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492-494 BOYLSTON STREET SYMPHONY HALL, BOSTON

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, , Ticket Office, 1492 J „ , „ TelephonesT, J Back Bay { Administratiin Offices, 3200 } TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

Twenty-fourth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, APRIL 30 AT 2.30 O'CLOCK

SATURDAY EVENING, MAY 1 AT 8.00 O'CLOCK

PUBLISHED BY C. A. ELLIS, MANAGER

1889 Mme. CECILE CHAMINADE The World's Greatest W^oman Composer

Mme. TERESA CARRENO The World's Greatest Woman Pianist

Mme. LILLIAN NORDICA The World's Greatest Woman Singer

USE

^^ Piano.

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1890 Boston Symphony Orchestra PERSONNEL

Twenty. eighth Season, 1908-1909

MAX FIEDLER, Conductor (thicixirm^

i^tani)

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1892 TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT AND NINE

Twenty-fourth Rehearsal and Concert*

FRIDAY AFTERNOON, APRIL 30, at 2.30 o'clock.

SATURDAY EVENING, MAY J, at 8 o'clock.

PROGRAMME.

Mozart Symphony in D major (K. 385) I. Allegro con spirito. II. Andante. III. Menuetto. IV. Finale: Presto.

Beethoven Symphony No. 9, with Final Chorus on Schiller's Ode to Joy, Op. 125

I. Allegro, ma non troppo, un poco maestoso.

II. Molto vivace : Presto. III. Adagio molto e cantabile. IV. Presto. Allegro assai. Presto. Baritone Recitative

Quartet and Chorus : Allegro assai.

Tenor solo and chorus : Allegro assai vivace, alia marcia.

Chorus : Allegro assai.

Chorus : Andante maestoso. Adagio, ma non troppo, ma divoto. Allegro energico, sempre ben marcato.

Quartet and Chorus : Allegro ma non tanto : Prestissimo.

SOLOISTS, Miss LAURA COMBS, Soprano. Mme. GERTRUDE MAY STEIN, Contralto. Mr. THEODORE VAN YORX, Tenor.

Mr. MYRON W. WHITNEY, Jr., Baritone. The Chorus of the Cecilia Society.

There will be an intermission of ten minutes before the Beethoven symphony.

The doors of the hall will he closed during the performance of e€ich number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be^ tween the numbers.

CltyPof Boston. Revised Retfnlatlon' of Auiinst 5, 1898.— Chapter 3 . relating «o,*fc* S ^'^^ 3^^' •'coverinif of the head In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest J. M. GALVIN, City Clerk. ri893 Once Ac Ktiabe Alwi^^sibeKiobe

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lSd4 Symphony in D major (Kochel, No. 385). Wolfgang Amadeus Mozart

(Born at Salzburg on January 27, 1756, died at Vienna on December 5, 1791.)

This'symphony was composed by Mozart at Vienna in July-August, 1782. His father Leopold asked him to write music for some festival occasion at the house of Sigmund Hafner, the rich merchant and burgomaster at Salzburg. (Wolfgang had already in 1776 composed a serenade (K. 250) for the betrothal ceremonies of Hafner's daughter Elisabeth and one Spath and a march (K. 249) for the marriage.) Wolfgang wrote the symphony in great haste. His opera "Die Knt- fiihrung aus dem Serail" had just been performed for the second time, and he was busy arranging pages of it for wind instruments, a task that gave him much trouble; he was composing a serenade in C minor

(K. 388) ; and he was passionately in love with Constanze Weber, whom he married August 4. He wrote the symphony in less than a fortnight and sent a movement, when it was ready, to his father. At first the work was in the form of a serenade; a march was the introduc-

tory movement, there were two minuets, and apparently at first flutes and clarinets were not employed. On July 20 Mozart wrote asking how it were possible for him to compose the symphony. On August 7 he wrote to his father: "I sent you yesterday a short march. I only hope that it will arrive in time and be to your taste. The first allegro must go in a fiery manner; the last as fast as possible." The symphony was performed at a concert given by Mozart in Vienna, March 22, 1783. When Mozart received the manuscript from his father he expressed himself as "surprised" with it. He cut out the march and one of the minuets and afterward added flutes and clarinets. The concert was a brilliant affair. The emperor was pres- GRAND OPERAS

In this Season's Repertory

TIEFLAND, by E. D 'Albert, German and English text rice

LA HABANERA, by R. La Parra, French text . LE VILLI, by G. Puccini, English text The Same, Italian text

LA WALLY, by A. Catalan!, Italian text . FALSTAFF, by Giuseppe Verdi, Italian and English text L P. Hollander & Co. SPECIAL SALE OF LADIES' GOWNS IN DEPARTMENT ON THIRD FLOOR

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202 to ent and greatly pleased. It was his custom to send money in advance when he went to a concert. He sent Mozart twenty-five ducats. The receipts in all were about i, 600 florins. The programme was a long one: it included this new symphony, arias sung by Mme. Lange, Miss Teyber, and Adamberger, pianoforte concertos and pieces, and orchestral music, all by Mozart.

The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and the usual strings.

I. Allegro con spirito, D major, 2-2. There is one energetic and dominating theme which is announced immediately. The movement is a continuous treatment of this motive. The first section is not repeated and the working-out section is short.

II. Andante, G major, 2-4. The movement is in the simplest song form.

III. Menuetto, D major, 3-4. In the trio there is a slight reminiscence of an aria from Mozart's "La finta giardiniera" written for the Carnival of 1775 at Munich, and performed at Frankfort in 1789 under the title "Das verstellte Gartnermadchen."

IV. Finale, Presto, D major, 4-4. This lively movement is in rondo form. The symphony was performed in Boston at a concert of the Boston Symphony Orchestra January 10, 1885. It was played in Boston at concerts of the Orchestral Union, December 21, 1859, and May i, 1861, and no doubt there were earlier performances.

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1898 Symphony in D minor, No. 9, with Final Chorus on Schiller's Ode to "Joy," Op. 125 Ludwig van Beethoven

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

This symphony, for which sketches were made as early as 18 15, was completed about February, 1824. The first performance was

in the Karthnerthortheater, Vienna, May 7, 1824. The solo singers were Mmes. Henriette Son tag and Karoline Unger, Anton Haitzinger,

and J. Seipelt. The Musikverein assisted in the performance. Ignaz Schuppanzigh was the concertmaster, and Michael Umlauf conducted. The first performance in the United States was at a concert of the Philharmonic Society of New York, a festival concert at Castle Garden, May 20, 1846. The quartet was made up of Mme. Otto, Mrs. Boulard, Mr. Munson, Mr. Mayer. George Loder conducted. The first performance in Boston was at a concert of the Germania Musical Society, assisted by members of the Handel and Haydn So-

ciety, February 5, 1853, when the solo singers were Anna Stone, Miss

S. Humphrey, J. H. Low, Thomas Ball. The programme also included Mozart's overture to "The Magic Flute"; Viotti's Concerto, B

minor, No. 24, for Violin (Camilla Urso) ; and Mendelssohn's Con-

certo, D minor, for Piano, Op. 40 (Alfred Jaell) . Carl Bergmann conducted. The symphony was repeated at a farewell concert of the Germania Musical Society, April 2, 1853, with the same solo singers. The symphony, dedicated to Friedrich Wilhelm HI., King of Prussia, is scored for one piccolo, two flutes, two oboes, two clarinets, two bassoons, one double bassoon, four horns, two trumpets, three trombones, kettledrums, bass-drum, triangle, cymbals, and the usual strings. The first movement, Allegro, ma non troppo, un poco maestoso, D minor, 2-4, begins with a "soft rustling on the fifth A-E (second violins, violoncellos, horns), while the first violins, violas, and double- WEATHER-PROOF COATS We are showing Ladies' and Gentlemen's new Foreign and Domestic Models for Street, Auto, and Driving. AUTO COATS. Light, Blanket, Wool, and Camel's Hair Lined English Burberrys, " B. Y. P." S25.00 to »45.00. Unlined, $20.00. Feather Weight Auto and Street Coat, New MiUtarj- Collar, $10.00. Chauffeur's Triplicate Cloth, Diagonal or D.B.— Blanket Lined. $15.00. Unlined, $8.00. STREET COATS. Imported Rough Tweeds, FuU Lined Plait Patch Pockets, $30.00. All Wool Two Toned Tailored Grey Worsted Stripe, Silk Finish, Half Lining, $25.00. Imported Priestley Cravenette, Invisible Stripe, S. F. Half Lining, $25.00. Oxfords and a wide variety, $15.00 to $18.00. LADIES' SILKS AND CRAVENETTES New England's Biggest Rubber Store ENTERPRISE RUBBER CO. 110 Federal Street KJ'sSr? Boston, Mass. WILLIAM E. }iAV.¥.^R, President and Treasttrer

1899 basses repeat hurriedly a scrap of the chief theme of the movement. The full orchestra, after sixteen measures, gives out this theme, fortissimo, in unison and octaves, in D minor. After this theme has been fully exposed, the fifths and fragments return and are followed by another exposition of the theme, this time in B-flat major. Although the movement, as a whole, is strictly in the sonata form, the plan of its first part—and consequently of its third part also—is new. The regular subdivisions of a symphonic first part—first theme, second theme, theme, and; conclusion theme, with their respective subdivisions—are nowhere to be recognized; in their stead we find a continuous melodic development which takes up the whole of the first part of the movement. To be sure, this long, continuous development divides itself up into several distinct periods^—eight in number—each one of which periods is recognizable as a separate theme. But there is no such contrast in character between these eight themes as one finds, say, between the energetic first theme, the cantabile second theme, and the passage work subsidiaries in most symphonic first movements; neither are the separate themes very distinctly rounded off and melodically complete in themselves. One flows into the other so naturally, each successive one growing out of the preceding one, that with all their difiference in melodic and expressive character they appear to be but

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1901 successive sections of one great melodic development." * There is a long and elaborate free fantasia. The third part begins fortissimo in the full orchestra with a return of the chief theme in D minor, but instead of the introductory fifth there is now a major chord of the sixth. The development is a regular repetition of the first part with the cus- tomary dififerences of tonality. The coda is long and elaborate. The peroration, based on a variant of a portion of the chief theme, brings the end in D minor. The second movement, Molto vivace, D minor, 3-4, is in fact a scherzo, although it is not so named in the score. It is built on three leading themes, and the peculiar rhythm of the "dotted triplet" is maintained either in the melody or in the accompaniment. A short introduction marks this rhythm. After two measures of silence, the first theme, a subject treated in a fugued manner, is announced by the second violins. The second theme is a more legato melody given to wind instruments, while the strings keep up the triplet rhythm. The third is a bolder one given to wind instruments against an organ-point for strings with the characteristic rhythm. In the working-out there are changes from "the rhythm of four beats" to "the rhythm of three beats." The trio is a presto, D major, 2-2, on a theme which has some

* From Mr. W. F. Apthorp's Notes published in the Programme Book of the Boston Symphony Orches- tra, April 28, 1900, pp. 919, 920.

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1903 resemblance to that of the finale, and there is a singular little counter- theme. This trio is developed at great length. The Scherzo and the trio are both repeated twice in alternation with each other. Berlioz wrote of this movement: "It is especially by rhythmic means that Beethoven has known how to spread so much interest over this charming bit of badinage: the theme is so full of vivacity, when it presents itself with its fugued response after four measures, it sparkles with verve afterwards when the response, appearing a measure sooner, sketches out a ternary rhythm instead of the binary rhythm adopted at first. The middle of the Scherzo is taken up with a presto with two beats to the measure of a thoroughly countrified joviality, the theme of which unfolds itself on an intermediate organ-point, now on the tonic, now on the dominant, with the accompaniment of a counter-theme which harmonizes equally well with both held notes, tonic and dominant. This melody is brought back at last by a phrase on the oboe, of ravishing freshness, which, after swaying to and fro for a while on the chord of the dominant major 9th of D, blossoms out in the key of F natural in a way that is as graceful as it is unexpected. One finds here a reflection of those tender impressions so dear to Beethoven, that are called up by the sight of calm, smiling Nature, the purity of the air, the first beams of a spring sunrise." The third movement, Adagio molto e cantabile, B-flat major, 4-4, has been described as "a double theme with variations." To quote., Berlioz again: "In the Adagio cantabile the principle of unity is so little observed that one might see two distinct movements in it rather than one. After the first melody in B-flat major and 4-4 time comes another absolutely different melody in D major and 3-4 time. The first theme, slightly altered and varied by the first violins, makes a new appearance in the original key, to bring back the melody in 3-4 time

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1905 once more, without alteration or variation, but in the key of G major; after which the first theme establishes itself definitely, and does not permit the rival phrase to share with it the listener's attention any more. One must hear this marvellous Adagio several times to accus- tom one's self wholly to so singular an arrangement. As for the beauty of all these melodies, the infinite grace of the ornaments with which they are covered, the feelings of melancholy tenderness, passionate

faintness, dreamy religiosity they express, if my prose could only give an approximate idea of them, music would have found a rival in written speech such as the greatest of poets himself would never succeed in pitting against her. It is an immense work, and when you have entered into its mighty charm, you can only reply to the criticism re- proaching the composej: for his violation of the law of unity: so much the worse for the law!" After two introductory measures, the strings

sing the first theme. The final measure of each successive phrase is repeated by clarinets, bassoons, and horns, which, after the fourth phrase, add a sort of coda. There is a modulation to D major, and the second theme is given out. Andante moderato, 3-4, at first by second violins and violas. Mr. Apthorp says: "Nothing could be in stronger contrast than these two themes: the first all profound senti-

ment, the most expressive melody in all Beethoven's orchestral writing; the second graceful, moodily serene and beautiful, but wholly without the emotional depth of the other. And what is strangest of all is that these two themes have absolutely nothing to do with each

other; they are not only entirely different in mood, but there is no musical connection discoverable between them, to explain their jux-

taposition; all we can say is that the first dies away to make place for the second, and that the second dies away, without any real cadence, but with a sudden modulation back to B-flat major, to make way for

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—

a return of the first," The return to the first tempo brings in the first variation of the first theme, a florid one for first violins. There is a modulation to G major. The Andante moderato returns, and the second theme is repeated, now by flute, oboe, and bassoons. The modulation is to E-flat major and the Adagio. There is a second variation, a contrapuntal one, of the first theme, for wind instruments. The third variation (I^o stesso tempo, 12-8) is in B-flat major, and wood- wind instruments sing the theme, while the violins have a more elaborate variation than before. The Coda is announced by imperious calls of the orchestra, E-flat major, answered by contrapuntal imita- tions on the opening figure of the first theme in E-flat minor. There is a development of the first theme in B-flat major. The call is again heard, minor harmonies answer, and there is again melodious development of the first theme to the end of the movement. The Finale begins with several orchestral sections. Presto, D minor, 3-4, a stormy blast for wind instruments and kettledrums. A phrase

"in the manner of a recitative but in tempo"—^for violoncellos and double-basses follows. Again the furious orchestral blast. The orchestra attempts to play the first eight measures of the first movement, but " the basses come in with their recitative, as if to say sternly: 'No! this will not do! ' " The orchestra fares no better with a few measures of the Scherzo, but the basses will not have it. "The orchestra makes

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1908 CARUSOMr. ENRICO has selected

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this with another attempt, time the opening measures of the Adagio { the basses seem moHified for a moment, but soon rise once more in in- dignant protest. The wood-wind then suggests the theme of Schiller's 'Ode to Joy'; the basses spring up to accept it in joyous recitative, and immediately proceed to hum it over, as it were, to themselves."* This theme, Allegro assai in D major (4-4 time), is of a simple folk-

song character. It is first sung by violoncellos and double-basses; it is then developed contrapuntally, first for three voices, then for four. The theme is at last played in plain harmony by the whole orchestra. There is development, and there is a reminiscence of one of the themes

in the first movement. The savage gust. Presto, is repeated by full orchestra. The attack contains every degree of the scale of D minor. The baritone then enters with this recitative accompanied by the

orchestra : O brothers, those sad tones no longer Rather raise we now together our voices, And joyful be" our song!

The Finale now becomes a set of variations for quartet, chorus, and orchestra on two themes; the first, known as the Joy theme, has already been sung by the violoncellos and double-basses; the second comes in later, and is first given out in unison by tenors, basses, and the third trombone to the words: "Oh, then love ye one another. Wel- come all the race of man!" which hardly translates Schiller's "Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt!" Allegro assai, D major, 4-4. The baritone, with the encouragement of the basses of the choruses at the beginning, sings the first theme,

* From Mr. Apthorp's notes. 1 1 give here the English text used, with a few slight verbal changes for the benefit of the singers, at this concert. Mr. Apthorp's literal trandation of Schiller's ode is printed later in the course of this article.

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1911 ; ! — —— accompanied by strings pizzicati, and contrapuntal parts for oboe and clarinet. The second phrase of the theme is repeated by the chorus, altos, tenors, and basses, with full orchestra (without trombones) :

Joy, thou star from heaven appearing, Daughter from Elysium We approach thy light so cheering, To thy altar now we come.

Thou hast power to bind together What the world would rend apart, And, where'er thy light wing flutters, Love and peace are in the heart.

in : I After four orchestral measures the quartet has the same theme, four-part harmony. The full chorus repeats the second phrase :

He who loyal friend possesses, Loving with fidelity He who faithful wife caresses, Let him join otu jubilee!

If he but one other only In the world can call his own, But, if no one e'er hath loved him, • Leave him weeping and alone.

There is again a short orchestral ritornello. The quartet now sings a figural variation on the theme. The chorus repeats the second phrase as before: —

Happiness all e'er are taking From our Mother Nature's breast; And the foimt is ever flowing, Good and wicked all are blest.

And her ever fond devotion No return of aught demands; B'en the worm has joy of motion, Front of God the seraph stands.

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Hie words "Front of God the seraph stands" are repeated in massive chords. There is a sudden jump from the chord of A major to the dominant chord of B-flat major. Allegro assai vivace, alia Marcia, B-flat major, 6-8. This variation is a march movement for wind instruments. The strings enter softly between the phrases. After a while the tenor sings, while the march is going on : Joyful as the brightness shmmg From the sun in heaven on high, Joyful, now no more repining, Brothers, victory is nigh

The, male chorus comes in toward the end. There is a long, contrapuntal working out of the theme, in the shape assumed in the preceding march. The development is more and -more stormy, until there are quiet hints from wood-wind instruments at the theme in its original form—in B major, in B minor, D major. The full chorus then repeats the theme in its original form, in four-part harmony. Wind instruments double the voices, and the strings have brilliant figuration.

Joy, thou star from heaven appearing, Daughter from Elysium We approach thy light so cheering. To thy altar now we come.

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Thou hast power to bind together What the world would rend apart; And, where'er thy light wing flutters, Love and peace are in the heart.

Andante maestoso, G major, -3-2 (changing later to Adagio ma non troppo, ma divoto, G minor:

Oh, then love ye one another. Welcome all the race of man Brothers, high above yon span Dwells a kind and loving Father.

Then ye millions, kneel, and, praying. Fear the Maker of the world, In the heavens his sceptre swaying, See the angels him obeying.

The ending is on the dominant seventh of D major. Allegro energico, sempre ben marcato, D major, 6-4. The chorus, with figuration in the orchestra, sings a fugue on two subjects. The leading subject is the first theme ("Joy, thou star from heaven appearing"). The counter-subject is the second theme ("Ohj then love ye one another"). Free choral development comes afterward. Allegro ma non tanto, D major, 2-2. To quote Mr. Apthorp: "The orchestra now takes up the first theme in nimble diminution (eighth notes instead of quarters) and canonical imitation, and the solo quartet, later the chorus also, proceeds to new dithyrambic developments upon the same. The text is again the first stanza of the Ode. This almost madly joyous impetuosity is twice interrupted by a few measures of Poco Adagio; the first time, for the full chorus; the second time, as an extended polyphonic cadenza for the solo quartet, in B major. Eight

'transitional measures of Poco allegro, stringendo il tempo, sempre piii allegra lead to the closing section. Prestissimo in D major (2-2) time, in which the chorus goes stark mad with joy on the second theme, in

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1916 ! —! ; ! ! ; ; ; ! , diminution, and some figures borrowed from the preceding section.

It is like wild shouting and tossing up of hats! In the concluding ritornello the orchestra brings in the first theme once more, in its original shape and in diminution at the same time. As if the composer and every one else had lost their heads with jubilation, the wood-wind closes with an authentic cadence (from dominant to tonic) long after the strings and the other wind instruments have finished their cadence and got firmly settled on the tonic!" * * *

Schiller's text and Mr. Apthorp 's literal translation into English are here put side by side:

Freude, schoner Gotterfunken, Joy, beautiful spark of the gods, Tochter aus Elysium daughter from Elysium, Wir betreten feuer-trunken, we, fire-dnmk, ^nter Himmlische, dein Heiligthum thy sanctuary, thou heavenly one! Deine Zauber binden wieder. Thy magic binds together again Was die Mode streng getheilt; what Fashion has sternly sundered AUe Menschen werden Briider, all men become brothers Wo dein sanfter Flvigel weilt. where thy mild wing sways.

Wem der grosse Wurf gelungen, He who has won the great throw >" Ernes Freundes Freimd zu sein, of being the friend of a friend, Wer ein holdes Weib errungen, he who has won a sweet wife, Mische seinen Jubel ein let him mingle his rejoicing (with ours) Ja, wer auch nur eine Seele Yes, he who calls but a single soul Sein nennt auf dem Erdenrund his own on the whole earth Und wer's nie gekonnt, der stehle and he who has not been able to do this, Weinend sich aus diesem Bund. let him steal away weeping from this bond.

Freude trinken alle Wesen All beings drink joy An den Briisten der Natur; at Nature's breasts; Alle Guten, alle Bosen all good ones and all wicked Folgen ihrer Rosenspur. ' follow her rosy foot-prints. Kiisse gab sie uns tmd Reben, She gave us kisses, and the vine, Einen Freund gepriift im Tod a friend proved in death Wollust ward dem Wurm gegeben, voluptuous pleasure was given to the worm Und der Cherub steht vor Gott. and the Cherub stands before God.

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Froh, wie seine Sonnen fliegen Glad, as His suns fly Durch des Himmels pracht'gen Plan, through the gorgeous plain of heaven, Laufet, Briider, cure Bahn, run, brothers, run your path, Freudig, wie ein Held zum Siegen. joyfully, like a hero to victory.

Seid umschlungen, Millionen Embrace one another, ye millions ! Diesen Kuss der ganzen Welt! this kiss to the whole world! Briider! iiber'm Stemenzelt Brothers, above the starry tent Muss ein lieber Vater wohnen. must dwell a dear Father. Ihr stiirzt nieder, Millionen? Ye throw yourselves down, ye millions? Ahnest du den Schopfer, Welt? Hast thou an inkling of thy Creator, O world ? Such' ihn Uber'm Stemenzelt! Seek Him above the starry tent! Ueber Sternen muss er wohnen. Above stars must He dwell. *

In 1817 there was correspondence between the Philharmonic Society of London and Beethoven with reference to the latter visiting England. George Hogarth in " The Philharmonic Society" (London, 1862) writes: "An offer was made to him of 300 guineas in consideration of his coming to London and superintending the production of two symphonies to be composed by him for the Society. In answer he de- manded 400 guineas, 150 to be paid in advance." One hundred guineas were for travelling expenses. "It appears from a minute of the Directors in August, 18 17, that the previous offer was then repeated, but the arrangement was not carried into effect, Beethoven having ultimately abandoned the intention which he at one time entertained of visiting this country" (p. 18).

We read in Hogarth's history (p. 31) apropos of the first performance in England of the Ninth Symphony, March 21, 1825, when the programme read: "New Grand Characteristic Sinfonia, Ms. with vocal finale, the principal parts to be sung by Madame Caradori, Miss Goodall, Mr. Vaughan, and Mr. Phillips; composed expressly for this Society"; "The composition of this Symphony was the result of a meeting of the

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1919 Directors on the loth of November, 1S22, at which it was resolved to offer Beethoven fifty pounds for a Ms. symphony, it being stipulated that it should be delivered during the month of March following, and

that the composer should be at Hberty to dispose of it at the expiration of eighteen months after its receipt. The money was immediately ad-

vanced, but the Symphony was not received till long past the stipulated

till , time—not, indeed, after it had been performed at Vienna. . . The remuneration, therefore, received by him from the Philharmonic So- ciety was not only adequate, but ample, considering that the symphony had not only been performed, but published in score at Vienna, before the Society had it in their power to make any use of it." It should also be remembered that the Philharmonic Society at a meeting held on February 28, 1827, unanimously resolved "that the sum of ^100 be sent, through the hands of Mr. Moscheles, to some con- fidential friend of Beethoven, to be applied to his comforts and neces- sities during his illness." Beethoven, whose sufferings, according to Hogarth, were "aggravated by the fear of impending destitution which haunted his mind," had applied through Stumpf, a harp manufacturer in London, and Moscheles to the Philharmonic Society," requesting the society to give a concert for his benefit. He also wrote to Sir George Smart. The Philharmonic Society sent the ^100 immediately, and Beethoven wrote, eight days before his death to Moscheles, thanking

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FOR YEAR BOOK AND PARTICULARS APPLY TO RALPH L. FLANDERS. Manager 1921 the society, hoping that the concert would not be abandoned, but that the ;^ioo should be deducted from the profits. But in the copy of this letter published in Dr. Kalischer's critical edition of Beethoven's letters (1909) there is no allusion whatever to this proposed deduction (Vol. II,, p. 472). In the letter Beethoven expressed his emotion and heart- felt thanks, "Tell these worthy men that, if God restores me to health, I shall try practically to show my gratitude by works, and that I leave it to the Society to choose what I shall write for them. A whole sketched symphony (the loth) is in my desk, also a new overture, or even something else. As regards the concert which the Philhar- monic Society has resolved on giving for my benefit, I beg the Society not to give up this intention. In short, I shall try to fulfil every wish expressed by the Society, and never have I undertaken a work with such ardor as will now be displayed. May it only please God to re- store me soon again to health, and then I shall prove to those magnani- mous Englishmen that I know how to value their sympathy to me in my sad condition . . . The metronomized Ninth Symphony please hand to the Philharmonic Society. Enclosed find the markings." This letter differs materially from the one published by Hogarth. Why did Beethoven dedicate the symphony to the King of Prussia, and why did he allow the first performance to be in Vienna after he had made an agreement with the Philharmonic Society of London, and received his fee? These questions have not been answered. There is another singular thing about the Symphony. Hogarth says the sum of ;^5o was "immediately" advanced. The directors voted this sum November 10, 1822; but there is a receipt in the British Museum signed by Beethoven and dated April 27, 1824, acknowledging the receipt of ^50 for the symphony composed for the Philharmonic Society. Beethoven wrote to the Archduke Rudolph in the summer of 1823:

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Address THE RE6ISTDAD, 301 Pierce Building, Office hour, 3-4, daily. COPLEY SQUABE, BOSTON 1922 "I am now writing a new symphony for England for the Philharmonic Society, and I hope to complete it within a fortnight. I cannot strain my eyes for long at a time." He wrote to Ries about the symphony,

September 5, 1823: "You can safely reckon on its soon being in Lon- don. My poverty compels me to write, otherwise I would not accept anything from the Philharmonic Society. , I must therefore wait until the fee for the symphony has been sent to me. But to give proof of my love towards and confidence in this Society, I have already sent off the new—overture." This overture was "The Dedication of the House," Op. 124. It would seem, then, that Beethoven had forgiven the— Philharmonic Society for its characterization of the three overtures "The Ruins of Athens," "King Stephen," and "Zur Namensfeier, " delivered in 1815, as "unworthy" of the composer. For these overtures Beethoven received 75 guineas. In April, 18 19, he wrote that the "almost failure" of the three in London vexed him. "The fate they met with at the

Philharmonic Society is inconceivable to me." In 1823, he asked Ries to "drive as good a bargain" as he could with the society for the "new overture." Beethoven dedicated his symphony to the King of Prussia, and wrote to him early in October, 1826 : "The gracious permission of your Majesty to dedicate to you, in all humility the present work, affords me

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great happiness. Your Majesty is not only the father of your subjects, but also the patron of arts and sciences; so much the more, theretore must your gracious permission rejoice me, as I am myself fortunate enough to count myself, as a citizen of Bonn, amongst your subjects I beg your Majesty to accept this work as a trifling token of the high esteem which I entertain for your virtues." The king answered, November 25: "Recognizing the value of your compositions, I was much pleased at receiving the new work which you have sent me. I thank you for this gift, and send you the enclosed diamond ring as a token of my sincere esteem." The ring, sent probably to Prince Hatz- feld, finally came into Beethoven's possession. The gem was not a diamond, but a reddish stone, valued by the court jeweller at 300 florins in paper money. In a letter to the Schotts, the publishers, early in 1826, Beethoven wrote: "With regard to the dedication of the Sym- phony, I will let you know my decision before long ; it was settled to dedicate it to the Tsar Alexander; but circumstances have occurred which cause this delay." A word about the reason of the first performance in Vienna. Beethoven wrote January 23, 1824, to the directors of the " Gesellschaf der Musikfreunde " at Vienna, asking whether the society could make use of some works by him, among them "a new symphony." Receiv- ing no encouragement, he turned to the General Intendant, Count von

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Brfihl, at Berlin, to arrange a performance of the new works there. A group of Viennese amateurs and musicians then addressed him, begging him to have regard for the honor of the city, and not permit his "new masterpieces to leave the city of their birth." The address, which referred to the neglect of German music and the interest in foreigners,—Rossini then was the favorite composer,—was signed by thirty or more. Beethoven was greatly pleased by the compliment, and arrangements were made for the concert of May 7. * * * The sketch of the chief theme of the first movement of the Ninth Symphony is found in one of Beethoven's note books of 18 16, and the chief theme of the Scherzo, intended then as a fugue for a symphony in B-flat major, is in a note book of 1815. He was then at work on the sonata, Op. 106, which was not completed until March, 1819. After the completion of the sonata, he worked until 1822 on the "Missa Solemnis.' Hisjiotes in 18 17-18 were of a general nature, or with regard to the first movement about which he was for a long time uncertain, for he hesitated about the form of the beginning of this movement. In 1822, measures which he evidently intended for the scherzo bear a close resemblance to the trio of the scherzo in the Second Symphony. According to the sketch books, he meditated two symphonies: one

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"Sinfonie allemand," "either with variations after the chorus when it entered, or without variations; the—finale with Turkish music"—that is, triangle, cymbals, and bass drum "and choral song." His work was interrupted by the composition of the thirty-three variations for piano forte on a waltz by Diabelli, Op. 120, The first movement of the symphony occupied Beethoven till the middle of 1823. His plan en- larged itself as he worked. The second movement, Nottebohm tells us, was finished before the third, and the third before the fourth. The second was definitely planned about 1823. Beethoven wrote that the presto (Scherzo) should begin "immediately," without introduction, and he took again the theme of 18 15-17. The trio was changed only slightly afterward. The plan of the scherzo was determined about October, 1822. He first found the trio. The theme was written in A, then in D, and there was an indication "alia minuetto." There was a variation in G for the violin. The first theme of the Adagio was found in May-June of 1823. When Beethoven returned to Vienna in the fall of 1823, the symphony was practically finished with the exception of the finale with chorus. The idea of adding a chorus must have come to him in the course of his work, for there are sketches made in June or July, 1823, which are of a purely instrumental nature. These sketches were used for the string quartet in A minor, Op. 132. Even at Bonn, in 1792, he had thought of putting music to Schiller's Ode to Joy. The Fantasia for pianoforte, orchestra, and chorus. Op. 80 (about 1800), contains the germ of his first theme in the finale of the Ninth. This melody is found in a folk-song:

Freu dich sehr, o meine Seele, Und vergiss all Noth und Qual.

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1928 and was very calm. According to an eye-witness, Mme. Grebner, who had sung in the chorus, and Hved afterward at Brussels where Mr. Fehx Weingartner talked with her some years ago, Beethoven sat in the middle of the orchestra and followed the score. The success was unprecedented, but the net pecuniary result was the sum of about sixty dollars. Beethoven was incensed', and some days after accused Schind- ler and Duport of having swindled him. They were dining at a res- taurant with others. Umlauf and Schuppanzigh tried to convince Beethoven that his charge was absurd, for his nephew Carl and his brother Johann had watched the cashiers. Beethoven persisted, and Schindler, Umlauf, and Schuppanzigh left the table. Beethoven soon afterward wrote an outrageous letter to his secretary. Duport, however, organized another concert. May 23, 1874, for the performance of the symphony and other works,—Rossini's "Di tanti palpiti" was sung by David,—undertook all the expenses, and guaranteed the composer the sum of five hundred florins, about one hundred dollars. Duport lost money, for the concert was at noon, an incon- venient hour. In the spring of 1824, Beethoven offered the symphony to Probst, of Leipsic, for publication, for six hundred florins. Later he wrote to the Schotts at Mayence, and named the same sum. The first performance outside of Austria was at Frankfort-on-the- Main, April i, 1825. The first performance at the Gewandhaus, Leip- sic, was on March 6, 1826; at London, March 21, 1825; at Berlin,

November 27, 1826; at Paris, March 27, 1831 ; at St. Petersburg, March 7, 1836; at Moscow, March i, 1863; at Brussels, April 27, 1874. Biilow led the first three parts at Milan in 1870, but the first performance of the whole symphony in Italy was at Milan, April 18, 1878. The first performance in Spain was at Madrid in 1878.

The Ninth Symphony has been performed at concerts of the Boston Symphony Orchestra given in Boston;— 1882, March 11. Singers, Mrs. Humphrey-Allen, Miss Mary H. How, Charles R. Adams, V. Cirillo.

The Hotel Lenox, at Boylston and Exeter Streets, is only a short walk from Sym- phony Hall. It is under new management —that of the Ainslie Sl Grabow Co. The Cuisine has especial attention* Afternoon Tea is served in the charming **Rose Garden" (new) from 4.00 to 3.30. The management hopes to make the Lenox restaurants the most popular rendezvous of particular people, and bespeaks their patronage. 1929 1883, March 31. Miss Katherine Van Arnheim, Miss Gertrude Edmands, Jules Jordan, V. Cirillo. 1884, March 22. Mrs. Georg Henschel, Miss Louise Rollwagen, Theodore J. Toedt, Max Heinrich. 1886, March 27. Mme. Fursch-Madi, Miss Mary H. How, Theodore

J. Toedt, Carl E. Martin. 1888, April 28. Mme. Kalisch-Lehmann, Miss Louise Meisslinger, Paul Kalisch, Emil Fischer. 1892, December 17. Miss Priscilla White, Louisa Leimer, William J. Winch, Heinrich Meyn. 1894, March 17. Adagio and Scherzo. 1897, April 24. Movements I., II., III. 1898, March 5. Movements I., II., III. 1899, April 29. Mme. Clementine de Vere-Sapio, Miss Gertrude May Stein, Evan Williams, Ericcson Bushnell. 1900, April 28. Mme. de Vere-Sapio, Miss Gertrude May Stein, Ben Davies, Herbert Witherspoon. The Ninth Symphony was performed at a concert in aid of the Pen- sion Fund of the Boston Symphony Orchestra, April 13, 1904, with the assistance of the Handel and Haydn Society and Mme. Kileski- Bradbury, Miss Pauline Woltmann, Theodore Van Yorx, and Myron W. Whitney, Jr. 'There have been other performances in Boston, as those at concerts in Music Hall led by Carl Zerrahn, March 26 and April 2, 1859 (Mrs. Harwood, Miss J. Twichell, Messrs. Adams and Powers). Harvard Musical Association, April 12, 1867, for the benefit of the

The Peacock Inn solicits your patronage. It is tlie place to lunch par excellence. Special attention is ^iven to the preparation of new and attractive dishes, and the management makes every effort to please fastidious people. Afternoon tea is a special feature. Meet your friends at the Peacock. 355 Boylston Street, near Arlington. ^_^___ 88 ELIAS HOWE CO., court street, Boston OLD VIOLINS VIOLAS. 'CELLOS, BASSES Over 600 in Stock Leather Cases. Fine Bows. Italian Strings. Gold and Silver G Strings. 2^000 New Violins in stock. ELIAS HOWE CO., 88 Court Street, Boston 1930 Mrs. Avonia Bonney Lichfield (60 BAY STATE ROAD, BOSTON) VOICE MASTER OF GRAND OPERA (Italian, French, and English) According to the method of the old Italian masters of singing. A pupil of the last of these masters, Gerli, of Milan. Mrs. Lichfield refers to the remarks of the Boston Transcript about her distinguished pupil. Miss Charlotte Qrosvenor

as Juliette in Gounod's "Romeo et Juliette" A new and girlish Juliette came to the operatic stage Tuesday afternoon in Miss Charlotte Grosvenor. Miss Grosvenor has never studied abroad, as has Miss Farrar, Miss Nielson and others of this land. She found her voice here and it has been trained here in Boston by a preceptress herself experienced in operatic endeavor and now skillful in imparting her knowledge and the benefit of her practical experience to others of a younger generation. On the whole Gounod's Margherita would have been an easier task for the debutante than Juliette, for it is a more famiUar role, one more easily guided by the unchanging conventions of past interpretations. But she chose Juliette and thereby, vocally at least, was certain to gain a larger success if she were to succeed at all. Distinctively girUsh was Miss Grosvenor's Juliette. This daughter of the house of Capulet was no matured woman, sure of hereself, sure of her charms. She was diffident when introduced to a throng of flattering guests; she was shy and reserved at the first encounter with Romeo, though none the less she showed that he had impressed her and attracted her. In the balcony scene she revealed her love for Romeo gradually and with maidenly caution. In Friar Laurence's cell, again, she approached the fateful union and accepted the impressive benediction with apparently full realization of the tragedy to follow, and hot at all as budding and even full blooming Juliettes have been known to do. Likewise in the tomb, her grief, her despair, and her determination to die by Romeo's side were of girlish quality. In truth, if criticism is to be made, in such degree did Miss Grosvenor's repression of dramatic fire deaden the vocal blaze, but it could not weaken the purity of the tone itself, it could not lure it from the pitch and it could not cloud the almost flawless attack on the coloratura passages which Juliette must travel to be an acceptable Juliette. A singer who can meet the technical requirements, avoid the subtle pitfalls and translate the many difficult pages of Juliette's score with only the slightest lapse or deviation, as Miss Grosvenor did, has won two-thirds of the battle. This much seems certain, that Miss Grosvenor, barring a first few moments of tense nervousness, has in her the power of absolute vocal control and of physical poise. The large and fluttering audience was not disappointed ; it was even tremulous with joy when the floral parade at the end of the first act brought to Juliette's feet roses and violets sufficient to stock a conservatory. 1931 .

orchestra_(Mrs. H. M. Smith, Mrs. J. S. Cary, James^Whitney, J. F. Rudolphsen); December 19, 1870, with the Handel and Haydn Society (Mrs. H. M. Smith, Mrs. C. A. Barry, William J. Winch, J. F. Ru-

dolphsen) . Theodore Thomas's concerts, December 30, 1874 (Mrs. H. M. Smith, Miss Bmma Cranch, William J. Winch, Franz Remmertz); March 15, 1876 (Mrs. H. M. Smith, Mrs. Flora E. Barry, WilHam J. Winch, Franz Remmertz); January 10, 1871, the Adagio; December 9, 1871, Scherzo and Adagio. Handel and Haydn Society, May 8, 1868 (Mme. Parepa-Rosa, Miss Adelaide Phillips, George Simpson, J. F. Rudolphsen); May 12, 1871 (Mrs. H. M. Smith, Miss Antoinette Sterling, WilHam H. Cummings, J. F. Rudolphsen); May 6, 1874 (Mrs. H. M. Smith, Miss Annie Louise Cary, Nelson Varley, J. F. Rudolphsen); May 6, 1880 (Miss Emma Thursby, Miss Annie Louise Cary, Charles R. Adams, G. W. Dudley) The first three movements of the symphony were performed at the Beethoven Festival for the inauguration of Crawford's statue of Beethoven in Music Hall, March i, 1856.

WORKS PERFORMED AT THE SYMPHONY CONCERTS

DURING THE SEASON OF 1 908-1 909.

Works marked with a double asterisk were performed for the first time in Boston. Works marked with an asterisk were performed for the first time at these concerts. Works marked with a dagger were performed for the first time anywhere. Artists marked with an asterisk appeared at these concerts for the first time. Artists marked with a double asterisk appeared for the first time in Boston. Artists marked with a dagger are members of the Boston Symphony Orchestra. PAGE

Be;^Thove;n: Symphony in E-flat major. No. 3, "Eroica," Op. 55, October 24, 1908 167

Symphony in C minor. No. 5, Op. 67, December 26, 1908 . 800 (Performed for the first time December 22, 1808.)

Symphony in A major. No. 7, Op. 92, November 21, 1908 . 454

Symphony in D minor. No. 9, Op. 125, May i, 1909 . . . 1899

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1933 Funeral March from the "Eroica" Symphony (played in memory of Frederic R. Comee; died April i6, 1909), April 24, 1909 1813 Overture to a heroic, allegorical ballet, "The Creatures of

Prometheus," Op. 43, March 13, 1909 . 1469 Overture to Collin's tragedy, "Coriolanus," Op. 62, April 17, 1909 1735

Overture to "Leonora," No. 3, Op. 72, October 10, 1908 . . 7 Overture to Goethe's "Egmont," Op. 84, November 14, 1908, 384 Bbruoz: Overture, "The Roman Carnival," Op. 9, January 16, 1909 966 "Episode in the Life of an Artist": Fantastic Symphony, C major. No. I, Op. 14, March 6, 1909 1335 Brahms: Symphony in C minor. No. i. Op. 68, October 10, 1908, 24

Symphony in F major. No. 3, Op. 90, January 23, 1909 . . 1007 Variations on a Theme of Josef Haydn, B-flat major, Op. 56A, March 27, 1909 i5H Bruch: Concerto No. 3 for Violin and Orchestra, Op. 58 (WiIvLY

Hess t) , November 2 1 , 1908 437 Bruckner: Symphony in C minor. No. 8, ** March 13, 1909, April 24, 1909 1415. 1836 Chadwick: Theme, Variations, and Fugue for Organ and Or- chestra (Wali^acje; Goodrich, organist), * April 10, 1909 1655 Debussy: Three Nocturnes: "Clouds," "Festivities," "Sirens" (Chorus of Sirens sung by the Choral Club of the New-

England Conservatory of Music),* December 12, 1908 . 607 Prelude to "The Afternoon of a Faun" (after the Eclogue of Stephane Mallarme), January 16, 1909 936 DuKAS: Scherzo, "The Sorcerer's Apprentice" (after a ballad by Goethe), April 17, 1909 1746 The Berlitz School of Lan^ua^es BOSTON, 13a BOYLSTON STREET New York, Madison Square Paris, 27 Avenue de I'Op^ra Brooklyn, 73 Court Street. London, 231 Oxford Street Philadelphia, Loder Building Berlin, 113 Leipziger btrasse Chicago, Auditorium Rome, 114 Via Nazionale St. Louis. Odeon Madrid, 5 Preciados Washington, 723 I4th St., N.W. St. Petersburg, 6 Newsky Prospect Baltimore, 14 West Franklin Street Vienna, Graben 13 And over 300 other branches in the leading cities of America and Europe QRAND PRIZES AT ALL RECENT EXPOSITIONS Lessons may be transferred from one to any other Berlitz School. Pupils speak and hear the new language exclusively from the beginning. Lessons at school or residence, in classes or privately, day or evening. Best native teachers. Rates moderate. TRIAL LESSON FREE

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1035 Dvorak: Symphony in E minor, No. 5, "From the New World," Op. 95, April 17, 1909 1782 Elgar: Symphony in A-flat major, Op. 55,** February 27, 1909, 1255 FooTE: Suite in E major, Op. 63, for String Orchestra,! April 17, 1909 1744

GivAzouNOFif : "Spring," Musical Picture for Orchestra, Op. 34,** April 10, 1909 1679

Gradkner, H. : Concerto for Violoncello, Op. 45 (Heinrich WARNKKt),** March 13, 1909 1463 Gr^try: Three Dance Pieces from "Cephalus and Procris," Heroic Ballet: I. Tambourin; II. Menuet ("The Nymphs of Diana"); III. Gigue. Freely arranged

for concert use by Felix Mottl, **November 14, 1908 . 359 Grieg: Song, "A Dream," (Marie Rappold **), * November 14, 1908 381 Haydn: Symphony in B-flat major (B. & H., No. 12), December 19, 1908 667

Liszt : Concerto in E-flat major. No. i, for Pianoforte and Or-

chestra (Germaine ScHNiTzER*), March 27, 1909 . . 1524

"The Preludes," Symphonic Poem No. 3, April 10, 1909 . . 1708 MacDowELL: "Lamia," Third Symphonic Poem (after Keats), Op. 29,t. October 24, 1908 182 Maquarre: Overture, "On the Sea Cliffs," Op. 6,** March 27, 1909 1553 Mendelssohn: Symphony in A minor. No. 3; "Scotch," Op. 56, February 6, 1909 1104

Overture, "Fingal's Cave," Op. 26, February 6, 1909 . . . 1087 Scherzo from the Music to Shakespeare's "A Midsummer Night's Dream," Op. 61, February 6, 1909 1092 (These pieces were played in commemoration of Mendels- sohn's one hundredth birthday; born February 3, 1809.)

MoTTL : See Gretry Mozart: Symphony in D major (K. 385), May i, 1909 .... 1895 Masonic Funeral Music (in Memory of B. J. Lang), April 10, 1909 1653

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Song, "The Violet," with piano accompaniment, (MariB

' Rappold **), *November 14, 1908 ...... 379 NicoLAi: Religious Festival Overture on the Choral "A Safe Stronghold our God is Still," for Full Orchestra, Chorus,

.and Organ, Op. 31 (without chorus),* January 2, 1909 . 835 NorEn: "Kaleidoscope": Original Theme and Variations for Orchestra, Op. 30,** December 12, 1908 583

February 909, 1 1 7 PadEREwski : Symphony in B minor. Op. 24,! 13,1 "Scheherazade" (after RiMSKY-KoRSAKOifF : Symphonic Suite, ' 'The Thousand Nights and a Night"), Op. 35 (in memory of the composer, who died June 21, 1908), October 17, 1908 87 Rubinstein: Fifth Concerto (E-flat major), for Pianoforte with Orchestral Accompaniment, Op. 94 (JosEF LhE- viNNE *), *December 19, 1908 676 SainT-SaEns: Concerto in G minor, No. 2, for Pianoforte and Or- chestra, Op. 22 (Germaine Arnaud **), January 23, 1909 1020 Concerto in C minor. No. 4, for Pianoforte and Orchestra, Op. 44 (Ignace PaderEWSKi), February 13, 1909 . . 1190 SauER: Concerto in E minor, No. i, for Pianoforte and Orchestra (EmiIvSauer), **October 17, 1908 124 ScheinpElug: Overture to a Comedy of Shakespeare (with use of an old English melody of the sixteenth century), for Full Orchestra, Op. 15,** January 23, 1909 .... 1003 Schilungs: "The Harvest Festival" from the Opera "Mo-

loch," ** January 16, 1909 . 950

Schubert: Symphony in C major. No. 7, January 16, 1909 . . 919 i495 Unfinished Symphony in B minor, March 27, 1909 ... . ro- Entr'acte No. 2, B-flat major, from the music to the mantic drama "Rosamunde, Princess of Cypress," March 6, 1909 1386 Song, "The Sign Post," with Piano Accompaniment (Emmy Destinn **), * December 12, 1908 .' 614

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1088 Song, "Gretchen at the Spinning-wheel," with Piano Accom-

paniment (Emmy Destinn **), December 12, 1908 . . 617 Song, "Erlking," with Piano Accompaniment (Emmy Destinn **), December 12, 1908 620 Schumann: Symphony in D minor. No. 4, Op. 120, October 31, 1908 297 Sibelius: "A Song of Spring," for Orchestra, Op. 16,** No- vember 21, 1908 415 "Finland," Symphonic Poem for Orchestra, Op. 26, No. 7,** November 21, 1908 415 Smetana: "The Moldau," Symphonic Poem (No. 2 of the cycle "My Country"), October 31, 1908 247 Strauss, R.: Tone Poem, "Death and Transfiguration," Op. 24, January 2, 1909 885 Tone Poem, "Thus spake Zarathustra" (freely after Friedr. Nietzsche), Op. 30, February 6, 1909 11 32

Tone Poem, "A Hero Life," Op. 40, November 28, 1908 . . 499 IvOve Scene from the Opera "Feuersnot," Op. 50 38 Song, "Allerseelen," with Piano Accompaniment (Marie Rappold **), * November 14, 1908 378 Song, "Secret Invitation," Op. 27, No. 3, with Piano Ac-

companiment (Berta Morena *), *March 6, 1909 . . 1391 StrubE: Symphony in B minor (MS.),t April 3, 1909 1575 Svendsen: "The Carnival at Paris," Episode for Full Orches- tra, Op. 9, February 27, 1909 1308

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1939 TscHAlKoWSKY : Symphony in B minor, No. 5, Op. 64, April 10, m 1909 1659 Symphony in B minor, No. 6, "Pathetic," Op. 74, Novem- ber 14, 1908 (Tschaikowsky died November 6, 1893) 331 Suite for Full Orchestra taken from the Score of the Ballet "Nutcracker," Op. 71A,* December 26, 1908 .... 772 Concerto in D major for Violin and Orchestra, Op. 35 (MiscHA EivMAN**), January 2, 1909 852 Concerto in B-fiat minor. No. i, for Pianoforte and Orchestra,

Op. 23 (OssiP GabriIvOWITsch), November 28, 1908 . 521 Variations on a Rococo Theme for Violoncello with Orches- tral Accompaniment, Op. 53 (Al,win Schro^dkr), *October 31, 1908 278 Volkmann: Serenade for String Orchestra, F major, Op. 63, February 27, 1909 1268 Wagner: Overture to the Opera "The Flying Dutchman," De- cember 19, 1908 710

Overture to the Opera "Tannhauser," October 10, 1908 . . 44 Bacchanale from "Tannhauser," April 3, 1909 1596 Prelude to the Opera "Lohengrin," April 3, 1909 .... 1582 Prelude and "Love Death" from "Tristan and Isolde," November 28, 1908 548 Prelude to the Opera "The Mastersingers of Nuremberg," October 24, 1908 215 Ride of the Valkyries from "The Valkyrie," Act III., April

3, 1909 1630 "Waldweben" ("Life and Stir of the Forest") from "Sieg- fried," Act II., December 19, 1908 704 Funeral March from "Dusk of the Gods," Act III., April 3, 1909 1623 Prelude to "Parsifal," December 26, 1908 751 Good Friday Spell from "Parsifal," Act III., April 3, 1909, 1626 "A Siegfried Idyl," April 24, 1909 1815 Senta's Ballad from "The Flying Dutchman," Act II. (Emmy Destinn **),* December 12, 1908 598 Song, "Dreams," with Piano Accompaniment (Berta Mo- RENA *), March 6, 1909 1387 Song, "Pains," with Piano Accompaniment (Berta Mo- RENA *), March 6, 1909 1387 Weber: Overture to the Opera "Der Freischiitz," December 12, 190 8 633 ^^^ C^MENTIUM " the new adhesive that " stic/is everything, but is not sticky ^y/^ \ \ — and is absolutely insoluble. Nothing can possibly come "unstuck if mended with C^MENTIUM." Hot Water does not effect it in the slightest degree. A trial will prove that C^EMENTIUM fills a long felt y^^'«'^'">^<^:^ want in every home. At all Drug Stores or sent direct for 26c. from jYSH Csementium Sales Co. Anything and everything can be «r»^x m i ^ n mended Instantly and perman- 120 Boylston Street, Boston

entlywith Sole Agentsfor the U.S.A. j "1940 J i Overture to the opera "Euryanthe," January 23, 1909 • • 1054 Overture to the Opera "Oberon," October 17, 1908 ... 131 Scene, "How Tranquilly I Slumbered," and aria, "Softly Sighing," from "Der Freischiitz," Act II. (Marie Rappold **), November 14, 1908 355 Scene and Aria, "Ocean! Thou Mighty Monster," from "Oberon," Act III. (Bkrta Morena *), March 6, 1909, 1369 WoivF: Italian Serenade for Small Orchestra, October 31, 1908, 262

SUMMARY.

Beethoven 9 NOREN I Berlioz 2 Paderewski I Brahms 3 RiMSKY-KORSAKOFF .... I

Bruch • • . I Rubinstein i Bruckner *2 Saint-SaSns 2

Chadwick I Sauer . . . I Debussy 2 SCHEINPFLUG I DUKAS I Schillings i

Dvorak . i Schubert 6 E1.GAR I Schumann i FooTE I Sibelius 2 Glazounoff I Smetana I Gradener ...... I Strauss, R 6 Gre;try I Strube I Grieg i svendsen i Haydn i tschaikowsky 6 lylSZT 7 2 volkmann i MacDowei^l I Wagner 15 Maquarre I Weber 5 Mendelssohn 3 Wolf i Mozart 3 NiCOLAI I 95

Bruckner's Symphony No. 8 was played twice.

" Music teaches most exquisitely tiis art of " Miss AHHK COOUDfiE RUSTS ,7th y», development. — D' Israeli. SCHOOL OF FROEBEL SCHOOL OF KINDER- MISIC-EDICATION GARTEN NORMAL CLASSES 225 Newbury Street (near Fairfield) Announcements sent on application Pierce Building, Copley Square, Boston, Mass. Regular two-year course. Post-graduate and non- CALVIN B. CADY professional course. Every woman should have this Linda Ekman Villa Wliitney White training, whether she teaches or not. Elizabetli Tyffe Helen Howard Wtiiting The Boston Symphony Orchestra PHILADELPHIA Programme - the twenty-four Boston concerts, with Historical ICE CREAM CO. For and Descriptive Notes by Philip Hale. Bound copies of the Programme for the entire season can be had at f3.00 by applying before the last concert. 38 WEST STREET Address all communications to NEAR TREMONT STREET C. A. ELLIS, BOSTON Syov&oay Hall, BMtea. TELEPHONE, OXFORD 582 1941 WORKS PERFORMED FOR THE FIRST TIME IN AMERICA.

Bruckner: Symphony in C minor, No. 8, March 13, 1909. FooTE: Suite in E major, Op. 63, for String Orchestra, April 17, 1909 (first performance). Gradener: Concerto for Violoncello, Op. 45 (Heinrich WarnkeI) ^ March 13, 1909. MacDowell: "Lamia," Third Symphonic Poem (after Keats), Op. 29, October 24, 1908 (first performance). MaquarrE: Overture, "On the Sea Cliffs," Op. 6, March 27, 1909. PadEREWski: Symphony in B minor. Op. 24, February 13, 1909 (first performance). SauER: Concerto in E minor. No. i, for Pianoforte and Orchestra (Emii, SauEr), October 17, 1908.

ScHEiNPFivUG : Overture to a Comedy of Shakespeare, Op. 15, January 23, 1909. ScHii^UNGs: "The Harvest Festival," from "Moloch," January 16, 1909. Sibelius: "A Song of Spring," for Orchestra, Op. 16, November 21, 1908.* Strube: Symphony in B minor (MS.), April 3, 1909 (first performance) II

WORKS PERFORMED FOR THE FIRST TIME IN BOSTON. Symphonies.

Bruckner: Symphony in C minor. No. 8, March 13, 1909. Elgar: Symphony in A-flat major. Op. 55, February 27, 1909. PaderEwski: Symphony in B minor, Op. 24, February 13, 1909.

Strube: Symphony in B minor, April 3, 1909 . 4

Carried forward 4

* I find no record of a performance of this work in America earlier than this. ANNOUNCEMENT EXTRAORDINARY

Farewell American Concert Tour Mine. Marcella Sembrich OCTOBER. 1909;— MAY. 1910 TOUR NOW BOOKING IMMEDIATE APPLICATION FOR DATES NECESSARY

Sole MAfmgement of LOUDON CHARLTON - CARNEGIE HALL, NEW YORK 1042 Brought forward Symphonic Poems. MacDowell: "Lamia," Third Symphonic Poem (after Keats), Op. 29, October 24, 1908. Sibelius: "Finland," Symphonic Poem for Orchestra, Op. 26, No. 7, November 21, 1908

N. Suites, Variations, etc.

FooTE: Suite in E major, Op. 63, for String Orchestra, April 17, 1909. Glazounoff: "Spring," Musical Picture for Orchestra, Op. 34, April 10, 1909. Gr^try: Three Dance Pieces from "Cephalus and Procris," Heroic Ballet, arranged by Mottl, November 14, 1908. Noren: "Kaleidoscope," Original Theme and Variations, Op. 30, December 12, 1908.

' ' Schillings : 'The Harvest Festival" from the Opera 'Moloch," January 16, 1909.

Sibelius: "A Song of Spring," Op. 16, November 21, 1908 . .

Overtures.

Maquarre: Overture, "On the Sea Cliffs," Op. 6, March 27, 1909. Scheinpflug: Overture to a Comedy of Shakespeare, Op. 15, January 23, 1909

Concertos. Gradener, H: Concerto for Violoncello, Op. 45 (Heinrich WARNKEt), March 13, 1909. Sauer: Concerto in E minor. No. i, for Pianoforte and Orchestra (Emil Sauer), October 17, 1908 ' 2

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THE I^OLLOWING ARTISTS HAVE APPEARED THIS SEASON. PAGB Mr. Max FiedlKr,**! Conductor of the Boston Symphony Or- chestra, October lo, 1908 (Sketch) 20

Miss Germain^ Arnaud,** Pianist, January 23, 1909, Saint

Saens' Concerto in G minor, No. 2, Op. 22 (Sketch) . . 1020 Miss Laura Combs,** soprano. May i, 1909, Beethoven's Ninth Symphony 1893 Miss Emmy Destinn,** Soprano, December 12, 1908, Senta's Ballad from "The Flying Dutchman";* Schubert's

' * ' 'Sign Post " ; 'Gretchen at the Spinning Wheel " ; and "Erlking" (Sketch) 596 Mr. Mischa Elman,** Violinist, January 2, 1909, Tschaikowsky's

Concerto in D major for Violin, Op. 35 (Sketch) . . . 852 Mr. OssiP Gabrilowitsch, Pianist, November 28, 1908, Tschai- kowsky's Concerto in B-flat minor. No. i, Op. 23 (Sketch) 520 Mr. Wallace Goodrich, Organist, April 10, 1909, Chadwick's Theme, Variations, and Fugue for Organ and_^Orches- tra* 1655 Professor Willy HBSs,t Violinist, Bruch's Concerto No. 3 for Violin and Orchestra, Op. 58 (Sketch) 428 Mr. JosEi'' Lhevinne,* Pianist, December 19, 1909, Rubinstein's

Concerto in E-fiat major, No. 5, Op. 94* (Sketch) . . 674 Mme. BerTa Morena,* Soprano ,S March 6, 1909,'^ Scene and Aria, "Ocean! Thou Mighty Monster," from Weber's "Oberon"; Wagner's "Dreams" and "Pains"; R.

Strauss' "Secret Invitation," Op. 27, No. 3* (Sketch) . 1369 Mr. Ignace PaderEwski, Pianist, February 13, 1909, Saint-

Saens' Concerto in C minor. No. 4, Op. 44 (Sketch) . . 11 75 Mme. Marie Rappold,** Soprano, November 14, 1908, Scene, "How Tranquilly I Slumbered," and Aria, "Softly

Hands off cheap gloves if you want well-gloved hands. Hand out FOWNE5 GLOVED

1944 Sighing," from Weber's "Der Freischiitz"; Strauss'

' " * ' * ' Allerseelen ; Mozart's 'The Violet " ; and Grieg's "A Dream" * (Sketch) 353 Mr. Emil Sauer, Pianist, October 17, 1908, Sauer's Concerto in E minor. No. i** (Sketch) 122 Miss Germaine SchnitzER,* Pianist, March 27, 1909, Iviszt's Concerto in E-flat major, No. i (Sketch) 1523 Mr. Alwin Schroeder, VioloncelHst, October 31, 1908, Tschai- kowsky's Variations on a Rococo Theme for Violoncello and Orchestra, Op. 33* (Sketch) 275 Mme. Gertrude May Stein, Contralto, May i, 1909, Beethoven's Ninth Symphony 1893 Mr. Theodore Van Yorx, Tenor, May i, 1909, Beethoven's Ninth Symphony 1893 Mr. Heinrich Warnke,! Violoncellist, March 13, 1909, Gradener's Concerto for Violoncello, Op. 45** (Sketch) 1463 Mr. Myron W. Whitney, Jr.,* Baritone, May i, 1909, Beethoven's Ninth Symphony 1893

* * *

Sopranos: Miss Combs,** Miss Destinn,** Mme. Morena,* Mme. Rappold** 4 Contralto: Mme. Stein i

Tenor: Mr. Van Yorx i Baritone: Mr. Whitney, Jr i Pianists: Miss Arnaud,** Miss Schnitzer,* Messrs. Gabrilowitsch, Lhevinne,* Paderewski, Sauer 6 Violinists: Messrs. Elman,** Hessf 2 Violoncellists: Messrs. Schroeder, Warnke f 2 Organist: Mr. W. Goodrich , . . . i

IT WILL PAY TOD IF Bureau of Social 7 100 WANT A Requirements FineViolin 601-3 Boylston Street, to send for our latest Boston, Mats. catalog and special TELEPHONE. BACK BAY 409 list of this year's purchases. Our collection is the only one of GovemeMfls, Managing and Working importance in America and Housekeepers, Companions. Matrons^ comprises well-conditioned and Nursery Goremesfes, Kindergarteners, authenticated specimens of Stra- FriTate and Social Secretaries, Chap>- divarius, Guarnerius and other erons. Accountants. Seamstresses, and famous masters. Expert Tnink Packers. Household ae- LYON & HEALY eounts, Shopping or Marketing. The dismantlinf er epening of rssidencea in No. 1. ADAMS ST.. CHICAGO the dty or eonatry.

1045 1

ENTR'ACTES AND EXCURSIONS. PACE Barry, C. A.: Liszt and the Term " Symphonic Poem " 171

Baughan, E. a.: The "Classical" Dance {New Music Review, New York) . . 786

Beatty-KingsTon, W. : Robert Volkmann 1277 Blackburn, Vernon: Mendelssohn 1121 The Last Chapter .> ' 1769 BrEnet, Michel: The Symphony before Haydn (translated for the New Music Review, New York) 688

DwElshauvErs, Dr. : Haydn and the First Symphonies (translated by P. H. from Le Guide Musical, Paris) 699 Duncan, W.E.: Schubert's Unfinished Symphony 1504

Evening Post, The (New York): Melody and Noren's "Kaleidoscope" . 592 GossE, Edmund: Mallerm^'s "Aprfes-Midi d'un Faune" 938

HaddEn, J.C. : Calvin as Musical Reformer (from the G^jgow //eraW) . . . 1701

Hale, Philip : Berlioz, A Note on, (Boschot's volumes) 866, 954 Bizet's Letters (1857-1860; 1871) 1025

Brahms and the Herzogenbergs . . 1290 Bruckner, Anton 1426, 1846 Billow's Last Letters 1759 Cellini, Benvenuto, as an Opera Hero 975 Comee, Fred:R 1815 Drum, The 348 Dwelshauvers, see Flying Dutchman, Legend of 719 Foreign Visitors, Certain 1204 Glazounoflf 1680 Goethe and Music 1 193 Malzel, J. N 458 "Midsummer Night's Dream," Music to 1102 Need of Fire, Legend of 1193

Opera, An Immoral • . • ^543 Rimsky-Korsakoff 104 Sarrusophone, The 1180 Serenade, The 1272 Smetana's Deafness 254 Triangle, The 1529

Tristan's Death, translated from Bedier's "Roman de Tristan et Iseut" . 544 Villiers de I'Isle Adam, see Weber, A French View of 627 Wolf, Hugo 266 Wood, Mr. and Mrs. John 138 Zoroaster in Music 1142 Heine, H.: The Story of the Flying Dutchman 715

FOREIGN BOOKS AMERICAN WOMEN LARGEST STOCK You may wonder how Mr. Deutschman AND ALL THE LATEST can produce a suit for ;^4S.oo, which can PUBLICATIONS OF MERIT not be duplicated elsewhere for less than 585.00. As you know, skill can produce anything and everything. Subscriptions to Foreign Periodicals Linen Suits, ;|S25.oo and upwards. at low rates Late, New York, with Hass Bros. Refers by permission to Noyes Bros., RinER&FLEBBE Boston. Formerly C. A. KOEHLER & CO. DEUTSCHMAN CO. Td. Ozf«rd 171 Founded 1843 149A TREMONT STREET, BOSTON 2 St. James Avenue Corner Berkeley Street, Qity

1946 Ingman, and Hale: Music in Finland 442 Keats, John: "Lamia" 192

KrEhbiEL, H. E.: Miss Isadora Duncan and Beethoven's 7th Symphony . 470 Lucian: Extract from "The Lie Fancier" 1752 Mallarm^, St^phanE: "L'Apr^s-Midi d'un Faune" 941

Musician, The (London) : Rubinstein's Hand 680 Newman, Ernest: Concerning Programme Music 1220 Tschaikowsky's 5th Symphony 1672

Newmarch, Rosa : The Finns and Sibelius 419 Glazounoff 1694

Pall Mall Gazette (London) : The Tristan and Iseult Legend 555

Paris, Gaston : The Tannhauser Legend 60

RandEll, W. L. : Folk Song and Dance (from the Pall Mall Gazette, London), 1038 RiTTER, William: Negro Tunes and Dvorak's Symphony, "From the New World" 1786

RuNCiMAN, John F. : Tame Animals and Music: An Inquiry 281 Schumann, Robert: Schubert's Symphony in C major 923

Sun, The (New York) : A Russian Composer (Rimsky-Korsakoff) .... 128

Telegraph, The Daily (London) : Folk Songs and Singers 1048 Music and Charity 290 Oracle, An Ancient 1465 Wagner, The Lighter Side of 536 The Times (London): Bach's Matthew Passion 1824 Chorus, Modem Treatment of the 1778 Debussy, the Art of 1532 Realism, The Uses of 1540 Symphony, The Modem 1282

Tribune, The (New York) : Mendelssohn and New York 11 24 Verlaine, Paul: "Parsifal" 766

VilliErsdEl'IslE Adam: The Slayer of Swans (translated by P. H.) . . . . 1304 Whitman, Walt: "Beat! Beat! Drums!" 350

INDEX TO SUNDRY REFERENCES AND FOOT-NOTES.

Biographical (Men): Alkan, C. H. v., 678; Auer, L., 860; Ave-Lallement, 1666; BalakirefF, M., 104; Balducci, G., 967; Batta, A., 884; Beck, tenor, 1583, 1584; Belai'eff, M. P., 1698; Beutler, tenor, 7; Brodsky, A., 862; Castelmary, 1604; CoUan, K., 448; Crusell, B., 448; Dietrich, A. H., 24; Door, A., 1192; Duncan,

W. E., 1504; Ehrstrom, F. A., 449; Ekman, K., 452 ; Falten, R., 449; Famaby G., 1005; Fitzenhagen, W., 278; Flodin, K., 450; Forst^n, F., 452; Frey, H., 452; Gaveaux, P., 18; Gerhauser, E., 950; Gregorowitsch, C, 454; Greve, C, 448; Guiraud.E., 1757; Hafner, S., 1895; Hebbel, F., 950; Herzogenbergs, The, 1290 seq.; Hindle, 884; Hiittenbrenner Brothers, The, 1495; Ingelius, A. G., 449; Jamefelt, A., 449; Johnson, W. L., 1575; Kajanus, R., 449; Kauffman,

M.A.GRAGE'S NEW MILLINERY SHOP Removed from Summer Street to 165 TREMONT STREET, BOSTON

M;ile. ; Kotek, Kowalski, H., 1208; Krohn, I., 450; E., 271 ; Kitzler, O., 1437 J., 854; Lennox, Lord William, 139; Linsen, G., 449; Liszt, E., 1527; Louis, R., 1426; Mallarm^, S., 941; Melartin, E., 450; Mengelberg, W., 499; Merikanto, O., 450, Mielck, E., 450; Mitterwurzer, A., 1620; Mohring, K. J., 449; MoUenhauer, E.. 299; Napoleon, A., 1708; Niemann, A., 1600; Nietzsche, F., 1132; Ojanpera, A„ 452; Pacius, F., 448; Palmgren, S., 450; Petipa, 784, 1597; Riccio, 1104; Richter, F. X., 695; Ritter, A., 514, 890; Rosch, F., 886; Saemann, C. H., 839; B., Schantz, F., Schn^evoight, Salomon, J. R., 671; Sammartini, G. 700; 448; G., 454; Schnorr von Carolsfeld, 554; Sechter, S., 1432; Sobolewski, E., 839; Sohlstrom, G., 454; Sokoloflf, N., 1680; Stamitz, J., 691; Tichatschek, J., 55; Walther, Vigano, S., 1469; Van Lier, J., 1464; Wagner, S., 1817; J., 844; M., Weissheimer, W., Wasenius, C. G., 448; Webb, J. W., 141 ; Wegelius, 449; 216. Biographical (Women): Abbott, Emma, 1550; Ackt6, A., 452; Ackte, I., 452; Mrs., Basilier, Ahna, Pauline de (Strauss), 1391 ; Allan, Maud, 798; Austin, 143; A., Canzi, I., 452; Bosio, Angiolina, 1548; Camargo, M. A., 798; Campi, 802; C, 1374; Duncan, Isadora, 465, 470, 796; Engdehl-Jagerskold, 452; Era, Delia, 784; Fohstrom, A., 452; Fohstrom-Tallqvist, 452; Frezzeloni, E., 835; Jamefelt, M., 452; Kelly, L., 641; Kilitzky, J., 802; Leander-Flodin, 452; Mercy-Argenteau, 119; Milder, P. A., 7, 801; Moke, Camille (Pleyel), 872, 1352; Papier, R., 1462; Pasta, G., 1614; Paton (see Wood); Piccolomini, M., 1547; Pleyel (see Moke); Pregi, M., 274; Recio, M., 876, 970, 1360; Salle, 794; Sasse, M., 1603; Schnorr v. Carolsfeld, M., 554; Schoultz, J;, 452; SchrMer- Devrient, 56, 605, 712, 1609; Schroter, C, 620; Scio, 18; Smithson, H., 872, 1344; Stoltz, R., 878; Strommer-Achte, 452; Simdgren-Schn^evoight, 452; Synnerberg, H., 452; Tedesco, F., 1216, 1602; Tietjens, T., 554; Topp, A., 1524; Planer, 181 Wagner, C, 1815 seq.; Wagner, J., 58, 1616; Wagner, Minna 6; Wesendonck, M., 756, 1389; Mrs. Joseph Wood, 138. Musical AND Poetic Forms; Aubade, 1272; Serenade, 1272; Sonata, 1672. Dances and Dancers: Alman, 1005; Branle, 363; Camargo, La (dancer), 376; Cerceaux, 363; Cocos, 363; Farandole, 363; Folies Espagnoles, 363; Gigue, 368; Guimard, La (dancer), 375; JoMe, 363; Lacet, 363; Minuet, 365; Oli- vette, 363; Quenouille, 363; Saltarello, 968; Soufflet, 363; Syrian dancing girls, 52; Tambourin, 362; Trepak, 776; Vestris, Les (dancers), 376.

Miss FRANCES L THOMAS

.. Corsetiete ..

BERKELEY BUILDING - BOSTON, MASS.

1948 Instruments: Bagpipes and Chorley, 1116; Dr. Johnson, 1116; Mendelssohn, 11 15; Bassoon, double, 1182; Cdlesta, 775; Cymbals, 940, 1529: Galoubet, 362 Gusli, 420; Harpsichord, the conductor's instrument, 698; Kankles, Kannel, Kantele, Kuakles, 420, 444; Lyre, Russian, 532; Mirliton, 778; Pifaro, 264; Sarrusophone, 1180 seq.; Sistrum, 1529; Tambourin, 362; Tonitruone, 1175; Triangle, 1528. " Songs AND Hymns : Blow away the Morning Dew," 1042; Chorale, 151 7; Dresden Amen, 753; "Ein' feste Burg," 840 seq.; "Funiculi-Funiculi," 264; "Geordie," 1042; "Irish Christening," 533; "Kalevala," 443; Kanteletar, 419; "Lord Rendal," 1044; "Minuet d'Exaudet," 366 Theatre and Opera House: "Aline, Reine de Golconde," 364; "Ascanio," 968; ""Bastien et Bastienne," 172; "David Rizzio," 1106; "Erwin imd Elmira," 379; "Esclarmonde," 1188; "Favorite, La," 1710; "Fischerin, Die," 620; "Fliegender Hollander," Tschirch, 607; " Flying Dutchman " (Fitzball's), 722; "'Leonore" (Gavaux's), 18; "Manru," 1175; " Marie Magdeleine " (Massenet's), 760; "Merry Wives of Windsor," 850; "Moloch" (Hebbel's), 950; "Pohim Reito," 450; "Proscritto, II," 835; "Queen of Sheba" (Goldmark's), 353; "Snow Maiden, The," 112; "Le Sourd," 364; "Tristram and Iseult" (Carr's), 557; "Traviata, La," 1543 seq.; "Vaisseau Fantome" (Dietsch), 607; "Van- derdecken," 725. Legends and History: Anthony, Saint, 1522; Bagdad in days of Caliphs, 98; Bonfires on Midsummer Eve, 41; Euryanthe Story, " Cymbeline," 1057,

Boccaccio, 1057; "Gerard de Nevers," 1057; "Fire Famine " Story , in Belgium, 38; Gratian du Pont, 40; "Margarita Poetica," 40; Flying Dutchman, 716- 719; Lamia, 189; Magnetic Mountain, 100; Moldau River, 247; Oberon, 134; Parsifal, 764; Shahrydr, 87; Shahrdzed, 87; Sindbad, 92; Sorcerer's Ap- prentice in Lucian, 1752; Stromkarl, 465; Tannhauser (G.Paris), 60; Tristan, 555; Valkyrior, 1630; Zoroaster, 1145. Critical and Literary: Ambros, A. W., Mendelssohn's Scottish Symphony, 1119; Apthorp, W. F., Beethoven's "Leonore" No. 3, 14; Beethoven's Nintii Sym- phony, 1899; Brahms's Symphony No. 1,34; Brahms's Symphony No. 3, 1012; Brahms's Variations, 1519; Prelude to "Lohengrin," 1588; Bahr, H., Wolf and "Penthesilea," 271; Baudelaire, "Tannhauser," 50; Bayle, P., Story of Fire Famine (Virgil), 41; Beethoven (see Apthorp, Berlioz, Billow, Marx,

; Berlioz, H., to Reichardt, Wagner) Overture "Der Freischiitz," 637 ; Beethoven's

Fifth Symphony, 804 (see Chorley, Legouve, Tiersot) ; Billroth, T., Brahms's First Symphony, 36; Blackburn, V., Tschaikowsky's "Pathetic" Symphony and Shelley's "Adonais," 352; Borodin, Rimsky-Korsakoff, 116; Borowski, F., and Noren, 583; Brahms and Bruckner, 1440 seq.; Brahms's use of chorus, 1778, 1780 (see Apthorp, Billroth, Biilow, Damrosch, Deiters); Browne, C. F, (Artemus Ward), Piccolomini, 1549; Bruckner (see Brahms, Hanslick, Her-

beck, Herzogenbergs, Hruby, Reichert, Weingartner) ; Biilow, H. G., Beethoven and Bismarck, 180, 1769; Brahms's First Symphony, 31, 36; Chabrier, 1768;

Mmc.J.C. Rondelle MISS GAFFNEY Hyg:ienic Treatment of Head, Je Paris Face* and Neck ROBES ET MANTEAUX Removing and preventing wrinkles and improving Original Designs the complexion by restoring muscular tone and tissue building, WITH- SPECIALTIES IN OUT THE USE OF COSMETICS OR STEAMING. Head treated for congeg- EVENING, RECEPTION, AND tion, falling hair, and baldness. Will visit AFTERNOON GOWNS ladies at their homes. FANCY TAILORING AND Manicuring^ and Shampooing; LINGERIE GOWNS Also MISSES' DRESSES Address, 4«6 BOYLSTON STREET Testimonials from distinguished men gi5 Boylston Street and women of Boston TELEPHONE, BACK BAY 3t7S.| 1949 s

Davidoff, 1764; Gericke, 1767; Glazotmoff, 1760; Htilsen row, 1762; Lalo, 1764; Levi, 1762; Ludwig II., 1762; Moran-Olden, 1764; Paderewski, 1766; Paulus, 1766; Richter, 1764; Russell (Lillian), 1768; Sauret, 1764; Sembrich,

1766; Sorma, 1768; Tschaikowsky, 530, 1761 (see Cui) ; Bunyan, Vanity Fair (reference to opera), 1544; Burton, R., Lamia, 189; Burton, R. F., Bagdad, 98; the negro as musical, 1785; Sindbad, 92; Carlyle, T., "Ein' feste Burg," 844; Chorley, H. F., bagpipes, 11 16; "Benvenuto Cellini" in London, 974; Marie Piccolomini, 1548; Schroder- Devrient, 57; Tichatschek, 55, 1608; Johanna Wagner, 59; Comettant, O., "Three Years in the United States," 1214; "Coriolanus" (see Wagner, Wolf); Cruikshank, G., picture of Italian opera, 1545; Cui, C, Biilow, 1760; Damrosch, L., his first performance of

Brahms's First Symphony, 31 ; Deiters, H., Brahms's First Symphony, 35; Debussy, C, Richard Strauss, 512; his use of chorus, 1779 (see Laloy, Liebich); Delius, F., his "Appalachia," 1781; Dumas, A., the elder, "Isaac Laquedem," 191; Duncan, W. E., Schubert's Symphony in C, 934; Dvofdk (see KJrehbiel, Ritter); Dwight, J. S., Prelude to "The Mastersingers of Nuremberg," 223; Elson, L. C, Translation of a Wagnerian Dedication, 1819; Flaubert, G., "Temp- tation of Saint Anthony," 1522; Fuller, T., Duke of Alva, 387; Gretry, rehearsals of opera and opera singers' manners, 370; sonata form, 1672 (see Grimm, Lavoix, Lespinasse, Marmontel); Grimm, "C^phale et Procris," 372; Hagen, E., morning awakening cry in "Parsifal," 768; Hanslick, Bruckner's Eighth Symphony, 141 5; Hanslick and Bruckner, 1440, 1452; Tschaikowsky' Violin Concerto, 863; Heine, H., Tannhauser legend, 61; Flying Dutchman, 715; Heller, S., Mendelssohn's "Scotch Symphony," iiii; Henderson, W. J., publication of "Lohengrin," 1584; "Parsifal," 753; Schumann's Fourth Sym- phony, 303; Henley, W. E., "Thousand Nights and a Night," 89; extract from his poem on them, 102; Herbeck, Bruckner, 1437; Schubert's Unfinished Symphony, 1497; Herzogenbergs, The, Bruckner, 1302, 1442; Biilow, 1300; Nikisch and Leipsic chorus, 1301;. Hruby, pamphlet on Bruckner, 1449; Jackson, A. V. W., Zoroaster, 1145; Keats, J., and Burton's "Anatomy of Melan- choly," 189; his "Lamia," 191 ; Krehbiel, H. E., Isadora Duncan, 470; Dvofdk's Fifth Symphony, 1783; Strauss's "A Hero Life," 50; Laloy, L., Debussy's "Afternoon of a Faun," 941; Lavoix, H., Gretry, 376; Legouv^, Berlioz and his wives, 1357; Lespinasse, Mme. de Gretry, 375; Liebich, Mrs. F., Debussy's "Afternoon of a Faun," 947; Nocturnes, 611; Liszt, Rimsky-Korsakoff, 118; Longfellow, "Hiawatha" and the "Kalevala," 443; Ludwig, A., completer of

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Schubert's Unfinished Symphony, 1409; Lumley, B., Marie Piccolomini, 1547; Johanna Wagner, 1619; Luther's Chorals, 844; MacDowell, Mrs., "Lamia"; 184; Marmontel, "Cephale et Procris," 360; Mamold, J., Rimsky-Korsakoff, 120; Debussy's Nocturnes, 610; Marx, Beethoven's "Eroica"; Mendelssohn (see Ambros, Chorley, Hiller); Moore, G., and Verlaine, 766; Paris, G., Tann- hauser legend, 60; Parke, W. T., Weber's "Oberon," 137; Parry, C. H. H., "Pied Piper of Hamelin," 1780; Philostratus, Lamia, 189; Planche, Weber's "Oberon," 134; Plotinus, the beauty of fire, 612; Poe, "Masque of the Red Death," 346; Malzel articles, 460; Pudor, Rimsky-Korsakoff^, 120; "Caval- leria Rusticana," 1551; Rimsky-Korsakoff, 120; Reade, W. W., the drum in Africa, 348; Reichardt, J. F., Beethoven's Fifth Symphony, 802; Reichert, J., Bruckner's Eighth Symphony, 1426; Rimsky-Korsakoff (see Borodin, Liszt,

Mamold, Pudor, Tschaikowsky) ; Rowbotham, J. F., the drum, 348; Syrian

dancing girls, 52 ; Schmidt, A. P., and MacDowell, 188; Schumann, R., Brahms, 24; Scott, W., Flying Dutchman in "Rokeby," 720; Shakespeare, "One Touch of Nature" discussed, 29; Shaw, G. B., "Siegfried," 704; "The Thousand Nights and a Night" quoted, 89, 96, 102, 346; Tiersot, J., Prelude to "The Mastersingers of Nuremberg," 220 seq.; French Romanticists at a Berlioz concert in 1832, 1356; Tille, "Thus spake Zarathustra" (Nietzsche), 1137, Tschaikowsky, Glazounoff, 1688; Rimsky-Korsakoff, log; (see Blackburn; Billow, Hanslick); Wagner, R., Beethoven's "Coriolanus," 1737; Beethoven's "Eroica," 178; Beethoven's Seventh Symphony, 469; Prelude to "Lohengrin," 1590; Senta's character, 605; Overture to "Tannhauser," 50; on "Tristan," 553 (see Apthorp, Baudelaire, Dwight, Hagen, Shaw, Tiersot, Weissheimer)

Wagner, J. (see Chorley Lumley) ; Ward, Artemus (see Browne) ; Weber (see Berlioz, Parke, Planchd); Weingartner, Bruckner, 1462; Schubert, 929; Weissheimer, Prelude to "The Mastersingers of Nuremberg," 220; White, R. G., Marie Piccolomini, 1549; Fortunata Tedesco, 1602; Mr. and Mrs. John Wood, 140; Wolf, H., "Coriolanus" and applause, 1740. Miscellaneous: Aura, 360; Boston Symphony Quartet programmes, 432; Chorale, 151 7; Dragee, 773; Fitzwilliam Virginal Book, 1003; Kalandar, 94; Mirliton, 778; Orchestras, Female, in sixteenth century, 1274; Rococo, 278; Russian Symphony concerts, 1686; Ubermensch, 1136.

Sundry Notes.

The concerts in aid of the Pension Fund of the Boston Symphony Orchestra took place in Symphony Hall on December 13, 1908,—Liszt, The Preludes; Wagner, "Good Friday Spell" from "Parsifal," Siegfried's "Rhine Journey" from "Dusk of the Gods"; Tschaikowsky, 'Nutcracker" Suite, Theme and Variations from Suite No. 3, Op. 55; Overture, "1812"; on February 28, 1909,— Strauss, Tone Poem, "A Hero Life"; Schubert, songs: " Der Wanderer," " Der Doppelganger," "Erlkonig," sung by Dr. Ludwig Wiillner (pianoforte accompaniments by Conrad

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367 BOYLSTON STREET TelepKone, 3142-5 BacK Bay 1952 i V. Bos); Wildenbruch's poem,. "Das Hexenlied," recited by Dr. Wiillner with the accompanimMit of Max Schillings' music for orchestra (first time in Boston); and on April 4, 1809—Beethoven, Overture "Leonore," No. III.; Concerto in D minor for Violin (Mr. Mischa Elman, violinist); Berlioz, Overture to "Benvenuto Cellini";

Saint-Saens's Introduction and Rondo Capriccioso (Mr. Elman, violinist) ; and Liszt's Hungarian Rhapsody, No. i. Mr. Fiedler conducted the three concerts. Mr. Fiedler played the pianoforte accompaniments for the songs sung by Mmes. Rappold, Destinn, Morena. Mr. Strube conducted the performance of his symphony in B minor, April 3, 1909. The orchestra played February 12, 1909, in Symphony Hall, at the City of Boston Official Celebration of the one hundredth anniversary of the birth of Abraham Lincoln. Mr. Fiedler conducted the performance of Weber's "Jubilee" overture: Mr. B. J. Lang conducted the performance of a selection from Mendelssohn's "Hymn of Praise," the "Hallelujah" Chorus from Handel's "Messiah," and "America." Mr. Eric Loeffler, who had been a violoncellist of the orchestra from 1883, died in Boston, April 7, 1909, at the age of forty-six.

Errata.

Page 128. The Sun (N.Y.), quoted, stated that the opera "Boris Goudoimoff" was composed by Rimsky-Korsakoff. The opera was composed by Moussorgsky.

Page 1003. For "bom at Loschwitz, . . . 2875," read "bom at Loschewitz, . . 1875." Pages 1333 and 1335. The opus number of Berlioz's "Fantastic" Symphony should read "14" instead of "i6a."

Addendum. For further information about a concert given by Mr. Paderewski with the Adam- owskis in Bumstead Hall, Boston, noted on page 11 78, see page 1313.

CARD

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Manufacturers of Cloaks and Suits

17 and 23 BEACH STREET - - BOSTON, MASS.

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1954 SYMPHONY HALL

TAATENTY - NINTH SEASON, 1909-1910 BOSTON SYMPHONY ORCHESTRA

MAX FIEDLER, Conductor

OPENING CONCERT Saturday Evening, October g 1909

1955 FRIDAY EVENING, MAY 14, at 8 O'CLOCK CHAMBER CONCERT BY The LEKEU CLUB BENEFIT FOR Morgan Memorial Fresh Air Work

ARTISTS

GEORGE COPELAND, Jr. - - Piano FRED MAHN - - - First Violin FRANK CURRIER - - Second Vicltn A. GIETZEN - . - - Vicia T. H. CABOT . _ - - Violoncello Assisted by Miss BERTHA WESSELHOEFT SWIFT, Soprano

RESERVED SEATS, $1.00 TICKETS NOW ON SALE AT THE HALL FOX-BUONAMICI SCHOOL OF PIANOFORTE PLAYING VthlX FOX

, Directors CARLO BUONAMICI }

CONCERT BY THE FACULTY THURSDAY, EVENING, MAY 20

Summer Session for Teachers and Advanced Pupils

The Directors will be in daily attendance for personal teaching, and supervision. The course being limited as to time, inquiries should be made at once to THE REGISTRAR STEINERT HALL ANNEX - BOSTON, MASS. 1956 Debussy's "Pelleas et Melisande" The most extensi'be appreciation of this epoch-making

ibmo. Illustrated. $1.00 net Postage, 6 cents GRIEG AND HIS MLSIC In A ctive Preparation By H. T. FINCK Illustrated. 8vo. $2-30 net. Postage, 20 cents.

Mr. Fiack has made use of the valuable new material that has come into his hands, including all Mr. Grieg's letters to the author and other friends, to which will be added an account of his death. The list of Grieg's works will be the most complete ever printed, and there will be further extracts from the " Writings on Music and Musicians." EDWARD MACDOWELL By LAWRENCE GILMAN Illustrated. ismo. $r.jo net. Postage, 12 cents "Every appreciator of MacDowell's music should possess himself of this study of the. composer." — Waskington Star. Abundant new material. Among other things a number of remarkably interesting letters from Grieg, Liszt and MacDowell himself.

Illustrated Monographs, jsmo. $1,00 net LIVING MASTERS SERIES per volume, postage, 8 cents

PUCCINI . By Wakeling Dry DEBUSSY . By Mrs. Franz Liebich

PADEREWSKI . By E. A. Baughn RICHARD STRAUSS By Ernest Newman, etc.

JOHN LANE COMPANY New York

Mr. and Mrs. David Mannes ANNOUNCE TWO SONATA RECITALS IN JORDAN HALL

December 14, 1909, January 11, 1910

DIRECTION

ELEANOR BRIGHAM, Trinity Court

1957 The many attractive features of the new Renaissance Dining Room

of the HOTEL NAPOU

Will appeal to those who know excellence of Food and service JUNCTION OF WASHINGTON AND FRIEND STREETS

MUSIC TILL MIDNIGHT

N.B. Leave Tunnel cars at Union-Friend station directly opposite 73 KRANICH & BACH UPRIGHT PIANOS

MUST BE SOLD AT ONCE

REMEMBER THE PLACE H. W. BERRY

646 Washington Street -V^-^'K . . - BOSTON

•"^ - • Elevator Ontr 1^UiW '^^ "^^ 1958 FOUR CONCERTS TUESDAY EVENINGS

at 8.15 o'clock ; DRY COLD STORAGE for Furs, Clothing and Ru^s

Constant improvement of our facilities and increase of this branch of our business enables us to offer the REDUCED RATE of 3 per cent.

of the agreed valuation with minimum charge of $1.00

Our modern scientific methods of examining and cleaning furs by expert furriers before they are put in storage is worth alone the entire cost. Furs purchased or remodelled now at reduced prices with storai^e free FURS CAI^Ll^D FOR. A.ND DCI^IVCRCD Telephone. Oxford I3S6 A. N. COOK Sl go. N. C. COOK, Proprietor Hatters and Furriers 161 TrCmOnt Street, BostOIl

LIST OF CASTS IN SYMPHONY HALL. As you face the stage, the casts on the right, beginning with the one nearest the stage, are as follows: Sitting Anacreon (Copenhagen); P'aun with Infant Bacchus (Naples), ordered; Girl of Herculaneura (Dresden);

Dancing Faun (Rome) ; Demosthenes (Rome) ; Apollo Citharoedus (Rome)

Euripides (Rome) ; Diana of Versailles (Paris). The casts on the left are the Faun of Praxiteles (Rome); Amazon (Berlin); Hermes Logios (Paris); Lemnian Athena (Dresden, head in

Bologna); Sophocles (Rome) ; Standing Anacreon (Copenhagen), ordered;

Aeschines (Naples) ; Apollo Belvedere (Rome).

The reliefs in 4,he passage are : Bacchic Procession (Naples) ; Orpheus, Eurydice, and Hermes (Naples).

C The Ruth Burrage Library of Orchestral Scores, FREE TO ALL, is located at Lang

Studios, 6 Newbury Street. Books can be

taken out at all times.

I960 :

SYMPHONY HALL BOSTON

Opening Night

MONDAY, MAY 3, 1909 ^he POPS

CONCERTS of POPULAR MUSIC

By an ORCHESTRA of FIFTY-FIVE SYMPHONY PLAYERS

Conductors GUSTAV STRUBE ARTHUR KAUTZENBAGH ANDRE MAOUARRE

Every Evening, except Sundays,

Until July 3

FROM 8 TO \\

Admission, 25 Cents

3B4 POTLSTOM STIEET

CHOICE EASTER CARDS UNIQUE HAND-MADE DINNER CARDS SMALL GOLD MIRRORS suitable for Bridge Prizes WEDDING PRESENTS Summer Address that are carefully chosen LIBRARY BUILDING and quite out of the ordinary MAGNOLIA, MASS.

HUNTINGTON CHAMBERS HALL

FOR RECITALS

30 HUNTINGTON AVENUE HOTEL RENNERT BALTIMORE, MD.

Within one square of the shopping dis-

trict. The Standard hotel of the South. The cuisine of this hotel has made Maryland cooking famous. The only hotel in the world where the Chesapeake Bay products, Fish, Oysters, Terrapin, and Canvas-back Duck, are prepared in their perfection.

MODERN IN EVERY DEPARTMENT EUROPEAN PLAN Rooms, $1.50 per day and upwards Fire-proof building 1962 : PADEREWSKI FUND FOR AMERICAN COMPOSERS COMPETITION OF 1909

The following prizes are offered for the current yeaj for the best compositions submitted by American composers

1. One thousand dollars for a Symphony or Symphonic Poem for full Orchestra.

2. Five hundred dollars for a Concert Piece for Chorus and Orchestra, with or without solo voice parts.

3. Five hundred dollars for a String Quartet, or for a Quartet for Piano and Strings, or a Quintet or Sextet for any combination of instruments.

The term "American Composers" is restricted to those born in

the United States of America.

The compositions offered for prizes are to be submitted on or before September i, 1909, and will be passed upon by the Judges appointed by the Trustees, namely: — Messrs. G. W. Chadwick and Horatio Parker.

The decision of a majority of the Board of Judges is to be bind-

ing on all parties concerned.

The compositions are to be sent anonymously, and the name of

the composer is to be contained in a sealed envelope, forwarded with

the composition. Illegible manuscripts will not be considered.

No composition shall be eligible for a prize which has been pub-

lished, or which has been performed in public or private.

The compositions sent will remain the property of the com-

posers, and will be returned to them at the end of the competition, if so requested by them.

All communications in reference to the competition should be

addressed to JOHN A. LOUD, Secretary. 6 Newbury Street, Boston, Mass. 1963 1964 MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and SOPRANO SOLOIST s'"*'"- Huotmgton Ayeo«.. HARRIET S. WHITTIER, ^o Exponent of the method of the late Charles R. Adams. Portsmouth, New Hampshire, Mondays.

Classes in Sight Readinsr Miss CAROLINE M. SODTHARD, (e.qht hands,. Advanced pupils follow the Symphony programmes TEACHER OF THE PIANOFORTE. as far as practicable. 165 Huntington Avenue - Boston

TEACHER OF SINGING.

Miss CLARA E. HUNGER, New century Building, 177 Huntington Avenue, Boston.

Concert and Oratorio.

Hiss GERTRUDE EDMAHDS, vocai instruction.

The Copley, 18 Huntington Avenue.

Pianist and TeacHer. Miss ELEANOR BRIGHAM, Trinity Court.

PIANIST and TEACHER. Miss JOSEPHINE COLLIER, lanq studios, 6 NEWBURY STREET. RHYTHM Applied to Physical and Personal De- ir T TTAl I ni T n n i nnTin Mrs. LHGIA GALE BARBER, Mus.c'^°r.;";«.«„„. LECTURES and INSTRUCTION. THE LUDLOW, COPLEY SQ., BOSTON. 1965 PIANISTEand TEACHER. Hemenway Chambers, Mis. CAROLYN KING HUNT, BOSTON.

TENOR" BARITONE. Pupil of Professor Jachman-Wagner, Berlin, and Professor Galliera, Milan, Italy. Training and Finishing of Voice. KARL DOERING, Scboollor Grand Opera and Oratorio. STEINERT HALL, ROOM 27. Open Monday, October 12. Send for new Prospectus

38 BABCOCK ST., BROOKLINE. TEACHING AT BERTHA GDSHIN6 CHILD, LANG STUDIOS, 6 NEWBURY ST., BOSTON.

TEACHER OF SINGING. (Garcia Method). Studio, 326 Huntington Chambers. Boston THEODORE SGHROEDER, Mr.Schroeder makes a specialty of VOICE BUILD- ING and FREEDOM of Tone Emission. (BASSO-CANTANTE). Professionals COACHED in standard Operas Oratorios, and German Lieder.

TEACMER OF PIANO,

Hiss REN& I. BISBEE, LANG STUDIOS,

6 NEWBURY STREET.

PIANOFORTE INSTRUCTION. LDCY FRANCES 6ERRISH, GERRISH STUDIO,

140 Boylston Street . . . Boston.

RECENT BOOKS. EDITH LYNWOOD WINN, THE CHILD VIOLINIST. TEACHER OF VIOLIN. ETUDES OF LIFE. TEACHERS' CLASSES. Holiday Edition published by LECTURE RECITALS. Carl Fischer, New York. TRINITY COURT, BOSTON.

Piano, Voice, Violin (and all orchestral The Guckenberger School of instruments), Theory, Musical Analysis, Analytical Harmony, Composition, Score Mnsic. Reading, Chorus and Orchestral Con- ducting.

B. GUCKENBERGER, Director. 30 Huntington Avenue . Boston 1966 PIANIST.

RICHARD PLATT, 23 Steinert Hall . . Boston. Mason & Hamlin Piano.

Pierce Building, Copley Square, Room 313. INSTRUCTION IN THE SAM L. STDDLEY, ART OF SINGING. OPERA, ORATORIO, AND SONQ.

TEACHER OF SINGING. 602 Pierce Miss PRISCILLA WHITE, Building, Copley Square, BOSTON. Tuesdays and Fridays at Lasell Seminary.

BARITO/NE. EARL CARTWRIGHT, TEACHER OF SINQINQ.

Lang Studios, 6 Newbury Street.

Pianist and Teacher.

Miss HART INGRAHAH. Lan^ Studios, 6 NEWBURY STREET.

ARTHUR THAYER. Miss Rose Stewart, TEACHER OF SINGING. Vocal Instruction. 200 Huntington Avenue 246 Huntington Avenue.

HELEN ALLE/N HUNT, BOSTON MUSICAL BUREAU. Established 1899. CONTRALTO SOLOIST. Supplies Schools, Colleges, and Conservatoriei with Teachers of Music, etc.; also Churches witk Teacher of Singing. Organists, Directors, and Singers. Address HENRY C. LAHEE, No. 514 Pierce Building Boston. 'Phone, 475-1 Oxford. 2i8Trbmont St., Boston.

CAROLINE WOODS=HOWELL Miss PAULA MUELLER. TEACHER OF SINGING Teacher of Piano JEAN DERESZKE METHOD and German Language. STUDIOS, 514 Pierce Building 28 Central Avenue, Room 30, Steinert Hall MEDFORD. BOSTON. Interviews by appointment only RECTTAL8. 1967 MR. ROBT. N. I I C X 17 D Mme. de BERQ-LOFQREN, MRS. ROBT. N. LilO 1 JL IVy

Teacher of Singing, TEACHER OF SINGING. Soprano Soloist. The " GARCIA " Method. Symphony Chambers, opposite Symphony Hail, BOSTON. Studio, 12 Westland Avenue. BOSTON, MASS.

TIPPEH ""^ Mrs. H. CARLETON SLACK, VOCAL INSTRUCTION. ^'^'^^^^^ 1 PA II 1 Lyric Soprano. Concerts and Recitals. Lessons at residence, 128 Hemenway Street. STUDIOS '""' VIOLET IRENE WELLINGTON, Assistant, GRACE R. HORNE Humorous and Dramatic Reader. Also Teacher of Voice, Elocution, Physical Culture. 312 PIERCE BUILDING COPLEY SQUARE 59 Westland Aventie. Telephone. 3439-1 Back Bay.

Miss JANET DUFF, Miss MARIE WARE LAUGHTON, (7 years pupil of Francis Korbay) C ontralto. Concerts, Oratorios, and Song Recitals. Lecturer and Reader of Shakspere. Teacher of Voice Production and Singing. Instructor of the VOICE IN SPEECH. Studio, 402 Huntington Chambers. Monday, Wednesday, Thursday and Saturday morn- Courses of Study for Personal Culture and Pro- ings fessional Training. Management, W. S. Bigelow, Jr., Boston 418 PIERCE BUILDING, COPLEY SQUARE

EDITH MAY LANG, Mrs. ONTMANK, PIANIST and TEACHER. SOPRANO. Newbury Street, Boston, Lang Studios, 6 Teacher of Singing. Mondays and Thursdays at Moses Brown School, Providence, R.I. Lang Studios - 6 Newbury Street.

Mr. P. nUMARA Mrs. Alice Wentworth MacGregor, Orchestra of mem- Will furnish a Small TEACHER OF SINQINQ. bers of the Boston Symphony Orchestra for Musicales, Dinners, Receptions, etc. Residence Studio, 780 Beacon Street. Address, Symphony Hall. Tuesdays and Fridays at Abbot Academy.

Mrs. W. S. LELAWD Clarence B, Shirley, Pianist and Teacher Tenor Soloist and Teacher. Lany Studios CONCERT AND ORATORIO. 6 Newbury Street - Boston Studio, Huntington Chambd^, Boston.

Concert Oratorio EDWIN N. C. BARNES, SOPRANO Basso Cantante and Lafayltte GOODBAR, SOLOIST. Teacher of Singing. TEACHER OF SINQINQ. Thorough preparation for Concert and Church. Symphony Chambers . . . Boston. Studio . . Steinert Hail. Hall. Opposite Symphony 'Phone, Oxford 1330. Mondays and Thursdays 1968 1

TENSION RESONATOR (PATENTED IN THE UNITED STATES AND IN EUROPE)

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QljU L T^rirt in a piano is dependent upon the crown, or arch, UalUy 01 1 On^ of its sounding-board. Loss of tone-quality is caused by the flattening of the sounding-board through the action of the atmosphere and the great downward pressure of the strings.

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Permanently preserves the crown, or arch, of the sounding-board, and gives to the Mason & Hamlin piano a superior quality of tone and a tone which isinde* structible.

A Technical Description in "Thb Scientific American" of October 11, 1902, CONTAINS THE FOLLOWING; "One imnerfection in the modern pianoforte, found even in the instruments made by standard makers, has been the loss in tone quality, due to the inability of the sounding board to retain its tension. The problem seems at last to have been satisfactorily solved by a most simple and ingenious construction embodied in the pianos of Mason & Hamlin of Boston, U.S.A." A copy of the Sciefitific American article will be mailed upon application

MASON & HAMLIN COMPANY

Opp. Inst, of Technology 492-494 Boylston Street STEINWAY PIANO

'" %«'°'W' g'""" In Concert Halls "' use the btemway when p»»fat the

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THE STEINWAY REPRESENTATIVES IN BOSTON ARE THE M. STEINERT & SONS COMPANY of 162 Boylston Street