Boston Symphony Orchestra Concert Programs, Season

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FOOT-GUARD HALL, HARTFORD.

BostonSymptpig Orchestra

WILHELM GERICKE, Conductor.

Twenty-fifth Season, J905-1906.

PROGRAMME

OF THE Third and Last Concert

Tuesday Evening, March 20,

AT 8.15 PRECISELY.

Notes by Philip Hale. With Historical and Descriptive

Manager, Published by C A. ELLIS,

l THE

PIANO

During the musical season of 1 905-1 906 is being played in prin-

cipal cities from Boston to San Francisco, in Recital, before Musi-

cal Clubs, leading musical organizations, with the great orchestras,

and by the greatest pianists, among whom may be named the

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

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

Boston Symphony Orchestra, Wilhelm Gericke, Conductor. New Haven Orchestra, Horatio W. Parker, Con- ANTOINETTE SZUMOWSKA ductor. ] / Chicago Orchestra, Frederick Stock, Conductor. \ Adamowski Trio.

EMIL PAUR . . Pittsburgh Orchestra.

Boston Symphony Orchestra, Wilhelm Gericke, HEINRICH GEBHARD . Conductor. Kneisel Quartet.

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

Boston Orchestral Club, Georges Longy, Con- ALFRED De VOTO . . ductor. Longy Club.

Hartford Representatives SEDGWICK C& CASEY Asylum and Trumbull Streets .

Boston Symphony Orchestra. PERSONNEL.

Twenty-fifth Season, 1905-1906.

WILHELM GBRICKE, Conductor

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

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

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

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

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

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

English Horn. Clarinets. Bass Clarinet. A. Fritzsche, O. Mttller, F. Grisez, G. Mimart, P. Vannini,

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

Trumpets. Trombones. Hampe, C Mausebach, A Kloepfel, L. Mann, J. F. Kenfield, L. S. Brenton, H. E. Merrill, C. Drums. Harp. Tuba. Tympani. Rettberg, A. Ludwig. C. R. Schuecker, H. Dworak, J. F. Castanets. Librarian Triangle, etc. Bass Drum. Cymbals. Sauerquell, Bower, H. Ludwig, C. F. J. Senia, T. Burkhardt, H. 3 eOUBSi ^ 608TOH ^ UsCa.

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J. M. GALLUP & CO., Sole Representatives, Hartford, Conn. Boston FOOT-GUARD HALL, Symphony § Hartford. T" Twenty-fifth Season, 1905- J 906. OrCnCSt TSi Twenty-first Concert in Hartford.

WILHELM GERICKE, Conductor.

THIRD AND LAST CONCERT,

TUESDAY EVENING, MARCH 20,

AT 8.15 PRECISELY.

PROGRAMME.

Vincent d'Indy . Symphony on a Mountain Air, for Orchestra and Pianoforte, Op. 25. First time at these concerts

I. Assez lent, moderement anime, un peu plus vite, etc. II. Assez modere, mais sans lenteur. III. Anime. (Mr. Heinrich Gebhard, Pianist.)

Mendelssohn- Bartholdy . . Concerto in E minor, for Violin, Op. 64

I. Allegro molto appassionato. II. Andante. III. Allegretto non troppo. Allegro molto vivace.

" Wagner Bacchanale from " Tannhauser

" Wagner Overture to " Tannhauser

SOLOIST:

Professor WILLY HESS-

The pianoforte is a Mason & Hamlin.

c3ncerto. There wifl be an intermission of ten minutes after the

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Symphony For Orchestra and Pianoforte on a French Mountain bONG, Op. 25 . . . PAUIy Marie Th£0D0RE Vincent d'Indy (Born at Paris, March 27, 1852;* now living at Paris.)

This "Symphonie en parties, pour 3 piano et orchestre, sur un air mon- tagnard francais," was composed in 1886. It was performed at a Lamoureux Concert, Paris, March 20, 1887, when the pianist was Mrs Bordes-Pene. The first performance in Boston was at a Symphony Concert, April 5, 1902, when Mr. Harold Bauer was the pianist. The folk-melody chosen by d'Indy is one that may be heard between Tortous and Bouchard in the Cevennes, "sung afar off with full voice by a young girl." Reference is made to it in "Chansons Populaires," col- lected in the Viverais and the Vercors by Vincent d'Indy, and arranged with a preface and notes by Julien Tiersot (Paris, 1892). The air is given in notation by Tiersot in his "Histoire de la Chanson Populaire en France" (Paris, 1889, P- 104). Tiersot says: "The high mountains give to folk-airs tha.t become acclimated to their altitude something of the purity of their atmosphere. It seems as though there were in these mountain songs—they are generally songs of shepherds—something fluid, ethereal, a gentleness that is not found in folk-songs of the plains."

He quotes one of these airs, and then says: "It is the same melodic

essence that, in spite of diversities of form, still flavors Alpine songs, of

which the Swiss Ranz des Vaches are types known to every one. It is the same spirit that distinguishes that air of the Cevennes which Mr. Vincent d'Indy took for the theme of a symphonic work lately performed."

* Baker's Biographical Dictionary of Musicians (igoo), Riemann's Musik Lexikon (i8gg), Grove's Dictionary of Music and Musicians, and Constant Pierre's "Le Conservatoire National de Musique et dc Declamation" (igoo) give t8sj as the year of d'Indy's birth. Adolphe Jullien, the author uf the biofjraphical sketch in Grove's Dictionary, says that the date 1851 as given by him is "verified by register of birth." Mr. d'Indy in an autograph sketch of his life and career, prepared for "Famous Composers" (New Series, vol. i, Boston, 1 goo), gave 1852 as his birth-year. Ed. NEW CYCLES OF SONGS

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D Indy calls his work.a symphony. It is not a pianoforte concerto ; the pianoforte enters occasionally as a solo instrument, but for the most part it is treated as an orchestral instrument. One of the interesting features SY 7 WhiGh might be Called a ' fantasia the manner J l\ ™Z > ^ in which both harp and pianoforte are used together, in opposition, and in various instrumental combinations. The symphony is built on the theme of pastoral character, as Berlioz's "Symphonie Fantastique" was built on an "idee fixe," the melody that haunted the young artist. The following analysis is a paraphrase of an article prepared by Dr. Heinrich Reimann: The first movement begins with a short introduction (G major), which acquaints us with the mountain song (English horn), the chief theme of the whole work, accompanied simply. The air is repeated the first by flute, accompanied by clarinets and strings (tremolo); horn and bassoon join themselves thereto; then the trumpet takes the first three tones of the air (trombones follow), and prepares the introduction of the pianoforte, whose task is to accompany with figuration a new theme (No. 2) (first bassoon, double- basses, 'cellos, and then violas). This second theme by modulation grows in strength until a fortissimo is reached; then the pianoforte for the first time takes this theme; bassoon, then clarinet, horn, and finally bass clarinet remind us of the mountain air, while the lively figuration of the pianoforte little little by grows quiet. , A mysterious tremolo of strings and soft chords of harp and pianoforte lead to a middle theme in B major of a somewhat livelier tempo. Gentle chords of violins accompany the melody of harp and flute, which is surrounded by the pianoforte with arabesques. A secondary theme of some importance enters, then the middle theme returns after bold modulations. The parts of pianoforte, harp, flutes, clarinets, become wholly figuration. Then re-enters the

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10 secondary theme, with a second theme as an intermediary and after preluding by the violins, the pianoforte repeats it. An oboe solo an- ticipates the tonality of the second movement, B-flat. The theme No appears in deep stringed 2 instruments and bassoons, while harp and pianoforte interchange ascending chords, and flutes and clarinets de- scending; the trumpet sings the mountain air until theme No. 2 is repeated by the pianoforte. The mountain air swells to fortissimo, but quickly falls again to pianissimo. The violins take up the intermediary and secondary theme, the pianoforte accompanies in figuration, the harp in harmonics, and the bass clarinet intones the mountain air, while the bassoon soon follows with theme No. 2. Again the trumpet chants the mountain air, which rises to a crescendo with the whole orchestra. There are brilliant scale passages for harp and pianoforte. The middle and secondary themes follow. A short coda begins with the entrance of the mountain air in the original form, accompanied by a light tremolo of violas and 'cellos with interesting harmonic progressions. The harp and the pianoforte remind us in turn of the middle theme. The movement ends with delicately colored instrumentation, with the violins divided into eight parts.

The pianoforte begins the second movement with the mountain air in a new form, and the shifting between 3-4 and 2-4 is preserved nearly throughout the whole movement. A secondary theme is derived from the motive given to the strings. It is worked out for some time by pianoforte and bassoons, then there is a modulation to G-flat major, a return to the opening theme of the movement. The pianoforte is used chiefly in accompaniment. There is livelier expression as well as pace.

The mountain air as a horn fanfare is coupled with a resounding drum- roll on C. The first horn, muted, repeats the theme, and introduces a new variant of the mountain air in mysterious, sombre tone-color. The

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11 ostinato, rising gradually and chro- secondary theme appears as a basso alternates between wind and strings, matically. The first theme of this movement is established forcibly. until finally the first theme in the secondary theme; The mood grows quieter; three flutes bring to a light tremolo of strings, piano- the horns sound the mountain air of this movement is played by a solo forte, and flutes. The first theme a tender clarinet phrase, accompanied viola'. The movement ends with which elsewhere is the in- by gentle pianoforte figuration. The harp, is silent in this separable companion of the pianoforte in the symphony, movement. The pianoforte and harp begin the third movement with a variation motive is used ostinato, of the first measure of the mountain air. This while wood-wind instruments sing the mountain air in another form. After the other instruments enter, there is a long diminuendo, which introduces a theme (clarinet) that becomes an expressive song (violins). The piece soon assumes the character of a tarantella. The mountain air as declaimed in this movement by the woodwind is given to the wind tonalities. Themes of the second movement are used. ft in various There is a variant of the mountain air for the pianoforte, and the pressive melody before the tarantella is used. A mighty orchestral

E-flat stands obstinately against the final ch< >rd i d G given to the pianoforte. Mr. Hugues Imbert defines the third movement as a kermis in the blaze of the sun.

The symphony is scored for three flutes (one interchangeable with piccolo), two oboes, English horn, two clarinc s clarinet, three 1 soons, four horns, two trumpets, two cornets-a-piM< >ns, three trombones, tuba, kettledrums, big drum, cymbals, triangle, harp, pianoforte, and strings. It is dedicated to Mrs. Bordes-Pene. * * * ALBERT GRAY Baritone Soloist, Teacher, and Coach

Many years a resident student in Paris REFERS TO Professors of Paris Conservatoire; Baritones of Paris Grand Opera and the Opera Comique; Artists of the Metropolitan Opera, New York ; and Members of Boston Symphony Orches- tra. HARTFORD Thursdays State Savings Bank Building

12 D'Indy was always a lover of nature. His family came originally from Verdieux, in Ardeche, a department formerly a portion of the prov- ince Languedoc. The mountains of the Cevennes are often naked, barren, forbidding. There is much of granite and gneiss, there are many traces of comparatively recent volcanic eruptions; but the soil of the plains is rich, there are charming meadows, and the mulberry and the vine flourish profusely. D'Indy has long been in the habit of spend- ing his vacations in this picturesque country. He has also delighted in the Tyrol, the Engadine, the Black Forest. He has listened in- tently to what Millet called "the cry of the earth." In a letter written from Vernoux in 1887, he said: "At this moment I see the snowy sum- mits of the Alps, the nearer mountains, the plain of the Rhone, the pine woods that I know so well, and the green, rich harvest which has not yet been gathered. It is a true pleasure to be here after the labors and the vexations of the winter. What they call at Paris 'the artistic world' seems afar off and a trifling thing. Here is true repose, here one feels at the true source of all art." His love of nature is seen in "Po&me des Montagnes," suite for pianoforte (1881); '%a Foret Knchant£e," symphonic ballad (1878); Fantasia for oboe and orchestra on some folk- tunes (1888) ; "Tableaux de Voyage," pieces for pianoforte (1889); and chamber music by him suggests the austerity of mountain scenery. His latest orchestral work, as yet unpublished, is a symphonic poem in three movements. It portrays impressions of daybreak, noon, and evening to one on a mountain.

Mr. Heinrich Gebhard, pianist, was born at Sobernheim, near Bingen on the Rhine, July 25, 1878. He studied music as a boy with the leader of a military band. He then came to the United States, and studied the pianoforte and theory in Boston with Clayton Johns,

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Concerto in E minor, for Violin, Op. 64. Felix Mendelssohn-Bartholdy

(Born at Hamburg, February 3, 1809; died at Leipsic, November 4, 1847.) This concerto was begun, or first sketched in part, in July, 1838. Mendelssohn, in a letter dated July 30 of that year, mentions a violin concerto that was running in his head. Ferdinand David, the violinist, insisted that the concerto should be brilliant and the whole of the first solo on the E string. At different times Mendelssohn played parts of the work on the pianoforte to his friends, and the concerto was finished

September 16, 1844. It was played for the first time March 13, 1845, by David (1810-73) at a Gewandhaus Concert in Leipsic. There is no

HARTFORD SCHOOL OF MUSIC

Seventeenth Season, beginning October 2, lOOfS

BOARD OF MANAGERS

Mrs. J. P. ANDREWS Miss PERKINS Miss ANDREWS Mrs. II. S. ROBINSON Mrs. T. B. BEACH Mrb. A. VAN S. LAMHERT Miss MARY CLARK Mrs. S. B. ST. JOHN Mrs. ANSEL Y. COOK Mrs. C. D. WARNER Mrs. JULIUS GAY Mrs. A. A. WELCH Mrs. W. L. GOODWIN Miss VILLA W. WHITE

Faculty: WILLIS E. BACHELLER, Vocal Department EDWARD NOYES, Piano Miss SARAH H. HAMILTON, " Miss LILLIAN L. BISSELL, " FRANZ MILCKE, Violin Mtss ANNA G. WESTCOTT, " Mrs. SUSAN L. BRANDEGEE, Violoncello Department

Apply to Miss ALICE FARNHAM, 8 Spring Street, Hartford, Conn.

14 floubt that David assisted the composer in revision, and especially in writing the cadenza. The composer did not leave Frankfort to hear the first performance.

The concerto is in three connected movements. The first, Allegro molto appassionato, minor, E 2-2, begins immediately with the first theme given out by the solo violin. This theme is developed at length by the solo instrument, which then goes on with cadenza-like passage- work, after which the theme is repeated and developed as a tutti by the full orchestra. The second theme is first given out pianissimo in harmony by clarinets and flutes over a sustained organ-point in the solo instrument. The brilliant solo cadenza ends with a series of arpeggios, which continue on through the whole announcement of the first theme by orchestral strings and wind. The conclusion section is in regular form.

The first section of the Andante, C major, 6-8, is a development of the first theme sung by the solo violin. The middle part is taken up with the development of the second theme, a somewhat agitated melody. The third part is a repetition of the first, with the melody in the solo violin, but with a different accompaniment. The Finale opens with a short introduction, Allegretto non troppo, E minor, 4-4. The main body of the Finale, Allegro molto vivace, E major, 4-4, begins with calls on horns, trumpets, bassoons, drums,

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153 ASYLUM STREET, P.O. Box 5J3 HARTFORD, CONN. 15 and tremolos in the strings. answered by arpeggios of the solo violin announced by the solo instrument. The chief theme of the rondo is scored for two flutes, two oboes, The orchestral part of the concerto is horns, two trumpets, kettledrums, and two clarinets, two bassoons, two strings. distinguished violinists who This concerto has been played by many the Symphony Concerts have visited Boston. It has been played at Willis Nowell in Boston by Alfred de Seve (February 18, 1882), E. (December 26, 1885), C. M. Loeffler (December 11, 1886), Franz Kneisel and Fer- (March 23, 1895), Leonora Jackson (February 17, 1900), E. nandez-Arbos (October 24, 1903).

Bacchanalb and Scene in the Venus Mountain, from "Tann-

hauser," Act I., Scenes i and 2 . . Richard Wagner

(Born atLeipsic on May 22, 1813; died at Venice on February 13, 1883.)

"Tannhauser und der Sangerkrieg auf Wartburg," romantic opera in three acts, book and music by Richard Wagner, was first performed at the Royal Opera House in Dresden, under the direction of the composer, on October 19, 1845.

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16 "Tannhauser," opera in three acts, book translated into French by Charles Nuitter, was produced at the Ope>a, Paris, March 1 3, 1 86 1 . The story of the first performance, of the opposition of the Jockey Club, of the tumultuous scenes, of the withdrawal of the opera after three performances, is familiar to all students of Wagner, opera in general, and Parisian manners. They that wish to read the tale told without' heat and with an accuracy that is the result of patient investigation and ex- ploration should consult Georges Servieres's "Tannhauser a l'Opera en 1 1 86 " (Paris, 1895). It is enough to say that the Princess Metternich begged of Napoleon III. as a personal favor that "Tannhauser" should be put upon the stage of the Opera. Alphonse Royer, the manager, was ordered to spare no expense. And remarkable concessions were made,—as the permission to introduce a German singer. The first Tannhauser at Paris was Albert Niemann* (1831-), one of the most distinguished of Wagnerian singers. (He visited the United

States in 1886-87, and made his debut at New York, November 10, 1886, as Siegmund.) He studied the part in French with Obin, who declared that he was a most intelligent pupil. "When he came to Paris, his German accent was very pronounced." Niemann, by the way, had

taken singing lessons of Duprez before this. "All his d's were t's, his

f's were v's, his b's were p's, and his p's were b's. He gained enormously

* A life of Niemann by Richard Sternfeld was published about a year ago in Berlin.

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Asylum Street Represented in Hartford by JOHN M. GALLUP & CO., No. 201 17 as a devoted admirer of . " always known fhree weeks He was Smile OHivier, in his "L'Empire Li- ». and a story told by that Niemann seems ineredible. Ollivier states S?^vol. v. (1900). foresaw the angry mob, was inghtened, and saw ihe storm eoming, withdraw from the opera it he himself would told Scudo that he would it is hardly worth a this story came from Scudo, be let alone If other sources that Niemann "had been thought- but we know from and "created a sensation" at intimidated bv hostile influences," the new version oi Ins scene with \ enns. hearsal by refusing to sing that he was not sure oi his tenor. Wagner himself wrote to Mme. Street six thousand francs a month. Niemann was engaged at a salary of the Paris version, received the same Tedesco, the creator of Venus in sum by the Fortunata Tedesco, of Mantua, may still be remembered oldest drew all nun unto her at the opera-goers of this city, for in 1847 she Howard Athenaeum. She was twenty-one years old when she came Troupe. When she san-. the here as a member of the Havana Opera ' live 1 was in Krnani seats commanded a premium of four or d< Mars. 1 ' that she shone with dazzling brilliance, alt li he also appeared in "Norma," "Saffo," "The Barber of Sevill nd as Romeo. Colonel W. W. Clapp tells us, in his "Record oi the Boston Stage," thai the the at her honors paid to her "attained their in ( entire feet of a warm admirer's hat and cane, in token D p] tration." Richard Grant White, whose appreciation of women was not confined to the heroines of Shakespeare, thu

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O INTO what corner of the globe you will, the name and fame of the Pianola will be found to have preceded you. In Berlin the Piano-player which has the next largest sale to the Pianola is not even known by name to New Yorkers. And so a Piano-player which may have succeeded in building up a local reputation in certain sections of the United States is totally unheard of in Paris or St. Petersburg.

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Piano-player is just this : It stands to reason that the article which can enter the markets of the entire world, taking the pre-eminefit position in every instance, must be possessed of unusual and remarkable merits. The Pianola has to-day a greater sale and popularity than that of all other Piano-players together.

The two counts that have given the Pianola its lead throughout the world have been its musical and its mechanical superiority. There is no other Piano-player that costs so much to build, that controls such important patents, that plays with such delicacy and affords such perfect control over all the elements that go to constitute artistic piano playing. The testimony of the musical world on these points is overwhelming.

" hand-playing than the Rosenthal says : Nothing has more closely approached Pianola." " Paderewski says : The Pianola is perfection." " all competitors." Josef Hofmann says : The Pianola is beyond " piano attachments, but the Pianola is Kubelik says : I have seen all the different the only one which could be considered seriously, for it is the only one which is musical or artistic." instrument that allows the player Chaminade says : "The Pianola is the only Jo interprets inspires." interpret the feeling and the emotion that the work which he to any piano or in The Pianola is purchasable as a cabinet to be attached the form of the Pianola Piano. THE AEOLIAN COMPANY York AEOLIAN HALL, 362 Fifth Avenue, near 34th Street, New 19 over intense passion, her indisputable command the art of singing, her singer of very great talent a virtuose.who emotions. ... She was a he she the intelligence of a lyric tragedian. And possessed the skill and shone in comedy as well as tragedy. was versatile, for she Venus at her birth, but she was thirty-five She created the part of Wagner's ideal. Wearied by the endless re- when she appeared as and sixty-four in all-she grew hearsals—there were one hundred difficulty restrained from marking Wagner's impatient, and she was with face with her nails.* favorable, so far as the singers were con- The criticisms were as a rule with Niemann, -whose voice," cerned Leon Leroy was not satisfied upper register, and he therefore seizes the he wrote "is worn out in the time inhuman sounds. Nor was occasion to send forth from time to to low tones the rest of her : is reduced : he pleased with Tedesco "She Gaspenm confirms this last voice vanished during the rehearsals" of Venus compelled Tedesco statement: "The changes in the scene part, and the difficulties of intonation to begin again the study of her had tried her voice." .*. w Important changes were made for this performance at I ans. \\ aimer second he bravely refused to introduce a ballet in the act, although but he introduced knew that this refusal would anger the Jockey Club, be- a long choregraphic scene in the first act, he lengthened the scene tween Venus and Tannhauser, and he shortened the overture by cutting out the return of the pilgrims' theme, and making the overture lead directly into the Bacchanale. He was not satisfied with the first scene as given in Germany, and he wrote Uszt in 180 "With much en- shall joyment I am rewriting the great Venus scene, and intend that it be greatly benefited thereby. The ballet scene, also, will be entirely new, after a more elaborate plan which I have made for it." The ballet was not given as Wagner bad conceived it. The ballet- master in 1861 was Petipa, who in 1895 ' ing details concert- ing Wagner's wishes and behavior. The composer played to him most furiously the music of the scenes, and gave him a sheet of paper on which he had indicated the number of in< d by each phase of the Bacchanale. Petipa remarked: "Wagner was well satisfied, and he was by no means an easy man. Quel diable d'homme!" In spite of what Petipa said in his old age, we know that Wagner wished more sensual spirit, more amorous ardor. The ballet-ma went as far in this respect as the traditions and customs of the Opera

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21 on the stage two ableaux ***** the would allow. He did not put "The Rape of Europa " Leda and the Swan, 2d of the Bacchanale, To spare the modesty of the ballet although they were considered. formed of artists' models. This idea was girls these groups were to be made sketches of the mytho- abandoned after experiments. Cambon photographed and put on glass, to be logical scenes, and these were proofs are still in the archives reproduced at the performance. The used. of the Opera, but they were not his squeamishness. Gas- The friends of Wagner blamed Petipa for divertissement arranged by M. perini wrote: "Unfortunately, the fauns and nymphs of Petipa does not respond to the music. The they are in the the ballet do not have the appearance of knowing why Venusberg, and they dance there with as much dignity as though they kings.'" were in the 'Gardens of the Alcazar,' the delight of 'Moorish Gasperini in another article commented bitterly on this "glacial" performance, this "orgy at a young ladies' boarding-school." (The tableaux vivants were first seen at the performance of "Tann- hauser" in Vienna, November 22, 1875.) "Tannhauser" was revived at the Opera, May 13, 1S95, with Van Dyck as Tannhauser and Lucienne Breval as Venus. There were thirty-three performances that year, nineteen in 1896, seven in 1897, seven in 1898, sixteen in 1899, sixteen in 1900, sixteen in 1901, six in 1902, and fifteen in 1903. There is much interesting information about the first Parisian pro- duction of the opera in Wagner's letters to Mathilde Wesendonck, translated into English by Mr. W. A. Ellis (London and New York, 1905). For his description of the Bacchanale see pp. 219-22;,. Of the original version he said: "This court of Frail Venus was the palpable weak

spot in my work: without a good ballet in its day, I had to manage with a few coarse brush-strokes and thereby ruined much; for I left

this Venusberg with an altogether tame and ill defined impression, consequently depriving myself of the momentous background against

which the ensuing tragedy is to upbuild its harrowing tale. . . . But

I also recognize that, when I wrote my 'Tannhauser, ' I could not have made anything like what is needed here; it required a greater

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Venus ; Carl Bernard, Tannhauser ; Vierling, Wolfram ; and Franosch as the Landgrave. * * * The part of Tannhauser was created by Joseph Alois Tichatschek (1807-86), who was a member of the Dresden Opera House from 1838 to 1872. The part of Venus was created by Wilhelmine Schroder- Devrient (1804-60). The passionate lovers of the story were shown

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29 discreet years, for the Tannhauser on the stage as mature persons of was in her forty-first year. was thirty-eight years old and Venus the Dresden Opera House but Tichatschek was for years the glory of ; was at the zenith of his glory. He there were cavillers even when he was accused of stiffness in gest- was a dramatic, not a lyric singer. He upon him while he was under ure and certain mannerisms that grew voice was not naturally free the influence of Schroder-Devrient. His Italian operas of the repertory or flexible, and he was ill at ease in the author of "Das Dresdner Hofthe- of: the period. "Al. Sincerus," the criticisms unfavorable ater" (1852), does not attempt to suppress the length, to his hero: on the contrary, he publishes them at and then he exclaims in a fine burst: "Tichatschek is a German singer. We are in Germany, and, thank God, we are not without old and new German works, which can stand honorably in competition with the new Italian weak and sickly productions." But let us listen to the testimony of an outsider, an acute, most expe- rienced, discriminating judge of singing. Henry F. Chorley heard Tichatschek in several operas, among them "Tannhauser." lie wrote of him: "Among the tenors of Germany, Ilerr Tichat9chek bears a high reputation; and few, in any country, have ever crossed tli with an ampler proportion of natural advantages. He is of the right height, handsome, his voice strong, sweet, and extensive, taking the altissimo notes of its register in chesl tones, lb- p< d, too, in 1839, a youthful energy of manner calculated t«. gain the favor of all

who hear and see him. But, on returning to Dresden in [840, 1 found that he had abused this energy to the evident deterioration of Ins voice Hotel Rennert

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She was an ardent admirer of Wagner ; she was in sympathy with his

desire to make the German operatic stage still more illustrious ; she was delighted with his enthusiasm, his scorn of the conventionalities; and some say that she shared his revolutionary views concerning politics. According to Glasanap- Ellis's biography of Wagner: "Only out of personal attachment to the author did she finally consent to undertake the part of Venus, but with the remark that she didn't know what to make of it unless she were to appear in fleshings from top to toe; 'and that,' she added with mock seriousness, 'you could scarcely expect

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New York Philadelphia Newport Baltimore Washington Providence Worcester Boston New Haven Lynn Watertown Cambridge M List of Works performed at these Concerts during the Season of 1905-1906.

Brahms Symphony No. i

Dvorak Concerto for Violoncello Mr. Heinrich Warnke

Elgar (a) Chanson de Nuit; (b) Chanson de Matin

Goldmark Concert Overture, "In the Spring"

Rubin Goldmark Overture to "Hiawatha"

Grieg Concerto in A minor, for Pianoforte Mr. George Proctor

D'Indy, Symphony on a Mountain Air for Orchestra and Pianoforte (Mr. Heinrich Gkbhard, Pianist.)

Liszt . Symphonic Poem, "Tasso: Lament and Triumph"

Mendelssohn Concerto for Violin Professor Willy Hess

Tschaikowski Symphony No. 4

Wagner Bacchanale from "Tannhauser." Overture from "Tannhauser."

S9 ;

a very solid reason the jest stood cover to : of a woman like me.' The this role a peculiarly trying one miseries of her private life had made teSderJ)e?rient.» As Wagner himself said: « The exceptional to non-fulfilment, because irreparable demands of this role were doomed unembarrassment required by her circumstances deprived her of the task."

Richard . Wagner Overture to the Opera "Tannhauser" . February (Born at Leipsic, May 22, 1813; died at Venice, 13, 1883.) "Tannhauser und der Sangerkrieg auf Wartburg," romantic opera first performed in three acts, book and music by Richard Wagner, was at the Royal Opera House in Dresden, under the direction of the composer, on October 19, 1845. The first performance in the United States was at the Stadt Theatre, Graff New York, April 4, 1859, and tne cast was as follows: Hermann, Bite- Tannhauser, Pickaneser; Wolfram, Lehman n ; Walther, Lotti; rolf, Vorchs; Heinrich, Bolten; Reimar, Brandt; Elisabeth, Mrs. Siedenburg; Venus, Mrs. Pickaneser. Carl Bergmann conducted. The New York Evening Post said that the part of Tannhauser was beyond the abilities of Mr. Pickaneser: "The lady singers have but little to do in the opera, and did that little respectably." The overture was played for the first time in Boston, October 22, 1853, at a concert of the Germania Musical Society, Carl Bergmann conductor. The programme stated that the orchestra was composed of "fifty thorough musicians." A "Finale" from "Tannhauser" was performed at a concert of the Orchestral Union, December 27, 1854. The first performance of the pilgrims' chorus was at a Philharmonic concert, January 3, 1857, a concert given by the Society "with the highly valuable assistance of Herr Louis Schreiber, solo trumpet- player to the king of Hanover." * * * The overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, cymbals, triangle, tambourine, strings.

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It begins with a slow introduction, Andante maestoso, in E major 3-4, m which the pilgrims' chorus, "Begliickt darf nun dieh, o Hdmath ich schauen," from the third act, is given, at first piano by low,,- wood wind instruments and horns, then fortissimo with the melody in the trombones against a persistent figure in the violins, then sinking to a pianissimo in the clarinets and bassoons. They that delight in tag ging motives so that there can be no mistake in recognition call the first melody the "Religious Motive, or the Motive of Faith." The ascending phrase given to the 'cellos is called the "Motive of Contri- tion," and the persistent violin figure the "Motive of Rejoicing." The main of body the overture, Allegro, in E major, 4-4, begins even before the completion of the pilgrims' chant with an ascending first theme in the violas, "the typical motive of the Venus Mountain."

"Inside the Horsel here the air is hot; Right little peace one hath for it, God wot The scented dusty daylight burns the air, And my heart chokes me till I hear it not."

The first period of the movement is taken up wholly with bacchanalian music from the opening scene in the Venus Mountian; and the motive that answers the ascending typical figure, the motive for violins, flutes, oboes, then oboes and clarinets, is known as the theme of the bacchanal, "the drunkenness of the Venus Mountain." This period is followed by a subsidiary theme in the same key, a passionate figure in the violins against ascending chromatic passages in the 'cellos. The second theme, B major, is Tannhauser's song to Venus, "Dir tone Lob!" The bacchanal music returns, wilder than before. A pianissimo episode follows, in which the clarinet sings the appeal of Venus to Tannhauser, "Geliebter, komm, sieh' dort die Grotte," the typical phrase of the goddess. This episode takes the place of the free fantasia. The third part begins with the passionate subsidiary theme, which leads as before to the second theme, Tannhauser's song, which is now in E major. Again the bacchanalian music, still more frenetic. There is stormy development; the violin figure which accompanied the pilgrims' chant returns, and the coda begins, in which this chant is repeated. The violin figure grows swifter and swifter as the fortissimo chant is|thundered out byitrombones and trumpets to full harmony in the rest of the. orchestra.

The Boston Symphony Orchestra Programme

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

31 MUSICAL INSTRUCTION.

Barytone Soloist and STEPHEN TOWNSEND, Teacher of Singing, 6 NEWBURY STREET, BOSTON.

PIANIST.

Hiss LADRA HAWKINS, /No. 6 /NEWBURY STREET. Boston.

TENOR SOLOIST WILLIAM KITTREDGE And Teacher of Singing. 160 Boylston Street, Boston.

TEACHER OF SINGING. COACHING. Mrs. J. E. TIPPETT, STUDIO, PIERCE BUILDINO, COPLEY SQUARE, BOSTON. Tal., Back Bay 1576-4. Wednesdays in Poetland, Maine.

Organittt and Choirmaster of Christ Church, Hartford. Mr. Arthur Priest, A.R.C.O. LESSONS GIVEN IN ORGAN, PIANO, Graduate of the Royal College of Music, SINGING, AND THEORY. London, England. Addreas, CHRIST CHURCH. or 4 Trinity Street, Hartford.

Tenor Soloist and Teacher, CLARENCE B. SHIRLEY, Concert and Oratorio.

Studio, Huntington Chambers, Boston.

OSCAR KOENIG, GUSTAV L. BECKER,

Teacher of Violin. PIANIST and TEACHER. Preparation for public performance Studio, 71 Church Street, and Teachers' Course. Monthly lecture-music* lea.

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