s'ails through the sky as And have perished in the sea! were't a ship of fire. See, 0 see! THE NARRATOR. The wind of the evening is filling our spreading canvas. No, the stars, they have never per- Sail we o'er the lovely sea, ished, Sail away, for the wind is fair! But with Jesus they live above. FOT see! As the twilight falls, ALLyS AND ALAIN (The Ohildren). The sky doth turn roseate and tur- Sailing, sailing o'er the peaceful quoise, sea, And there the stars are a-shining, Sail we to Jerusalem, sail on to All alive above us there! the Holy Land, 'Tis Jesus that doth call, ever call Onward o'er the lovely sea, them to Him. onward to Jerusalem o'er the For Jesus said: quiet sea 1'1 am the Life, the Resurrection lThat rocks us through the night. from the dead." Onward, sail on, sail on.

CHORUS OF MEN. CHORUS OF MEN. Jesus said: Sail we o'er the lovely sea, ''1 am the Life, the Resurrection Sail we o'er the deep blue sea, from the dead." Sailing to Holy Land and to J e- rusalem, THE NARRATOR (With Ohorus). Onward o'er the lovely sea, Behold! In the sky, there on high Onward to the Holy City, in the sky Onward o'er the sea The holy, glowing souls of stars That rocks us through the night. are shining! L Sail on, onward, sail on, sail on. 85 FOURTH OONOERT.

PART IV. ALLyS. Oh! Alain! Alain! Oh! speak to me! THE SAVIOUR IN THE STORM. Alain, I have lost thee! Oh! THE NARRATOR. Spindrift blinds me! Alain! How dark the night is! The night has fallen on the deep, Alain! Alain! And the ship trembles here in the darkness! THE CHILDREN (WUh Ohorus). Hear how the wind-tauten'd cord- age is groaning De profundis libera nos, Domine. And complaining as in anguish! Alas! the billows 'are rising, CHORUS OF MEN. And the ship sobs and sighs ;gainst the waters! Keep a hold of the ropes all, Whirlwinds d'ark fill the air, Hold ye fast to the handrail! And whirlpools fierce churn the Lord, protect us now! Lord have water! mercy on us! De profundis libera nos, Domine. CHORUS OF MEN (Sailors). o Lord God, save us now, protect us now! Whirlwinds dark fill the air, o Lord, save us now! Whirlpools fierce churn the water! Ho! Stand by! stand by for the topsail! THE CHILDREN. Reef in the mainsail! o Herbert! 0 Dennis! 0 Eleonor! The hatch! close the hatch! Do not leave me here! Hurry to shut the portholes! o Bernard! 0 Herbert! 0 Eleonor! That wave, the huge one, O! 'twill Hold me close to thee ! fall upon us! Hold hard the tiller, hold hard! CHORUS. For that awful wave is going to fall upon us! De pl'ofundis libera nos, Domine. To brace the foremast, all hands! o Lord God, save us now, protect Look alive! the mizzen is falling I us now! The tiller is gone! o Lord, save us now! Captain! Captain! Where is the captain? ALLyS. The mainmast's going! Ah! Alain, I'm frightened! Oh! where art thou? THE CHILDREN (With Ohorus). Spindrift blinds me, I cannot see! De profundis libera nos, Domine. Art thou there? Alain! 86 THE OHILDREN~S OllUSADE.

ALAIN. CHORUS. Allys, hallelujah! hallelujah! We had eyes, as well, yet we could I see, I see such a radiance, not see, One glorious burst of brightness! This child that's blind Noel! Noel! I see the Lord! Sees the Lord here in the darkness. Happy he, though blind, that sees the Lord in His glory! ALLys. Where Jesus reigns! Hallelujah! Oh!

ALAIN. THE CHILDREN AND SAILORS. Allys, my beloved! let me have thy De profundis libera nos, Domine. hand, For now I am to lead thee, be­ loved! ALLYS. See! look there, 0 look there into Alain! Dost see the Lord? the brightness! Alain, where see'st the Lord? Ah! See, there is the Lord! Look ye all! Oh lobk ye at the radiant brightness! ALAIN. He is there, we shall go to Him. Up there, on high. Hallelujah! The Ohrist is there, Halleluj'ah! We're going to Him, to Jesus, to Our Lord is there, in that great God. radiant brightness!, Then on to Him! Hallelujah! Noel! Noel! I see the Lord! ALLys.

CHORUS OF MEN. Take thou my hand, lead thou me on Hallelujah! Toward the radiant brightness! Ah! I see the Lord! Ah! I see! . I see Jesus! Oh! my brother, lead THE CHILDREN. me on to Him, Noel! He is there, we shall go to Him. He is there, I can see, we're going THE NARRATOR. to Him, Eyes had they, as well, yet they To Jesus, to God. Then on to Him! could not see! Hallelujah! This child, though blind, THE CHILDREN (With Ohorus). Sees the J..Iord here in the darkness. Happy he, though blind, that sees Hallelujah! Happy he, though the Lord in His glory! blind, 87 FOURTH OONOERT.

That sees the Lord in His glory! And come, ye little ones, rejoice, This child that's blind leads us on live again, to God. And be full of joy, ye little ones; The sightless child leads us on all o come, 0 come! in the darkness. Jesus is there, He is there, we shall go to Him. CHORUS ( Tutti) • He is there, I see Him, we shall go Hallelujah! to Him, For all your sorrows on earth To Jesus, to God. Then on to Him! Be turned to joy in Heaven! Halleluj ah! Hallelujah! THE VOICE FROM ON HIGH. Eyes but lately blind on earth, Now are open for ever. Suffer little children to come unto Resurrection! Resurrection! Me. Hallelujah! Hallelujah! MYSTIC VOICES. All things that blessed are and holy Shall end in joy. . Children that were Christ's, now Hallelujah! Hallelujah! have risen again. Ah! celestial flowering forth of terrestrial sorrows! CHORUS OF WOMEN (Ohorus Holy joy! joy of joys! Seraphious) . End victorious of every trouble! Ah, ye souls baptized anew in deep­ Joy of joys! Holy joy, est waters, Joy of joys, joy everlasting, Unto Life everlasting born again, Joy of joys! Hallelujah! Joy of rej oice, rej oice ! joys!

88 FIFTH CONCERT.

SYMPHONY No.7, Op. 92 ...... BEETHOVEN

POCO sostenuto. Vivace. Allegretto. Presto. Allegro con brio.

HIS great Symphony has called forth volumes of critical comment, and innumerable suggestions as to its mean­ T ing. On one point, however, all have agreed-that it is a delineation of joy and mirth. One writer has treated it as the description of a wedding; another of Moorish knighthood; a third of a masked ball, while a fourth thinks it a sequel to the Pastoral Symphony. Wagner, struck by the strongly marked rhythm which pervades the whole work, speaks of it as "the apotheosis of the dance, the ideal embodiment in tones of bodily movements." The introduction is full of striking beauties, and sounds the joyous keynote for the entire work, which has a tinge of melan­ choly only in the second movement. It is the only one of Beet­ hoven's introductions written in moderate tempo, the rule being to have the introduction form a sharp contrast to the rapid first movement. In this case, apparently, Beethoven did not wish that his music, the embodiment of joy and gladness, should be over­ shadowed by a gloomy cloud even for a moment. It is character­ ized by the following pleasing cantabile, given out by the first oboe supported by the second oboe, clarinets and bassoons: -89- FIFTH OONOERT.

In the vivace the flutes and oboes, which have been hesitating and alternating with, the violins on E,at the close of the intro­ duction, continue the note Without interruption for five bars in the more rapid tempo. In the sixth bar the first flutes, supported two bars later by the clarinets and bassoons, lead off with the first period of the theme:

Vivace. fSem:pre &va. ~!f1t~'7tt:trY. I]@-W': J7fP ~Jtj ~ fJ • I .>""·G~· m j t# J:J? ~ bill

The melody thus begun, together with the second period, is decidedly rustic in its character; it forms the theme of the whole movement, yet so successfully ~oes the composer treat it, and so varied are the imitations and modulations employed, that it does not become wearisome for a moment, but on each appearance is heard with a thrill of delight. The second period of the melody is taken up by the flute and oboe immediately at the close of the first:

D etc.

-90- SEVENTH SYMPHONY.

One of the most beautiful and chaste of all the great master's symphonic movements, and a worthy companion piece to the cele­ brated andante of the Fifth Symphony, with which we love to asso~ ciate it, is the second movement of this symphony, an allegretto in 2-4 time. Amid the festive strains of the 'work, it comes like a brief interval, in which the absence of some dear familiar face conjures up recollections of past scenes and past delights. It breathes in every bar a sweet melancholy like the distant murmur­ ing of the sea, and the incessant beating of its peculiar rhythm falls upon the ear like the musical plashing of tiny wavelets upon the beach or the pattering rain drops upon the forest's leafy roof. There is hardly a bar in the movement in which the regular stroke of its marked rhythm is not heard; but so far from being in the slightest degree monotonous, this very feature is one of the work's chief beauties, and one which most strikingly demonstrates the greatness of the master's genius. After two bars, in which the oboes, clarinets, bassoons and horns sound the minor chord, which dies away like a sigh with the first beat of the third bar, the sub­ ject of the movement is hear~, coming like a mere aspiration from the low register of the violas, harmonically supported in the same rhythm by the violoncellos and basses. It is entirely developed in this form, the concluding strains dying away into the softest pianis­ simo. The lovely second melody, which, beginning in the tenor as a subordinate accompaniment, becomes, after a while, the prin­ cipal tune of the orchestra. More striking still, perhaps, is the passage where the clarinets come in with a fresh melody, the key changing at the same time from A minor to A major, ~nd the' effect being exactly like a sudden gleam of sunshine. During this heavenly melody, the bass with a kind of grim repose, keeps up inexorably the march rhythm with which the movement started, and /which is maintained even through the fughetto, which so' effectively continues the latter half of the movement. No wonder that the allegretto was encored at the first performance of the- symphony. The whole of the presto is a marvel of grace and lightness, the -91- FIFTH OONOERT. very incarnation of that laughter which bubbles up from the soul, breaks forth in merry ripples of sound, and, dying away, leaves the countenance beaming with a smile of serene contentment and perfect happiness. Its joyous pulsations are purer, more exalted, less boisterous than the bacchanalian finale. The movement is a striking example of Beethoven's boldness, his audacity in repeating again and again strains, and even whole movements, which he knows will be effective. There is no introductory chord, but from the very first bar the merry theme bursts from violins, fiutes and bassoons simultaneously, and is played to its conclusion, which provides for the hearer the first startling surprise. Instead of con­ cluding on the dominant or tonic, as would naturally be expected, it ends, by a bold and brilliant transition, on A. The theme is then repeated at once in the same manner, and, after an interlude, taken up by the reeds in the key of B-fiat, to a joyous accompani­ ment on the strings, first, pizzicato, and then in bowed staccato notes. The whole presto, as it has now been developed, ending with the coda, the tone A sustained by the orchestra in different octaves through four bars, is repeated before the trio is entered upon. This is built upon the following theme:

It is taken up at once and carried out to its conclusion by the clarinets, bassoons and cornets, and subsequently by all the other wind instruments, while high above the melody the violins hover on A, sustained through fifty-six bars. Only at every seventh and eighth bar do they descend a semi-tone for half a beat, as though to take breath. Subsequently the strings unite their voices to the other instruments in executing the theme, when a like feat is -92- SEVENTH SYMPHONY. accomplished by the trombones and tympani, which obstinately sus­ tain E and A until the end is reached. The presto is now re­ peated, followed by the trio, and again by the presto. After the coda, the first phrase of the trio is again sounded dolce by clari­ nets, bassoons and cornets, and the movement hurries to a sparkling and original conclusion by a succession of full chords fortissimo on the first beat of five bars. The finale bubbles over with mad fun, a ceaseless frolic from the opening bar to the closing chords. Unlooked-for modulations, extraordinary transitions, abruptly marked nuances, and novel iIi­ strumental effects meet us in every page of the score. Two chords, given out very abruptly and loud by all the instruments, precede the subject of the movement.

The coda, introduced by an overpowering pedal point, is of extraordinary brilliancy and worthy to close a masterpiece full of taste, phantasy, knowledge and enthusiasm. Grove gives an interesting account of the first performance of the symphony on December 8, 1813, in the large hall of the Uni­ versity of Vienna, at a concert arranged by Maelzel, nominally for the benefit of the soldiers wounded at Hanau: Beethoven conducted the performance in person, hardly to its advantage, notwithstanding the extravagant gestures described by Spohr, for he was at that time very deaf and heard what was going on around him with much difficulty. The orchestra presented an unusual appearance, many of the desks being tenanted by the most famous musicians and composers of the day. Haydn was gone to his rest, but Romberg, Spohr, Mayseder and Dragonetti were pres­ ent, and played among the rank and file of the strings. Meyerbeer, of whom Beethoven complained that he always came in after the beat, and Hummel had the drums, and Moscheles, then a youth of 93 FIFTH OONOERT. nineteen, the cymbals. Even Beethoven's old teacher, Kapellmeis­ ter Salieri, was there, "giving time to the drums and salvos." The slow movement of the symphony was encored, and the success of the concert was extraordinary. Beethoven was so much gratified that he wrote a letter of thanks to all the performers. The concert was repeated on the 12th of December with equal success, includ­ ing the encore qf the allegretto.

THREE SONGS ...... SCHUBERT

MADAME SCHUMANN-HEINK.

THE YOUNG NUN. ( Orohestration by Liszt.) Now roars o'er the housetop the loud howling storm: And clatter the rafters, and trembles the house; There rolleth the thunder, there red lightnings flash. The night is all gloom like the tomb. Well and good, well and good, E'en so tempest toss'd once was I! So life raged within me like yon raging storms So trembl'd my frame like this frail trembling house; Love flamed in my heart like yon lightning flash, This soul was all gloom, like the tomb. Now rage on thy way, thou wild mighty storm, My bosom is tranquil, my heart is at rest; The bride for the Bridegroom will patiently stay, Her spirit in cleansing fire is tried, For pardon she trusts to His infinite love. I wait still Thy coming, with yearning abide, Come, heavenly Bridegroom, take Thou Thy bride, Her spirit set free from her prison of clay! Hark! softly pealing from yonder tow'r sounds the bell, It calls ,me with sweetest tone, And bids me seek on yonder height E'en Him, who there reigns in power and might. Hallelujah! 94 THREE SONGS.

DEATH AND THE MAIDEN. (Orohestration by M ottZ.) THE MAIDEN. Pass onward, Oh! pass onward, Wild man with skinless bone! I'm but a girl, away then, And leave the young alone.

DEATH. Give me thy hand, my fair and tender child, As friend I come, and not to chasten. Be of good cheer, I am not wild; To sleep within these fond arms hasten.

THE ERLKING.

(Orohestration by Berlio~.) Who rides there so late through night so wild? A loving father with his young child. He clasp'd his boy close with his fond arm, And closer, closer to keep him warm. Dear son, what makes thy sweet face grow so white? See, father, 'tis the E:rlking in sight! The Erlking stands there with crown and shroud! Dear son, it is some misty cloud. "Thou dearest boy, wilt come with me? And many games I'll play with thee; Where varied blossoms grow on the wold, And my mother hath many a robe of gold." Dear father, my father, say, didst· thou not hear The Erlking whisper so low in mine ear? Be tranquil, then be tranquil, my child, 'Mong wither'd leaves the wind bloweth wild. "Wilt come, proud boy, wilt thou come with me? Where my beauteous daughter doth wait for thee; With my daughter thou'lt join in the dance ev'ry night, She'll lull thee with sweet songs to give thee delight." Dear father, my father, and can'st thou not trace The Erlking's daughter in yon dark place? 95 FIFTH OONOERT.

Dear son, dear son, the form you there see Is only the hollow grey willow tree. "I love thee well, with me thou shalt ride on my course, And if thou'rt unwilling, I seize thee by force." Oh father! my father, thy child closer clasp, Edking hath seiz'd me ~ith icy grasp! His father shudder'd, his face grew more wild, He held to his bosom his poor swooning child. He reach'd that house \Vith toil and dread, But in his arms, lo! his child lay dead!

CONCERT OVERTURE', Cockaigne (In London Town), Op. 40 ...... ELGAR

This overture, although in sonata form, does not present the subject from a general point of view, but rather as a succession of scenes, in the manner of a panorama. The composer imagines a pair of lovers setting out for a stroll through London -streets. It is a fine afternoon; the thoroughfares are animated, and the cur­ rent of the great city's vitality runs strongly through every avenue. This picture is followed by a section expressive of the sincere and ardent spirit underlying the Cockaigner's frivolity and luxury. rrhe lovers turn into one of the parks and, yielding to the quieter influence of the scene, concern themselves with their own personal romance. Weare to recognize the spirit of their conversation, and follow the fluctuations of their passionate feeling. They are some­ what rudely interrupted by the pranks of Young London, pert and nimble as the apprentice in Die Meistersinger. In the streets again, our pair presently catch the distant strains of an approach­ ing military band. The music becomes louder and louder till the­ band passes with strenuous blare and clang, presently dying awa.y. The lovers next enter a church. The organ is playing, but the noise of the tumultuous life without penetrates within, and the result is a polyphonic blend of the secular and religious. Passing once more into the streets, the lovers find all their former experi­ ence repeated and intensified. Such, briefly, is the argument. 96 'W ALDWEBEN.

ARIA, Samson and Delilah ...... SAINT-SAENS MADAME SOHUMANN -HEINK.

[Sung by DeUlOlh to Samson in the third scene of the second aot.]

My heart at thy: dear voice Opens wide like a flower Which the morn's kisses waken; But that I may rejoice,' That my tears no more shower, Tell thy love still unshaken I Oh, say thou wilt not now Leave Delil'ah again! Repeat with accents tender Every passionate vow, Oh, thou dearest of men! To the charms of love surrender I Rise with me to its heights of splendor!

WALDWEBEN, Siegfried ...... WAGNER

This exquisite and familiar music, whose popular title, Wald­ web en, means, in English, Forest Sounds, occurs in the second act

, of the opera; and was arranged. for concert performance by Wag- ner himself. Young Siegfried, as he sits alone, musing, under a great lime tree, hears the forest murmur and the song of birdo. He cuts a reed with his sword and makes a pipe out of it, on which he tries to imitate the notes of one of the birds, in the hope of dis­ c~vering the sec,ret of its langUage, and learning thereby some­ thing of his dead mother:- The piece is an idyllic intermezzo of almost symphonic proportions, replete with the '~weetest charm of romanticism.

97' FIFTH OONOERT.

BRANGANE'S WARNING, Tristan and Isolde . . WAGNER MADAME SCHUMANN -HEINK.

(An'\:'interlude in the duet of Tristan and Isolde in the second act. The lovers sink: down 0;;" the flowery bank, completely carried away by passion and remain thus. The warning voice of the faithful Brangane is heard from the turret.)

I watch alone by night: Ye enwrapt in love's delight, Heed my boding voice aright. I forewarm you woe is near: Waken to my words of fear! Hav~ a care! Swiftly night doth wear!

SIEGFRIED'S RHINE JOURNEY, Gotterdam- merung ...... WAGNER

This stirring music closes the prelude to the opera. At break of day Siegfried bids farewell to Briinnhilde, and clad in full armor, sets out in search of new adventures. Briinnhilde gazes after him from the height as he leads the horse she has given him down the rocks. From the valley the merry sound of his horn is heard. The orchestra takes up the melody, which blends entrancingly with the skipping figure of the Loge motive. Then we hear the song of the Rhine daughters, an

98 SIXTH CONCERT.

VORSPIEL, Die Meistersinger ...... WAGNER

HIS sumptuous Vorspiel is constructed from some of . the principal themes of the opera, opening with the T Mastersingers' motive, a pompous march-theme re­ peated forthwith in F major, and followed by a short development of a more tranquil motive, Awakening Love, which leads to the entrance of another march-theme known as the Banner or King David motive. The latter, which reappears throughout the opera at all the important functions of the Mastersingers, is developed at considerable length, after which a figure from the opening theme is worked up elaborately in the full orchestra. A short interludiary episode then leads to a melodious motive, Love Confessed, which will be recognized as one of the phrases of the well-known Prize Song. This is followed immediately by a restless motive, Impatient Ardour, which re­ appears fitfully now and again / during the succeeding humorous parody of the ostentatious Mastersingers' motive, worked up in the wood-winds staccato in conjunction with a droll counter figure, the Apprentices' Derision of Beckmesser, borrowed from t~e scene of the singing contest in the last act. Wagner's brilliant musicianship and originality of invention are forcibly illustrated in the conclusion, where the three princi­ pal motives are all worked up together, the Mastersingers' motive appearing in the basses and tuba, the Banner motive in the wood­ winds, and the Love Confessed motive in the first violins, violon- 99 SIXTH OONOERT. cellos and other wind instruments, the rest' of the orchestra supply­ ing ingenious and elaborate embellishments, and the whole mount­ ing ste~dily to a gorgeous climax.

THE BLESSED DAMOZEL ...... DEBUSSY

Claude Debussy, the production of whose opera Pelleas and Melisande in New York this year attracted so much attention, was born at St. Germain-en-Laye, near Paris, in 1862. He studied at the Paris Com;ervatoire, and, after gaining many minor prizes, was awarded the Prix de Rome in 1884 for his cantata The Prod­ igal Son. The Blessed Damozel was composed during the second year of his residence in Rome. It is based on the English poem of the poet painter, Dante Gabriel Rossetti. Rossetti was one of the half dozen major poets of the later Victorian era~ and was associated with Morris and Swinburne in the artistic revival vaguely known as Pre-Raphaelitism. The rich imagery and mystic passion of the poem appealed to Debussy's love of reverie. Rossetti was inspired by a perusal of Edgar Poe's Raven. He saw that Poe had done the utmost possible with the grief of the lover on Earth, and determined to reverse the condi­ tions and give utterance to the yearning of the loved one in Heaven. This is the spirit which Debussy has caught and tran­ scribed so wonderfully in this setting of the Blessed Damozel, for women's chorus, soloists and orchestra. It opens with characteristic melodic themes which evoke a feeling of remoteness and mystery. A solemn chant, followed by an expressive lyrical melody, pensive and sweet, forms 'the intro­ ductory orchestral prelude. A chorus of sopranos then describe in flexible cadences the appearance of the Blessed Damozel at the "gold bar of heaven.~' The second verse i~ sung in recitative to an accompaniment of broken arpeggios. A selection of the next nine verses of the poem are sung by the narrator and chorus re- 100 THE BLESSED DAMOZEL. spectively, and then in melodic accents the Damozel's words are sung by a soprano. Especially beautiful is th~ mqment when

The light thrilled towards her, fill'd With angels in strong level flight.

The orchestration is then of ethereal delicacy. The appearance of the luminous heavenly cortege is wonderfully well portrayed, ad also when it has passed and

"Their path Was vague in distant spheres."

At the close the pen~ve introductory melody reappears, ex­ pressive of the final dejected attitude of the Blessed Damozel leaning on the golden barrier, weeping, with her face between her hands. As the composition is solely for women's voices' the lover's verses are not set to music, and his concluding comment, "1 heard her tears," is omitted. It is only suggested at the end of a short orchestral epilogue by the combined voices singing I J "Ah!" on the chord of C major.

The blessed damozel leaned out From the gold bar of Heaven; Her eyes were deeper than the depth Of waters still'd at even; She had three lilies in her hand, .And the stars in her hair were seven.

Her robe, ungirt from clasp to hem, No wrought flow'rs did adorn, But a white rose of Mary's gift, For service meetly worn; Her hair that lay along her back Was yellow like ripe corn.

101 SIXTH CONCERT.

Around her, lovers, newly met 'Mid deathless love's acclaims, Spoke ever more among themselves Their heart-remembered names; And the souls mounting up to God Went by her like thin flam~.

And still she bowed herself and stooped Out of the circling charm; Until her bosom must have made The bar she leaned on warm, And the lilies lay as if asleep Along her bended arm.

The sun was gone now; the curled moon Was like a little feather Fluttering far down the gulf; and now She spoke thro' the still weather. Her voice was like the voice the stars Had when they sang together.

"I wish that he were come to me, For he will come" she said. ''Have I not prayed in Heaven-on earth, Lord, Lord has he not prayed? Are not two prayers a perfect strength? And shall I feel afraid?

"When round his head the aureole clings, And he is clothed in white, I'll take his hand and go with him To the deep wells of light; As into a stream we will step down, And bathe there in God's sight.

"We two will lie in the shadow of That living mystic tree Within whose secret growth the Dove Is sometimes felt to be, While every leaf that his plumes touch Saith his name audibly. 102 THE BLESSED DAMOZEL.

"We two," she said, "will seek the groves Where the lady Mary is, With her five hand maidens, whose Names are five sweet symphonies­ Cecily, Gertrude, Magdalen, Margaret and Rosalys.

"He shall fear, haply, and be dumb; Then will I lay my cheek To his, and tell about our love, Not once abashed or weak! And the dear Mother will approve My pride, and let me speak.

"Herself shall bring us hand in hand, To Him round whom all souls Kneel, the clear-ranged unnumbered heads Bowed with their aureoles; And angels meeting us shall sing To their citherns and citoles.

"There will 1 ask of Christ the Lord Thus much for him and me: Only to live as once on earth With love-only to be, As then awhile, fOT ever now Together, I and he."

She gazed and listened, and then said, Less sad of speech than mild, "All this is when he comes." She ceased. The light thrilled towards her, filled With angels in strong level flight. Her eyes prayed, and she smiled.

(1 saw her smile.) But soon their path Was vague in distant spheres; And then she cast her arms along The golden barriers, And laid her face between her hands And wept. (1 heard her tears.) 103 SIXTH OONOERT.

SCENE AND ARIA, Abscheulicher, Fidelio J BEETHOVEN

MADAME GADSKI.

(Leonora enters, in violent agitation, from the side opposite to that on which Pizarro and Rocco have gone off, having overheard the plan for killing Florestan.)

RECITATIVE.

Insatiate I thy teeming brain would fain Invent some vile conceit of hideous mischief. Sweet pity's beam her crystal tribute ,Can ne'er from that cold heart distil, Yet, though thy passions come like thunder, Full on my smiling heav'n of bliss, Mine eye can yet see one fair rainbow Of faint existence 'gainst the gloom.

ARIA. The snowdrop peeps beside the rose, Their native worth unblighted. On this fond .bosom both repose, True love, with hope united. I know their fresh young beauty Gives courage life, And bids the wife Fulfill her sacred duty. Ah, could I, like the golden, day, Pierce to the cell to bless thee, And shed affection's holy ray, Where chains and want oppress thee!

PSALM XIII ...... LrszT

The text of the thirteenth psalm lends itself readily to one of Liszt's most characteristic moods, and accordingly we are not sur­ 'prised to find a musical setting of the words of the Psalmist for tenor solo, chorus and orchestra, in a free form, closely related to that of the composer's, symphonic poems. The fervid sup plica- 104 LIEBESFRUHLING. tion of the P;:;alrmist, "Lord, how long wilt Thou forget me," is the keynote, and contrasts powerfully with the lovely music of the prayer that follows, "Look on me and answer me." The song of praise, which opens with triumphant strides, "I will to God sing aloud," ends in the tranquil andante with which the work closes. Lord, how long wilt Thou forget me? for ever? how long wilt Thou hide Thy face from me? How long, 0 Lord, shall I take counsel within my spirit, having sorrow within my heart all the day? How long shall they that hate me be exalted against me? Look on me, and answer me, 0 Lord, my God; enlighten Thou mine eyes, lest I soon in death be sleeping, And lest my foes glory, for that they are mighty against me, and lest mine adversaries be exulting, because I am moved. But I have trusted herein, that Thou so gracious art; my heart joys herein, that Thou art nigh to save. I will to God sing aloud, for He so well to me hath done.

OVERTURE, Liebesfriihling ...... GEORG SCHUMANN

This attractive overture of Georg Schumann, who was born at Konigstein, Saxony, on October 25, 1866, was published in 1901, and played for the first time at Berlin on April 1 of that year under the direction of Arthur Nikisch. The work, which originally was entitled "Friihlingsfeier," is an interesting example of modern symphonic writing, opening with a sort of throbbing of the smaller wood-winds, below which the violonQellos give out the first of the principal themes; a rather long-spun melody of passionate hue, which is carried on by the wood-winds. Sundry pendent developments then lead to the taking up of this 'i:3ubject by the violins and violas, offset by various counter materials in other instruments, and the appearance of the expressive second theme in the wood-winds, with the essential motive in the solo clarinet, the spinning out of which leads to a 105 SIXTH OONOERT. pendent melody in the violins in octaves. Such are the principal thematic elements of the movement, the quasi-rhapsodical de­ velopment of which runs mainly on the first theme and its deriva­ tives and the second theme's pendant; the whole leading to the orthodox recapitulation, which begins with a restatement of the first theme, now in the smaller strings and otherwise treated some­ what differently than before. The second theme and its' pendant follow in due time, with the customary changes of key and sundry other differences of treatment, and scoring, and the movement cornea to an end with a brilliant climax.

ARIA, Dich, theure Halle, Tannhiiuser ...... WAGNER MADAME GADSKI.

(Sung by Elizabeth in the first scene of the second act preceding the tournament of song.)

0, hall of song, I give thee greeting! All hail to thee, thou hallowed place! 'Twas here that dream, so sweet and fleeting, Upon my heart his song did trace. But since by bim forsaken A desert thou dost seem, Thy echoes only waken Remembrance of a dream; But now the flame of hope is lighted, Thy vault shall ring with glorious war, For he, whose strains my soul delighted, No longer roams afar. All hail to thee! thou hall of glory, Dear to my heart, thou hall of glory!

SCENES FROM OLAF TRYGVASSON, Op. 50, GRIEG

When this dramatic work was performed at the festival of 1898, it was received with such enthusiasm that the Association 106 SOENES FROM OLAF TRYGVASSON. was obliged to yield to the popular demand for a second perform­ ance, and give it again at the closing concert of the festival. Grieg deliberately mapped out for himself as the task of his life the casting of the folk melodies of hi8 native country, N or­ way, into artistic forms, and rested content with cultivating ex­ clusively the comparatively circumscribed sphere in which he could do this. When he returned from his studies at Leipsic, the name of Gade, in whose music Scandinavian influence was ap­ parent, attracted him. To Copenhagen and Gade then he turned in 1864. There he met a talented and promising young N or­ wegian composer, N ordraak, whose enthu~iaS!Ill. for the folk music of his native country took Grieg captive, and aroused in him the determination to turn this material to account in higher art forms. To this determination Grieg remained true. N ordraak died in 1865 at Berlin, but Grieg found in his friendship with Svendsen and Hjenilf continued inspiration in the pursuit _of his object. He returned to Christiania, and, with the assistance of Svendsen, founded the Musical Union of that city, which proved of great potency in cultivating the musical taste of the people and bringing home to them the artistic value of their own music. In these efforts he was encouraged by the poet Bjornson, who de­ voted hims-elf to performing for Norwegian literature the service­ which Grieg now proceeded to render to N oTWegian music. A number of Grieg's songs are set to poems by Bjornson, and some of his more comprehensive works, a8 the incidental music to Si­ gurd Jorsalfar and to Olaf Trygvasson, owe their origin to Bjorn­ son's dramatic writings. It must not be supposed that Grieg has confined himself to adapting folk songs or making use of folk melodies in his compo~ition. Though he has often done this, his individual gift of melody was sufficiently resourceful to make him independent of such help. Yet he appears determined to impress. on all his compositions the peculiar characteristics of Norwegian music, and this he accomplishes by investing them by Bubtle meth- 0ds with the mood prevalent in that music, and by limiting him­ self to the smaller forms in which this can be done without fall- 107 SIXTH OONOERT. rug victim to monotony or diffuseness,. Grieg's sympathies' are with the romantic school which strives for the conveyance of emo­ tionality in its highest potency by means of peculiar rhythms', strange. melodic progressions, emphasized by rich-hued chromatic harmonies, and the free use of dissonances. Fascinating is the tender melancholy of his tones when he lapses into the song form, and stirring are the grotesque modulations, and at times harsh colors, to which he resorts in instrumentation when he turns to dance forms, and to dramatic, not to say melodramic, concepts. Nor is he a stranger to the mysterious undercurrent which coursed in the Northern legends and sagas, or to the cruelly passionate outbursts which are so characteristic of their heroes; of this the setting of the scenes from Bjorn~on's unfinished drama, Olaf Trygvasson, afford eloquent proof. Olaf Trygvasson devoted himself to a viking life and became famed for his daring and successful plundering expeditions, un­ til in the course of these he landed in England and took up Chris­ tianity. Returning to Norway in 995~ he found the people in rebellion against Earl Hakon the Bad, and succeeded in having himself proclaimed king. His efforts during his reign of five years were principally directed towards Christianizing the coun­ try, not S'O much by real conversion as by the exertion of his will power, supported when necessary by the infliction of punishment and torture. He fell in the most famous naval battle of Nor­ wegian history. Commanding his great ship, the Long Serpent, and accompanied by a strong fleet, he met his enemies, the Kings of Denmark and Sweden, off the German coast. Induced by treachery to pass by the island behind which they lay, he was at­ tacked when the la.rger part of his fleet had sailed on. Ola£ fastened together the few ships which had remained near him, with the Long Serpent in the center. They were boarded one after the other, and the crews slain. At last the Long Serpent alone was left. The legend goes that Olaf's men were so blind with rage that, in attempting to leap into the enemia's' ships that sur­ rounded them, but were too far off to be reached, they £ell into 108 SOENES FROM OLAF TRYGVASSON.

the sea and perished. Finally Olaf threw himself overboard in his armor. Unable to believe that Olaf had! perished, his people for years awaited his return, in the hope that the rumors of his having been seen in foreign countries were true. The scenes from the drama constructed on these occurrences, which Grieg has provided with incidental music, deal of Olaf's struggle to introduce Christianity in Norway.

The Voelva ...... MIss JANET SPENCER. A Woman ...... MRs. RIDER-KELSEY. The Sacrificer ...... MR. BAKER. The High Priest ...... MR. WITHERSPOON. Tenor ...... MR. BEDDOE. Men and Women ...... SOLI AND CHORUS.

(The action takes place in an ancient Norman temple in the Drontheim district at the time of Olaf Trygvasson's appearance. Period: End of tenth century.)

SCENE I. THE SACRIFICER. Thou to whom fancy lends many titles, giver of runes and of magic! Working before the world's beginning, thou who outgazest from Lidskialf:

THE MEN. Hear us! hear us! A WOMAN. Tender mother Frigga, sorrowing for Balder, bearing in thy bosom all worldly woe! Comforter of Odin, nourisher of Nature, drawing all life and care into Fensal: THE WOMEN. Hear us! hear us! THE SACRIFICER. I Trudfang Hlorrida, Bilskiner's fire-flame, thou of the strength-belt and hammer, shield of the Aesir and of. the Northmen, ever the dread of the giants: THE MEN. Hear us! hear us! 109 SIXTH OONOERT.

A WOMAN. Beauteous weeping goddess, silent widow Vanadis, love's distress thine own loss taught unto thee I Let our tears of sorrow with thine own be mingled: thou who dost gov- ern half of the living: THE WOMEN. Hear us! hear us! THE SACRIFICER. Horn-bearing Heimdal, Ull in Ydaler, Nyord, mighty ~orthdwener, hear usl Alfenheim's joy, Landvida's sorrow, long-bearded minstrel, and thou Tyr: THE MEN. Hear us! hear us! A WOMAN. Ever youthful Idun, Sif of golden harvests, Saga of the streamlet, Skada of hills, All ye mighty Aesir, Vanir ,and Valkyrir, hear our complaining; earth­ ward oh, hasten I THE WOMEN. Hear us! hear us! CHORUS. Other gods are now arising; gods of power, gods of battle! Help us, help us; Mitgard trembles; gods alone with gods can wrestle Ye who from the Urder fountain pour life-strength into our bosoms; Ye ,alone who lmow his will, the Father in gold canopied Gimle; Ye in Odin's ear who whisper softly as each day awakens; Ye who were ere the world's beginning, ye who will be when 'tis wasted: Show us, show our Fates the pathway to him, the god so long awaited I Hear us! SCENE II. TRE VOELVA. (From an elevation in the foreground.) 'Tis not enough that ye invoke N ornir and Aesir. Runes must be graven duly, evil to disperse from the pathway which to the gods doth lead. There-see the gathered hosts I

Upon I their horns howling to hide our voices, that the gods never may hear us! 110 SOENES FROM OLAF TRYGVASSON.

CHORUS. o prophetess mighty, rise in thy magic! Fill heaven and earth with Odin's word!

THE VOELVA. (Raises herself so that she stands high above all the others.) Spirits base, basely mastered, ye who come from the southlands: With Hel soon shall your feast be holden; Plague shall gnaw, serpents send through your veins deadly venom. Let Hel's hounds awake, howling and foaming. Monsters filled with madness, for your blood thirsting blindly! For Hel no fitter food can afford them! With Hel here in the north your feast is.

CHORUS. o prophetess mighty, etc.

THE VOELVA. (Who has been carving runes, now continues to cut eagerly.) Spirits base, basely mastered, ye who came from the southland, To Hel soon your way be wended! Evil ones, away, away! The Thunderer's weapon awaits ye! To Hel soon shall your way be wended! Runes I wrote on a staff I rent from the altar of Odin. To Hel straightway its charm consigns ye! To Hel! Runes will lead Loki's lot unto the doors of his daughters! With Hel ye shall devour that writing!

(She casts the rune-stuff upon the sacred fire, which immediately blazes up till the flames touch the roof. A fearful crash, ending in peals of thunder which die away in the distance, shakes the temple.)

CHORUS. Wondrous word of Odin goes to Mack abyss, to heaven's height! Awful returneth the answer. THE VOELVA. Answer came from Hel, from high gods; all fear it, yet not I? Now let us kneel to them! Every path is free! So I will pray them first! Yes, I will pray them first! Gods, ye holy, eternal gods! Are ye here? then heed me!

111 SIXTH OONOERT.

Where find we the fiat which governs our fate? Where bends your balance, ordering all? Show, ah, show to me, ye mighty ones, Where ye will strike the evil Olaf? Where? where? Gods all governing, endless, omnipotent Aesir! I-I pray, devoted to Odin from my youth, By the gray wolf's heart, by the raven's tongue, by my sacrifice in sleep­ ·less nights; I-I pray you! Show me, ye mighty ones, where ye will strike the evil Olaf? (Thunder I The background of the temple is rent asunder. The temple is seen as if in the distance, surrounded by smoke and flames. As long as the temple remains visible the thunder continues to peal.) Here, here hasten the holy ones! Here, here hurtled the vengeance of heaven!

CHORUS. Here, here hasten the holy ones! Here, here strikes him the vengeance of heaven!

THE VOELVA. (When the apparition has vanished.) In our hall he must enter; let him go in, ne'er to come forth again!

CHORUS. In our hall, etc. THE VOELVA. Let this be told to him: we will believe if he comes safely forth!

CHORUS. We will believe if he comes safely forth!

THE VOELVA. This must be told to him: let his god go into our gods!

CHORUS. Let his god go into our gods!

THE VOELVA. Let this be told to him: if he comes safely forth, we will believe! 112 SOENES FROM OLAF TRYGVASSON.

CHORUS. (Turning toward the gods.) Let this be told, etc. Thanks! Thanks for the token! Solace it sends to us! Thanks! Thanks for the token! faith it confirms! Choice of thy children, come then,oh king, to us! Come to thy children, strife will be short! Now will the gods themselves go on their gladsome way! Now will the gods themselves grant us their grace! Lit from our land by fire, 10, he shall leave us; Loki shall lighten him hence unto Hel! Three nights besought we, suing like son to sire, Three nights we pleaded, heard is our pray'r!

HIGH PRIEST. (The high priest takes a horn from a raised place before the image of Thor, the elders do the same; with these at their head all march round the three sacred fires, coming afterwards towards the front again, when the elders all proceed to their seats on either side. When the high priest has taken his horn, he makes the sign of the hammer over it and proceeds to sing the following song, in immediate continuation of the foregoing.) Raise high the horn, great Host-father, Odin's horn, Raise high the horn, upheave it for him. High altar fires, and Akethor's hammer-sign, High altar fires have hallowed it.

CHORUS. Gladly we join in games to the gracious god, Gladly we join in gambols of joy, Gladly we join in outburst of joy! SCENE III. Temple-Dance. (The younger ones prepare to dance. The men leap over the sacred fires and lift the women over on both sides. Then begins a Temple-dance, in which the principal features are (1) a round-dance with a continued change of partners; (2) a sword-dance, in which shields are held over the women and meet with swords over the' fires; while on their side the women hold swords before their warriors while these advance or retreat.) Give to all gods a grace-cup of gratitude, Give to the gods your greatest of gifts! Horns fill for Akethor; Drontheimer's deity, Fill them to Akethor's daring in fight! Gaily then join in games for the gracious god, 113 SIXTH CONCERT.

Gaily then join ye outburst of joy! Fill up to Nyrod and Frey, harvest and fish they send! Fill up to Nyrod and Frey, harvest fair, haul of fish, To freedom and faith! Beakers to Braga bring we with holy vows, Beakers to Braga brimming we raise! Offerings of flesh and blood make we for Olaf's end, Offerings of flesh and blood we all freely bring~

To Braga, to Braga, we all freely bring. I o ye Asynier honor we offer ye, All ye Asynier honor and praise! Nourish, oh, mild ones, men with your mother-milk! Nourish us, ye who move us with might! Young men and maidens, grandsire and grandmother, Honor for aye the gods ever green! Glorious Disir gliding like doves around! Glorious Disir death making glad! Guarding ye follow friendly our future fate, Guarding ye follow us, hail to your flight! Fortune of fathers holdeth the Hamgja, Fortune of fathers and of the race. Earthmen and Kobo-Ids keeping the ground for us, Earthmen and Kobolds, hail to your kin.d! Hail to the hugest .spirit that hides in hills; Hail, tiny elves, who frolic in flow'rs! Hail, our upholder, guardian of house and halls! Hail who upholdest harbor and holm! Faith of our fatherland, love thou dost light in us, Faith of our father land, honor thou art to us! F'aith of. our fatherland, fond and profound! We will defend thee, fight for our father's faith, We will defend thee, future be ours!

We will defend thee, I source of our we~l and woe, We will defend thee, fount of great deeds! Three nights besought we, suing like son to sire; Three nights we prayed and heard was our pray'r. The first night offered we bowls of bloody sacrifice, On the first offered we oxen with pray'r. Next night guest offering gave we the gracious gods, Over their images uttering pray'r. On the third night fair dream faces favored us! On the third night we danced and we sang. 114 SUBSCRIBERS TO SEASON TICKETS FOR THE FESTIVAL.

Addy, Mrs. Matthew. Burchenal, J. J. Field, Miss Elsie. Aeolian Co., The. Campbell, B. W. Fifth National Bank, The. Alms & Doepke Co. Carey Mfg. Co. First National Bank, The. Allen, John H. Carew, J. T. Fleischmann, Mrs. Chas. Allen, Mrs. T. H. C. Carpenter, The W. B. Co. Fleischmann, Julius. Alter, Franklin. Cent. Trust & Safe Dep. Co. Fletcher, Miss Clara B. AInbrose, Miss Lucy. Chalfant, W. A. Foley, B. W. American Book Co. Chatfield & Woods Co. Foote, H. B. American National Bank. Church, The John Co. Foster, S. C. Anderson, Mrs. B. W. Cincinnati Telephone Co. Frazer. Mrs. Elizabeth McC. Anderson, Mrs. Larz. Citizens' National Bank,The. Freiberg, Bernard. Anderson, Mrs. L. N. Cist, Miss L. H. Freiberg, J. Walter. Anderson, M. L. Clark, Mrs. C. F. Freiberg, Maurice J. Anderson, Mrs. Robert. Clark, J. R. Friedlander, Edgar. Anderson, Mrs. V. W. Collins, Wm. R. Freisens, Robert. Andrew, Charles. Collins, Mrs. Val. P. Fritsche, T. E. Andrews, Loring Co. Colston, Edward. Gambrinus Stock Co. Atlas National Bank. Conroy, A. J. Gano, Mrs. John. Ault, L. B. Corre Hotel Co. Garde, Mrs. Mary B. Ashbrooke, Claude. Cross, Mrs. J. W. Gates, John. -Baldwin Co., The. Dana, Geo. F. German National Bank. Balke, R. F. Dandridge, Dr. N. P. Geier, Fred A. Baker, :Miss Edith Avery. Davenport, Fred. Gibson & Perin Co., The Baker, Miss P. S. Davidson, Mrs. Wm. A. Goepper, Edward. Bassett, Mrs. Geo. Jr. Davisson, Mrs. O. F. Goldman, Louis J. Baur, Miss Clara. \ Decamp, Mrs. J. M. Goodman, W. A. Bechtel, Mrs. John Adam. Dexter, Miss Mary. Gordon, Harry L. Bechtel, Miss Nellie A. Dieterle, Geo. F. Goshorn, Miss E. I. Belknap, Mrs. William. Diem, Albert. Gray, Mrs. Sarah. Benedict, Charles C. Dittmann, G. W. Griffith, G. P. Bentley, F. D. Dolph, John. Haas, Marc. Berry, Geo. F. Dow, M. C. Hanna, Miss Mary. Bettman, Jacob. Dwight, E. E. Harmon, Judson. Billing, Mrs. Henriette. Dunlap, Anthony Bullock. Harrison, C. G. Black, L. C. Duttenhofer Sons Co., The Harrison, C. L. Blaine, E. R. Val. Harrison, E. P. Blaine, J. E. Eagle White Lead Co., The. Harrison, Miss Mary T. Boswell, William. Eckstein, Agnes D. Harrison, Mrs. L. B. Bourgard, Miss Caroline B. Egan, Si P. Harrison, Mrs. Wm. H. Bowen, Geo. A. Elliot, J. F. Harper, J. C. Bowler, Mrs. Robert. Ellis, Frank R. Hauck, Louis J. Breed, William J. Emerson, Mrs. Haven, Miss Sarah P. Breed, W. W. Emery, Mrs. Thos. J. Hedden, W. A. Brown, Miss. Ernst, Richard P. Heinsheimer, E. H. Browning, King & Co, Errett, Miss J.' K. Henkel, Andrew P. Brunsman, A. G. Eustis, Geo. D. Henshaw & Sons Co., 'Ihe. Business Men's Club Co. Ezekiel & Bernheim C~. Herschede, Frank. 115 SUBSCRIBERS.

Hinkle, Thornton M. Mitchell, Mrs. Helen. Shoemaker, M. M. . Hoadley, Mrs. Geo. Mitchell, P. R. Skees, Mrs. Robert R. Hobart, W. N. Mitchell, Richard H. Skinner, Dr. E. C. Holmes, Mrs. C. R. Moerlein, Christian Brew.Co. Smith, The Chas. E. Sons Co. Holmes, John R. Moffet.t, T. J. Smith, Harrison B. Hotel Sinton. Montgomery, Mrs. C. B. Smith-Kasson Co. Hunt, W. Lloyd. Morris, Geo. McG. Smith & Nixon Piano Co. Ice Delivery Co., The. Mosler, Mrs. William. Spencer & Craig. Ingalls, M. E. McAlpin, The Geo. Co. St. Nicholas. Irwin, Ballmann & Co. McDonald, Alexander. Stanberry, Philomon B. Jefferies, Miss Elizabeth. Neare, J. C. Straus, Henry. Jelke, Miss Isabel. Neave, A. C. Stewart, Gregory. Jones, Frank J. Omwake, John. Strobridge Lithog. Co. Jones, Walter St. John. Osborn, E. F. Sykes, Mrs. G. Joseph, Mrs. Joseph. Osler, A. P. Taft, Charles P. Jung Brewing Co., The. Peebles, Jos. R. Sons Co. Taylor, W. W. Keys, John B. Perkins, Mrs. J. H. Tietig, Henry Sr. Kinsey, Geo. Perin, Mrs. Matilda H. Thalheimer, W. B. Klausmeyer, A. Perin, Mrs. Frank. Thrasher, A. B. Klein, Alex. H. Phipps, L. F. Todd, Wm. R. & Co. Koehler, :Mrs. R. E. Pirno, Mrs. Matilda H. Tyler, Samuel. Krehbiel, C. J. Pogue, The H. & S. Co. Union Gas & Elec. Co. Krippendorf, Charles H. Poindexter, Paul. Union Savings Bank & Kroger Grocery & Bak. Co. Portmann, Mrs. M. Trust Co. Kuhlman, A. C. Pritz, Sidney E. Van der Stucken, Frank. Lackman, Herman Brewing Pritchard, Geo. T. Walker, Miss Annie. Co., The. Procter & Gamble Co. Walsh & Co., Jas. Langdon, Miss Harriet N. Provident Trust & Sav. Co. Wayne, Mrs.J. W. " Lange, Louis. Queen City Supply Co. Warde, Chas. Laws, Miss Annie. Ransohoff, Mrs. Joseph. Warrington, John W. Laws, Miss Alice. Ratterman, Mrs. Bernard. Webster, E. G. Laws, Harry L. Ratterman, Geo. B. & Bro. Wiedemann Brewing Co. LeBlond, J. A. Rawson, Edward Wiedemann, Chas. Lehmer, Chas. Reese, M. M. Weiskopf, Dennis. Levy, Harry M. Riggs, A. B. Wells, S. P. Lewis, Miss J. W. Robbins, Mrs. H. C. Werk, Miss Eugenie M. Lincoln, John L. Roelker, Miss Annie L. Wcrk, Miss Pauline L. Livingood, Chas. J. Roedter, H. A. Wettengel, Edward. Longworth, Mrs. Nicholas. Rogers, Miss Charlotte V. White, M. M. Loomis, H. T. Rollman Sons Co. Whitt.aker, Mrs. J. T. Lunkenheimer Co., The. Root, Mrs. Winthrop. Wi borg, F. B. Mabley & Carew Co., The. Rowe, W. S. Wilby, Joseph. Mackenzie, J. C. Sattler, Dr. Robert. Williams, Chas. F. Macy, J. W. Schaefer, Mrs. Ella. Wilshire, Jack. Males, H. W. Schoenle, Dr. F. L. Wilson, Mrs. S. E. Market National Bank, The. Schultze, The F. Co. Windisch-Muhlhauser Co. Mayer, Mrs. Lewis. Schwill, Albert Jr. Withenbury, C. W. Maxwell, Lawrence Jr. Seely, Mrs. W. W. Woods, John E. Meacham, D. R. Seeman, Geo. Wright, C. B. Meader, Dr. L. D. Senior, Edward. Wulsin, Lucien. Melish, W m. B. Shillito, The John Co. Wurlitzer, The Rudolph Co. Merchants' National Bank. Shinkle, A. Clifford. Zumstein, F. M. Miller, Mrs. Charles. Shipley, E. E. 116 FESTIVAL CHORUS.

FIRST SOPRANOS.

Arend, Ella. Mosenmeier, Marie C. Reeves, Julia A. Bohl, Flora. Miller, Ella C. Smith, Mrs. Will C. Bittman, Johanna. McDowell, Jane. Bellangee, Mrs. Marie. Bowdle, Catherine D. Perra, Anna. Broxterman, Estelle. Bryant, Mrs. J. V. Parrott, Mrs. T. W. Crabbs, Hazel. Becker, Emily. Parker, Mrs. Jessie 1. R. Gunther, Olga. Braedler, Emma. Reinhart, Emma. Kunnen, Katherine. Braun, Millie Henrietta. Riehl, Helen Williams, Elizabeth. Crosby, Cecilia. Shumard, Mrs. Howard M. Amman, Mrs. J. Curtiss, Maude. Sauer, Barbara. Spieker, Mrs. Adolph. Doyle, Margaret. Stegemeyer, Mrs. G. J. Kirkpatrick, Agnes. Doppler, Emma E. Small, Hulda. Ryan, Mrs. E. B. Eichhorn, Wilma. Staps, Olga. Fierfelder, Miss Julia. Fischer, Clara J. Von Unruh, Anna. McKnight, Anna. Fairchild, Helen. Vance, Mrs. George E. Beck, Camille. Fairchild, Mrs. B. F. Winslow, Amelia S. Funck, Emma G. Griffith, Lina M. Wydman, Jeannette. Wilkins, Josephine. Hess, Argania C. Walsh, Julia C. Minten, Josie A. Henkel, Mrs. Andrew P. Woest, Mrs. Adolph G. Morgan, Louise. Koenig, Emma. Willis, Mabel G. Rauch, Miss Hertha. Koch, Mrs. George. Wright, Mrs. W. H. Southgate, Virginia. Kirkpatrick, Mrs. Stewart. Folger, Mrs. Gene. Ryan, Mrs. M. T. Littlejohn, .Katherine D. Nieman, Lillie D. Paschen, Anna. Mathews, Adonna. Richey. Everetta M. Wheatley, Mabel.

SECOND SOPRANOS.

Allsup, Kate L. Wuest, Lillian C. Rader, Stella. Alter, Essie V. Phares, Mary E. Shay, Bridget. Bohl, Mathilda. Linneman, Cecilia. Pugh, Ella M. Bl unden, Lou. Stichtenoth, Senta L. Maloney, Marie. Ernst, Clara J. Bendinger, Mrs. E. Hodge, Anna T. Ernst, Josie B. Schmidt, Emma D. Cone, Maud. Eckerle, Frieda. Rueble, Louise. Sachs, Adele Fay. Hartzel, Mrs. Alfred. Wright, Mabel C. Flerlage, Myrtle. Hoffman, Seville L. Mueller, Anna M. Hensen, Edna. McWethy, Leola. Mannen, Mrs. A. Nehls, Carrie. Richey, Clementine. Hawthorne, Mrs. Olinda W. Rothier, Anna Lee. Simon, Catherine. Arnold, Mrs. Estelle. Deckebach, Mrs. G. J. Schaefer, Cora Cherrington, Annalou. Graham, Mildred. Staab, Regina. Deck, Mrs. W. V. Bailey, Mrs. S. C. Van Briggle, Neva. Elder, Rebecca. Wendl, Mrs. E. C. Vogt, Anna Elizabeth. Edwards, Helen. Winkelman, Mrs. W. H. Wright, AlIa. Kurtze, Gervig. 117 THE OHORUS.

FIRST ALTOS.

Buchanan, Jessie. Rose, Harriet N. Ernst, Olive. Butler, Nellie W. Pumphrey, Emma T. Fredin, Aline. Beard, Lida. Sponagel, The~dora. Johnston, Lida. Clark, Julia. Schaefer, Bessie. Heck, Sibyl. Carroll, Mollie. Stiedel, Nettie. Thomas, Mrs. A. K. Clement, Fanny. Van Slyck, Mrs. Martha. Seymour. Ada. Dunham, Georgette. Wieber, Clara. Hill, A. G. Fox, Carrie. Wuest, Ada. Hill, Mrs. A. C. Kemper, Mathilda. Wright, Nellie. Sarver, Mrs. George. Hain, Alice. Hughes, Agnes. Greif, Jeanette. Heckman, Amanda L. Rosenthal, Julia. Rauch, Edna. Hollander, Mina. Findlay, Jennie. Taney, Mary Florence. King, Stella E. Tappin, Mrs. Dora D. Greiser, Ethel. Koenig, Isabel. Findlay, Elsie. Eger, Emily. Lance, Mrs. A. R. Jantz, Jennie A. Worthmiller, J. Mac Veigh, Josephine. Fearnley, May. Knuwener, W. McCubbin, Lilley M. Adams, Annie. Le Roy, Lillie. McConaha, Grace Chisholm. Brockman, Elsie. Pugh, Mrs. Charles W. Brockman, May.

SECOND ALTOS.

Arnetz, Lena. Sterritt, Bessie. Jackson, Mrs. Hall N. Clark, Stella. Spreen, Clara L. Stidel, Eleanor. Droege, Emma Bertha. Spears. Florence G. Esberger, Norma. Eger, Mary. Schoepfel, Cora. Esberger, Flora. Funck, Minnie L. Tozzer, Eunice Ripley. Higdon, Mrs. Cora W. Gunter, Elizabeth. Tozzer, Grace. Buck, Le Roy Langdon. H ussian, Mrs. Clara. Akels, Mary Love. Wenzel, Florence M. Hill, Edith. Kuhlmann, Mathilda. Darby, Mrs. J. W. Hardebeck, Ida I. Graham, Martha S. Bancan, Grace. King, Minnie. Wurster, Emma R. Albray, Clara. Klump, Minnie P. Bunstine, Louise. Groene, Clara. Murray, Mrs. Katherine. Bailey, Ethel. Wiggins. Mrs. Laura. Richard, Bertha M. Cramer, Augusta. Innes. Edna. Rennick, Margaret M. Graessle, Stella. Lewis, Belle. Siever, Alvina. Reed. Mrs. W. V.

FIRST TENORS.

Bird, Frank Joseph. Curl, William A. Froemdhoff, Dr. J. E. Dusenberry, H. S. Deck, William V. Hoffman, John. Haupt, Robert E. Singer, Jacob. Stumpe, Edward A. Motteram, Horace G. Squibb, Alex. Beck, William A. Merkel, Albert R. Lautman, Constance. Phillips, John. Schledorn, Robert J. Roberts, John. Schenker Joseph H. Smith, Ben F. Schmitt, Frank J. Jr. Schupp, John. Deye, Jos. 118 THE OHORUS.

SECOND TENORS.

Alexander, Walter H; Proctor, Fred G. Engelhardt, Jacob P. Boebinger, Walter G. Robinson, Ch~rles H. Lucas, Lowell A. Crowe, Thos. M. Wendt, Edward C. Sal zer, Max. Danziger, William. Bauersfeld, Robert A. Roberts, Wm. J. Gormley, P. J. Funck, Edward F. Schmitt, Chas. Ja. Hockenberry, S. L. Bellangee, J. G. Ashkenazy, Jacob. MuhIhauser, George J. Burkhardt, Wm. Goebel, Albert.

FIRST BASSES.

Fritsche, T. E. Roberts, Dr. G. P. Huenefeld, Walter E. Hastie, William A. Root, Winthrop. Snowden, Forbes. Haefner, Edward H. L. Remde, Al bert. Barnes, Fred G. Hartzel, Alfred. Riddell, Frederick S. Booth, Edwin. Jones. George H. Stegemeyer, G. J. Shea, John. Klein, Harry C. J. Schuyler, Burt T. Neidhardt, William L. Pape, Clifford. Weidinger, Edwin. Plogstedt, H. J. Pumphrey, Clarence. Wyant, Wm. K. Ellis, Frank R. Roberts, R. R. Armstrong, Grover C. Rodenbeck, Arthur C. Askren, Stanley.

SECOND BASSES.

Crawford, Dr. Robert S. Winans, WiI!iam B. Rogers; Walter. Dearness, Fred W. Deck, Walter. Maloney, Jno. Mathias, W. Neal. Thomas, A. K. Baughman, Stanley. Oppenheimer, Samuel. Sharp, James W. Arundel, J. F. Pierson, Arthur E. Thiele, E. H. Seitz, R. W. H. Richardson, Julius A. Eckert, Jos. F. Startzman, H. D. Roberts, Frank H. Fitz, T. B. Kaefer, Wm. Schnicke, A. Weber, William E.

SOLO CHOIRS FOR THE CHILDREN'S CRUSADE. MYSTIC VOICES.

FIRST SOPRANO. SECOND SOPRANO.

Bennett, Mrs. C. S. Brown, Miss Helen. Boehm, Miss Helen. Marks, Miss Alma. Conrey, Miss Mary. Piket, Miss Marie. W orkum, Mrs. Theo. Thomson, Miss Jessie L.

FIRST ALTO. SECOND ALTO.

Koetter, Miss Louise. Elliot, Mrs. Richard. Callahan, Miss Charlotte. Ellis, Mrs. Burt. Hamer, Miss Olive. Nelson, Miss Amy. Meyers, Miss Rosa. Smith, Mrs. Rose Fisher. 119 THE OHORUS.

WOMEN (SOPRANOS)

Hartzel, Mrs. Alfred. Rendigs, Mrs. E'thet Irwin. Brennen, Miss Nellie. Ribolla, Madam Alma. Lerch, Mrs. Anna. Winkelman, Mrs. W. H. Mathews, Miss Adonna.

SPECIAL CHORUS FOR THE CHORALS IN THE PASSION MUSIC. SOPRANOS.

Armstrong, Mrs. Elmer. Fillmore, Mary. Marks, Marie. Allgaier, Helen M. Groene, Etta. Meyrahl, Flora. Allgaier, Marguerite S. Gleason, Margaret. Merkel, Rose. Allgaier, Jennie S. Hyland, Nellie. Niemeyer, Alma C. Arnold, Mrs. C. B. Hyland, Estelle. Nolan, Mary. Butz, Gertrude. Hoffman, Lena. Ohlinger, Bessie B. Brizolara, Mrs. J. S. Hays, Fannie. Potthoff, Edna L. Buchert, May. Holder, Stella. Peterson, Mrs. Julius A. Birge, Ida. Higgins, Lillian. Peterson, Ida E. Best. Miss M. Kraus,~rma. Rohmischer, Helen. Cunningham, Ruth. Krollman, Mrs. G. Roberts, Mamie. Crawford, Mrs. Avis. Knodle, Mrs. Clifton. Reck, Laurel. Carstens, Jean. Kemme, Rose T. Russell, Corinne Carstens, Minna. Kapfer, Olga M. Schroeder, Lillie. Deck, Alma. Key, Clara J. Schimmelpfennig, Bertha. Duerigen, Carrie. Kraus, Mathilde. Schehl, Hilda. Dauman, Clara. Morgan, Marie. Shaffer, Mrs. Nettie. Dunn, Mrs. Jessie. Miller, Laura. Thomas, Clara. Easton, Mrs. Dora. Meyrahl, Eleanor. Woolley, Edna. Fey, Minni'e. McCord, Marie. Wilson, Mrs. H. L. Foote, Viola. Massmann, Alma E. Werner, Lucy Martha.

ALTOS.

Allan, Mrs. Chas. E. Hirschler, Nettie. Pletz, Olga. Bronner, Magdalen. Hoffman, Wilhelmina. Ryan, Anita. Brown, Mrs. A. T. Hare, Blanche. Rosenthal, Lillian. Bloch, Edith T. Haskins, Eleanor B. Rohmischer, Georgia. Chacey, Geneve. Koetter, Louise. Smith, Mrs. Flora McIvor. Coan, Anna H. Loewe, Mrs. F. J. Schwarz, Charlotte. Chambers, Mrs. A. B. Meyer, Mrs. Fred J. Schehl, Clara. Fillmore, Miss Fred. Myers, Callie. Sage, Alice. Gordon, Nellie. Miles, Mrs. H. K. Savage, Mrs. J. R. Gartner, Mayme. McCue, Mrs. Ida W. Thorp, Mrs. J. E. Garrison, Bessie H. Markley, Mrs. A. J. Van Guelpen. Minna M. Gleason, Anna. Morganthal, Miss L. Van Guelpen, Eda. Hilker, Martha. Noble, Grace. Woolley, Annetta. Haskins, Alice M. Oehlmann, Edith. Wulfekoetter, Mrs. J. H. Harris, Edith. Odom, Martha. Willey, Mrs. S. E. Harper, Mrs. C. D. Pfau, Mrs. W m. Weidinger, Mrs. Clara. 120 THE OHORUS.

TENORS.

Burkart. Alphonse. Jacob, Edw. D. Rattermann, .Henry Jr. Friedman. F. C. Jacob, Wm. Rattermann, Chas. B. Green. W. M. Kruthaup, A. J. Rolfes, Frank L. Groene. John C. Lewis, Harry L. Steele. F. L. Hampton. J os. Meyers. Edw. F. Wal ber, Fred. Haverbush. Herman. Markworth, J. H. Wehner, Alphonse. Heileman. A. B. Markley, Dr. A. J. Westendarp. Edw. Herman. J. M. Noble, Geo. A. Wheatley, R. D. Imbus. Jos. Petzhold, Chas. J. Waltz. F. C.

BASSES.

Brown. A. T. Hughes. Jas. Richards. Harry L. Chambers. A. B. Jansen, Nicholas. Richter, Carl. Deye, Chas. E. J one$, Chas. B. Rosenthal, D. Dunn. J. K. Krummen, Wm. Rattermann, F. D. Duchemin. J. A. Leach, Geo. H. Rohan, A. L. Einspanier, Lawrence. Linz, Arthur. Rolfes. Louis. Faber, Arthur A. I,.oewe. F. J. Schehl, F. Jos. Fischer. Alphonse. Molengraft. John. Schmitt. Otto. Greiser. Al bert. Molengraft, Jos. Seissiger, Geo. Groene. Theo. Nurre. Wm. Schmid. Chas. Gillham, R. P. Othmer, Earl. Wulfekoetter. J. H. Hess. J. F. Overbeck. F. W. Webber. Edwin. Huchstuhl, Jos. Plogman. Harry. Hoffman, Conrad. Petzhold, Arnold.

121 THE CHORUS.

CHOIR OF BOYS IN THE PASSION MUSIC.

Prepared by WM. A. HASTIE, Teacher of Music in the Public Schools. SIXTEENTH DISTRICT SCHOOL.

JOHN C. HEYWOOD, Principal.

Alexander, Lester. Hastie, Charles. Marshall, Wayne. Beinecke, Emil. Hastie, Warren. Mansfield, Paul. Bensinger, Irving. Hatfield, William. N ulsen, Marvin. Bieler, Hallie. Heimbach, William. Nagel, Harry. Bliss, Robert. Heinold, George. O'Brien, George. Bowman, Julian. Henke, William. O'Conner, George. Brandenberg, Edward. Howser, Joseph. Pollard, James. Bremer, Fred. Hunter, Walter. Raidt, John. Buck, Arthur. Kingery, William. Reade, Ralph. Burkhardt, Lawrence. K urtze, Reinold. Reid, George. Burton, Charles. Krehbiel, Franklin. Reid, William. Carter, Murray. K uypher, Adrian. Schick, Harry. Claasen, Harry. Lewis, John. Schaffner, Frank. Connolly, William. Lodwick, John. Sens, Ralph. Deutschbien, Alvin. Limbert, William. Seekamp, Harry. Doolittle, Ralph. Landwehr, William. Stevens, Edgar. Eflein, Harry. Liebenrood, Francis. Tueting, Harry. Geyer, Emerson. Luke, Elmer. Ungebuehler, Albert. Graeser, Carl. Lilley, John. Vetter, Frank. Greaves, George. Moeller, Herbert. Waterman, Ferdinand. Greiner, Wentworth. Montague, Samuel. Wolter, Louis. Hampton, Harry. Meier, William. Hasemeier, Harry. Marshall, Edward.

TWENTY-THIRD DISTRICT SCHOOL.

LOUIS M. SCHIEL, Principal.

Ast, Frank. Eckerle, Albert. Jacobs, Clifford. Bachman, Walter. Ehrgott, Arno. Jackmann, Jacob. Boeh, Stanley. Emmert, Amor. Jackman, Sidney. Brinkman, Howard. Fangmeyer, Albert. Keidel, Clarence. Bru~sman, Herbert. Fleck, Emil. Kobman, Elmer. Brunsman, Walter. Flecker, Clarence. Kreger, Clarence. Carroll, Stanley. Franke, Harry. Lindeman, Harry. Cassini, Henry. Frederick, Max. Moorman, Ralph. Clensy, William. Fritz, Otto. Moegling, Carl. Clifford, Daniel. Furst, Cornelius. Malloy, Elder. Clos, John. Gruendelmeyer, Erwine. Moorman, Harry. Cres, Ralph. Heile, Elmer. Malloy, Leo. Cuni, Joseph. Heitbrink, Henry. Miller, Frank. De Bra, Carol. Hieber, George. Mack, Theo. Divoky, Henry. Homan, Clifford. McDonald, Jos. Drach, Edgar. Huthsteiner, George. Ohe, William. 122 THE CHORUS.

Paris, Walter. Schaefer, Louis. Ulrich, Frank. Pfriem, Elmer. ' Sand, Charles. Vassler, William. Pfriem, Ralph. Schwier, Christian. Veigel, Walter. Riecher, Arthur. Sand, Howard. Walter, Arthur. Renter, Robert. Soblewski, Herbert. Walter, Herbert. Rapp, Joseph. Sundernruch, William. Woodburn, John. Reuhl, Edward. Tuechter, Harry. Wlecke, Louis. Rolf, Frank.

VINE STREET SCHOOL. WILLIAM KAEFER, Principal. Allman, Chas. Hagedorn, Herman. Reis, Joseph. Biederman, Julius. Harig, Albert. Schoemacher, Elmer. Bird, Edwin. Jensen, Carl'. Schwarz, Harry. Braam, Cornelius. Knarr, Harry. Schwarz, Frank. Borman, Harry. Kruse, Leonard. Stagge, Archie. Braunwart, Otto. Koch, Emil. Steding, Arthur. Chriest, William. Lampe, Charles. Sauer, John. Ense, Frederick. Lampe, Harry. Schoemer, Arthur. Ense, Christian. Lehn, Richard. Schwartz, Clifford. Ebner, Richard. Lang, Joseph. Stadler, Frederick. Fries, Thomas. McDonald, Clarence. Sudbrack, Arthur. Hasenohr, Theodore. Momberg, Stanley. Schoner, Louis. Haslinger, William. Moore, Thomas. Vogel, George. Hoebel, Robert. Pfalzgral, Charles. Wolf, Albert. Hauth, Hubert. Reif, Gustav. Wendisch, Elmer. Hauck, Edwin. Ross, Elmer. Walker, Charles.

123 THE CHORUS.

CHORUS OF 700 CHILDREN FROM THE PUBLIC SCHOOLS FOR THE CHILDREN'S CRUSADE.

WALTER H. AIKEN, Supervisor of Music.

Prepared by ALFRED HARTZEL, Teacher of Music in the Public Schools.

SAMUEL T. LOGAN, Fourth Intermediate ...... '1 H. H. RASCHIG, Tenth District ...... l E. IVI. SAWYER, Fourteenth District...... ( Principals. C. H. PORTER, Whittier School ...... J J. B. SCHEIDEMANTLE, Thirtieth District ......

FOURTH INTERMEDIATE.

GIRLS-FIRST. Hess, Bertha. Schumacher, Emma. Hinnenkamp, Alice. Siebert, Clara. Ade, Gertrude. Jacobs, Louise. Snyder, Pearl. Arnold, Bertha. Jahnke, Antoinette. Steinkoenig, Norma. Austing, Clara. Jennings, Madeline. Stephan, Elsie. Babst, Matilda. Kessler, Anna. Stoffer, Jennie. Bachman, Florence. Klein, Margaret. Streicher, Bertha. Bantz, Hedwig. Klug, Norma. Tiemeyer, Helen. Bartling, Della. Knab, Eva. Tillett, Marcella. Bayer, Gertrude. Kohnky, Florence. Townsend, Alma. Beisse, Mary. Koppe, Elsie. Uhe, Florence. Berry, Mildred. Kuhn, Gertrude. Vanderbilt, Ethel. Bertsch, Corinne. Lacy, Evalyn. WaIbel', Emma. Binder, Eleanora. Lemon, Lucille. Wirth, Adele. Bock, Hazel. Loughman, Naoma. Wit zigman, Lula. Bolland, Elsie. McAllister, Stella. Wuerth, Anna. Brauer, Flora, Manthey, Martha. Bruner, Ruth. Maschmeyer, Elsie. Byard, Julia. Mathews, Irene. GIRLS-5ECOND. Cermack, Frances. Mohlman, Edna. Collins, Eleanor. Osenton, Elizabeth. Anschuetz, Florence. Dadel, Emma. Pfiester, Lottie. Beyer, Amelia. Davis, Martha. Pine, Ida. Bickel: Alma. De Verginies, Warren. Ploss, Myrtle. Crider, Vera. Dreiling, Sarah. Rinck, Adelaide. Dieterle, Lenora. Dziech, Hilda. Rohrer, Adele. Ebmeier, Louise. Eberle, Amelia. Rubrecht, Martha. Fahnle, Theresa. Evel, Hilda. Schoneberger, Blanche. Furste, Marie. Eyster, Irene. Schneider, Edna. Guenther, Elsie. Frech, Ruth. Schmidt, Helene. Hauck, Emilie. Funk, Matilda. Schoephel, Dora. Kemper, Frances. Gerhardt, Lillie. Schoeck, Clara. Kleeman, Evelyn. Greive, Minnie. Schorr, Lillian. Lakamp, Clara. Haub, Maria. Schott, Hilda. Libbert, Martha. Hauenstein, Elise. Schrader, Lenora. Lubke, May. Heeman, Norma. Schulze, Emma. Maffey, Jeannette. 124 THE CHORUS.

Manning, Gertrude. Hirschberger, Walter. Hauck, George. McKinzie, Helen. HQffman, Walter. Hebbeler, Clifford. Muth, Edna. Hust, Harry. Hoorman, Howard. Pick, Elvira. Jaeger, Edward. Hug, Andrew. Purcell, Bertha. Jennings, Earl. Kammeron, Waldemar. Regus, Edna. Keiser, Ohmer. Keller, John. Rehn, Marie. Rehn, Carl. Kiph, Fred. SchafHer, Pearl. Reynolds, Clifford. Klayer, Elmer. Schmidt, Gertrude. Rhein, George. Kobman, WaIter. Schmidt, Lenora. Schiff, August. Kuhn, Arthur. Schneebeck, Elsie. Schroeder, Harry. Kurzynski, Edwin. Schneider, Hilda. Schweikert, Harold. Lawrence, Charles. Schulte, Elsie. Smiglewicz, Albert. Lepley, Elmo. Schultz, Amelia. Toephert, Paul. Liebing, Arthur. Steinman, Lillian. Veid, Durbin. Liebing, Clifford. Tate, Eleanor. McDonald, Raymond. Wehking, Irma. Meyers, Stephen. Wehling, Rosalia. BOYS-TIDRD. Miller, Milton. Whiteman, Marion. Moore, Francis. Witzenbacker, Helen. Arbogast, Carl. Motsch, Elmer. Wolter, Hilda. Backert, Vallie. Noell, George. Ziegler, Norma. Backscheider, Nickolas. Partner, Walter. Becht, William. PistOl', Ralph. Bitzer, Elmer. Rechsteiner, Charles. BOYS-8ECOND. Blackburn, John. Sander, Fred. Boyd, Stanton. SchaefHer, Philip. Ade, George. Brendel, William. Segal, Maurice. Backer, Edwin. Brenner, Adolph. Springer, George. Beck, John. Cottingham, Walter. Tieman, Christian. Beyer, Adolph. Cutterhenry, Edwin. Treu, Arthur. Birkenmaier, Edward. Daughters, Harold. TrickleI', Frank. Cole, Frank. Decker, George. Trinkle, Fred. Eckstein, Arthur. Dinkelaker, Edward. Voegtle, Edward. Ehlen, Edgar. Doelling, Albert. Weber, Daniel. Fehlman, Louis. Eickbusch, Albert. Weber, William. Fessenden, Charles. Erhardt. Albert. Weiss, Robert. Finn, Robert. Funck, Edwin. Wierhake, Walter. Goertenmoeller, Clarence. Gurth, Elmer. Wilkins, Albert. Greiner, Edward. Haehnle, George. Wuest, Frank. Guenther, William. Hartley, Lester. Wurzelbacker, Milton.

125 THE OHORUS.

TENTH DISTRICT SCHOOL.

GIRLS-FIRST. Glaescher, Martha. Ragio, Andrew. Jones, Phyllis. Stevens, Russell. Atkins, Bessie. Kaurish, Marie. Van Tress, Ben. Berman, Hazel. McKibben, Nina. Weed, Charles. Besuner, Betty. Meier, Carrie. Weissbaum, Aaron. Brueggeman, Irma. Miller, Margie. Busch, Cora. Paulus, Edna. Cutaiar, Helen. Rauner, Irene. BOYS-TmRD Flick, Frieda. Smethurst, Hazel. Gentsheimer, Hilda. Sohngen, Edna. Arzt, Robert. Gillespie, Jennie. Stradtman, Myrtle. Bauer, Melber. Hornig, Bessie. Van Brunt, Hazel. Beeson, Earl. Hutchens, Bertha. Weisbaum, Jennie. Bering, Wm. Ingersoll, Helen. Cain, Richard. Konnerman, Ida. Eggert, Wm. McKibben, Ethel. BOYS-8ECOND. Ekermeyer, Fred. Orr, Nina. Fritszch, Fred. Risola, Mary. Atchley, Wilbur. Goldstein, Bruno. Shell, Wanda. Brookes, Geo. Hautz, Frank. Van Brunt, Myrtle. Cockran, Frank. Henn, Harry. Weber, Elsa. Frech, Robert. Ott, Ed. Hartman, Joe. Shaw, John. Henn, Fred. Stork, Oscar. GIRLS-8ECOND. Jones, Lawrence. Weber, Edward. Keck, William. Wells, Raymond. Burge, Edith. Maxwell, Michael. Zesterman, Nich. Geis, Hazel. Petzhold, Cornelius.

FOURTEENTH DISTRICT SCHOOL.

BOYS-GROUP A. GIRLS-GROUP A. Oehler, Elsie. Schaaf, Norma. Alcoke, Gayle. Becker, Elsie. Schumann, Luella. Ashenback, Edward. Berlekamp, Mildred. Springer, Anna. Berry, Charles. Brinkman, Dora. Stout, Bertha. Braun, Carl. Cole, Dorothy. Wendt, Hilda. Drake, Gordon. Drake, Lucille. Wimmer, Luella. Fahrenbruck, Karl. Dunn, Mary. Winter, Bertha. Gampfer , Joseph. Emerson, Camille. W oesner, Bertha. Ganzmiller, Howard. Feuss, Hilda. Zahn, Verna. Gohs, Robert. Gosmeyer, Ellen. Lasance, Arthur. Guenther, Dorothy. Lasance, Augustine, Hauck, Helen. BOYS-GROUP B. Luhrman. Edward. Hirnikel, Marie. Ossege, Bernard. Johnson, Ruth. Bichman, William. Reed, Wendell. Kurz, Freda. Brower, Hugo. Romer, Harry. Linville, Dorothy. Cone, Thomas. Tieman, Edwin. Miller, Florence. Fuerst, Eddie. Vanderbilt, George. Miller, Katie. Guenther, Edward. 126 THE OHORUS.

Kyle, Vernon. Bailey, Edith. Ittner, Marie. Meyer, Haydn. Barkau, Luella. Kaelin, Lillian. Nievers, Victor. Bartel, Alvina. Kinker, Alma. Oehler, Herbert. Beisse, Florence. Lange, Norma. Penn, Leroy. Berryman, Beatrice. Meyer, Edna. Ramsdell, Ralph. Brauch, Alma. Meyers, Gabriella. Rieneke, Willia.m. Brauch, Nellie. Mithoefer, Emma. Roll, Edward. Braun, Anna. Monahan, Marcella. Schneider, Ferdinand. Brueckmann, Elizabeth. Othling, Edna. Stockmeyer, Arthur. Cordesman, Cornelia. Parks, Blanche. Veid, Albert. Dickmeyer, Elsie. Radabaugh, Emma. Weber, Arthur. Dilg, Mildred. Richmond, Katie. Woodward, Clifford. Eggers, Loretta. Schulte, Viola. Engel, Marjory. Smith, Lillian. Feldman, Ethel. Steuve, Eleanora. GIRLS-GROUB B Flagge, Hattie. Wershy, Florence. Folz, Lillian. Wesolowski, Hilda. Albrecht, Margaret. Gahe, Kathryn. Wierhake, Mildred. Bachman, Lillian. Gosmeyer, Grace.

WHITTIER SCHOOL.

GIRLS-FIRST. Perry, Regina. Geilser, Lorena. Popp, Elizabeth. Haley, Florence. Bogen, Jessie. Schaefer, Florence. Holmes, Frances. Buecklers, Minnie. Schmerles, Jessie. Lyle, Alice. Case, Myrtle. Ruoff, Hilda. Kreiger, Helen. Clark, Evelyn. Schmidt, Hieda. Krueger, Justine. Crawford, Ruth. Schneider, Hattie. Odell, Nellie. Crotty, Grace. Schraeder, Irma. Ohlinger, Hilda. Dunlap, Ethel. Schulz, Lillie. Payne, Viola. Frazier, Ruth. Schulz, Myra. Rome, Margaret. Funke, Olga. Simon, Meta. Royel', 'Lucille. Gillen, Ivy. Stevens, Aurelia. Schulz, Myrtle. Guelker, Charlotte. Taylor, Dorothy. Seurig, Gertrude. Gustetter, Margaret. Taylor, Margaret. Sommer, Violet. Hall, Louise. Taylor, Minnie. Taylor, Leona. Hagerty, Katherine .. Taylor, Nannie. Thompson, Ruth. Hector, Marie. Walker, Ruth. Vance, Lucille. Horschman, Mildred. Weber, Amy. Von Egloffstein, Selma. Horne, Eliza. Weber, Irene. Waldo, Caroline. Hummel, Cornelia. Wright, Flora. Whitaker, Margaret. Hutzler, Mildred. Wiggerman, Amanda. Hutzler, Naomi. Wilder, Eugenia. Hoerbitz, Alma. GlRLS-8ECOND. Williams, Gwendoline. Love, Martha. Lueders, Matilda. Abbot, Eula. Lueders, Paula. Bauman, Lillie. BOYS-8ECOND. Luth, Ethel. Bemerer, Alma. Mende, Frieda. Boyle, Margaret. Gustetter, Raymond. Oskamp, Elizabeth. Cook, Tressie. Hauck, Roland. Peaslee, Patricia. Dannhauer, Loretta. Hausfeld, Edwin. 127 THE OHORUS.

Howell, Stanley. Utrecht, Harvey. Stuehrman, Flora. Koerbitz, Perrin. Weigel, John. Tomlin, Nellie. Oyler, Scott. Wetzel, Joseph. Waldo, Marguerite. Ruoff, Edward. Ward, Lillian. Wi taker, Ralph. Weaver, Adah. GIRLS-GROUP A. Williams, Marian;

BOYS-THIRD. Armstrong, Flora. BOYS-GROUP A. Asher, Nora. Fitzpatrick, Raymond. Branch, Ethel. Becker, Elliot. Gravett, Thomas. Brehm, Eurella. Bennet, Walter. Hargrave, Donald. Bungenstock, Irene. Channel, Lovette. Havlin, Earl. Chambers, Peai'l. Cook, Clarence. Hummel, Stanley. Cole, Katherine. Cook, William. Jones, Charles. Fischer, Elvera. Clark, Stanley. Klausmeyer, Wm. Frazier, Dorothy. Franke, Elmer. Krell, Harold. Fries, Vera. Haley, Edward. Lindsay, Corwin. Geissler, Freda. Hollander, John. Lyle, Donald. Harwood, Hazel. Horne, Frank. Mahler, Wm. Hermstead, Margaret. Horschmann, Earl. McCann, Wilfred. Hoebbel, Hattie. Hutzler, Fred. McMahon, Robert. Horne, Susan. Karpe, Gervaise. Odell, Colin. Jordan, Margaret. Karpe, Gustave. Ott, Earle. Klausmeyer, Norma. Kerley, Ernest. Pistor, Louis. Kuhlman, Irene. Loesche, Arthur. Runck, Merril. Kraft, Ida. Mahler, Frank. Schulz, Edward. Lauber, Mabel. Paddack, Clifford. Schomacher, Edwin. Love, Ellen. Perry, Chandler. Shea, Thomas. Lindsay, Mary. Putman, Robert. Spiess, Philip. Meeds, Lillian. Schubert, George. Stern, August. Mongan, Angela. Sexton, Oris. Sturm, Ray. Peirce, Bertha. Stevens, Laurence. Sutton, Jesse. Schmidt, Florence. Sturm, Nelson. Thomas, Arthur. Souther, Henrietta. Vail, Wilber. Tolle, Robert. Spiess, Louise. Waldo, Howard. Toppie, Fred. Smith, Enid. Whitaker, Harold.

THIRTIETH DISTRICT SCHOOL.

GIRLS-FIRST. Gross, Irma. Kienker, Emma. Helmers, Irene. Kinsherff, Lillian. Alexander, Luella. Henry, Louise. Kistner, Edna. Benton, Olive. Hofer, Delia. McCarren, Jeanette. Baldauf, Lena. Hollfelder, Florence. Meyer, Anna. Blair, Gertrude. Johnston, Julia. Meyer, Edna. Boenker, Idella. Kamph, Louise. Meyer, Norma. Burland, Stella. Kasekamp, Marie. Morres, Minnie. Burwell, Beatrice. Keller, Emma. Mueller, Carrie. Duerr, Hulda. Keller, Norma. Mueller, Olga. EHmann, Helene. Kelsh, May. Niesen, Elsie. Fischer, Clara. Klare, Elizabeth. Nolting, Mildred. Geisler, Margarite. Kline, Josephine. Ohe, Ella. 128 THE CIIORUS.

O'Neil, Ella. Compton, Harry. MoKenzie, Arthur. Pfeiffer, Emma. Dhonau, Raymond. Margraf, Carl. Ramp, Gertrude. Dreihs, John. Margraf, William. Raymond, Florence. Elhoff, Erwin. Morr, Edward. Renner, Carolyn. Finke, Jacob. Muckenfuss, George. Renner, Martha. Frech, William. Negley, Lester. Riehl, Louette. Frey, Fred. Nolte, Frederic. Riffelmacher, Elsie. Fox, Philip. Oeffinger , Joseph. Roemele, Edna. Geisler, Julius. Randal, Alvin. Roland, Priscilla. Gerstle, Joe. Reinhard, Joseph. Schmitt, Lillie. Greve, Eric. Ripley, Edwin. Schorr, Aleen. Gunklach, Julius. Roeder, Howard. Schrader, Leulla. Hake, Elmer. Roehr, Alvin. Suter, Lena. Haller, Herbert. Roehrer, Carl. Tangeman, Helen. Hamer, Herbert. Schott, Christian. Toepfer, Estella. Kiefer, Fred. Schwarz, Albert. Voight, Helen. Kienker, Carl. Scully, Walter. Weinewuth, Florence. Krause, Herman. Stokes, Robert. Wunsch, Olga. Kreimer, Erwin. Theobald, John. Ziegler, Martha. Leighton, Harry. Vielhauer, Helmuth. Lobitz. Carl. Werner, Carl. Lorenz, Elmer. Werner, Fred. GIRLS-SECOND. Meister, Charles. Wolf, George. Meyer, Harvey. W olsdorf, Henry. Bernzott, Nelda. Nerpel, Harry. Zehler, Carl. Dron, Esther. Roehr, Fred. Fox; Irene. Schafer, Robert. BOYS-GROUP A. Geoerg, Elsie. Schoenecker, Joseph. Greulich, Amelia. Schuessler, Oscar. Ahlers, Harvey. Guntrum, Stella. Strubbe, Lewis. Bach, Al bert. Hagedorn, Edna. Boehner, Henry. Heidler, Marie. BOYS-TmRD. Boettger, Carl. Hoffman, Eleanore. Boorom, Fred. Hoffman, Gertrude. Baiter, Clarence. Burkhardt, Erwin. Kauffman, Dorothy. Bai ter ,Raymond. Gerken, Otto. Knoechel, Lena. Bertsche, Walter. Haefner, Emil. Leisinger, Hulda. Brofft, Rudolph. Haller, Hugo. Mauch, Olga. Eyrich, Edwin. Helmers, Edgar. Lobitz, Elsie; Fasold, August. Hoffma;n, Charles. May, Agatha" Finke, Walter. Honold, George. Raymond, Bessie. Fuchs, Arthur. Humler, Edwin. Schmale, Ameli'!. Gieseking, Walter. Johaentges, Emil. Schmidt, Rosa. Grotlisch, George. Lang, Joseph. Schottmiller, Norma. Hamman, Walter. Leisinger, Walter. Stuart, Madge. Hauser, Edwin. Maier, Alfred. Telgheder, Emma. Hoffman, Edwin. McCarren, Lester. Wuest, Alma. Hoffman, Frank. Meyer, William. Kimmerle, Albert. N oIl, Arthur. BOYS-SECOND, Kleesattel, William. Paul, Howard. Kluber, William Reinhart, Henry. Bricka, George. Kroberger, Joseph. Renner, Erwin. Buddenberg, Arthur. Lang, Charles. Staudenmeier, George. Clauder, Otto. Lorimer, Wayne. Staudenmeier, Leonhard. 129 THE OHORUS.

Streckfuss, Elmer. Scheide, Emma. Askren, Norma. Thomer, Rudolph. Schmale, Emma. Becker, Sylvia. W uestenfeld, Carl. Schroder, Barbara. Brockell, Goldie. Schroeder, Irma. Day, Eleanore. GIRLS-GROUP A. Toepfer, Alice. Dempsey, Naomi. y ockisch, Alma. Denker, Jeanette. Ahr, Carrie. Hauck, Elsie. Dahling, Irene. Kamleiter, Alvina. Dahling, Lilian. BOYS-GROUP B. Lewis, Bonnie. Eichler, Edith. Loeb, Marie. Euphrat, Dorathea. Abram, Clarence. Longstreet, Anna. Fisoher, Elsie. Burkhardt, William. Luring, Marie. Fleming, Mary. Campbell, Charles. Neuer, Minnie. Friedrich, Rosa. Fahrion, John. Pardi, Anita. Geoerg, Alma. Garmore, Floyd. Poppe, Clara. Gundrum, Eleanora. Hauck, Walter. Posner, Emma. Herman, Stella. Hill, George. Runion, Alice. Juegling, Norma. Perry, Austin. Snyder, Julia. Jung, Margaret. Smi th, Willard. Van '1 rees, Lilian. Klusmeyer, Helen. Vol z, Myrtle. Knecht, Alma. GIRLS-GROUP B. Wilfert, Laura, Mihan, Edith. Muehlbach, Caroline. Anthony, Charlotte. Reemelin, Eleanor. Arnold, Elsie.

130 ORCHESTRA.

FIRST VIOLINS. Hesselbach, O. FLUTES. Mittelstaedt, F. Kramer, L. (Principal). Strobach, C. Quensel, A. Becker, L. Volk, F. Baumbach, C. Krauss, A. Fitzek, J. Seidel, R. Diestel, W. PICCOLOS. Marx, L. Andauer, E. Kortschak, H. Ballmann, M. Braun, H. vIOLONCELLOS. Schroeter, R. Nuernberger, L. Moerenhout, C. Steindel, B. (Principal). OBOES. Chapek, J. Unger, W. Schulz, M. Brueckner, C. Barthel, A. Wunderle, C. Ambrosius, R. Bertram, A. Nuernberger, H. Corell, L. Bass, G. Felber, H. OBOES (d'Amour). ltte, F. Klammsteiner, C. Silberstein, J. Clusmann, E. Starke, F. Kalas, J. Hesselbach, O. SECOND VIOLINS. Heinickel, A. ENGLISH HORNS. Hillman, C. (Principal). DOUBLE BASSES. Hladky, F. Starke, F. W oollett, W. Klemm, L. (Principal). He!lselbach, O. Kruschwitz, E. Wolf, O. Novak, L. Parbs, H. CLARINETS. Mangold, R. Glass, R. Busse, A. Jiskra, V. Schreurs, J. mrich, A. Hase, A. Gross, J. Singer, W. Maedler, R. Busse, A. Rabe, H. Mayer, L. Otte, F. Biche, J. BASS CLARINET. Lampert, C. Meinken, C. HARPS. Meyer, C. Recoschewitz, J. Fitzek, R. Tramonti, E. BASSOONS. Konrad, W. Singer, W. Kruse, P. VIOLAS. ORGAN. Rabe, H. Kruschwitz, E. Esser, F. (Principal). Stadermann, Adolph H. Roehrborn, O. Meyer, G. PIANO. CONTRA-BASSOON. Dasch, G. PI ogstedt , Mrs. Tyler. Friedrich, L. Schroeter, R. 131 THE OHORUS.

HORNS. BASS TRUMPET. TIMPANI. De Mare, L. Andauer, E. Zettelmann, J. Pottag, M. Frank, W. TROMBONES. PERCUSSIONS. Albrecht, C. Wintrich, M. Stanze, G. Wagner, E. Zeller, W. TRUMPETS. Mittelstaedt, F. Nicolini, J. Schubert, O. Strobach, C. Handke, P. BASS TUBA. LIBRARIAN. CORNETS. Otte, F. McNicol, Theo. Ulrich, A. Felber, H.

132 SUMMARY.

First Violins ...... 16, Second Violins ...... 16 Violas ...... 12

Violoncellos ...... t...... 10 Double Basses...... 9 Harps...... 2 Organ...... 1 Piano...... 1 Flutes ...... 2 I Piccolos...... 2 Oboes ...... '" ...... '" ...... 2 Oboe (d'Amour)...... 2

English Horns ...... , ..... I " ••....••. 2 ·Clarinets ...... ,...... 3 Bass Clarinet...... 1 Bassoons...... 3 ,Contra-Bassoon...... 1 Horns ...... -...... 4 Trumpets ...... , ...... 2 ·Cornets ...... , ...... 2 Bass Trumpet...... 1 'Trombones...... 3 Bass Tuba ...... ···.································ 1 Timpani ...... : ...... 1 Percussi ons...... 4 Librarian...... 1

Total ...... 104

133

· ttbe

PlUNOIPAL WORKS AND SOLOISTS.

First Festival, 1873. BEETHOVEN ...... Symphony No.5, Op. 67. Symphony No.9, Ope 125. GLUCK ...... Scenes from Orpheus. HANDEL ...... Dettingen Te Deum. MENDEI.SSOHN ...... The First Walpurgis Night, Op. 60.. SOHUBERT ...... Twenty-third Psalm. SOHUMANN ...... Symphony No.2, Ope 61. Gypsy Life, Ope 29.

SOLOISTS.-Mrs. E. R. Dexter, Mrs. H. M. Smith, Miss Annie Louise Cary, Mr.' Nelson Varley, Mr. Myron W. Whitney, Mr. J. F. Rudolphsen. Mr. Arthur Mees, organist. Carl Barus and Otto Singer, chorus masters.'

Second Festival, 1875. BAOH ...... Magnificat in D. BEETHOVEN ...... Symphony No.7, Ope 92. Symphony No.9, Ope 125. BRAHMS ...... Triumphal Hymn, Op. 55. LISZT ...... Prometheus. MENDELSSOHN ...... Elijah. SOHUBERT ...... Symphony No.9. WAGNER ...... Scenes from Lohengrin.

SOLOISTS.-Mrs. H. M. Smith, Miss Abbie Whinnery, Miss Annie I.ouise Cary, Miss Emma Cranch, Mr. Wm. J. Winch, Mr. H. Alex. Bischoff, Mr. Myron W. Whitney, Mr. Franz Remmertz. Mr. Dudley Buck, organist. Otto Singer, chorus master. 135 THE OINOINNATI FESTIVALS.

Third Festival, 1878.

BEETHOVEN ...... Symphony No.3, Eroica, Op. 55. Symphony No.9, Op. 125. BERLIOZ ...... Dramatic Symphony, Romeo and Juliet, Op.17. GLUCK ...... Scenes from Alceste. HANDEL ...... The Messiah. LISZT ...... Missa Solennis. OTTO SINGER ...... Festival Ode.

SOLOISTS.-Mme. Eugenie Pappenheim, Mrs. E. Aline Osgood, Miss Emma Heckle, Miss Annie Louise Cary, Miss Emma Cranch, Mr. Charles Adams, Mr. Christian Fritsch, Mr. Hartley Thompson, Mr. Myron W. Whitney, Mr. F. Remmertz, Sig. G. Taliapietra. Mr. Geo. E. Whiting, organist. Otto Singer, chorus master.

Fourth Festival, 1880. BACH ...... Cantata, A Stronghold Sure. BEETHOVEN ...... Missa Solennis, Op. 123. Symphony No.5, Op. 67. DUDLEY BUCK ...... Prize composition, Scenes from Longfellow's Golden Legend. HANDEL ...... Jubilate. Coronation Anthem, Zadok the Priest. MOZART ...... Symphony, C major. SCHUMANN ...... Symphony No.4, Op. 120.

SOLOISTS.-Miss Amy Sherwin, Miss Annie B. Norton, Miss Annie Louise Cary, Miss Emma Cranch, Sig. Italo Campanini, Mr. Fred Harvey, Mr. Myron W. Whitney, Mr. J. F. Rudolphsen. Mr. Geo. E. Whiting, organist. Otto Singer, chorus master.

136 THE OINOINNATI FESTIVALS.

Fifth Festival,' 1882. BACH ...... St. Matthew Passion. BEETHOVEN ...... Symphony No.7, Op. 92. Symphony No.8, Op. 93. BERLIOZ ...... Scenes from Les Troyens. GILCHRIST ...... Prize Composition, Forty-sixth Psalm. HANDEL ...... Dettingen Te Deum. LISZT ...... A Symphony to Dante's Divina Commedia. MOZART ...... Requiem Mass. SCHUBERT ...... •Symphony in C, No.9. SCHUMANN ...... Scenes from Goethe's Faust (Part III). WAGNER ...... Wagner Matinee.

SOLOISTS.-Frau Friedrich Materna, Mrs. E. Aline Osgood, Miss Eliza­ beth Hetlich, Miss Elenora Kopp, Miss Adah B. Wilson, Miss Annie Louise Cary, Miss Emma Cranch, Mr. Wm. Candidus, Mr. Theodore J. Toedt, Mr. Georg Henschel, Mr. T. J. Sullivan, Mr. Franz Remmertz, Mr. Myron W. Whitney. Mr. Geo. E. Whiting, organist. Arthur Mees and Carl Barns, I chorus masters.

Sixth Festival, 1884. BEETHOVEN ...... Symphony No.5, Op. 67. Symphony No.9, Op. 125. BRAHMS ...... , .....A German Requiem, Op. 45. GoUNOD ...... The Redemption. HANDEL ...... Israel in Egypt. MOZART ...... Symphony in G minor. WAGNER ...... Scenes from Tannhauser. Scenes from Tristan and Isolde. Wagner Matinee.

SOLOISTS.-Frau Friedrich Materna, Mme. Christine Nilsson, Miss Emma Juch, Mrs. Annie Norton-Hartdegen, Miss Emily Winant, Mr. Theodore J. Toedt, Mr. Victor H. Lindau, Herr Hermann Winkelmann, Mr. Franz Rem­ mertz, Mr. Max Heinrich, Herr Emil Scaria, Mr. Herman J. Gerold. Mr. Arthur Moos, organIist and chorus master. 137 THE OINOINNATI FESTIVALS.

Seventh Festival, 1886. BACH...... M ass In. B'mmor (Ir'yne . an d Gloria) • BEETHOVEN ...... Symphony No.3, Eroica, Ope 55. Symphony No.7, Ope 92. Music to Goethe's Egmont. BERLIOZ ...... Damnation of Faust. Symphonie Fantastique. HAYDN ...... The Creation. ,- RUBINSTEIN ...... The Tower of Babel. SCHUBERT ...... Symphony No. 8 (unfinished). SCHUMANN ...... Symphony No.2, Ope 61. WAGNER ...... Scenes from Die Meistersinger (Act Ill) . Wagner Night.

SOLOISTS.-Miss Lilli Lehmann, Miss Emma Juch, Mme. Helene Hast· reiter, Miss Emma Cranch, Mr. William Candidus, Mr. Theodore J. Toedt. 'Mr. William Ludwig, Mr. Alonzo E. Stoddard, Mr. Myron W. Whitney. Arthur Mees. chorus master.

Eighth Festival, 1888. BEETHOVEN ...... Symphony No.5, Ope 67. Symphony No.6, Pastoral, Ope 68. Dvol'tAK ...... The Spectre's Bride. , GOLDMARK ...... Symphony, Landliche Hochzeit. MENDELSSOHN ...... St. Paul. PAINE ...... Song of Promise. RUBINSTEIN ...... Paradise Lost. SAINT-SAENS ...... Symphony No.3, Ope 78. W AGNEl~ ...... Wagner Night. WEBER ...... Hymn, In Seiner Ordnung, Ope 36.

SOLOISTS.-Frau Lilli Lehmann·Kalisch, Mme. Giulia Valda, Mrs. Corinne Moore-Lawson, Miss Elizabeth Hetlich, Miss Emma Cranch, Mr. Theo. ,T. Toedt, Herr Paul Kalisch, Mr. Edward Lloyd, Mr. Myron ,\V. Whitney, Mr. Alonzo E. Stoddard, Mr. A. F. Maish. Mr. Arthur Moos, organist, Louis Ehrgott, chorus master.

138 THE OINOINNATI FESTIVALS.

_ Ninth Festival, 1890. BACH ...... St. Matthew Passion. BEETHOVEN ...... Symphony No.4, B-flat, Op. 60. Symphony No.7, A major, Op. 92. Dvo:ttA.K ...... Stabat Mater, Op. 58. HANDEL ...... The Messiah. SAINT-SAENS ...... The Deluge, Op. 45. SCHUBERT ...... Symphony No.9, C major. SCHUMANN ...... '" . Symphony, E-flat, Op. 97, Rhenish. VE~DI ...... Requiem. WAGNER ...... Selections from The Flying Dutchman, Die Walkiire, Die Gotterdammerung, and Die Meistersinger. SOLOISTs.-Mlle. Clementine de Vere, Mrs. Theodore J. Toedt, Mrs. Corinne Moore-Lawson, Miss Emily Winant, Mr. Edward Lloyd, Mr. Theo­ dore J. Toedt, Mr. A. F. Maish, Mr. Myron W. Whitney, Herr Emil Fischer~ Mr. ArthuT Moos, organist. Louis Ehrgott, chorus ma.ster.

Tenth Festival, 1892. BACH ...... Christmas Oratorio (Parts I and II). ALBERT BECKER ...... Cantata, Ope 50. BEETHOVEN ...... Symphony No.3, Eroica, Ope 55. Symphony No.8, in F, Ope 93. Fidelio, Selections. BRAHMS ...... Symphony No.3, in F, Op. 90. ANTON BRUCKNER ...... Te Deurn. DV01t:AK ...... Requiem Mass, Ope 89. GLUCK ...... Scenes from Alceste. MENDELSSOHN ...... •. St. Paul. SCHUMANN ...... Symphony No. I, in B-flat, Op. 38. TSCHAIKOWSKY ...... Symphony No.5, E minor, Ope 64. WEBER ...... Euryanthe (Act I). WAGNER ...... selections from Die Meistersinger. Parsifal, Gotterdammerung, and Tannhauser. SOLOIsTs.-Mme. Antonia Mielke, Mlle. Clementine de Vere, Mrs. Corinne­ Moore-Lawson, Mme. Marie Ritter-Goetze, Miss Ida M. Smith, Mr. Edward Lloyd Mr. Andreas Dippel, Mr. William Ludwig, Mr. A. F. Maish, Mr. Georg~ Ellsworth Holmes. Mr. Arthur lvlees, organist. W. L. Blu- menschein, chorus master. 139 THE OINOINNATI FESTIVALS.

Eleventh Festival, 1894. BEETHOVEN ...... Symphony No.4, B-flat, Op. 60. Symphony No.9, Op. 125. BERLIOZ ...... ; ...... Requiem Mass, Op. 5. BRAHMS ...... Symphony No.4, E minor, Op. 98. Song of Destiny, Op. 54. Dvo:dAK ...... Symphony No.2, D minor, Op. 70. GoETZ ...... 137th Psalm, By the Waters of Babylon, , O~ 1~ MENDELSSOHN ...... Elijah.' P ABKER, H. W •...... Hora N ovissima, Op. 30. RUBINSTEIN ...... Moses, Op. 112 (Third and Fourth Tab- leaux) • ScHuBERT ...... Symphony, B minor (Unfinished). WAGNER ...... Selections from Die Meistersinger and Tann- hauser. SOLOISTs.-Mrs. Emma Eames-Story, Miss Antoinette Trebelli, Mrs. Carl Alves, Miss Ida M. Smith, Mr. Ben Davies, Mr. Wm. H. Rieger, Mr. Watkin Mills, Mr. Plunket Greene. Mr. Arthur Mees, organist. W. L. Blu­ JTUR1seheiil, chorus master.

Twelfth Festival, 1896. BEETHOVEN ...... Symphony No.7, A major, Op. 92. Symphony No.9, Op. 125. DvottAK ...... Symphony, From the New World, Op. 95. HANDEL ...... Judas Maccabreus. SAINT-SAENS ...... •Samson and Delilah. SCHUMANN ...... Symphony No.1, B-flat, Op. 38. THOMAS, A. GoRING .....The Swan and the Skylark. TINEL ...... Francis (an Oratorio), Op .. 36. TSCHAIKOWSKY ...... Symphony, Pathetique, No.6, Op. 74. WAGNER ...... Selections from Tristan and Isolde, Tann- hauser, Die Meistersinger, Die Walkiiret and Gotterdammerung. SOLOIsTs.-Mme. Lillian Nordica, Frau Katerina Lohse-Klafsky, lIme. Medora Henson, Mrs. Corinne Moore-Lawson, Miss Marie Brema, Mr. Ben Davies, Mr. Geo. J: Hamlin, Mr. Ffrangcon Davies, Mr. Plunket Greene, Mr. Watkin Mills. Mr. Arthur Mees, organist. W. L. Blumenschein, cho- rus master. 140 THE OINOINNATI FESTIVALB.

Thirteenth Festival, 18g8. BEETHOVEN ...... Symphony No.5, Op. 67. Missa Solennis, Op. 123. BERLIOZ ...... Damnation of Faust, Op. 24. BRAHMS ...... •Symphony No.2, D major, Op. 73. GRIEG ...... Scenes from Olaf Trygvasson, Op. ~O. MOZART ...... Symphony, G minor (Koechel, 550). SCHUMANN ...... Symphony No.4, D minor, Op. 120. Paradise and the Peri, Op. 50. WAGNER ...... Selections from The Flying Dutchman and Parsifal.

SOLOISTS.-Miss Margaret Macintyre, Mrs. Corinne Moore Lawson, Mis! Helen Wright, Miss La Nora Caldwell, Miss Gertrude May Stein, Mrs. Josephine S. Jacoby, Mr. Ben Davies, Mr. George J. Hamlin, Mr. David Bispham, Mr. Joseph S. Baernstein. Mr Arthur Mees, organist. Edwin W. Glover, chorus master. B. W. Foley, Director of the Apollo Club.

Fourteenth Festival, Ig00. BEETHOVEN ...... Symphony No.9, Op. 125. BERLIOZ ...... Te Deum, Op. 22. BRARMS ...... A German Requiem, Op. 45. FRANCK, CESAR ...... Symphony, D minor. LISZT ...... A Faust Symphony. MENDELSSOHN ...... St. Paul. STANFORD ...... Ode, East to West. TSCHAIKOWSKY ...... Symphony, after Byron's Manfred. WAGNER ...... 'selections from Die Meistersinger, Die Wal- . kiire and Parsifal.

:SOLOISTs.-Mme. Marcella Sembrich, Mrs. Hissem De Moss, Mme. Ernest­ ine Schumann-Heink, Mr. Ben Davies, Mr. David Bispham, Mr. Louis Ehr­ gott. Mr. Wilhelm Middelschulte, organist. Edwin W. Glover, chorus master. 141 THE OINCINNATI FESTIVALS.

Fifteenth Festival, 1902.

BACH ...... Mass in B minor. BEETHOVEN ...... Symphony No.3, Eroica, Op. 55. BERLIOZ ...... Requiem Mass, Op. 5. BRAHMS ...... Serenade No.1, D major, Op. 11. FRANCK, CESAR ...... The Beatitudes. GLUCK •..., ...... Scenes from OrpheUB. WAGNER ...... Scenes from Die Meistersinger (Act III), and selections from Die Walkiire, Sieg­ fried, and Gotterdammerung.

SOLQISTs.-Mrs. Marie Zimmerman, Miss Clara Turpen, Mme. Gertrude May Stein, Mr. Ben Davies, Mr. Ellison VanHoose, Mr. Andrew Black. Mr. Gwilym Miles. Mr. Wilhelm Middelschulte and Mr. J. Fred Wolle, organists. Edwin W. Glover, chorus llla'S'ter.

Sixteenth Festival, 1904.

BACH ...... Suite No.2, B minor. Mass in B minor. BEETHOVEN ...... Missa Solennis, Op. 123. Symphony No. S, Op. 93. Symphony No.9, Op. 125. BERLIOZ ...... Hymn, Op. 26. BRUCKNER ...... Symphony No.9, D minor, (Unfinished). ELGAR ...... The Dream of Gerontius, Op. 38. MOZART ...... Symphony, E :fiat, Kochel, 543. WAGNER ...... Selections from TannhU,user, Die Meister- singer, and Tristan and Isolde.

SOLOISTS.-Miss Agnes NichoUs, Mme. Ernestine Schumann-Heink Miss Muriel Foster, Mr. William Green, Mr. Watkin Mills. Organist: Mr. Wilhelm Middelschulte. Mr. Edwin W. Glover, chorus m.aster.

142 THE OINOINNATI FESTIVALS.

Seventeenth Festival, I906. BACH ...... ', ...... Cantata, God's Time is the Best. BEETHOVEN ...... Symphony No.9, Op. 125. BENOIT ...... Children's Cantata, Into the World. BRAHMS ...... A German Requiem, Op. 45. ELGAR ...... The Dream of Gerontius, Op. 38. The Apostles, Op. 49. SCHUMANN ...... Symphony, No.1, B flat, Op. 38. TSCHAIKOWSKY ...... Symphony, Pathetique, No.6, B minor, Op, 74. VAN DER STUCKEN ..... Pax Triumphans, a Festival Prologue, Op. 26.

SOLOISTs.-Mme. Johanna Gadski, Mrs. Corinne Rider-Kelsey, Miss Janet Spencer, Mr. John Coates, Mr. D. Ffrangcon Davies, Mr. Charles W. Clark, Mr. Herbert Witherspoon. Organist, Mr. Adolph H. Stadermann. Sir Edward Elgar conducted his Dream of Gerontius and The Apostles.

Eighteenth Festival, I908. BACH ...... St. Matthew Passion. BEETHOVEN ...... Symphony No.7, Op. 92. BRAHMS ...... Symphony No. 3 in F, Op. 90. DEBUSSY ...... The Blessed Damozel. GRIEG ...... Olaf Trygvasson. HAYDN ...... , ...... The Seasons. LISZT ...... Psalm XIII. PIERNEl ...... The Children's Crusade.

SOLOISTs.-Mme. Johanna Gadski, Mrs. Corinne Rider-Kelsey, Mrs. Edith Chapman-Goold, Mrs. Werner-West, Mme. Ernestine Schumann­ Heink, Miss Janet Spe;ncer, Mr. Daniel Beddoe, Mr. Edward Johnson, Mr. Dalton Baker, Mr. Herbert Witherspoon, Mr. Tom Daniel, Mr. Hans Seitz. Organist, Mr. Adolph H. Stadermann. Theodore Thomas was musical director from the beginning until his death on January 4, 1905. Frank Van der Stucken succeeded him as musi~l director, and conducted the Seventeenth and Eighteenth Festivals, and personally trained the chorus fO'r those festivals. 143 1Repertor~ of tbe JEtgbteen jfestt"aIs.

LRoman numerals indicate the Festival or Festivals at which the performance occurred].

AUBER-Fra Diavolo, Overture ...... 1 Masaniello, Slumber Song ...... IV BACH-Passion Music, according to the Gospel of St. Matthew.V, IX, XVIII Mass in B minor ...... VII, XV, XVI Christmas Oratorio (Parts I and II) ...... ~' ..... X I Magnificat in D (first time in America) ...... II Cantata, A Stronghold Sure ...... IV Chorale and Chorus ...... XIII Cantata, God's Time is the Best ...... "" ...... XVII Suite No.2, B minor ...... XI, XVI Suite No.3, in D major ...... 1, VIII, XV Air ...... ~ .. IV Prelude, Choral and Fugue ...... III Fugue, _I\. minor ...... IX Concerto in G ...... •. V Brandenburg, No.3·, in G ...... ,...... •... ".XVII Toccata (transcribed for Orchestra) ...... VI Toccata in F (for organ) ...... ~ ...... XIV Prelude and Fugue in B minor (for organ) ..... , ...... XV Venetian Boatman ...... 1 'BEOKER, ALBERT-Cantata, Ope 50 ...... X BEETHoVEN-Symphony No.3, Eroica, Op. 55 ...... III, VII, X, XV Symphony No.4, B fiat, Ope 60 ...... IX, XI Symphony No.5, Ope 67 ...... 1, IV, VI, VIII, XIII Symphony No.6, Pastoral, Op. 68 ...... Vln Symphony No.7, Op. 92 ...... II, V, VII, IX, XII, XVIII Symphony No.8, Op. 93 ...... V, X, XVI Symphony No.9. Ope 125, I, II, III, VI, XI, XII, XIV, XVI XVII Missa Solennis, Ope 123 ...... IV, XIiI, XVI Sept~, Ope 20 ...... IX Music to Goethe's Egmont, Ope 84 ...... VII

144 REPERTORY OF THE FESTIVALS.

Overture, Coriolanus, Op. 62 ...... I, III, XIII Overture, Leonore No.2, Op. 72 ...... II, VI Overture, Leonore No.3, Op. 72. I, IV, VI, X, XII, XVII, XVIII Overture, Consecration of the House, Op. 124 ...... II Minu"et and Finale, String Quartet in C, No.9 ...... VI Ruins of Athens-Turkish March ...... ' ...... IV March and Chorus, Twine ye the Garlands ...... VI Aria, Deign, Great Apollo ...... VII Scene and Aria, Ah! Perfido, Op. 65 ...... I, VI, XII Fidelio, Scene and Aria, Abscheulicher, III, V, VII, X, XII, XVI, XVIII Scenes ...... X Trio, Tremati, empi, tremate, Op. 116 ...... II, VI Arietta, In questa tomba ...... II, V

Vesper Hymn ...... 0 •••• 1

Song, Creation's Hymn 0 ••••••••••••••••••••••••••••• 0 0 XIV

BELLINI-Norma, Casta Diva ...... 0 •••••••••••••••• o.. XIV

BENOIT-ChiJ:dren.'s Cantata, Into the World .. 1 ••••••••••••• 0 .1 •• 1 •• XVII BERLIoz-Dramatic Symphony, Romeo and Juliet, Op. 17 ...... III Ball Scene ...... V Requiem Mass, Op. 5 ...... XI, XV Te Deum, Op. 22 ...... : ...... XIV Damnation of Faust, Op. 24 ...... VII, XIII March Rakoczy ...... IV, X

Romance 0 •••••••••••••••••••••••••••••••••• XII The Fall of Troy, from Les Troyens .' ...... V Les Troyens; Recitative and Aria, Unhappy King ...... o.XIII

Symphonie Fantastique, Op. 14 ...... 0 • VII Overture, King Lear, Op. 4 ...... IV Benvenuto Cellini, Overture ...... XI

Duo 0 ••••••••••••••••••••••••••••••••••••••• oV Le Carnaval Romain, Op. 9 .••.••....•..••...... •••••••• XII Hymn, Opus 26 ...... XVI

BRAHMS-A Germani Requiem, Op. 45 •••.• 0 ••••••••••••• VI, XIV, XVII Symphony No.2, D major, Op. 73 ...... •.....XIII Symphony No.3 in F, Op. 90 ...... •...... X, XVIII SymphonY' No.4, ID minor, Op. 98 ...... ,...... "'•• XI

Serenad~ No.1, D major, Opo 11 ...... ····.·. 0 0 • XV

Triumphal Hymn, Op. 55 ...... 0 ••••• 0 ••••••••••••••••• II Song of Destiny, Op. 54 ...... 0" XI

Rhapsody, Op. 53 ... 0 •• 0 ••••• 0 •• 0 0 •••••• 0 •• 0 ••••• XIV, XVI

Part-Songs for Women's Voices, Op. 17 0 ••••••••• o. 0 ••••• VII 145 REPERTORY OF THE FESTIVALS.

Tragic Overture, Ope 81 ....•...•...... •.•.•••.• 0 • 0 • 0 V

Overture, Academic Festival ...... 0 0 •• 0 •• 0 •••• 0 0 • 0 0 0 0 0 • XIII

Hungarian Dances 0 •••• 0 •• 0 •••• 0 ••• 0 ••••• 0 •• 0 • 0 0 • 0 0 • II, XI

Htmgarian Dances, for Orchestra, by Dvorak .....•.. 0 0 •••• IX

Variations, Theme by Haydn, Ope 56 ...... 0 ••••••••• IV, XII

BOCCHEBINI-Minuet • ...... •...... 0 • 0 • 0 ••• III

BOUGHTON-Songs • • • • •••••..•. 0 •••••••••••••••••••••••• " •• ' •• XVII Fair is our Lots Song of the Dead, The Plice of Admiralty. BOITo-Mefistofele, L'altra notte ...... XIII

BBucH-Odysseus, Aria, Penelope Weaving a Garment ... 0 ••••••••• III, V

BBUpKNEB, ANTON-Te Deum ...... 0 000. o... 00' o...... ••.... X Symphony No.9, D minor, Unfinished ...... •...... xVI BucK-8cenes from Longfellow's Golden Legend. Prize Composition, .... IV CHABBIEB--Rhapsodie Espana ...... • IX

CHEBuBINI-Anacr6on, Overture • . .... 0 •• 0 0 • 0 ••••••••• 0 •••••••••• XIV

CHoPIN-Funeral March (transcribed for Orchestra) .. 0 ••• 0 •• VIII, X, XI

Polonaise, A-flat (transcribed for Orchestra). 0 ••••••••• 0 • XII

COBNELIUs-Song, Ein Ton ...... 0 ••••••••• ,XI

DEBussY-The Blessed Damozel...... 0 •• 0 ••• 0 ••• 0 ••••••• XVIII

DONIZETTI-Lucia, Sextet ...... 0 0 • 0 0 0 ••• 0 •••• 0 ••• 0 ••••••••••• III

DucAs-Scherzo, L'Apprenti Sorcier ...... 0 0 • 0 0 o...... •....•. XIV

Dv01U.,K-The Specter's Bride, Ope 69 .. 0 • 0 •••••••• 0 ••• 0 •••••••••••• VIII Recitative and Aria, Where are thou, father dear t ...... XIII

Stabat Mater, Ope 58 .... 0 •••••••••••••• 0 ••••••••••••••• IX

Requiem 1\1:ass, Ope 89 ...... 0 0 0 0 0 0 0 ••• 0 •• 0 •••••••••••••• X Symphony No.2, D minor, Opo 70 ...... XI Symphony, From the New World, Ope 95 ...... XII

Slavonic Rhapsody No.3, Ope 45 ...... 0 0 0 ••• 0 • IV Overture, Husitzka, Ope 67 ...... ••...... VII, XVII

Scherzo, Capriccioso, Ope 6~ .. 0 0 0 0 0 0 •••• 0 0 0 0 0 • 0 0 0 ••• VII, XI

Symphonic Variations, Ope 78 ...... 0 •••• 0 ••••••••••••••••IX

Carnival Overture, Ope 92 0 ••• 0 0 0 0 • 0 0 0 0 0 0 0 0 0 0 ••••• 0 ••••• 0 XI

Overture, Nature, Op. 91. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ••••••• 0 •••• XIIT

146 REPERTORY OF THE FEBTIVA. LB.

ELGAR-Concert Overture, Cock~igne 0 0 0 0 0 0 • 0 0 0 0 • 0 0 0 •• 0 0 0 0 •• 0 XV, XVIII

Song, The Pipes of Pan . 0 ••••••••••••••••••• 0 • • • • •• • ••• xv

The Dream of Gerontius" Opo 38 .... 0 ••• 0 0 ••••••• XVI, XVII

The Apostles, Parts I and II, Opo 49 ...... 0 •• 0 0 XVII

Variations, Opo 36 0 •••••••••••••••••••• 0 0 0 •••••••••• 0 • XVI

Concert OvertUl"C, In the South, Opo 50 ...... 0 •••••••• XVII

Introduction and Allegro, Op. 470 •••••• 0 •••• 0 ••• , •••• 0 • XVII March, Pomp and Circumstance, Op. 39 ...... X VI Grams. and Diarmid, Op. 42, Incidental Music and Fu-

neral March ...... 0 ••••••• 0 ••••• " XVI

Sea. Pictures, Op. 37 .. 0 ••••••••••••• 0 0 • 0 •••••• 0 •••••• XVI

F AUlUll-The Palms ...... 0 ••• 0 •••••• 0 • 0 •••••• 0 0 •••••• III, VII

F'EscA-Song, Springtime ...... 0 ••• 0 ••••••••••••••••••••••••••••••11

FBA.lfCK, CEsAR-Symphonic Poem, Les Eolides ..... 0 0 ••••••••• 0 ••• 0 XIII

Symphony, D minor ...... 0 0 •• 0 ••••••••••• 0 .XIV

The Beatitudes ...... 0 ••• 0.0 •• 0.00 •••••••• o •• XV

GlLCHRIST-Forty-sixth Psa.lm. Prize Composition ...... 0 ••• o ...... V GLUCK-Scenes from Orpheus (Chorus, Orchestra and Solo) ...... 1, XV Scenes from Alceste (Chorus, Orchestra and Soli) .•....• III, X .Alceste, Ihr G6tter ew'ger Nacht ...... o. VIII, XVI

Overture ...... 0 0 0 ••• 0 •••••••• 0 • 0 • 0 • 0 • 0 0 0 ••• 0 •• 0 • • • •• XVI

Iphigenia in AuUs-Overture .. 0 • 0 ••••• 0 0 ••••••• 0 •• 0 • 0 •• 0 IV

Scene T. Diane impitoyable . . .•... 0 ••• 0 • 0 0 ....IV

Iphigenia. in Tauris, Our hearts in childhood's morn 0 ••••• 0 •• oX

Al'mide-Scene, Enfin il est dans ma puissance. 0 0 ••• 0 •••• 0 VII

Aria, Ah, si la liberte ..... 0 •••• 0 0 0 •••• 0 0 0 ••••••XI

GoETz-137th Psalm, By the Waters of Babylon; Op. 14 .. 0.0 •••• 00 •••• XI

GouNoD-The Redemption ..... 00.0.0 ••••• •••••••••••••• ••• 0 •••••••VI

Irene, Aria, She alone charmeth my sadness ... 00 •• 00 •••••VIII

Nouvelle Meditation ...... 0 ••••••••••• 0 ••••• 0 II

Song, The Valley .... 0 0 0 0 •• 0 0 • 0 0 • 0 0 •••• 0 0 • 0 • 0 • 0 • 0 •••• 0 •• III

La Reine de Saba, Lend me your aid . 0 ••••••••• 0 0 •• 0 0 • 0 IX, X

Plus grand dans son obscuriM. 0 •••• 0 ••••••••• 0 XII

GoLDl!A.BK-Symphony, Liindliche Hochzeit ..... 0.0 ••• 0 0 0 •• 0.00 ••••VIII

Wedding March and Variations 0 0 0 ••••• 0 • 0 ••••• IV

Overture, Sakuntala, Op. 13 . 0 • 0 0 ••••• 0 •••••••• 0 • 0 •••• 0 0 III

Overture, Sappho, Op. 44 .. 0 •• 0 •••••••••••••••••••••••••• XI

Scherzo, Op. 45 .. 0 • 0 •• 0 0 ••••••• 0 • 0 ••• 0 • 0 •• 0 ••••• 0 •• 0 • 0 XII 147 REPERTORt' 01f THE FESTIVALS.

GRAEDENEB-Capriccio, Op. 4 ...... , ...... III ) I GBIEG-Scenes from Olaf Trygvasson, Op. 50 ...... XIII, XVIII

HALEVY-La Juive, Cavatina, Se pel rigor ...... III Oh, Rachel ...... IX HANDEL--The Messiah ...... Ill, IX. Israel in Egypt ...... ; ...... VI Duet, The Lord is a Man of War ...... XVII Judas Maccabreus ...... ••...... XII Aria, Sound an Alarm ...... 1, VIII Chorus, See, the Conquering Hero Comes ...... I Recitative and Aria, From Mighty Kings ...... VI Dettingen Te Deum ...... 1, V Jubilate ...... IV Zadok the Priest, Coronation Anthem ...... IV Largo ...... III Saul, Chorus, Welcome, Mighty King ...... ••.. 1 Acis and Galatea, Aria, Oh, Ruddier than a Cherry ...... I, II Aria, Love in Her Eyes ...... XIV Semele, Recitative and Aria, Awake Saturnia ...... III, IV, X Ezio, Aria, N asce il bosca ...... •... III Joshua, Aria, Shall I in Mamre's Fertile Plain ...... IV Jephthah, Recitative and Aria, Waft her, Angels ...... XI, XIII Orlando, Aria, Sorge Infausta ...... XV HAYDN-The Creation •...... VII Aria, With Verdure Clad ...... XIV The Seasons...... XVIII Duo, Ye Gay and Painted Fair ...... •.... I Ariadne auf N aXOS ...... VII Spirit Song ...... II HOLLANDER-Song, Winternacht ...... XI KAUN, HUGo-Festival March and National Hymn ...... XIII KOMAY, .FRANcIs-Three Hungarian Songs ...... ' ...... XI Mohac's Field, Where the Tisza's Torrents Swell, Shepherd, See Thy Horse's Foaming Mane. LASSEN-Festival Overture ...... II 148 J])EPERITORY OF THE FESTIV'ALS.

LISZT-Missa Solennis ...... III Cantata, Prometheus ...... II Psalm XIII...... •.•. XVIII A Symphony to Dante's Divina Commedia ...... V A Faust Symphony ...... XIV Symphonic Poem, Mazeppa ...... '...... ~ ....X Symphonic Poem, Tasso ...... I, IV Symphonic Poem, Festkllinge ...... VII

Symphon~c Poem, Les Preludes ...... •....1 •• XI, XVII Rhapsody No.2 ...... II, Vln Polonaise No.2 ...... IX

Song, Die Lorelei. .. I. • ." •• " • '" ••• ,. '" ••••• ' •••• ' ••• III, XVII Der Tanz in der Dorfschenke (Mephisto Waltz) ....•.. VII, XII Character Picture, Gretchen (after Goethe) ...... xn Mignon ...... VII The Three Gypsies ...... XIII, XVI

WEFFLER-Symphonic Poem, The Death of Tintagiles ...•• >••• , •••,.XVII MAcDOWELL-Symphonic Poem, Lancelot and Elaine, Op. 25 ...... XIV

MARsoHNER-Hans Heiling, An jenem Ta;g ...... 1...... XIII, XVII MASSENET-Le Cid, No torments now ...... X Esclarmonde, Aria ...... X Herodiade, Aria, 11 est doux ...... XV

MERuL--Morning Hymn ...... I Joseph, Ach, mir llichelt umsonst ...... VIII

MENDELSSOHN-Elijah, Op. 70 ...... II, XI St. Paul, Op. 36 ...... VIII, X, XIV The First Walpurgis Night, Op. 60 ...... 1 Reformation Symphony, Scherzo ...... II Music to A Midsummer Night's Dream. Overture ...... III Scherzo ...... IV Scherzo and March ...... I Overture, Melusine, Op. 32 ...... VII, IX Overture, Calm Sea and Prosperous Voyage, Op. 27 ...... IV Overture, Fingal's Cave, Op. 26 ...... XI Chorus, The Cold Frost Came ...... I Song, I'm a Roamer ...... II, IV Concert Aria, Infelice, Op. 94 ...... II Duo, 0 Would That My Love ...... V

149 REPERTORY OF THE FEST'lVALB.

MEYERBEEB-L'Etoile du Nord. Aria, prayer and barcarolle ...... • 1 Aria with Flutes obligato ...... II, IX Di;n,o;rah, Shadow Song ...... I

Hug'enots, Aria, No, no ...... , 1 Aria, Vaga donna ...... •.• II The Prophet, Aria, Pieta, Pieta ...... II Robert Ie Diable, Cavatina, Robert toi qui j'aime ...... III Romanza, Vane, Vane ...... •IV

MOZABT-Requiem Mass ...... V Cantata, Praise of Friendship ...... II Symphony in G minor ...... VI, XIII Symphony in C major ...... IV Symphony in E-fJ.at ...... XVI Ave verum ...... 1 Concert Aria No.3, Misero! 0 Sogno ...... I Idomeneo, Chorus, To Our Immortal Leader ...... I Magic Flute-Overture ...... 1, XII Aria and Chorus, 0 Isis and Osiris ...... I Aria, In diesen heil'gen Hallen ...... III Clemenza di Tito, Parto ma tu ben mio ...... II Recitative and Aria, Nie wird' mich Hymen .... XVI Marriage of Figaro-OvertUl'e ...... IV, V Aria, Non piu andrai ...... V Canzona, Voi che sapete ...... V Recit. and Aria, E Susanna non vien ...... II, V, XI Aria, Deh Viene ...... IV Don Giovanni-Overture ...... VIII Schone Donna ...... IX Aria, II mio tesoro ...... IV Recit. and Aria, Du kennst den Verrather ..... VIII Recit. and Aria, Non mi dir ...... X, XI, XVII Recit. and Aria, In quali eccessi ...... XVIII 11 re pastore, Dein bin ich ...... IX NICOLAI-Merry Wives of Windsor, Overture ...... I PAINE, J. K.-Cantata, Song of Promise ...... VIII PARKER, H. W.-Hora Novissima, Op. 60 .....•...... •...... •... XI A Northern Ballad, Ope 46 ...... XIV PARRY-Duet, Flow Gently, Deva ...... •.. I PiERN1D-The Children's Crusade ...... XVIII PONORIELLI-La Gi6conda, Romanza ...... xIII 150 REPJJlR:TORY OF THE l?EBTIVALS.

~cr.rrA--Chorus, Strike the CYInbal ...... 11 RAllT-Symphony, Leonore, march tempo ...... III RANDEGGEB-Trio, I N aviganti ...... I F rl'd 0 rIn, A'na, Repose In. Peace ...... III RlmrHOLD--Prelude, Menuet, Fugue, Op. 10 ...... IV RmSKY-KORSAKOFF-Symphonic Suite, Scheherazade, Op. 35 ...... XIII RoSSINI-William Tell, Overture ...... I, II, III Trio, Allor che scarre ...... II Recit. and Aria (Arnold), Act IV ...... II Romanza, Selva Opaca ...... IV Chorus, Night's Shades no Longer ...... II Stabat Mater, Aria, Cujus animam ...... III, VIII RUBINSTEIN-The Tower of Babel, Op. 80 ...... VII Paradise Lost, Op. 54 ...... Vln Moses, Op. 112, Tableaux 3 and 4 (first time in America) ....XI Morceau Symphonique, La Russie ...... VIII Valse Caprice ...... IV Der Damon, Aria, Taglich eilen wir im Fluge ....•...... VIII SAAR, LoUIS V.-Ganymede ...... XIV SllNT-SAitNs-Symphony No.3, C minor, Op. 78 ...... VIII Symphonic Poem, Danse Macabre, Op. 40 ...... •...... III Symphonic Poem, Phaeton, 0p. 39 ...... IV Symphonic Poem, Le Rouet d'Omphale ...... XIII The Deluge, Op. 45 ...... •..... U Samson and Delilah ...... ~ . XII Aria, My Heart at Thy Dear Voice ...... XVIII Soli:uBEBT-Symphony No.8, B minor (Unfinished) .... III, VII, XI, XIV Symphony No.9 ...... 11, V, IX Twenty-third Psalm ...... I, VII Song, Am Meer •...... V, XII Song, Die Allmacht .. " ...... 11, XIV, XVIl Song, Wer sich der Einsamkeit ergiebt ...... Xl Song, The Young Nun ...... XVIII Song, Death and the Maiden ...... XVIII Song, The Erlking ...... XVIII Serenade ...... III Gretchen am Spinnrad ...... VIII, XI Der Doppelganger ...... XII Aria, Der Rirt auf dem Felsen ...... XIII Rosamunde, Entr'Acte, B minor ...... XVI 151 REPERTORY OF THE FESTlVALB.

SOHUMANN-Scenes from Goethe's Faust (Part III) ...... V Gypsy Life, Ope 29 ...... •••.. I Paradise and the Peri ...... ••. XIII Symphony No.1, B flat, Op 38 ...... '... ,.. X, XII, XVII Symphony No.2, C major, Op. 61 ...... 1, VII Symphony No.3, E-flat, Ope 97, Rhenish ...... IX Symphony No.4, D minor, Ope 120 ...... •IV, XIII Overture, Genoveva, Ope 81 ...... •.... V Manfred, Overture, Interlude, Invocation of the Alpine Fay •• III Overture, Ope 115 ...... •. VIII Traumerei ...... : ...... ••. I, III Song, The Two Grenadiers ...... •. IV, X SOHUMANN, G.-Overture, Liebesfriihling ...... ••.•....•.•• XVIII SINGER, OTTo-Festival Ode ...... III SMETANA-Overture to a Comedy, Prodan! nevesta ...... XIII SOMERVELL, ARTHUR-Song, All through the Night ...... XI By the Waters of Babylon ...... XII SpOHR-Faust, Die stille Nacht entweicht ...... IV, VII, VIII STANFORD, DR. C. VILLIERS-Song, Prince Madoc's Farewell ...... XI Arrangement of Old Irish Melodies ...... •.... XI The Lament for Owen Roe O'Neil ...... •.... XI Sweet Isle ...... •. XI The March of the Maguire ...... •.•. XI My Love's an Arbutus ...... XII 0, Ye Dead ...... XII The Veiled Prophet, There's a bower of roses ...... • XII Ode, East to West ...... •XIV STRAuss-Waltz, On the Beautiful Blue Danube ...... •.. I Waltz, Life Let Us Cherish ...... I Waltz, Wine, Women and Song ...... 1 Polka Schnell ...... ••.... I D eVl'1' s D arnlngneedle...... • II Pizzicato Polka ...... ' , ...... •..•••• IV Voce di Primavera ...... XIV STRAUSS, Rich.-Till Eulenspiegel's Merry ~ranks, Ope 28 .•.... XII, XVI Tone Poem, Thus Spake Zarathustra ...... XIII Tone Poem, Ein Heldenlebell ...... , XIV Tone Poem, Don Juan, Ope 20 ...... •...•.•••••. XV, XVIII Tone Poem, Death and Transfiguration, Op. 24 ...... XVI Lov'e Scene, Feuersnot ...••...... •...•••.•.•••••.• XV, XVII Salome, Dance of the Seven Veils ...... •..••.•.. XVIII Hymnus, Op. 33 ...... XVI Serenade for wind insrtruments, Ope 7 ...... •...... XVII 152 REPERTORY OF THE FESTIVALS."

SUK, JOSEPH-Suite, A Fairy Tale, Op. 16 ...... XV

TAYLOR, S. COLERIDGE-Hiawatha's Wedding Feast ...... XIV Onaway! Awake, Beloved!

THOMAS - Mignon, A'rIa, N on conosCl . queI suo I a ...... II Recitative and Polonaise, Je suis Titania ...... XI Hamlet, Mad Scene ...... IX THOMAS, A. G-QRING-The Swan and the Skylark ...... XII TINEL-Francis, an Oratorio, Op. 36 ...... XII TSCHA.IK.OWSKY-Symphony No.5, E minor, Op. 64 ...... X Symphony, Pathetique, No. '6. B minor, Op. 74 .... XII, XVII Symphony, After Byron's Manfred ...... '" ., ...... XIV Overture, Romeo and Juliet ...... XI Overture, 1812, Op .. 49 ...... XII, XVI Cappriccio Italien ...... XIV VAN DEB STUCKEN-Pa,X TriumphaDiS, A Festival Prologue, Op'. 26. XVII VlnBDI-Requiem ...... IX Quartet, Unde, seben rummentorni ...... II Don Carlos, Aria, 0, don fatale ...... Ill, IV Ballo in Maschera, Scene and Quintet ...... III Aida, Romanza, Celestial Aida ...... IV La Traviata, Ah, Fors' e lui ...... XIV

WAGNER-Lohengrin, Vorspiel and Scenes (Chorus, Orchestra, Soli) .... II Vorspiel ...... III, V, VI, VIII, XIV Introduction and Duo, Act III ...... VI Lohengrin's Farewell ...... III, VIII Prayer and Finale ...... Vln Tannhliuser, Overture and Scenes (Chorus, Orchestra, Soli) .. VI Overture ...... II, III, VIII, XI, XIV Tannhliuser's Pilgrimage ...... XI Elizabeth's Prayer ...... XI, XII, XIII Bacchanale and Duo ...... VIII Bacchanale ...... XII, XVI Dich, Theure Halle ...... XII, XVII, XVIII March and Chorus ...... 1 Romanza, Evening Star ...... II, IX, X, XI Act III (Soli, Chorus and Orchestra) ...... X

153 "REPERTORY OF' THE FE8TIVALS.

Die Meistersinger, Act III (Chorus, Orchestra and Soli) VII,XV Vorspie} I, II, V, VIII, XI, XII, XIV, XV, XVI, XVII, XVIII Introduction, .Act III ...... Il, V Prize Song ...... II, V, VIII, XI, XV Wach auf •....•..•••...... III, X, XI, XIV, XV Monologue • ...... III, XI, XV Quintet ...... III, X, XI, XV Cobbler's Song • ...... III, IV

Gathering oLMastersingers .. 00 •• 0 •••••••••••• •• V

Pogner's Address ...... 0 0 •• 0 ••• 0 • 0 0 0 • 0 •••V, XIV

.Am stillen Herd . 0 •••••• 0 0 •••• 0 0 ••• 0 ••• 0 •••• XIII

Fanget an . 0 0 • • 0 • • • • • •••• 0 0 •• 0 0 0 • 0 •• 0 0 • 0 ••• XIII The Flying Dutchman-Overlure ....•...... VI, VII, IX, XIII

Duo, Like to a Vision ...... 0 VII, IX, XIII Spinning Chorus and Ballad, Act II ... VI, IX, XIII

The Term's Expired ..... 0 ••••••••••••••••••• XIII Tristan and Isolde-Prelude, Act I, VI, VII, XII, XVI, XVII, XVIII

Love Duo and Finale, Act II ...... 0 0 VI

Finale, Liebestod. 0 0 • VII, XII, XVI, XVII, XVIII

Brangane's Warning ..... 0 0 0 0 0 • 0 0 0 0 0 0 0 0 0 0 0 • XVIII

Du Rheingold-Scene II. Before Walhalla . 0 0 0 0 0 •• 0 0 • 0 ••• 0 V

Loge's Tidings • . .... 0 ••••• 0 0 0 •• 0 0 0 0 0 0 •••• 0 • 0 •• V

Gra,nd Closing Scene .. 0 •• 0 0 0 • 0 ••• 0 0 ; 0 0 •• 0 •••• o.V

Die Walk1ire-Prelude, Act 1..0.00 •• 0 •••••••• 000 V, XII, XIV

Act I, Schlafst du, Gast? (to end of act) . 0 0 • 0 0 0 XIV Ride of the Valkyries, III, IV, V, VI,IX,XII,XIV,XV

Siegmund's Love Song. 0.000 ••••• IV, V, XII, XIV

Scene, War es so schmahlich o. 000.0 ••••••••••• XII Wotan's Farewell and Magic Fire Scene, II, V, VI, IX, XII, XIV, XV

Siegfried-·Finale, Act III, Siegfried's Wooing .. 0 •• 0 •••• 0 • 0 • VI

Waldweben .. 0 •• 0 •• 0.00 ••••••• : •••••• VII, XVIII

Finale, Act I ...... 0 •••••••••••• 0 •••••• XV

GOtterdammerung-Act III, Scenes 1 and 2 ...... 0 0 • IV Duo, Zu neuen Thaten ...... VII Siegfried's Rhine Journey ...... VII, XVIII Siegfried's Death, III, V, VI, VII, VIII, IX, X, XII, XV, XVII

Finale ...... o •••••• 111, V. VIII, X, XII, XV, XVII 154 REPERTORY OF TIlE FESTIVALS.

Parsifal-VOl'spiel ...... VI, X, XIII, XIV' Act 1. Transformation Music and Finale ...... XIV Good Friday's Spell ...... VI, X, XIII Funeral Procession ...... VI, XIII Finale, Glol'i:fi.cation ...... XIII Rienzi-Gerechter Gott ...... X, XIV Eine Faust Onvertiire ...... I, VIII, XIV Kaiser-}\.Iarsch ...... I, XI Huldigungs-Marsch ...... II, V, XIV Centennial Inauguration March ...... IV 1m Treibhaus ...... X Tri1ume •...... X, WEBElV-Hymn, Op. 36, In seiner Ordnung sehafit der Herr ...... VIII J ubel Overture ...... I Invitation to the Dance ...... III, XIII, XIV Oberon-Overture ...... II, X, XU Quartet, Over the dark, blue waters ...... II Aria, From boyhood tr'ained ...... III Scena, Ocean, thou mighty Monster! V, X, XII, XVI, XVn: Oh, 'Tis a Glorious Sight ...... IX Der Freischtltz, Aria, Durch die Walder ...... III. XI Scene, Wie nahte mir der Schlummer ...... XIII Overture ...... XI, XIV Abu Hassan, Aria, 0, Fatima ...... III Euryantbe--Overture ...... I, V, IX, X Romanza, Unter bliihenden Mandelbaumen ..... V, X Cavatina, GHicklein im Thale ...... V, X Scena and Aria, Wo berg' ich mich .... V, IX, XVII Act I (Soli, Chorus and Orchestra) ...... X R.ecitative and Rondo, Ja, del' Augenblick erscheinet ...... VIII

MISCELLANEOUS. Song, Das Maidlein, old German Minnelied (1540) ....•.....•.•...•••• XI Song, Drink to me only with thine eyes, Old English ...... XIV

(FIRST AND SECOND FESTIVALS-CHORUS OF CHILDREN.) My Oountry, 'Tis of Thee. Star-Spangled Banner. America. Land of our Fathers. 155

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