Rehearsal and Concert

SYMPHONY HALL, BOSTON HUNTINGTON (S-MASSACHUSETTS AVENUES

_, , . ( Ticket Office, 1492 J „ , Telephones ^^'^^ ^^^^^ J Administration Offices, 3200 } THIRTIETH SEASON, 1910 AND 1911

MAX FIEDLER, Conductor

Programme nf % Nineteenth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE ^NOTES BYi^PHILIP HALE

FRIDAY AFTERNOON, MARCH 17 AT 2.30 O'CLOCK

SATURDAY EVENING, MARCH 18 AT 8.00 O'CLOCK

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Thirtieth Season, 1910-1911

MAX FIEDLER, Conductor

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FRIDAY AFTERNOON, MARCH J 7, at 2.30 o'clock

SATURDAY EVENING, MARCH J 8, at 8 o'clock

PROGRAMME

Strauss "Macbeth,'? Tone-poem for full Orchestra (After Shakespeare's drama), Op. 23 First time in Boston

Faure . . "Pelleas and Melisande," Suite from Stage Music to Maeterlinck's tragedy, Op. 80

I. Prelude: Quasi adagio. II. "The Spinning Woman"; Andantino quasi allegretto. III. Molto Adagio.

Goldmark Overture to "Sakuntala," Op, 13

Beethoven . Symphony in C minor, No. 5, Op. 67 I. Allegro con brio. II. Andante con mote.

III. Allegro : Trio. IV. Allegro.

There will be an intermission of ten minutes before the symphony

The doors of the hall will be closed during the performance of each number on the programme. Those who tvisli to leave before the end of the concert are requested to do so in an interval between the numbers.

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1398 "Macbeth": Tone Poem for Full Orchestra (after Shake-

speare's Drama), Op. 23 •. . . . Richard Strauss

(Bom at Munich, June 11, 1864; now living at Charlottenburg,—Berlin.)

"Macbeth" was composed at Munich in 1886-87, when Strauss had returned from his ItaHan journey to take the place of assistant conductor at Munich under Hermann Levi and Franz Fischer. The tone poem was revised at Weimar in 1890. Although Strauss' "Don Juan "bears ah earlier opus number (20), it was composed after "Macbeth,"— in 1887-88 at Munich.

In the original version "Macbeth" ended in D major with Macduff 's triumphal march. Hans von Biilow objected to this ending, and said that, while an "Egmont" overture might well end with Kgmont's victorious march, a "Macbeth" composition should not at the end glorify the triumph of Macduff. Strauss thereupon changed the ending and made certain changes. in the first sketch in the development. The first performance of "Macbeth" was in the Grand Ducal Court Theatre at Weimar, October 13, 1890, at the first subscription concert of the season. Strauss conducted from manuscript. The second performance was at a Philharmonic concert in Berlin, February 29, 1892, when Strauss conducted. The first performances in the United States were by the Chicago Orchestra, led by Theodore Thomas in Chicago, October 25-26, 1901. "Macbeth" was performed again in Chicago, October 12-13, 1906. The score and parts were published at Munich in August, 1891. "Macbeth" is dedicated to "my highly honored and dear friend Alexander Ritter." * It is scored for three flutes (one interchangeable

* Ritter was bom at Narva, Russia, June 27, 1833; he died at Munich, April 12, i8g6. Although Ritter was bom in Russia, he was of a German family. His forbears had lived at Narva since the seventeenth century. In 1841, soon after the death of his father, he and his mother moved to Dresden, where he became the school-fellow of Hans von Biilow, and studied the violin with Franz Schubert (1808-78). Ritter afterward studied at the Leipsic Conservatory under David and Richter (1849-51), and in 1852 he was betrothed to

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1400 with piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, double-bassoon, four horns, three trumpets, bass trumpet, three trombones, bass tuba, a set of three kettledrums, bass drum, side-drum, cymbals, tam-tam, and the usual strings. *

Ritter exerted a great influence over Strauss, who said of him in a conversation published in the Musical Times (London): "Ritter was exceptionally well read in all the philosophers, ancient and modern, and a man of the highest culture. His influence was in the nature of a storm-wind. He urged me on to the development of the poetic, the expressive, in music, as exemplified in the works of Liszt, Wagner, and the play-actress, Franziska Wagner, a niece of Richard Wagner. He married her in i8s4 and moved to Weimar, where he became intimately acquainted with Liszt, Cornelius, Raff, Bronsart, and of course saw much of von Biilow. He determined to devote himself to composition, but in 1856 he went to Stettin to conduct in the City Theatre, where his wife played. They lived in Dresden (1858-60), again in Stettin (1860-62), but Ritter then had no official position, and in 1S63 they made Wiirzburg their home. (The winter of 1868-69 was spent in Paris, and that of 1872-73 in Chemnitz.) From 1875 to 1882 he was at the head of a music shop at WUrzburg. In 1882 he gave over the business to an agent, and in 1885 sold it, for in 1882 he became a member of the Meiningen orchestra led by von Biilow. After von Biilow resigned this position (in the fall of 1885), Ritter moved to Munich and made the town his dwelling-place. His most important works are the operas: "Der faule Hans," one act (Munich, 1885), dedicated to Liszt; "Wem die Krone?" one act. Op. 15 (Weimar, June 7, i8go), dedicated to Richard Strauss; "Gottfried der Sanger," one act, was only partially sketched, but the poem was completed; orchestral: "Seraphische Phantasie"; "Erotische Legende," composed in 1890-91, with use of former material; "Olaf's Hochzeitsreigen," composed in i8}t-92; "Chxrfreita? und Frohnleichnam," composed in 1893; "Sursum Corda! Storm and Stress Fantasia," produced at Munich early in 1896; "Kaiser Rudolf's Ritt zum Grabe" (1895), produced by Richard Strauss at Weimar (?) and at Berlin in 1902. "Olaf's Wedding Dance" was played in Boston by the Boston Symphony Orchestra, Dr. Muck conductor, March 2, 1907. A Life of Ritter by Sigismund von Hausegger was published at Berlin in 1908.

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High Voice Low Voice PRICE $1.00 ARTHUR P. SCHMIDT 120 BOYLSTON STREET (take elevator) AND FOR SALE BY ALL MUSIC DEALERS 1401 Berlioz. My symphonic fantasia, 'Aus Italien,' is the connecting Hnk between the old and the new methods." "Aus Italien" was composed in 1886, and "Macbeth," the first of the tone-poems, was a work of the next year. It may here be remarked that Gustav Brecher, in his "Richard Strauss," characterizes "Death and Transfiguration," as well as the opera "Guntram" (1892-93), as a return of the composer, after his "Don Juan," to the chromatic style of Liszt and Wagner; and he insists it is not a representative work of the modern Strauss. "Before I knew Ritter," said Strauss, "I had been brought up in a severely classical school. I had been nourished exclusively on Haydn, Mozart, and Beethoven; and then I became acquainted with Mendels- sohn, Chopin, Schumann, and Brahms. It is only through Ritter that I came to understand Liszt and Wagner." * * * Strauss' tone poem is a delineation of the character of Macbeth. There is no programme. The chief theme, however, has been marked by the composer "Macbeth," and over another theme Strauss has written a quotation from Lady Macbeth's first soliloquy. The friends of Strauss assure us that there is no attempt to tell in music the story of Shakespeare's tragedy; there is no motive for the weird sisters, Banquo, Macduff, Duncan; no music for apparitions or sleep-walking. Dr. Arthur Seidl has written: "As in 'Don Juan' the composer expresses, with the utmost precision, the intoxication of enjoyment which leads to disgust and satiety, so in 'Macbeth' his subject is the madness of relentless cruelty. He strives to depict, in tones, the demonic horror of this terrible character; no color is too crude for his purpose—no BEING SURE

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manner of expression too harsh. Those who admire a creative impulse of elemental strength and complete independence will know how to appreciate at its true value the genius of this strong, ruthless, incisive piece of poetry in tones." "Macbeth" concerns itself "more with inner processes than outer events, is in fact—though it is ' after Shake- speare's Drama'—psychological and not narrative." Nevertheless, Mr. Hermann Teibler has written a little pamphlet, published as No. 210 of "Der Musikfiihrer " (Leipsic), and it describes minutely the various sections with their aesthetic significance. "Macbeth" begins Allegro un poco. The signature is D minor, but the opening measures are in A with the use of only the tonic and the fifth. At the sixth measure with the announcement of the chief theme, which Strauss marked "Macbeth," the tonality, D minor, is established. The progression of quarter-notes for the horns and the leaps for strings, clarinets, and oboes, are thought to represent respectively Macbeth's "heroic determination and his cruelty." A new motive for basses, bass clarinet, and bassoons is "characteristic of soul-torturing conflict, 'letting " I dare not" wait upon I would.' " This motive is interrupted by the Macbeth motive, and after a climax the section ends with the Macbeth theme played softly by the trumpets. Lady Macbeth is then introduced, and Strauss has written in his score the following quotation (Act I. Scene 5) : Hie thee hither. That I may pour my spirits in thine ear, And ehastise with the valor of my tongue All that impedes thee from the golden round Which Fate and metaphysical* aid doth seem To have thee crown'd withal.

Her theme is for flutes and clarinets. According to London commentators, when the Richard Strauss Festival was held in that city June 3-9,

* Metaphysical here means, that is above or goes beyond the laws of nature ; supernatural: as in Mar- lowe's "Tamburlaine the Great": The essentiall fourme of Marble stone, Tempered by science metaphisicall. And Spels of magicke from the mouthes of spirits. See also Emerson in his essay on Goethe: "The lurking demons sat to him, and the metaphysical elements took form." BETIVEEN SEASONS

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1403 1903, Strauss "does not conceive of her as a virago with no instinct but that of cruelty; of the 'undaunted mettle' of one who 'should bring forth men-children only,' there is but little trace; it is rather a coldly- cruel and subtly-calculating character, yet capable of great tenderness, which he seems to be depicting." Her influence grows in the music and gains in prominence. A significant rhythmical figure enters, and is used a good deal throughout. A new theme comes after a pause on a gentle drum-roll. This is "typical of the love of Macbeth for his queen." The melody is at first given to violins and flutes, accompanied by arpeggios for violas and pizzicati notes for the other strings. Lady Macbeth's theme har- monically changed now expresses tenderness and is played by the wood- wind instruments. The sinister and self-torturing motive enters for a moment (bass clarinet and double-bassoon), but the love music be- comes more intense and the Lady Macbeth motive is wildly sounded. The tempo changes from Allegro un poco maestoso to Furioso with a frenzied use of the foregoing thematic material. There is turmoil, "to show how amid all conflicts it is love for Lady Macbeth that over- masters every other passion—how her promptings drown the voice of conscience—till wfth figures, as of derision, in the flutes, we come to a Presto expressive of wildest terror; Macbeth has 'supped full of horrors.'" The second part of the work begins moderate maestoso. "Macbeth's resolution is now confirmed by success and his conscience is stifled." His typical theme is now transformed and used in a stately march movement, B-flat major, 3-4, which is developed at some length. The

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1405 Lady Macbeth motive adds color. There is a cHmax, and a new theme appears. Some say it indicates "new elements of weakness in Mac- beth 's nature"; others are sure that it expresses the influence of his wife victorious over his conscience. Tempo Primo. The Macbeth motive is changed as the character of Macbeth himself is now different. The music is "uncanny." The motive of "weakness" is more and more prominent. The Macbeth theme (A-flat) is now given to the trumpets, with wild figures for violins, but again there is irresolution, despondency. Furioso. There is a portrayal of fierce energy, the bravery of des- peration. The tumult dies into a Poco allargando, which leads to the final Molto tranquillo. There is a new version of the "weakness" theme. The self-torturing motive dies in the muted strings. There is a peaceful version of Macbeth's theme (wood-wind) : "an ending full of noble dignity, as though bidding us remember only 'Bellona's bridegroom' and forget the tyrant and the assassin." Thus have commentators "explained" this tone-poem. It should be remembered that Strauss contented himself with naming one theme and inserting a quotation from the tragedy over another. * * * There are allusions to Strauss' "Macbeth" in the letters of von Billow. He wrote to Spitzweg in 1888 that he should see to the publication of Strauss' beautiful cadenzas to Mozart's concerto in C minor. "They could be bought, and such trifles lead to the populariza- tion of a composer more than any Macbethian witches'-kitchen-boil-

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1407 — : ings and steamings." In March, 1891, he expressed doubts about "Macbeth" to Spitzweg and quoted Goethe with approval and an addition : In wenig Jahren wird es anders sein Wenn sich der Most auch ganz absurd geberdet, (N.B. zu stark) Es gibt zuletzt doch noch 'nen Wein,* and added that there was "very palatable Bacchus" in the Symphony in F minor, before the present ferment. "Let us wait, if it be that we have time. In the mean time the witches' servant does not seem to me as important as the sorcerer." In November of the same year he thought more favorably of a performance, and in Berlin, on February 28, 1892, he wrote to Spitzweg: "The success of 'Macbeth' this afternoon was colossal. Strauss was called out noisily four times. The work also sounded overwhelming. Never has the composer experienced here such a reception. A surprise for us all, and ground for congratulation on both sides. Go hang yourself because you were not here." And von Biilow wrote to his wife the day before: "'Macbeth' is for the most part mad and deafening, but full of genius in summo grado." Two days later he wrote to her in French: "Think of it:

' Macbeth ' was an enormous success. There was an enormous amount of electricity in the air (I was about to say — of '93)." * * * The story of von Bulow's relationship with Strauss is an interest'ng one. It is often stated that von Biilow "recognized Strauss' genius" at the very beginning. The statement is erroneous. Von Biilow wrote to Eugen Spitzweg, October 22, 1881: "The pianoforte pieces of R. Str[auss] have thoroughly displeased me—unripe and would-be wise. In comparison with him in the matter of fancy Lachner is a Chopin. I miss all youthfulness in the invention. No Genius according to my innermost conviction, but at the best a talent. ... I do not force this opinion on any one, I only answer your question." In 1882 he alluded to him slightingly, in praise of Philipp Wolfrum, as "the green

* "In a few years it will be otherwise: if the must has the appearanceof beingwhoUy absurd, it stiil turns out at last to be wine."

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1409 young Strauss"; and in 1884 as "Johami Wagner," though he ad- mitted that Strauss' horn concerto pleased him, if the "old-fashioned" tuUi were shortened or more highly flavored. Early in May, 1885, von Biilow wrote to Spitzweg, and asked him whether "Richard II" would conduct the Meiningen orchestra "gratis, temporarily, for the sake of his education, as a practical musician," during his absence in the east and west, and also "exercise the Singing Society." Strauss went to Meiningen, and on October 17, 1885, von Biilow wrote to Hermann Wolff, the celebrated concert agent, that Strauss' symphony (F minor) was "a very important, original, formally ripe work, and he is a born conductor." He praised him as a "first rate* force." "Up to this time he had never conducted; and also never played the piano in public—but he made a success with Mozart's concerto, as with everything else, the first time." He described Strauss' cadenzas to this concerto, in C minor, as "beautiful." He wrote again: "Strauss—a man of gold. Symphony a famous one. His debut as pianist and conductor was really a stupefying one. If he has the inclination, he can be my immediate successor with the approval of the Duke. Brahms spoke most warmly of him—a rare thing." Yet a story has recently been published that Brahms, hearing the symphony of Strauss, advised him to study simple music, four part songs, Vienna waltzes, etc. Let us pass on to the year 1887 when in May von Biilow accepted the dedication of "Aus Italien" with an enthusiasm equal, as he said, to the aversion which he generally felt when a similar proposition was made to him. In August of the same year he wrote to Spitz- weg that he had great confidence in Strauss' character and talent: "I think you will always rejoice in the fact that you launched him"; but he hesitated about bringing out the Fantasia, although he was as much interested artistically in it as though it were a new work by Brahms. "The orchestra is his domain; no one will dispute that." Nevertheless, von Biilow doubted whether the Philharmonic orchestra

* These two words arc in English in the original letter.

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Stores in all Principal Cities of New England of>Berlin'could' do*justice to the work after three rehearsals on account of "the great technical difficulties." In the same spirit he wrote to Wolff that he would produce the work if Kogel would conduct " separate rehearsals" before he came. -He wrote to Ritter, December 30, 1887: "I look forward to the performance led by the composer the 23d in Berlin," and again he spoke of "the colossal difficulties" of the performance.

In 1 89 1 von Billow thanked God that Strauss had recovered from sickness. "He has a great future before him, he deserves to live."

In 1893 von Bulow, knowing that he would not live long, wrote : "Would to God that I could again be capable of following the development of his genius. After him [Brahmsl he is by far the richest individuality. Praise to thee for having discovered and first recognized it." Early in 1894 von Billow, thinking that the climate of Egypt would restore him, was visited by Strauss, who gave him courage for the journey. And yet in 1887 von Billow wrote to Alexander Ritter that he was not wholly clear about "Aus Italien," that he should not like to pro- nounce upon its worth, although the music as a whole and in detail made a great impression on him. "Does age make me a reactionary to this extent? I think that the inspired composer has gone to the utmost limits of tonal possibility (in the region of beauty), has even overstepped them without compelling necessity." But von Biilow then knew the work only by reading the score; he had not heard it. In the same letter he characterized Strauss as a "phoenix."

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1413 —

"Pelleas and Melisande," Orchestral Suite, Op. 8o, taken from

THE Stage Music to Maeterlinck's Play . . Gabriel Faur]^

(Born at Pamiers (Ari^ge), France, May 13, 1845; now living at Paris.)

Maurice Maeterlinck's "Pelleaset Melisande" was published in 1892.

When it was played for the first time in Paris,—at the Boufifes Pari- siens, May 17, 1893,*—there was no incidental music. Faure's music was written for the performance in English given by Mrs. Patrick Campbell in London, June 21, 1898. This music was played here in Boston at the performance given by Mrs. Patrick Campbell and her company at the Boston Theatre, April 12, 1902, when the cast was as follows: Arkel, Daniel McCarthy; Golaud, G. S. Titheradge; Meli- sande, Mrs. Patrick Campbell; Queen Genevieve, Mrs. Theodore Wright; Pelleas, Herbert Waring; Yniold, Alethea Burroughs; the Doctor, Gilbert Trent; an old servant, George Arliss. The English translation was by J. W. Mackall. The suite, arranged by Faure from his incidental music, was first played at a Lamoureux concert in Paris, February 3, 1901. The first performance in London was at a Promenade Concert, Mr. H. J. Wood conductor, September 18, 1902. The suite was first played in Boston at a concert of the New England Conservatory Orchestra, March 8, 1904. It was played at concerts of the Boston Symphony Orchestra in Boston, December 17, 1904, and December 2, 1905. Mr. Vincent d'Indy conducted- at the latter concert. The suite was played by the Boston Opera House Orchestra at the Opera House on February 28, 19 II, when Mr. Caplet conducted. The story of Maeterlinck's tragedy is a simple one. The gray-bearded Golaud, brother of young Pelleas and grandson^of old Arkel, king of

* The cast was as follows: Arkel, fimile Raymond; Golaud, Lugn6-Poe; Melisande, Miss Meuris; Ge- nevieve, Miss Camee; Pelleas, Miss Marie Aubry; Little Yniold, Miss Georgette Loyer.

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UlcQUrXy Granite jMcmorials Allemonde, was' a-wandering in the forest, hunting a boar. He came upon a young girl weeping by a spring; she was beautiful and mysterious. She would not tell her age, she would not name her country.

Her clothing was that of a princess, but it was torn ; her crown had fallen into the water. Golaud questioned her, and she wept afresh. He took her to the dismal castle, where he lived with old Arkel and with his mother, Genevieve, and with his little son, Yniold, for Golaud had been married and his wife was dead. Six months went by and Golaud wedded Melisande. Pelleas came to the castle, and soon he and Melisande loved each other, at first with a timid love; but, as Pelleas determined to go away, the lovers met for the last time in the park at night. Golaud had long had his suspicions. He had warned Pelleas by showing him the depths that smelled of death in the castle

vaults ; he had employed the little Yniold as an unconscious spy. Find- ing his brother and Alelisande alone in the park so late at night, he killed him and wounded her. The wound was a slight one; "a bird would not die of it," the physician said; but Melisande could not live; "she was born without cause—to die; and she dies without cause." Melisande in her sick-room gave birth to a little girl; but Golaud had but one thought: Were Pelleas and Melisande guilty toward him? He questioned the dying woman, but, though she assured him of her in- nocence, his soul was not quieted. Such is the motive of this play in which weak and shadowy mortals in some unknown land are represented as oppressed by dark and malevolent powers. No wonder that, to quote from Alfred Bruneau, "the idea of fatality, of death, on which all the pieces of Maeterlinck are based, the atmosphere of sorrowful legend which enwraps them as in a great veil of crape, that which is distant and enigmatical in them, their vague personages, poor kings, poor people, poor inhabitants of unnamed lands whom fate leads by the hand in the mist of the irreparable, the resigned, naive, gentle, or solemn conversation of these passive unfortunates—all this suited in a most exact manner the temperament of Claude Debussy." One might add " and that of Gabriel Faure." The suite, arranged from Faur^'s stage music, is in three movements. The first is the prelude to the play. Quasi adagio, G major, 3-4. UNIVERSITY TRAVEL Scholarly guidance for the serious traveller. Especial interest in Art, History and Archaeology of Europe and the Orient. Tours in Spring and Summer. Send for our announcement. UNIVERSITY PRINTS 2000 reproductions of masterpieces of sculpture and painting one cent each. Handbooks for the student. Send two-cent stamp for complete catalogue. Telephone. Back Bay 2620

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1417 It begins with a simple theme for strings, which is developed with the assistance of wind instruments. Here and there are harp notes. There is a theme for solo 'cello, flutes, bassoon. A horn calls mysteriously in the forest. The movement is charged with the pensive, twihght melancholy that characterizes so much of Faure's music. The second movement, "Fileuse" ("The Spinner"), is the second entr'acte. The stage direction for the first scene of act iii. is as follows: "A room in the castle. Pelleas and Melisande are discovered. Melisande is spinning with a distaff at the back of the room." An- dantino, quasi allegretto, G major, 3-4. The spinning figure is in the first violins; plaintive melodies in wood-wind instruments. G minor; spinning figure in second violins and violas; again a plaintive solo use of wind instruments and a like use of the first violins. There is a return to G major, with the spinning figure in the strings, with wind instruments in solos and with an effective figure for the harp. The third movement is associated with the final tragic scene. Molto adagio, D minor, 3-4.

Melisande. Is it you, grandfather? Arkel. Yes, my child. What do you wish me to do? Melisande. Is it true that winter is here? Arkel. Why do you ask? Melisande. Because it is cold, and there are no more leaves. Arkel. Are you cold? Do you wish the windows shut? Melisande. No, no, not until the sun has sunk into the sea. It sets slowly; so winter has begun? Arkel. Yes. You do not like winter? Melisande. Oh, no. I am afraid of the cold. I dread the bitter cold. Arkel. Do you feel better? WALL PAPER

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"^JMeIvISands. Yes; yes; I no longer have all those anxieties. Arkel. Do you wish to see your child? Meusande. What child? Arkel. Your child. You are a mother. You have put into the world a little girl. Melisande. Where is she? Arkel. Here. Melisande. It is strange— I cannot raise my arms to take her. Arkel. That's because you are still very weak. I'll hold it myself; look. Melisande. She does not laugh. She is little. She, too, will weep. I am sorry for her.

(The room is gradually filled with the seroants of the castle, who take their places si- lently along the walls and wait.)

GoLAUD {suddenly rising). What's this? What are all these women going to do here? The Physician. They are the servants. Arkel. Who called them? The Physician. Not I. GoLAUD. Why did you come here? Nobody summoned you. What are you going to do here? What does all this mean? Answer me!

{The servants do not ansiver.)

Arkel. Do not speak so loud. She is going to sleep ; she has shut her eyes. GoLAUD. It is not—? The Physician. No, no; see, she breathes. Arkel. Her eyes are full of tears. Now it is her soul that weeps. Why does she stretch out her arms? What does she want? The Physician. Toward her child, no doubt. It's the struggle of the mother against GoLAUD. Now? At this moment? It must be said, say it! Say it! The Physician. Perhaps. GoLAUD. At once? Oh, oh! I must speak to her. Melisande! Melisande!

Leave me alone ! leave me alone with her Arkel. No, no; do not approach her. Do not disturb her. Do not speak to her again. You do not know what the soul is. GoLAUD. It's not ray fault. It's not my fault! Arkel. Listen, listen. We must now speak in low tones. She must no longer be disturbed. The human soul is very silent. The human soul likes to go away

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{At this moment all the servants fall suddenly on their knees at the back of the room.)

ArkEL {turning). What is it? The Physician {nearing the bed and examining the body). They are right. (A long silence.) Arkel. I saw nothing. Are you sure? The Physician. Yes, yes. Arkel. I heard nothing. So quickly, so quickly— All at once. She goes away without a word. Golaud (sobbing). Oh! oh! oh! Arkel. Do not remain here, Golaud. She wishes silence now. Come, come. It is terrible, but it is not your fault. It was a little being, so peaceful, so timid, and so silent. It was a poor little mysterious being, like all of us. She is there, as though she were the big sister of her baby. Come, come. My God! My God! I shall not understand anything about it. Let us not stay here. Come; the child should not remain here in this room. She must live now in her place. It is the turn of the poor little one. (They go out in silence.)

The suite, dedicated to Mme. la Princesse Edmond de Polignac, is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, kettledrums, harps, strings. The drums are^not used in the second movement. * * * Gabriel Urbain Faure was the son of a director of a normal school. As a boy he was left somewhat to himself, and at Foix, hearing the music lessons of pupils in the school, he began to invent little tunes, so that when he was nine years old friends of the family recognized his extraordinary progres's, and urged the father to allow him to be a musician. In 1854 young Faure was sent to the School of Religious Music founded at Paris by Niedermeyer. His teachers were Dietsch and Saint-Saens. The first year Faure was awarded a prize for pianoforte playing. Saint-Saens was especially interested in him, and to him Faur^ attributes the development of his musical faculties. Faure left the school in 1865, and in 1866 he was appointed organist of Saint- Sauveur, Rennes. There he remained as organist and teacher until

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1422 iSyo, when he went to Paris, and was soon appointed accompan)dng organist at the Church of Notre-Dame de Clignancourt. The war broke out; he enHsted and served as a soldier during the siege. After the declaration of peace he was organist for a time at Saint-Honore d'Eylau and then choir organist for three years at Saint-Sulpice. In 1877 he was made chorus-master at the Madeleine, and in 1 896 he was appointed organist of that church. He was called to the Paris Conservatory in 1896 as a teacher of counterpoint and fugue and appointed Director of the Conservatory in 1905. In 1883 he married the daughter of Fre- miet, the distinguished sculptor. He won the Prix-Chartier for chamber music in 1885. Faure's first works were songs composed from 1866 to 1870. His chief compositions are as follows: Sonata for piano and violin, Op. 13 (1878); Orchestral Suite, Op. 12 (1874); "Les Djinns," for chorus and orchestra (1878); Concerto for violin. Op. 14 (1879); Pianoforte Quar- tet, No. I, Op. 15; Symphony in D minor (1884-85); Pianoforte Quar- tet, No. 2, Op. 45 (1886); Pavane for orchestra (1887); Requiem Mass (1893); "Iv'Organiste," opera in one act (Salle Duprez, Paris, 1887); Madrigal for four solo voices or chorus; music to Alexandre Dumas's " Caligula" (Odeon, 1888) ; music to "Shylock" (Haraucourt's version of "The Merchant of Venice") (Odeon, 1889); "LaNaissance de Venus," scene for solo voices, chorus, and orchestra (1895); music to "Pro- methee," lyric tragedy by Jean Lorrain and Ferdinand Herold for the arena at Beziers (1900) and to Shakespeare's "Julius Caesar" at Orange, 1905. Concert suites have been made from the music to "Caligula" and "Shylock." The rare talent of Faur^ is revealed fully in his songs. The first twenty melodies in the collective edition were composed from 1868 to 1878. The oldest songs in the second volume date back to about 1880. "Les Berceaux" was sung in 1881; "Les Roses d'lspahan," in 1884; "Clair de IvUne," in 1888; "Au Cimetiere," in 1889; "Prison" and "Soir" were composed in 1896; "I,e Parfum imperissable " was sung in 1897; the "Bonne Chanson" (poems by Verlaine) was published in 1894. * * *

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Music for plays by Maeterlinck : "La Mort de Tintagiles." Stage music by L^on Dubois; by A. von Ahn Carse. Symphonic poem by Charles Martin Loeffler, produced here at a Boston Symphony Concert, January 8, 1898; remodelled and then produced here at a Symphony Concert, February 16, 1901, incidental music by Jean Nougues (Mathurins, Paris, November, 1905). "La Princesse Maleine." Overture by Pierre de Breville. "Les Sept Princesses." Prelude and incidental music by Pierre de Breville. The sleep of the princesses is typified by a theme of four notes. This theme varies constantly in tonality and timbre. There is a song for tenor; a chorus of sailors. "Pellias et Melisande." Opera in five acts by Claude Debussy, Opera-Comique, Paris, April 30, 1902;* incidental music by Gabriel Faure; music by William Wallace; overture by Garnet Wolseley Cox (London, February 26, 1903); incidental music by Sibelius; Symphonic poem by Arnold Schoenberg. "Ariane et Barbe Bleue" (1901). Opera, libretto by Maeterlinck, music by Paul Dukas, Opera-Comique, Paris, May 10, 1907. Ariane,

* Golaud, Dufranne; Pelleas, Perier; Arkel, Vieuille; Un medecin, Vignie; Le petit Yniold, Le petit Blondin; Melisande, Mary Garden; Genevieve, Miss Gerville-Reache. Conductor, Andre Messager. First performance in the United States at tlie Manhattan Opera House, New York, February ig, 1908: Golaud, Dufranne; Pelleas, Perier; Arkel, Arimondi; Un medecin, Crabbe; Le petit Yniold, Miss Sigrist; Melisande, Mary Garden; Genevieve, Miss Gerville-Reache. Conductor, Cleofonte Campanini. First performance in Boston, April i, 1909, at the Boston Theatre: Golaud, Dufranne; Pelleas, Dalmores; Arkel, Vieuille; Un medecin, Crabbe; Le petit Yniold, Miss Trentini; Melisande, Mary Garden; Genevieve, Miss Gerville- Reache. Conductor, C. Campanini. The opera was performed again with the same cast, April 7, igog. It was performed again by the Manhattan Opera House Company in the Boston Theatre, April i, igio: Golaud, Dufranne; Pelleas Devries; Arkel, Huberdeau; Un medecin, Crabbe; Le petit Yniold, Miss Trentini; Melisande, Mary Garden; Genevieve, Mme. Gerville-Reache. Conductor, de la Fuente.

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1425 Georgette Leblanc; Le Nourrice, Miss Th^venot; S^lysette, Miss Brohly; Melisande, Miss Demetlier; Ygraine, Miss Bakkers; Bel- langere, Miss Berg; Aladine, Miss Regina Badet; Barbe Bleue, Vieulle; Un vieux paysan, Azema; 2^ Paysan, Lucazeau; 3^ Paysan, Tarquini. Conductor, Ruhlmann. "Soeur Beatrice." Gabriel Faure thought of setting music to this " miracle play,—the subject is the same as that of John Davidson's Bal- lad of a Nun,"—but he was obliged to decline the task, and a young composer, Moret, has undertaken it. The miracle play was performed with music by Max Marschalk at Berlin early in 1904. Liadoff wrote music for it: Chorus of Beggars, "Ave Maria," "Ave Maris Stella," death of Beatrice, "Requiem J^ternam," Op. 60. Hubert Bath wrote incidental music for the performance at the Court Theatre, London, March 28, 1909. "Soeur Beatrice" was played in Boston at the Shubert Theatre, April 20, 19 10, by the New Theatre Company of New York: Sister Beatrice, Miss Matthison; Prince Bellidor, Pedro de Cordoba; Allette, Gladys Brooks; The Abbess, Mrs. Dellenbaugh; Sister Clemency, Elsie Kearns; Sister Regina, Beverly Sitgreaves; Sister Felicity, Margaret Farleigh; Sister Eglantine, Olive Wyndham; A Priest, Ben Johnson. Marschalk's music was performed. "Monna Vanna." Opera based on Maeterlinck's play by Abraniy, music by the latter's son, .^Emile Abraniy, Royal Theatre of Budapest. Lyric drama in four acts, libretto by Maeterlinck, music by Henry Fevrier, Op^ra, Paris, January 13, 1909. Monna Vanna, Lucienne Breval; Guido Colonna, Marcoux; Prinzivalle, Muratore; Marc Colonna, Delmas. Songs: "Serres Chaudes," Ernest Chausson (1897); "La Voix de Selysette," Gabriel Fabre (1896); "J'ai cherche Trente Ans, mes Soeurs," G. Fabre (1896); "La Voix de Selysette," Homer Norris; "Melisande in the Wood," Alma Goetz (London, 1902). The list is by no means complete.

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1426 ENTR'ACTE. MAETKRUNCK AND MACBETH. BY PHILIP HALE.

When Mme. Sarah Bernhardt played Hamlet at her theatre in Paris,—in May, 1899,—the late Marcel Schwob translated in collaboration with Eugene Morand the tragedy. The published translation, which is one of remarkable merit, contains an introduction signed by the two translators, but evidently written in great part or wholly by Schwob, who dedicated the volume to W. E- Henley. The authors at the end of the preface say a few words about their task. They endeav- ored to translate. They did not make merely a commentary. "Words are represented by words, phrases by phrases. . . . We have tried not to forget that Shakespeare thought and wrote in the time of Henry IV. and Louis XIH. The critics across the channel in the first place maintain that Shakespeare cannot be translated. They say the poetic charm disappears in prose, and a French verse will not correspond to an English one. This is true, but he that makes an etching after a painting does not transport the colors: he transposes them in values. If you can compare poetry and painting, you must admit that a poem put into prose is as the engraving or etching of a picture. . . . We have translated 'old mole' par 'vieille taupe' and 'wormwood' by 'absinthe.'

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1427 'These words evoke to the ^English imagination the boulevard, its caf^ and loungers; but in French Hterature, thank God, a mole remains

a mole, and absinthe a bitter plant. When Lucretius wrote, ' Et velut pueris absinthia tetra medentes,' we do not at once think of the five o'clock green drink." Messrs. Schwob and Morand made their translation for Mme. Bernhardt. Would Maurice Maeterlinck have translated "Macbeth," had not his wife, Georgette Leblanc, wished to play the part of Lady Macbeth, and conceived the idea of using their castle for a theatre with spectators, only a few, walking about, from scene to scene? For Mme. Maeterlinck has undoubtedly influenced her husband, and she

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1428 CAROLINA WHITE —

Brussels, in 1895, where she made a sensation in "La Navarraise," "Thais," "Carmen." She afterward sang at Bordeaux, Nice, and in 1898 at Paris she gave song recitals of a singular nature. These recitals she called auditions lyriques mimes. She varied her attitudes to suit each song; she sang in a high and antique chair, or she walked to and fro; and she was so astonishing in her methods that Gustave Robert warned young singers against imitation of her, lest the result should be laughable disaster to the composer as well as the singer. Thus m her peculiar fashion she sang songs by Schubert and Schumann and music set by Gabriel Fabre to poems by Maeterlinck. Mr. J. d'Offoel wrote an amusing description of her singing Schubert's "Sei mir Ge- gruesst," which the translator into French turned into a wildly erotic thing. "Miss Leblanc, not to be left behind, throws her arms about in sculptural attitudes, and turns the whole thing into a cry of exas- perated, fainting flesh" {Le Guide Musical, January 9, 1898). Her Carmen was singularly vivid. Mr. Fierens-Gevaert described the gypsy in the second act, when she is in the boozing-ken of Lillas Pastia : "Miss Leblanc is clothed in a long robe of plaited tulle, ornamented with spangles. Her body, finely proportioned, is revealed by this in- discreet drapery. Her nobly modelled shoulders and arms are bare. Her hair is confined by three circles of gold, arranged in Grecian fashion. Alma, gypsy, daughter of the East, princess of the harem, Byzantine empress, or Moorish dancer? All this is suggested by this fantastic and seductive costume. But a more ideal image pursues us. The singer is constantly urged by feminine visions of our ultra-modern poets. She finds absolute beauty in the exquisite body of a woman animated by a Florentine robe. And it is through this imaginary figure that she composes her other incarnations; and in a tavern where gypsy women meet soldiers, she evokes the apparition of a woman of Man- tagna or Botticelli, degraded, vile, who gives the idea of a shameless creature that has not lost entirely the gracefulness of her original rank. She is never weary of cheapening her original model. She is sensual, impudent, voluptuous, gross; but in her white diction, in her blithe

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1430 walk, you divine her desire of invoking something else. . . . Carmen is, according to Miss Leblanc, a hybrid, monstrous creature. You look upon her with eager curiosity and with infinite sadness. . . . Miss Leblanc makes light of her voice. She maltreats it, threshes it, sub- jects it to inhuman inflections. . . . Her singing is not musical, her in- terpretation lacks the naivete necessary to true dramatic power. Nev- ertheless, she is one of the most emotional impersonators of our period. Her limited abilities, hidden by a thousand details in accentuation, remind one of the weak and ornate poetry of artistic degeneration. . . . Thanks to her, Antioch and Alexandria, corrupt and adorable cities, live again for an hour." It was to Georgette Leblanc that Maeterlinck dedicated "Le Tresor des Humbles" and "La Sagesse et la Destinee," and in the dedication of the latter volume he wrote: "I dedicate to you this book, which is, so to speak, your work. There is a loftier and truer collaboration than that of the pen: it is that of thought and example." It was for her that he wrote his "Monna Vanna" and "Joyzelle." Because the manager of the Op^ra-Comique wished Miss Garden to take the part of Melisande and would not consider the entreaties of Mme. Georgette, the good husband Maurice protested against the production of his play as an opera. It was undoubtedly for her that he translated "Macbeth," and it is probable that he had her in mind when he wrote certain pages of the introduction to the translation. Maeterlinck does not agree with those critics who put "Macbeth"

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1431 above "Hamlet," "King Lear,'* "Othello," "Antony and Cleopatra," and "The Tempest." "Hamlet" marks one of the highest points of the imaginative life of man, if not also the intellectual life. "King Lear" explores and magnifies the deepest abysses. The two plays illuminate the most profound, the noblest, and the most touching regions in the mind and the passions of humanity. But, as a purely dramatic piece, "Macbeth" surpasses the two. Only i^schylus has reached so lofty a summit in the tragic world. And yet "Macbeth" cannot justly be called "a well-constructed play." Judged by the laws of French technic, it is not a play at all. It wavers between the confines of -legend and history. Maeterlinck here argues against the historical drama, and insists that Shakespeare himself could not give it life ; that all his historical plays are far inferior to his masterpieces. "One might say, in order that a character should live on the stage, or rather in the soul of the poet who creates it, it is necessary that it should not have lived elsewhere; that it should not have lost any of its force in a former real and too precise existence." "Macbeth" is a sort of biography more or less legendary and dramatic. The interest cannot a priori increase from act to act, for the action is obliged to follow the life of the hero, and it is seldom that a human life is so skilfully managed as a tragedy. In Shakespeare's play the climax is reached at the next to the last scene of the third act. With the exception of the dialogue between Ross and Macduff and the sleep-walking scene, there is, then, nothing that rises to the- height of that which precedes. In the better as in the weaker portions there are "dangerously useless" passages, so that out of a little more than two thousand lines four hundred must be cut out. The two chief characters are hardly sympathetic; the atmosphere is uniformly murky; there is not much invention, for the story is taken from Holinshed's chronicle; only two scenes, that of the banquet and the sleep-walking scene, are probably Shakespeare's own. It might, then, be concluded that "Macbeth" is not a masterpiece. It is one. And where in all dramatic literature is there a drama which equals the first three acts of "Macbeth"? "There are more touching, nobler, more heroic, or more harmonious scenes in the drama

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1432 of Corneille and Racine; and there are purer and grander scenes in the Greek drama. Perhaps two or three may be found in plays by contemporaries of the poet—Webster, Beaumont and Fletcher, John Ford—in which the situation is more biting and poignant." There are doubtless deeper, loftier thoughts, as pure thoughts, in the theatre of Goethe and the moderns. Nowhere are there three acts with tragic substance so dense, so richly sombre, so naturally profound; in which, while it remains apparently simple and of daily life, it has a poetic quality so high, so glowing, so precious. Nowhere will one observe a human group surrounded by its own atmosphere, which prolongs in words, in the book, and on the stage, its frightful and secret existence in like manner. This is the great mystery and marvel of "Macbeth." Maeterlinck characterizes Macbeth and his wife as two crowned assassins, at first repulsive beings, of almost no moral worth and of moderate intelligence. Their crimes are vulgar and foolish. There is nothing to veil horror. In the ancient dramas, pity was excited for the victims. Here they only pass, totter, fall under the knife. Their life is too precarious, their words are too few for them to create or even affect the atmosphere of the piece. The murderers alone are in- tended by the poet to draw attention and sympathy. And so Shake- speare was obliged to surmount two unusual difficulties: to interest us in antipathetic and mediocre heroes; to raise the work above their moral and intellectual mediocrity. And this he was forced to do with the sole aid of the two themselves. Furthermore, the poet could not take up the parable. His voice could not be heard. He could only express himself through the mouths of his characters, who, at the risk of losing the life with which they were animated, should utter only the words demanded by the situation. The Greek dramatists, on the other hand, could express their own thoughts through the chorus. Fol- lowing their example, Corneille, at every moment, opened the door that separated him from his stage people, and his grand voice was heard. Nevertheless, if the poet in "Macbeth" did not speak through his characters as mouthpieces, they would have almost nothing to say.

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1433 They are not superior to the common run of mankind. If they had not committed the crimes, we should not have had a tragedy. This life, to which appeal is always made when a poet is to be re- proached, this famous real life, the exterior life which is seen and heard, furnishes, as a rule, only poor material. Shakespeare speaks in the name of that life which is silent in our ears, but reaches our sympathy. He gives the best of himself to serve two murderers, and does not de- ceive himself in peopling their silence with marvels. In the silence, or rather in the thoughts and mute sentiments of the basest man, there are qiany more things than can be expressed by poets of genius. And this miracle is worked by Shakespeare without attracting attention. Macbeth and his accomplices breathe in a region so vast that good and evil seen from far on high are almost indifferent and have much less importance than the fact itself of breathing. This is why, although they are guilty of one of the most repugnant crimes that can be committed, they are not repulsive to us. We forget their crime, which is only an occasion, a pretext: we see only the life that this crime, as a stone thrown into a gulf, makes known; the depths which a less enormous act would not have sounded. These characters speak in images. Like the primitive man, they create that which they express. There is no question here of laboriously constructed comparisons. The swiftness of the action does not allow such leisurely work. There is an incessant and sudden resurrection of all the words which by magic become quivering metaphors and rise from the tombs of the dictionary. Maeterlinck does not share the opinion of Paul de Saint Victor that Macbeth and his wife were titanic monsters. He asks whether they represent normal humanity tempted beyond its strength by a more imperious chance than those that assail us. Were they free agents or impelled by an irresistible power? Were the three witches on the heath or in their hearts? Is the play a study of the psychology of murder, a tragedy of remorse, a study of fate, or the poisoning of a soul by its own thoughts? We know nothing about all this. There can be endless discussion, and this or th^t can be maintained. It is highly probable that Shakespeare himself would not be able to define exactly

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1434 the two beings escaped from his prodigious hands. And so with Lady Macbeth. Who knows whether she were at heart the sister of Clytem- nestra or a too loving spouse, a victim over-punished for a horrid thought born of the conjugal bed? Shall we remember the monstrous smile of welcome to the unfortunate Duncan, the daggers dripping with blood, or the taper that reveals the weakness of a soul which secret tears prey upon even to death? Macbeth and his wife are not known to us even when we think them known. The characters that are wholly understood, and are to be analyzed with certainty, are already dead. These two belong to the future. Their lives are incomplete, not from the petty view of the drama, but as regards the infinite. They cannot remain immovable in the verses and the speech they create. They displace them and agitate them with their breath. In them they pursue their destiny, they modify the form and the sense; they develop themselves as in vital and nourishing surroundings, under- going the influence of the passing centuries, drawing unforeseen thoughts and sentiments, a grandeur and new strength. Maeterlinck has annotated his translation always in an interesting manner and often shrewdly. He does not believe that the second scene of the first act with the sergeant's speech is Shakespeare's, and he wishes it were cut out as wholly useless, contradictory to that which follows, and with the anachronistic reference to cannons and dollars. "It is to be observed that the speech of the witches, grotesque when they are by themselves, become at once grave, mysterious, profound, when a stranger questions them." Here is a note to Macbeth's statement, "Duncan comes here to- night," and his wife's question, "And when goes hence?" "It is necessary to have seen a good performance of 'Macbeth' to grasp fully the tragedy of the scene in which the murder, with all its consequences, in three phrases germinates, expands, and is determined by the two. When read, however carefully, it passes almost unnoticed. Corneille and Racine gain by being read tranquilly at night under the lamp. Their beauties are first of all intellectual and literary. Of all the tragic writers Shakespeare loses the most when read. There are often in certain words that seem insignificant such concentrated life that, like MISS GAFFNEY Hygienic Treatment of Head, Face and Neck

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' which surrounds the tragedy of Macbeth ' ought not to be fed on super- stitions. It is of all time and of all places. It is the infinite mystery of the human conscience and of nameless justice. The witches them- M. MAYERS Ladies' Tailor and Habit Maker IKESTAURANT

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1437 selves are perhaps not real. None sees them except Macbeth and Banquo, who carry in their hearts the temptations which the witches apparently sow there." Maeterlinck adds that in all drama there is no scene more difficult to realize on the stage than this of the banquet. For the actor who plays Macbeth there is incomparable matter for study. When Macbeth and his wife are left alone in this scene, there is no recrimination. "And this is perhaps the greatest moment for the two characters; a sort of funeral and compassionate veil is stretched piously over their crimes by the hand of the poet." It is needless to say that Maeterlinck rejects the scene between Hecate and the witches, and he does not believe that Macbeth, having seen the apparitions, was in a mental state to enjoy tranquilly the "antic round" which the witches danced to "cheer up his sprites." The passage he regards as apocryphal. With Macduff's cry "He has no children," we touch "the naked genius of Shakespeare" as in the sleep-walking scene. "We are above literature, and the poet's instinct so well realized that here the limits of poetry were passed, that at the supreme moment of his poem, we abandoned poetic form." "Out, out, brief candle." "It is in vain to demand with Tolstoi that a hero should speak only words conformed to the idea we form of his character. That is possible only in the average, regions of psychology. After they are passed, come the marvellous and happily unexpected moments when the poet, drawn by the mysteries of life, is obliged, in putting there the best of himself, to make his hero grander than the foreseen proportions."

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1439 —

Overture To "Sakuntala,** in I^ major, Op. 13 . CarIv Goldmark

(Bom at Keszthely, in Hungary, May 18, 1830;* now living at Vienna.)

This overture, the first of Goldmark's important works in order of composition, and the work that made him world-famous, was played for the first time at a Philharmonic concert, Vienna, December 26, 1865. The first performance in Boston was at a concert of the Harvard

Musical Association, December 6, 1877. The following preface is printed in the full score:

For the benefit of those who maj' not be acquainted with KaUdasa's famous work, "Sakuntala," we here briefly condense its contents. Sakuntala, the daughter of a nymph, is brought up in a penitentiary grove by the chief of a sacred caste of priests as his adopted daughter. The great king Dushianta enters the sacred grove while out hunting; he sees Sakuntala, and is immediately inflamed with love for her. A charming love-scene follows, which closes with the union (according to Grund- harveri, the marriage) of both. The king gives Sakuntala, who is to follow him fater to his capital city, a ring by which she shall be recognized as his wife. A powerful priest, to whom Sakuntala has forgotten to show due hospitality, in the intoxication of her love, revenges himself upon her by depriving the king of his memory and of all recollection of her. Sakuntala loses the ring while washing clothes in the sacred river. When Sakuntala is presented to the king, bj' her companions, as his wife, he does not recognize her, and he repudiates her. Her companions refuse to admit her, as the wife of another, back into her home, and she is left alone in grief and despair; then the nymph, her mother, has pity on her, and takes her to herself. Now the ring is found by some fishermen and brought back to the king. On his seeing it, his recollection of Sakuntala returns. He is seized with remorse for his terrible deed; the profoundest grief and unbounded yearning for her who has disappeared leave him no more. On a warlike campaign against some evil demons, whom he vanquishes, he finds Sakuntala again, and now there is no end to their happiness.

The introduction opens. Andante assai in F major, 3-4, with rich and sombre harmonies in violas, 'cellos (largely divided), and bas-

* Yet the latest biographer of Goldmark— Otto Keller, of Vienna— ctives the erroneous date, 1832, stili found in some recent biographical dictionaries of musicians. See Keller's "Carl Goldmark" (I.eipsic. s.

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1441 soons.'^Mr. Apthorp fancies that the low trills "may bear some reference to the gurgling of a spring—indicative of Sakuntala's parent- age." The tempo changes to Moderate assai, F major (3-4 or 9-8 time). A clarinet and two 'cellos in unison sing the chief theme over soft harmonies in the strings and bassoons. This yearning and sensu- " ous theme is named by some commentators the Love-theme " ; but Dr. Walter Rabl suggests that with the second chief theme it may picture Sakuntala in the sacred grove. Thus do ingenious glossarists disagree. This second theme is introduced by first violins and oboe, and against it second violins and violas sing the first melody as a counter- theme. The figuration has soon a more lively rhythmic character, and a short crescendo leads up to a modulation to A minor, poco piu. mosso, in which the brass instruments give out a third theme, a hunting tune. This theme is developed; it is used in turn by brass, wood- wind, and strings. After a fortissimo of full orchestra there is a long development of a new theme (Andante assai in B major), sung by oboe and English horn against harp chords and triplet arpeggios in strings. This theme had a certain melodic resemblance to the second chief theme. The sombre theme of the introduction is heard in the basses. The pace grows livelier (piu mosso, quasi Allegro), and the music of the hunt is heard. The climax of the crescendo is reached in F minor, and a cadenza for wind instruments and strings, broken by loud chords, leads to a repetition of the introduction. The first chief theme appears, and is soon followed by the second. The coda begins with a crescendo climax on figures from the hunting theme, which leads to a full orchestral outburst on the two chief themes in conjunction,—first theme in wood- wind and violins, second theme in horns in unison. A free climax, which begins with the hunting theme, which is now naturally in F major, brings the brilliantly jubilant close.

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1442 The overture is scored for two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, a set of three kettledrums, harp (if possible, two harps), and strings. It is dedicated to Ludwig Lakenbacher. Schubert thought in 1820 of writing an opera based on the story of Sakuntala. The libretto was by P. H. Neumann, and the opera was to be in three acts. Schubert sketched two acts, and the manuscript some years ago was in Mr. Dumba's possession. Tomaczek's opera was not finished. Von Perfall's opera in three acts, text by Teichert (Tischbein), was produced at Munich, April 10, 1853; Wein- gartner's in three acts, text by the composer, at Weimar, March 23, 1884. A ballet, "Sacountala," by L- E. E- de Reyer (scenario by Th^ophile Gauter), was produced at Paris, July 20, 1858. Sigismund Bachrich's ballet, "Sakuntala," was produced at Vienna, October 4, 1884. Felix von Woyrsch wrote an overture and entr'actes for a dramatic performance, and there are symphonic poems by C. Friedrich and Philipp Scharwenka. The one by Scharwenka, for solo voices, chorus, and orchestra, was performed at Berlin, March 9, 1885. Stage music to "Sakuntala" by Louis A. Coerne was performed at Smith College, Northampton, Mass. (1904). Pierre de Br^ville wrote incidental music for A. F. Herold's adaptation, "L'Anneau de Cakuntala" (Theatre de I'CEuvre, Paris, Decem- ber 16, 1895), when the part of the heroine was taken by Miss Mery. The drama of Kalidasa was played for the first time in English in the Conservatory, Botanic Gardens, Regent's Park, London, July 3, 1899. An adaptation in German, by Marx Moeller, May i, 1903, was produced at the Royal Theatre, Berlin. "Sakuntala" was produced by the Progressive Stage Society at the Madison Square Garden concert hall, June 18, 1905. Jones's metrical translation was used. Miss Eda Bruna took the part of Sakuntala, Mr. Edmund Russell that of the "Emperor Dushyanta," and Mr. Nathan Aronson that of the "King's charioteer." The New York Sun said it was "mounted with many pretty costumes and effects, of which Mr. Russell, with his four changes of costume, his thumb rings, and his elegant set of turquoises, was by far the prettiest. The play, inter- Evening Cloaks AND Smocked Dresses

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Symphony No. 5, in C minor. Op. 67 . . . Ludwig van Beethoven

(Bom at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.)

Beethoven sketched motives of the allegro, andante, and scherzo of this symphony as early as 1800 and 1801 . We know from sketches that, while he was at work on "Fidelio" and the pianoforte concerto in G major,— 1804- 1806,—he was also busied with this symphony, which he put aside to compose the fourth symphony, in B-flat. The symphony in C minor was finished in the neighborhood of Hei- ligenstadt in 1807. Dedicated to the Prince von Lobkowitz and the

Count Rasumoffsky, it was published in April, 1809. It was first performed at the Theater an der Wien, Vienna, De- cember 22, 1808. All the pieces were by Beethoven; the symphony described on the programme as "A symphony entitled 'Recollections " of Life in the Country,' in F major. No. 5 (sic) ; an Aria, "Ah, perfido," sung by Josephine Kilitzky; Hymn with Latin text written in church style, with chorus and solos; Piano Concerto in G major, played by

Beethoven ; Grand Symphony in C minor. No. 6 (sic) ; Sanctus, with Latin text written in church style (from the Mass in C major), with chorus and solos; Fantasia for pianoforte solo; Fantasia for pianoforte "into which the full orchestra enters little by little, and at the

Three New Charming' Son^s by JOHN H. DENSMORE THE LAMB Poem by Will am Blake LAUGHING SONG .... Poem by William Blake GOOD NIGHT Poem by Shelley G. SCHIRMER, NEW YORK

season 1910-1911 437 FIFTH AVENUE M« H. HANSON NEW YORK Kxcltisive Management PASOUALI. Coloratara Soprano KEINHGLD VON WARLICH Basso Metropolitan Opera Bonse Gl: ORGE HARRIS. Jr. . . Tenor W. DA^.TO^-BAKER . Baritone GRACIA aiCARDO. Dramatic Soprano ADOLPHE BORCHARD Pianist BORIS HAMBOURG . •Cellist ELIZABETH SHEBHAN CLARK. Contralto JOHN DUNN .... Violinist and BLSONI 1444 end the chorus joins in the Finale." Beethoven played the pianoforte part. The concert began at half-past six! We know nothing about the pecuniary result. There was trouble about the choice of a soprano. Anna Pauline Milder,* the singer for whom Beethoven wrote the part of Fidelio, was chosen. Beethoven happened to meet Hauptmann, a jeweller, who was courting her, and in a strife of words called him "stupid ass!" Hauptmann, who was apparently a sensitive person, forbade Pauline to sing, and she obeyed him. (She married Hauptmann in 1810, blazed as a star at Berlin from 181 5 to 1829, sang in Russia and Sweden, and died at Berlin in 1838.) Antonia Campi, born Miklasiewicz (1773), was then asked, but her husband was angry because Miss Milder had been invited first, and he gave a rude refusal. Campi, who died in 1822 at Munich, was not only a remarkable singer: she bore seventeen children, among them four pairs of twins and one trio of triplets, yet was the beauty of her voice in no wise affected. Finally Josephine Kilitzky (born in 1790) was persuaded to sing "Ah, perfido." She was badly frightened when Beethoven led her out, and could not sing a note. Rockel says a cordial was given to her behind the scenes; that it was too strong, and the aria suffered in consequence. Reichardt describes her as a beautiful Bohemian with a

* Pauline Anna Milder was bom at Constantinople, December 13, 1785. Sbe died at Berlin, May 29, 1838. The daughter of an Austrian courier, or, as some say, pastry cook to the Austrian embassador at Constantinople, and afterward interpreter to Prince Maurojeni, she had a most adventurous childhood. (The story h told at length in von Ledebur's "Tonkiinstler-Lexicon Berlin's.") Bark in Austria, she studied three years with Sigismund Neukomm. Schikaneder heard her and brought her out in Vienna in 1803, as Juno in Susmaver's "Der Spiegel von Arkadien." She soon became famous, and was engaged at the court opera, where she created the part of Leonora in "Fidelio." In 1810 she married a jeweller, Hauptmann. She sang as guest at many opera houses and was offered brilliant engagements, and in 1816 she became a member of the Berlin Royal Opera House at a yearly salary of four thousand thalers and a vacation of three months. She retired with a pension in 1831, after having sung in three hundred and eighty operatic performances; she was also famous in Berlin as an oratorio singer. She appeared again in Berlin in 1834, but her voice was sadlv worn, yet she sang as a guest in Copenhagen and St. Petersburg. Her funeral was conducted with pomp arul ceremony, and it is said that the "Iphigenia in Tauris," "Alceste," and "Armide," her favorite operas, were put into her coffin, a favoi she asked shortly before her death.

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beautiful voice. "That the beautiful child trembled more than sang was to be laid to the terrible cold; for we shivered in the boxes, although wrapped in furs and cloaks." She was later celebrated for her "dramatic colorature." Her voice was at first of only two octaves, said von Ledebur, but all her tones were pure and beautiful, and later she gained upper tones. She sang from 1813 to 1831 at Berlin, and pleased in many parts, from Fidelio to Arsaces, from Donna Elvira to Fatime in "Abu Hassan." She died, very old, in Berlin. "Ah, perfido," had been composed in 1796 for Josephine Duschek. The "Fantasie," for piano, orchestra, and chorus, was Op. 80. J. F. Reichardt wrote a review of the new works. He named, and incorrectly, the subtitles of the Pastoral Symphony, and added: "Each number was a very long, complete, developed movement full of lively painting and brilliant thoughts and figures; and this, a pastoral symphony, lasted much longer than a whole court concert lasts in Berlin." Of the one in C minor he simply said: "A great, highly-developed, too long symphony. A gentleman next us assured us he had noticed at the rehearsal that the 'cello part alone—and the 'cellists were kept very busy—covered thirty-four pages. It is true that the copyists here understand how to spread out their copy, as the law scriveners do at home." Reichardt censured the performance of the Hymn a "Gloria"—and the "Sanctus," and said that the pianoforte concerto was enormously difficult, but Beethoven played it in an astounding manner and with incredible speed. "He literally sang the Adagio, a masterpiece of beautiful, developed song, with a deep and melancholy EVERSON VACUUM CLEANER Absolutely the best cleaner on the market at any price. You cannot harm the cleaner. It cannot harm you. PRICE Weight, 35 lbs.

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1447 — — feeling that streamed through me also." Count Wilhourski told Ferdinand Hiller that he sat alone in an orchestra stall at the performance, and that Beethoven, called out, bowed to him personally, in a half- friendly, half-ironical manner. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings; and in the last movement piccolo, double-bassoon, and three trombones are added. Instead of inquiring curiously into the legend invented by Schindler, —"and for this reason a statement to be doubted," as von Biilow said, that Beethoven remarked of the first theme, "So knocks Fate on the door!"* instead of investigating the statement that the rhythm of this theme was suggested by the note of a bird,—oriole or goldfinch,—heard during a walk; instead of a long analysis, which is vexation and con- fusion without the themes and their variants in notation,—let us read and ponder what Hector Berlioz wrote concerning this symphony of the man before whom he humbly bowed : "The most celebrated of them all, beyond doubt and peradventure, is also the first, I think, in which Beethoven gave the reins to his vast imagination, without taking for guide or aid a foreign thought. In the first, second, and fourth, he more or less enlarged forms already known, and poetized them with all the brilliant and passionate inspirations of his vigorous youth. In the third, the 'Eroica,' there is a tendency, it is true, to enlarge the form, and the thought is raised to a mighty height; but it is impossible to ignore the influence of one of the divine

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D • «ci fkn C. A. ELLIS Price »J.OU SYMPHONY HALL 169 Tremont St., near new H«rald Building IU» poets to whom for a long time the great artist had raised a temple in his heart. Beethoven, faithful to the Horatian precept, ' Nocturna vers ate manu, versate diurna,' read Homer constantly, and in his magnificent musical epopee, which, they say, I know not whether it be true or false, was inspired by a modern hero, the recollections of the ancient Iliad play a part that is as evident as admirably beautiful. "The symphony in C minor, on the other hand, seems to us to come directly and solely from the genius of Beethoven; he develops in it his own intimate thought; his secret sorrows, his concentrated rage, his reveries charged with a dejection, oh, so sad, his visions at night, his bursts of enthusiasm—these furnish him the subject; and the forms of melody, harmony, rhythm, and orchestration are displayed as essen- tially individual and new as they are powerful and nob e. "The first movement is devoted to the painting of disordered sentiments which overthrow a great soul, a prey to despair : not the concentrated, calm despair that borrows the shape of resignation: not the dark and voiceless sorrow of Romeo who learns the death of Juliet; but the terrible rage of Othello when he receives from lago's mouth the poisonous slanders which persuade him of Desdemona's guilt. Now it is a frenetic delirium which explodes in frightful cries; and now it is the prostration that has only accents of regret and profound self-pity. Hear these hiccups of the orchestra, these dialogues in chords between wind instruments and strings, which come and go, always weaker and fainter, like unto the painful breathing of a dying man, and then give way to a phrase full of violence, in which the orchestra seems to rise to its feet, revived by a flash of fury: see this shuddering mass hesitate dCARlPISCHER® «r. Jacob TI)oma& Son Tha ART of the PIANIST W Violin Makers and Importers (Ttchalc ud Pottri In Piano Playing) An interesting and helpful Repairers to the work for Piano Teachers and Stu- Boston Symphony Orchestra dents, the result of fifteen years Agents for the SILVESTRE & of active teaching experience and MAUCOTELTested Violin Strings

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New York address. Box 84, Teachers College, Columbia University Studio, 15 Claremont Aveaue, corner W. 116th Street, one block from subway 1449 a moment and then rush headlong, divided in two burning unisons as two streams of lava; and then say if this passionate style is not beyond and above everything that had been produced hitherto in instrumental music. . . . — "The adagio"*—andante con moto "has characteristics in common with the allegretto in A minor of the seventh symphony and the slow movement of the fourth. It partakes alike of the melancholy soberness of the former and the touching grace of the latter. The theme, at first announced by the united 'cellos and violas, with a simple accom- •paniment of the double-basses pizzicato, is followed by a phrase for wind instruments, which returns constantly, and in the same tonality throughout the movement, whatever be the successive changes of the first theme. This persistence of the same phrase, represented always in a profoundly sad simplicity, produces little by little on the hearer's

soul an indescribable impression. . . . "The scherzo is a strange composition. Its first measures, which are not terrible in themselves, provoke that inexplicable emotion which you feel when the magnetic gaee of certain persons is fastened on you. Here everything is sombre, mysterious: the orchestration, more or less sinister, springs apparently from the state of mind that created the famous scene of the Blocksberg in Goethe's 'Faust.' Nuances of piano and mezzoforte dominate. The trio is a double-bass figure, executed

with the full force of the bow ; its savage roughness shakes the orchestral stands, and reminds one of the gambols of a frolicsome elephant. But the monster retires, and little by little the noise of his mad course dies away. The theme of the scherzo reappears in pizzicato. Silence is almost established, for you hear only some violin tones lightly plucked and strange little duckings of bassoons. ... At last the strings give

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ELIAS HOWE CO., 88 Court Street, Boston 1450 : gently with the bow the chord of A-flat and doze on it. Only the drums preserve the rhythm; light blows struck by sponge-headed drumsticks mark the dull rhythm amid the general stagnation of the orchestra. These drum-notes are C's; the tonaHty of the movement is C minor; but the chord of A-flat sustained for a long time by the other instruments seems to introduce a different tonality, w ile the iso- lated hammering the C on the drums tends to preserve the feeling of the foundation tonality. The ear hesitates,—how will this mystery of harmony end?—and now the dull pulsations of the drums, growing louder and louder, reach with the violins, which now take part in the movement and with a change of harmony, to the chord of the domi- nant seventh, G, B, D, F, while the drums roll obstinately their tonic

C : the whole orchestra, assisted by the trombones which have not yet been heard, bursts in the major into the theme of a triumphal march,

and the Finale begins. . . . "Criticism has tried, however, to diminish the composer's glory by stating that he employed ordinary means, the brilliance of the major mode pompously following the darkness of a pianissimo in minor; that the triumphal march is without originality, and that the interest wanes even to the end, whereas it should increase. I reply to this: Did it require less genius to create a work like this because the passage from piano to forte and that from minor to major were means already understood? Many composers have wished to take advantage of the same means; and what result did they obtain comparable to this gigantic chant of victory in which the soul of the poet-musician, henceforth free from earthly shackles, terrestrial sufiFerings, seems to mount radiantly toward heaven? The first four measures of the theme, it is true, are

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1464 Fifth orchestral trip next week. There will be no public rehearsal and concert on Friday afternoon and Saturday evening, March twenty-fourth and twenty-fifth

Twentieth Rehearsal and Concert

FRIDAY AFTERNOON, MARCH 31, at 2.30 o'clock

SATURDAY EVENING, APRIL I, at 8 o'clock

PROGRAMME

Georges Enesco Suite for Orchestra, Op. 9

(First time in Boston)

Tschaikowsky Concerto for Violin in D major, No. 2

Schumann Symphony in D minor, No. 4, Op. 120

SOLOIST KATHLEEN PARLOW

1465 THE BOWDOIN COLLEGE

Banjo, Mandolin and Glee Clubs

JVill give a CONCER T

ON SATURDAY EVENING, MARCH 25, at 8.15

Tickets are on -sale at the Hall Mr. LEON GORODETZKY Will give a VIOLIN RECITAL ON FRIDAY EVENING, APRIL 21 Reserved seats, 50c., 75c., $1.00, are now on sale at the Hall

Jacob Sleeper Hall, 688 Boylston Street (next to Public Library) SECOND CHAMBER CONCERT BY THR HOFFMANN QUARTET J. HOFFMANN, Violin K. RISSLAND, Viola A. BAK, Violin C. BARTH, Violoncello TUESDAY EVENING, MARCH 28, AT 8.15

PROGRAM Assisting: • Hirpist T J" ^l^^^l^.i?^^^ ^XT'"^ Mr.HEINRICHSCHUECKER, II. DANCES . . Debussy DEUX , , . , „ For Harp and String Orchestra and other members of Boston Orchestra III. QUARTET, Op. 64, No. s . Haydn Symphony

Tickets $1 and $1.50, and students' tickets 50 cents, now on sale at Symphony Hall and at Sleeper Hall on Evening of the Concert.