Twenty-Fourth Rehearsal and Concert

SYMPHONY HALL, BOSTON

HUNTINGTON 6- MASSACHUSETTS AVENUES

_, , . ( Ticket Office, 1492 ) „ , „ Telephones ^^""^ ^^^ | Administration Offices, 3200 \ TWENTY-SEVENTH SEASON, 1907-1908

DR. KARL MUCK, Conductor

Programme of tijp Twenty-fourth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, MAY 1 AT 2.30 O'CLOCK

SATURDAY EVENING, MAY 2 AT 8.00 O'CLOCK O

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1777 :

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1780 TWENTY-SEVENTH SEASON, NINETEEN HUNDRED SEVEN <«rf EIGHT

Twenty-fourth Rehearsal and Concert*

FRIDAY AFTERNOON, MAY I, at 2«30.

SATURDAY EVENING, MAY 2, at 8 o'clock.

PROGRAMME.

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

I. Allegro con brio. II. Andante con moto. III. Allegro; Trio. IV. Allegro.

Wagner ...... A "Faust" Overture

Wagner . "A Siegfriedldyl"

" " Wagner . . . Prelude to The Mastersingers of Nuremberg

There will be an intermission of ten minutes after the symphony.

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

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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 docs not obstruct such view, may be worn. Attest : J. M. GALVIN, City CUrk. 1781 L. P. Hollander & Co. FUR STORAGE

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1782 Symphony No. 5. in C minor, Op. 67 . . . Ludwig van BeethovE^^

(Born at Bonn, December 16 (?), 1770; died at \'ienna, March 26, 1827.)

Beethoven sketched motives of the allegro, andante, and scherzo of this symphony as early as t 800 and 1 801 . We know from sketches that, while he was at work on "Fidelio" and the pianoforte concerto in G major,— 1 804-1 806, —he was also busied with this symphony, which he put aside to compose the fourth symphony, in B-flat. The s^onphony in C minor was finished in the neighborhood of Hei- ligenstadt in 1807. Dedicated to the Prince von Lobkowitz and the Count Rasumoffsky, it was published in April, 1809. It was first performed at the Theater an der Wien, Vienna, December 22, 1808. All the pieces were by Beethoven: the symphonv described on the programme as "A symphony entitled 'Recollections of Life 5" in the Country,' in F major. No. (sic) ; an Aria, "Ah, perfido," sung by Josephine Kilitzky; Hymn with Latin text written in church style, with chorus and solos; Pianoforte Concerto in G major, played by Beethoven; Grand Symphony in C minor, No. 6 (sic); Sanctus, with Latin text written in church style (from the Mass in C major), with chorus and solos; Fantasia for pianoforte solo; Fantasia for pianoforte "into which the full orchestra enters little by little, and at the end the chorus joins in the Finale." Beethoven played the pianoforte part. The concert began at half-past six. We know nothing about the pecuniary result. Performers and audience suffered from the cold. J. F. Reichardt wrote a review of the new works. He named, and incorrectly, the sub-titles of the Pastoral Symphony, and added: "Each number was a very long, complete, developed movement, full of lively painting and brilliant thoughts and figures ; and this, a pastoral symphony, lasted much longer than a whole court concert lasts in Berlin." Of the one in C minor he simply said: "A great, highly- developed, too long symphony. A gentleman next us assured us he had noticed at the rehearsal that the 'cello part alone—and the 'cellists were kept very busy—covered thirty-four pages. It is true that the copyists here understand how to spread out their copy, as the law scriveners do at home." Reichardt censured the performance of the

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Hymn—a gloria—and the Sanctus, and said that the pianoforte concerto was enormously difficult, but Beethoven played it in an astound- ing manner and with incredible speed. "He literally sang the Adagio, a masterpiece of beautiful, developed song, with a deep and melancholy feeling that streamed through me also." Count Wilhourski told Ferdinand Hiller that he sat alone in an orchestra stall at the performance, and that Beethoven, called out, bowed to him personally, in a half-friendly, half -ironical manner. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings; and in the last movement piccolo, double-bassoon, and three trombones are added. Instead of inquiring curiously into the legend invented by Schindler, —-"and for this reason a statement to be doubted," as von Billow said, that Beethoven remarked of the first theme, "So knocks Fate on the door!"* instead of investigating the statement that the rhythm of this theme was suggested by the note of a bird,—oriole or goldfinch, —heard during a walk; instead of a long analysis, which is vexation and confusion without the themes and their variants in notation,—let us read and ponder what Hector Berlioz wrote concerning this symphony of the man before whom he humbly bowed : "The most celebrated of them all, beyond doubt and peradventure, is also the first, I think, in which Beethoven gave the reins to his vast imagination, without taking for guide or aid a foreign thought. In the first, second, and fourth, he more or less enlarged forms already known, and poetized them with all the brilliant and passionate inspirations of his vigorous youth. In the third, the 'Eroica,' there is a tendency, it is true, to enlarge the form, and the thought is raised to a mighty height; but it is impossible to ignore the influence of one of the divine poets to whom for a long time the great artist had raised a temple in his heart. Beethoven, faithful to the Horatian precept, 'Nocturna versate manu, versate diurna,' read Homer constantly, and in his magnificent musical epopee, which, they say, I know not whether it be true

* It is said that Ferdinand Ries was the author of this explanation, and that Beethoven was grimly sarcastic when Ries, his pupil, made it known to him.

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CHARLES W. HOMEYER & CO. Arthur P. Schmidt 332 BOYLSTON STREET 120 BOYLSTON STREET (Opposite Arlington St.) (Walker Buildias) BOSTON BOSTON 1786 or false, was inspired by a modem hero, the recollections of the ancient Iliad play a part that is as evident as admirably beautiful. "The symphony in C minor, on the other hand, seems to us to come directly and solely from the genius of Beethoven; he develops in it his own intimate thought; his secret sorrows, his concentrated rage, his reveries charged with a dejection, oh, so sad, his visions at night, his bursts of enthusiasm—these furnish him the subject ; and the forms of melody, harmony, rhythm, and orchestration are displayed as essentially individual and new as they are powerful and noble. "The first movement is devoted to the painting of disordered senti- ments which overthrow a great soul, a prey to despair: not the concentrated, calm despair that borrows the shape of resignation: not the dark and voiceless sorrow of Romeo who learns the death of Juliet; but the terrible rage of Othello when he receives from lago's mouth the poisonous slanders which persuade him of Desdemona's guilt. Now it is a frenetic delirium which explodes in frightful cries; and now it is the prostration that has only accents of regret and profound self-pity. Hear these hiccups of the orchestra, these dialogues in chords between wind instruments and strings, which come and go, always weaker and fainter, like unto the painful breathing of a dying man, and then give way to a phrase full of violence, in which the orchestra seems to rise to its feet, revived by a flash of fury: see this shuddering mass hesitate a moment and then rush headlong, divided in two burning unisons as two streams of lava ; and then say if this passionate style is not beyond and above everything that had been produced hitherto in

instrumental music. . . .

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1787 — — "The adagio"*—andante con moto "has characteristics in common with the allegretto in A minor of the seventh symphony and the slow movement of the fourth. It partakes alike of the melancholy sober- ness of the former and the touching grace of the latter. The theme at first announced by the united 'cellos and violas, with a simple accompaniment of the double-basses pizzicato, is followed by a phrase for wind instruments, which returns constantly, and in the same tonality throughout the movement, whatever be the successive changes of the first theme. This persistence of the same phrase, represented always in a profoundly sad simplicity, produces little by little on the hearer's soul an indescribable impression. . . . "The scherzo is a strange composition. Its first measures, which are not terrible in themselves, provoke that inexplicable emotion which you feel when the magnetic gaze of certain persons is fastened on you. Here everything is sombre, mysterious: the orchestration, more or less sinister, springs apparently from the state of mind that created the famous scene of the Blocksberg in Goethe's 'Faust.' Nuances of piano and mezzo forte dominate. The trio is a double-bass figure, executed with the full force of the bow; its savage roughness shakes the orchestral stands, and reminds one of the gambols of a frolicsome elephant. But the monster retires, and little by little the noise of his mad course dies away. The theme of the scherzo reappears in pizzicato. Silence is almost established, for you hear only some violin tones lightly plucked, and strange little duckings of bassoons. ... At las't the strings give gently with the bow the chord of A-flat and doze on it. Only the drums preserve the rhythm; light blows struck by sponge-headed drumsticks mark the dull rhythm amid tl^e general stagnation of the orchestra. These drum-notes are C's; the tonality of the movement is C minor; but the chord of A-flat sustained for a long time by the other instruments seems to introduce a different tonality, while the isolated hammering the C on the drums tends to preserve the feeling of the foundation tonality. The ear hesitates, how will this mystery of harmony end ?—and now the dull pulsations of the drums, growing louder and louder, reach with the violins, which

* Such indifference of Berlioz to exact terminology is not infrequent in his essays.

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now take part in the movement and with a change of harmony, to the chord of the dominant seventh, G, B, D, F, while the drums roll obsti- nately their tonic C: the whole orchestra, assisted by the trombones which have not yet been heard, bursts in the major into the theme

of a triumphal march, and the Finale begins. . . . "Criticism has tried, however, to diminish the composer's glory by stating that he employed ordinary means, the brilliance of the major

mode pompously following the darkness of a pianissimo in minor ; that the triumphal march is without originality, and that the interest wanes even to the end, whereas it should increase. I reply to this: Did it require less genius to create a work like this because the passage from piano to forte and that from minor to major were means already understood ? Many composers have wished to take advantage of the same

means ; and what result did they obtain comparable to this gigantic chant of victory in which the soul of the poet-musician, henceforth free from earthly shackles, terrestrial sufferings, seems to mount radiantly toward heaven? The first four measures of the theme, it is true, are

not highly original ; but the forms of a fanfare are inherently restricted and I do not think it possible to find new forms without departing utterly from the simple, grand, pompous character which is becoming. Beethoven wished only an entrance of the fanfare for the beginning of his finale, and he qnickly found in the rest of the movement and even in the conclusion of the chief theme that loftiness and originality of style which never forsook him. And this may be said in answer to the reproach of not having increased the interest to the very end: music, in the state known at least to us, would not know how to produce a more violent effect than that of this transition from scherzo to tri-

umphal march ; it was then impossible to enlarge the effect afterward. "To sustain one's self at such a height is of itself a prodigious effort; yet in spite of the breadth of the developments to which he committed himself, Beethoven was able to do it. But this equality from beginning to end is enough to make the charge of diminished interest plausible, on account of the terrible shock which the ears receive at the beginning; a shock that, by exciting nerv^ous emotion to its most violent paroxysm, makes the succeeding instant the more difficult. In a long row of

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260 BOYLSTON STREET, BOSTON ^Tntl^'A-n^an":.'" 1790 column^inp of equal height, an optical illusion makes the most remote to appear' the smallest. Perhaps our weak organization would accornmo- date itself to a more laconic peroration, as that of Gluck's 'Notre g^n^ral /ous rappelle.' Then the audience would not have to grow cold, ai^d the symphony would end before weariness had made impossible further ifollowing in the steps of the composer. This remark

bears onlv on the mise en sckne of the work ; it does not do away with the fact that this finale in itself is rich and magnificent; very few movements can draw near without being crushed byit." * * * This symphony was performed in Boston at an Academy concert as early as November 27, 1841. It was performed at the first concert of the Philharmonic Society of New York. December 7, 1842. I have stated that Beethoven made sketches for three movements of this svmphony as early as 1800 and 1801. There are notes in a sketch-book dated 1795 for a symphony in C minor, and one of the themes (C minor, presto, 3-4) bears a resemblance to the chief theme of the scherzo in the Fifth. In another sketch-book which contains studies for the Prisoners' Chorus in "Fidelio" there is an Andante quasi minuetto in which there are hints, as also in a presto, at the famous initial theme of the symphony. The autograph manuscript of the symphony which is in the possession of Felix Mendelssohn's family bears this title: "Sinfonie da L. v. Beethoven." The copy that was sent to the publishers is entitled: "Sinfonia 5ta da Luigi van Beethoven."

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1791 The dedication was suppressed when the score was published in 1826, and the title then read: "Cinqui^me Sinfonie enf^irfwrngMr; C moll: de Louis van Beethoven." The rehearsals for the first performance were stormy. The orchestra resented Beethoven's brusque behavior. In the performance of the Fantasia with chorus at the concert, the orchestra made a mistake, and Beethoven arose and exclaimed to the players: "Silence! silence! That's not right. Once more, once more." He thought it was his duty to correct the fault, and that the audience deser\'ed a perfect performance. The Viennese correspondent of the Allgemeine Musikalische Zeitung of Leipsic stated in his short account of the concert that the performance was generally weak.

In 1 8 10 E. T. A. Hoffmann wrote the first long analysis and serious review of the work, and it may be said that this fantastical writer and musician was the first man of acknowledged reputation to appreciate the grandeur of the work.

A "Faust" Overture Richard Wagner

(Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) While Wagner, conductor at Riga, was writing "Rienzi," he kept thinking of Paris as the one place for the production of his opera. He arrived in Paris, after a stormy voyage from Pillau to London, in September, 1839. He and his wife and a big Newfoundland dog found lodgings in the Rue de la Tonnellerie. This street was laid out in 1202, and it was named on account of the merchants in casks and' hogsheads who there established themselves. The street began at the Rue Saint Honore, Nos. 34 and 36, ended in the Rue Pirouette; and it was known for a time in the seventeenth century as the Rue des Toilieres. Before the street was formed, it was a road mth a few miserable houses occupied by Jews. Wagner's lodging was in No. 23,* the house in which the illustrious Moliere is said to have been

bom ; and a tablet in commemoration of this birth was put into the

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1793 "

wall in the Year VIII., and replaced when the house was rebuilt, in 1830. This street disappeared when Baron Hausmann improved Paris, and the Moliere tablet is now on No. 31 Rue du Pont-Neuf. In spite of Meyerbeer's fair words and his own efforts, Wagner was unable to place his opera; and he was obliged to do all manner of drudgery to support hirnself. He wrote songs, read proofs, arranged light music for various instruments, wrote articles for music journals. He himself tells us: "In order to gain the graces of the Parisian salon-world through its favorite singers, I composed several French romances, which, after all my efforts to the contrary, were considered too out-of-the-way and difficult to be actually sung. Out of the depth of my inner discontent, I armed myself against the crushing reaction of this outward art-activity by the hasty sketches and as hasty composition of an orchestral piece which I called an 'overture to Goethe's "Faust," ' but which was in reality intended for the first section of a grand 'Faust' symphony." He wrote it, according to one of his biographers, in "a cold, draughty garret, shared with his wife and dog, and while he had a raging tooth- ache." On the other side of the sheet of paper which bears the earliest sketch is a fragment of a French chansonette. Before this, as early as 1832, Wagner had written incidental music to Goethe's drama and numbered the set Op. 5. These pieces were: Soldiers' Chorus, Rustics under the Linden, Brander's Song, two songs of Mephistopheles, Gretchen's song, "Meine Ruh' ist hin," and melo- drama for Gretchen. (This music was intended for performance at L-eipsic, where Wagner's sister, Johanna Rosalie (1803-37), the play- actress, as Gretchen, was greatly admired.*) It has been stated by several biographers that the overture to "Faust was played at a rehearsal of the Conservatory orchestra, and that the players, unable to discover any purpose of the composer, held up hands in horror. Georges Servieres, in his "Richard Wagner juge en France,"

* Some preferred her in this part to Schroeder-Devrient. Thus Laube wrote that he had never seen Gretchen played with such feeling: "For the first time the expression of her madness thrilled me to the marrow, and I soon discovered the reason. Most actresses exaggerate the madness into unnatural pathos. They declaim in a hollow, ghostly voice. Demoiselle Wagner used the same voice with which she had shortly before uttered her thoughts of love. This grewsome contrast produced the greatest effect." Rosalie married the writer. Dr. G. O. Marbach, in 1836. ORIGINAL POEMS AND OTHER VERSE TO BE PUBLISHED AS AN ALBUM OF TWELVE SONGS MUSIC BY JULIA WARD HOWE With frontispiece of latest portrait, and special birthday poem by THOMAS WENTWORTH HIGGINSON Edition de luxe, limited to 100 copies, Japanese vellum, hand-made paper, J2.00 net Regular edition, bound in paper, $1.00 net orders received Ready May 27, occasiou of eighty-ninth birthday anniversary. Advance

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1795 gives this version of the story: "The pubHsher Schlesinger busied himself to obtain for his young compatriot a hearing at the Societe des Concerts. Wagner presented to the society the overture to 'Faust' which he had just sketched and which should form a part of a symphony founded on Goethe's drama. The Gazette Musicale of March 22, 1840, announced that an overture for 'Faust' by M. R. Wagner had just been rehearsed. After this rehearsal the players looked at each other in stupefaction and asked themselves what the composer had tried to do. There was no more thought of a performance." Now the Gazette Musicale of March 22, 1840, spoke of Wagner's remarkable talent. It said that the overture obtained "unanimous applause," and it added, "We hope to hear it very soon"; but it did not give the title of the overture. But Glasenapp, a lover of detail, says in his Life of Wagner that this overture M^as not "Faust," but the "Columbus" overture, which was written for Apel's play in 1835, and performed that same year at Magdeburg, when Wagner was conductor at the Magdeburg Theatre. The overture "Columbus" was performed at Riga (March 19, 1838) probably at Konigsberg, and at Paris (February 4, 1841), at a concert of the Gazette Musicale to its subscribers.*

* Laube had said that this overture showed the composer in doubt as to whether he should follow in the footsteps of Beethoven or Bellini, and that the piece therefore made an impression somewhat like a Hegelian essay written in the style of Heine. H. Blanchard wrote in the Gazette Musicale after the performance: "This piece has the character and the form of a prelude: does it deserve the name overture, which the composer has well defined lately in this journal? Has he wished to paint the infinity of mid-ocean, the horizon which seemed endless to the companions of the famous and daring navigator, by a high tremolo of the violins ? It is allowed us so to suppose; but the theme of the allegro is not sufficiendy developed and worked out; the brass enter too uniformly, and with too great obstinacy, and their discords which shocked trained and delicate ears did not permit just valuation of M. Wagner's work, which, in spite of this mishap, seemed to us the work of an artist who has broad and well-arranged ideas, and knows well the resources of modem orchestration." Specht wrote in the Artiste concerning the "Columbus" overture: "The composer of the overture, 'Chris- topher Columbus,' Herr Richard Wagner, is one of the most distinguished contributors to the Gazette Musicale. After the skilful way in which he had expounded his theories on the overture in that journal, we were curious

' to see how he would apply them in practice. The Columbus ' overture may be divided into two main sections; the first depicts the doubts and discouragement of the hero, whose dogged adherence to his plan is dictated by a voice from above. Unfortunately, the leading theme, intended to express this idea, was entrusted to the trumpets, and they consistently played wrong; the real meaning of a cleverly worked out composition was, therefore, lost on all but a mere handful of serious listeners. The ideas in the work show dignity and artistic finish, and the extremely brief closing Allegro gives exalted expression to Columbus's triumph." Three unfamiliar overtures by Wagner, the "Polonia" (1836), the "Columbus," and the "Rule Britannia" (1836-37), were performed for the first time in England at the Queen's Hall, London, January 2, 1905, Mr. " Henry J. Wood conductor. The Pall Mall Gazette said of the Columbus " overture: "The subject naturally attracted him who was at the time girding on the armor with which he was destined to storm the future. A great deal of the 'Columbus' is very strong, very noisy, and "^ very'^theatrical; but there is one passage of

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The first performance of the "Faust" overture was at a charity concert in the pavilion of the Grosser Garten, Dresden, July 22, 1844. Wagner conducted it. The work was called "Berliozian programme music"; and acute critics discovered in it taunts of Mephistopheles and the atoning apparition of Gretchen, whereas, as we shall see, the composer had thought only of Faust, the student and philosopher. The overture was repeated with no better success, August 19, 1844. A correspondent of the Berhn Figaro advised Wagner to follow it up with an opera "which should be based neither on Goethe's nor on Klingemann's 'Faust,' but on the sombre old Gothic folk-saga, with all its excrescences, in the manner of 'Der Freischiitz.' * * What was Wagner's purpose in writing this overture? To portray in music a soul "aweary of life, yet ever forced by his indwelling daemon to engage anew in life's endeavors." His purpose will be understood clearly if we examine the correspondence between Wagner and Liszt, and Wagner and Uhlig. Wagner wrote Liszt (January 30, 1848): "Mr. Halbert tells me you want my overture to Goethe's 'Faust.' As I know of no reason to with- hold it from you, except that it does not please me any longer, I send it to you, because I think that in this matter the only important question is whether the overture pleases you. If the latter should be the case, dispose of my work; only I should like occasionally to have the manuscript back again."* In 1852 Wagner reminded Liszt of the manuscript, hoped he had given it to a copyist, and added: "I have a mind to rewrite it a little and to publish it. Perhaps I shall get money for it." He reminded him again a month later. By Liszt's reply (October 7, 1852) it will extremely great beauty, in which a peculiar sense of a very softly_ moving sea is realized, the kind of thing, for example, which Mr. Kipling attempted to sing in words like this, 'Where the sea egg flames on the coral, and the long-backed breakers croon Their ancient ocean legends to the lazy locked lagoon,' with a true sense of the endless seas in the South." The "Polonia" overture, edited by Felix MottI, was " played at Chicago by the Theodore Thomas Orchestra, February 21, 22, 1908. The "Christopher Columbus overture, edited by Mottl, was played by the Philadelphia Orchestra at Philadelphia, February 14, 15, 1908. * The Englishing of these excerpts from the Wagner-Liszt correspondence is by Francis Hueffer.

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1799 be seen that he had already produced the overture at Weimar:* "A copy of it exists here, and I shall probably give it again in the course of this winter. The work is quite worthy of you; but, if you will allow me to make a remark, I must confess that I should like either a second middle part or else a quieter and more agreeably colored treatment of the present middle part. The brass is a little too massive there, and—forgive my opinion—the motive in F is not satisfactory : it wants grace i^n a certain sense, and is a kind of hybrid thing, neither fish nor flesh, \ivrhich stands in no proper relation of contrast to what has gone before and what follows, and in consequence impedes the interest. \ If instead of this you introduced a soft, tender, melodious part, modu- lated A la Gretchen, I think I can assure you that your work would gain very much. Think this over, and do not be angry in case I have said something stupid." Wagner answered (November 9, 1852): "You beautifully spotted the lie when I tried to make myself believe that I had written an overture to 'Faust.' You have felt quite justly what is wanting: the woman is wanting. Perhaps you would at once understand my tone-poem if I called it 'Faust in Solitude.' At that time I intended to write an entire 'Faust' symphony. The first movement, that which is ready, was this 'Solitary Faust,' longing, despairing, cursing. The 'feminine' floats around him as an object of his longing, but not in its divine reality; and it is just this insufficient image of his longing which he destroys in his despair. The second movement was to introduce Gretchen, the woman. I had a theme for her, but it was only a theme.

The whole remains unfinished. I wrote my 'Flying Dutchman ' instead. This is the whole explanation. If now, from a last remnant of weakness and vanity, I hesitate to abandon this 'Faust' work altogether, I shall certainly have to remodel it, but only as regards instrumental modulation. The theme which youfdesire I cannot introduce. This would naturally involve an entirely new composition, for which I have no inclination. If I publish it, I shall give it its proper title, 'Faust in Solitude,' or 'The Solitary Faust: a Tone-poem for Orchestra.'"

This performance was on May ii, 1852. Liszt wrote to Wagner, "Your 'Faust' overture made a sensation, and went well."

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Compare with this Wagner's letter to Theodor Uhlig (November 27, 1852): "Liszt's remark about the 'Faust' overture was as follows: he missed a second theme, which should more plastically represent 'Gretchen,' and therefore wished to see either such an one added, or the second theme of the overture modified. This was a thoroughly refined and correct expression of feeling from him, to whom I had sub- mitted the composition as an 'Overture to the first part of Goethe's "Faust."'* So I was obliged to answer him that he had beautifully caught me in a lie when (without thought) I tried to make myself or him believe that I had written such an overture. But he would quickly understand me if I were to entitle the composition 'Faust in Solitude.' In fact, with this tone-poem I had in my mind only the first movement of a 'Faust' symphony: here Faust is the subject, and a woman hovers before him only as an indefinite, shapeless object of his yearning; as such, intangible and unattainable. Hence his despair, his curse on all the torturing semblance of the beautiful, his headlong plunge into the mad smart of sorcery. The manifestation of the woman was to take place only in the second part; this would have Gretchen for its subject, just as the first part, Faust. Already I had theme and mood for it: then—I gave the whole up, and—true to my nature —set to work at the 'Flying Dutchman,' with which I escaped from all the mist of instrumental music, into the clearness of the drama. However, that composition is still not uninteresting to me; onh^, if one day I should publish it, it would have to be under the title, 'Faust in Solitude,' a tone-poem. (Curiously enough, I had already resolved upon this 'tone-poem' when you made so merry over that name—with which, however, I was forced to make shift for the occasion.)" Liszt asked (December 27, 1852) if Wagner could not prepare his new version of the overture for performance at a festival at Carlsruhe "I am glad that my marginal notes to your 'Faust' overture have not displeased you. In my opinion, the work would gain by a few elonga- tions. Hartel will willingly undertake the printing; and, if you will give me particular pleasure, make me a present of the manuscript when it is no longer wanted for the engraving. This overture has lain

* This was the title of the overture when it was performed for the first time at Dresden.

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with me so long, and I have taken a great fancy to it. If, however, you have disposed of it otherwise, do not^raind me in the least, and give me some day another manuscript." Wagner wrote to Liszt from Zurich (January 19, 1855), and congratulated him on the completion of his "Faust" symphony: "It is an absurd coincidence that just at this time I have been taken with a desire to remodel my old 'Faust' overture. I have made an entirely new score, have rewritten the instrumentation throughout, have made many changes, and have given more expansion and importance to the middle portion (second motive). I shall give it in a few days at a concert here, under the title of 'A "Faust" Overture.' The motto will be: Der Gott, der mir im Busen wohnt, Kann tief mein Innerstes erregen Der iiber alien meinen Kraften thront, Er kann nach aussen nichts bewegen Urid so ist mir das Dasein eine Last, Der Tod erwiinscht, das Leben mir verhassti but I shall not publish it in any case." This motto was retained. Englished by Charles T. Brooks, it runs:

The God who dwells within my soul Can heave its depths at any hour; Who holds o'er all my faculties control Has o'er the outer world no power. Existence Ues a load upon my breast, Life is a curse, and death a longed-for rest.

The revised overture was performed for the first time on January 23, 1855, at a concert of the Allgemeine Musikgesellschaft, Zurich. ^ ^Liszt wrote January 25 of that year: ' 'You were quite right in arrang- ing a new score of your overture. If you have succeeded in making the middle part a little more pliable, this work, significant as it was before, must have gained considerably. Be kind enough to have a copy made, and send it me as soon as possible. There will probably be some orchestral concerts here, and I should like to give this overture at the end of February."

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Wagner replied: "Herewith, dearest Franz, you receive my remod- elled 'Faust' overture, which will appear very insignificant to you by the side of your 'Faust' symphony. To me the composition is interesting only on account of the time from which it dates; this reconstruc-

tion has again endeared it to me ; and, with regard to the latter, I am childish enough to ask you to compare it very carefully with the first version, because I should like you to take cognizance of the effect of my experience and of the more refined feeling I have gained. In my opinion, new versions of this kind show most distinctly the spirit in which one has learned to work and the coarsenesses which one has cast off. You will be better pleased with the middle part. I was, of course, unable to introduce a new motive, because that would have involved a remodelling of almost the whole work; all I was able to do was to develop the sentiment a little more broadly, in the form of a kind of enlarged cadence. Gretchen of course could not be introduced, only Faust himself:

'Ein unbegreiflich holder Drang, Trieb mich durch Wald und Wiesen hin,' etc.

The copying has, unfortunately, been done very badly, and probably there are many mistakes in it. If some one were to pay me well for it, I might still be inclined to publish it. Will you try the Hartels for me ? A little money would be very welcome in London, so that I might the better be able to save something there. Please see to this." *

* Wagner had been invited in January, 1855, to conduct the concerts of the Philharmonic Society, London, in March, April, May, and June. "The post had been suggested as an excellent one for seven musicians who, for various reasons, were bound either to fulfil other engagements or, by a certain clause which declared it illegal to offer the conductor- ship of these concerts to any one who was resident in London, were compelled to refuse it. The eighth musician to whom application was made was Richard Wagner. It is a subtle commentary upon the change which had come over the dream-spirit of the world, when, among the musicians of that period, Wagner should be reckoned as a mere eighth. The comments which were made in every direction boded not much good for the popularity of Wagner in London. Wagner, of course, at this point undergoing the throes of the great man persecuted by contemporaries, had determined to win by sheer force of character. Through all the intricacies of correspondence and criticism, of vehement passions raised here and there, of accusations against musical accuracy, of declarations that Wagner was a mere impostor, and all the rest ofPit, Wagner remained true to his own ideal of self, despite everything. On March 12, 185s, he conducted his first Philharmonic concert in town, the programme including works by Beethoven, Mozart, Haydn, and Weber. J. W.*Davison gave what is described by Mr. EUis as a surprisingly mild criticism of this concert. So the tale wags on, the critics practically ignoring Wagner and pitting themselves against his prevailing genius. Chorley's Athetueum article is nothing more than disgusting to one who reads it anew at the present day. It isfdescribed by Mr. Ashton Ellis as 'the kick of a contemptible bully.' In any case, as time went on, the critics seem to have

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Liszt approved the changes, and sent the score to the Hartels. "If you are satisfied with an honorarium of twenty louis d'or, write to me simply 'Yes,' and the full score and parts will soon be published. To a larger honorarium the Hartels would not agree." Wagner answered from I^ondon: "Let the Hartels have my 'Faust' overture by all means. If they could turn the twenty louis d'or into twenty pounds, I should be glad. In any case, they ought to send the money here as soon as possible. I do not like to dun the Philharmonic for my fee, and therefore want money. . . . The publication of this overture is, no doubt, a weakness on my part, of which you will soon make me thoroughly ashamed by your 'Faust' symphony." But Hartel did not consent to the change of louis d'or into pounds. Wag- ner complained (May 26, 1855) of an "abominable arrangement" of the overture pubhshed by the same firm ; he also spoke of wrong notes in manuscript score as well as in the arrangement. "You will remember," wrote Wagner, "that it was a copy which I sent to you for your own use, asking you to correct such errors as might occur in your mind, or else to have them corrected, because it would be tedious for me to revise the copy." At the end of 1855 or very early in 1856 Wagner wrote: "I also rejoice in the fiasco of my 'Faust' overture, because in it I see a purifying and wholesome punishment for having published the work in despite of my better judgment ; the same religious feeling I had in London when I was bespattered with mud on all sides." The manuscript score of the original edition is in the Liszt Museum at Weimar. The manuscript of the revised edition is, or was until a very recent date, at Wahnfried in Bayreuth. The first performance of the overture in Paris was at a Pasdeloup concert, March 6, 1870. The first performance in the United States was at Boston, January 3, 1857, at a Philharmonic concert, Mr. Zerrahn conductor, in the Melodeon. The orchestra was made up of about thirty-five players. become divided, if only in a small way, into distinct camps; some were faintly for, and some were rabidly

' against, Wagner. Chorley describes certain movements from Lohengrin ' as being those in which there 'is not even a pretext of melody'; he also describes the Prelude as an idea, 'if idea it be,' which recalls 'Eurjranthe.' One need not go further into the details of this bulky but highly interesting biography, save by ex- plaining that the last chapter is devoted to a general summary of the hostile attacks which Wagner had to en-

' " dure, a chapter written under the titie of Requiescant.' Vernon Blackburn in the Pall Mall Gazette.

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1808 The music was then praised by Mr. John S. Dwight as "profound in sentiment, original in conception, logical in treatment, euphonious as well as bold in instrumentation, and marvellously interesting to the end." "It seemed," wrote Mr. Dwight, "to fully satisfy its end; it spoke of the restless mood, the baffled aspiration, the painful, tragic feeling of the infinite amid the petty, chafing limitations of this world, which every soul has felt too keenly, just in proportion to the depth and intensity of its own life and its breadth of culture. Never did music seem more truly working in its own sphere, except when it pre- sents the heavenly solution and sings all of harmony and peace." And this burst of appreciation was in 1857 —and in the city of Boston. The first performance of the overture in New York was by the Phil- harmonic Society, Mr. Eisfeld conductor, January 10, 1857. The overture is scored for piccolo, two flutes, two oboes, two clarinets, three bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, and strings. The work, which is in the form of the classic overture, begins with a slow introduction, or exposition of almost the whole thematic material to be treated afterward in due course. Sehr gehalten (Assai sostenuto), D minor, 4-4. The opening phrase is given out by the bass tuba and double-basses in unison over a pianissimo roll of drums, and is answered by the 'cellos with a more rapid phrase. The violins then have a phrase which is a modification of the one with which the work begins, and in turn becomes the first theme of the allegro. A cry from wind instruments follows, and is repeated a fourth higher. After development

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there^is a staccato chord for full orchestra, and the main body of the overture begins.| Sehr bewegt (Assai con moto), D minor, 2-2. There is a reappearance of the theme first heard, but in a modified form. It is given out by the first violins over harmonies in bassoons and horns, and the antithesis is for all the strings. After a fortissimo is reached, the cry of the wind instruments is again heard. There is a long development, in the course of which a subsidiary theme is given to the oboe. The second theme is a melody in F major for flute. The free fantasia is long and elaborate. The first entrance of trombones on a chord of the diminished seventh, accompanied fortissimo by the whole orchestra and followed by a chord of the second, once excited much discussion among theorists concerning the propriety of its resolution. The third part of the overture begins with a tumultuous return of the first theme the development differs from that of the first part. The coda is long.

"A Siegfried Idyl" Richard Wagner (Bom at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) Cosima Liszt, daughter of Franz Liszt and the Comtesse d'Agoult, was married to Hans von Biilow at BerUn, August 18, 1857. They were divorced in the fall of 1869. Richard Wagner married Minna Planer, November 24, 1836, at Konigsberg. They separated in August, 1861, and she died at Dresden, January 25, 1866. Wagner and Cosima Liszt, divorced wife of von Biilow, were married at Lucerne, August 25, 1870. Siegfried Wagner, their son, was bom at Triebschen, near Lucerne, June 6, 1869. Wagner wrote, November 11, 1870, to Ferdinand Prager: "My house, too, is full of children, the children of my wife, but beside there blooms for me a splendid son, strong and beautiful, whom I dare call Siegfried Richard Wagner. Now think what I must feel, that this at last has fallen to my share. I am fifty-seven years old." On the 25th of the month he wrote to Prager: "My son is Helferich Siegfried Richard. My son! Oh, what that says to me!" But these were not the first references to the son. In a letter written

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Address THE PEGISTfiAfi, 301 Pierce Building, Office hour, 3-4, daily. COPLEY SQUADE, iOSTOM 1810 — : — to Mrs. Wille, June 25, 1870, Wagner wrote: "Certainly we shall come, for you are to be the first to whom we shall present ourselves as man and wife. She has defied every disapprobation and taken upon herself every condemnation. She has borne to me a wonderfully beautiful and vigorous boy, whom I could boldly call 'Siegfried ' : he is now growing, together with my work, and gives^^me a new, long life, which at last has attained a meaning. Thus we get along without the world, from which we have retired entirely. . . . But now listen; you will, I trust, approve of the sentiment which leads us to postpone our visit until I can introduce to you the mother of my son as my wedded wife," (Finck's Wagner, vol. ii., p. 246.) The "Siegfried Idyl" was a birthday gift to the composer's wife. It was first performed as a morning serenade, December 24,* 1871, on the steps of the villa at Triebschen, by a small orchestra of players collected from Zurich and Lucerne. Wagner conducted. Hans Richter, who played the trumpet in the performance, had led the rehearsals at Lucerne. The children of Cosima called the Idyl the "Steps Music." Siegfried was bom while the composition of the music drama, "Sieg- fried," was in progress. The themes in the Idyl were taken from the music drama, all save one,—a folk-song, "Schlaf, mein Kind, schlaf ein" ; but the development of the themes was new. And Wagner wrote a dedication to his wife : Es war Dein opfermutig hehrer Wille Der meinem Werk die Werdestatte fand, Von Dir geweiht zu weltentruckter Stille, Wo nun es wuchs und kraftig uns entstand, Die Heldenwelt uns zaubemd zum Idylle, Uraltes Fern zu trautem Heimatland. ErschoU ein Ruf da froh in meine Weisen "Ein Sohn ist da!" Der musste Siegfried heissen.

Fiir ihn und Dich durft' ich in Tonen danken, Wie gab' es Liebesthaten hold'ren Lohn ? Sie hegten wir in uns'res Heimes Schranken, Die stille Freude, die hier ward^^zum Ton

* Ramann says that Cosima Liszt was bom at Bellagio, "at Christmas," 1837. Chamberlain and Damireuther give 1870 as the year of compwsition of the Idyl; but see Richard Pohl's statement in the Musikalisches Wochenblalt of 1877 (p. 245). ANCOCKV at£? ant! jfFtttrg

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Die'sich uns treu erwiesen ohne Wanken, So Siegfried hold, wie freundlich uns'rem Sohn. Mit Deiner Huld sei ihnen jetzt erschlossen, Was sonst als tonend Gliick wir still genossen. Some one has Englished this freely—very freely—and in verse: Thy sacrifices have shed blessings o'er me, And to my work have given noble aim, And in the hour of conflict have upbore me, Until my labor reached a sturdy frame. Oft in the land of legends we were dreaming,— Those legends which contain the Teuton's fame, Until a son upon our lives was beaming, Siegfried must be our youthful hero's name.

For him and thee I now in tones am praising; What thanks for deeds of love could better be? Within our souls the grateful song upraising Which in this music I have now set free. And in this cadence I have held, united, Siegfried, our dearly cherished son, and thee. Thus all the harmonies I now am bringing But speak the thought which in my heart is ringing.

The composition, which first bore the title "Triebschener Idyll," is scored for flute, oboe, two clarinets, trumpet, two horns, bassoon, and strings. It begins quietly, E major, 4-4 (strings without double-basses), with a short introduction made out of portions of the so-called "Frie- densmelodie," which is soon announced by the strings, the theme from the love scene in the third act of "Siegfried," at Briinnhilde's words, "Ewig war ich, ewig in siiss sehnender Wonne—doch ewig zu deinem Heil!" (I have been forever, I am forever, ever in sweet yearning ecstasy—but ever to thy salvation !) The development is wholly in- dependent of that in the music drama. The Wood-wind instruments gradually enter. The flute introduces as an opposing theme a phrase

' of the slumber motive in the last scene of ' Die Walkiire." This phrase is continued by oboe and clarinet. There is a crescendo. The theme appears in the basses, and reaches a piii forte, A short theme of two descending notes—generally a minor seventh HAVE YOU EVER HAD Our New Store Shampoo A Gillespie 278 Boylston Street Or Facial Treatment? Is now open, and we are exhibiting If not, go some day to 18 Huntington AN ENTIRELY NEW STOCK OF Avenue (just beyond S. S. Pierce's), and have one of the most restful and refreshing hours of your life. This FINE MILLINERY is written by a patron who has no We invite our friends and ^Nitrons interest in Mme. GILLESPIE or her to visit us in our new establishment, methods other than the desire to which we have endeavored to Kiake benefit mankind. This scientific treat- high-grade in every detail. ment is almost a cure for insomnia, and is well calculated by its soothing effects to make one forget all the THE BOUQUET worries and cares of this strenuous J. J. Grace, Proprietor life. We treat both ladies and gentleman, also children. Formerly at 134 Tremont Street

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1813 or major sixth, taken from Briinnhilde's cry, "O Siegfried! Siegfried!

! sieh ' meine Angst " (O Siegfried ! Siegfried ! see my terror !) from the same love scene in "Siegfried"—appears now in the basses, now in the vioUns, while wind instruments give out chords in triplets. This short theme is much used throughout the Idyl. The cradle song, "Schlafe, Kindchen, schlafe" (Sleep, my little one, sleep), is sung "very simply" by the oboe. All these themes are worked up in various shapes until trills on the first violins lead to the "World-treasure" motive in Briinnhilde's speech to Siegfried,—"O Siegfried, Herrlicher! Hort der Welt!" (O Siegfried, thou glorious one! Treasure of the world!),—which is sung first by the wind, A-flat major, 3-4 time, afterward worked out by strings, and then combined with preceding themes. There is a climax, and on an organ-point on G as dominant the first horn gives out Siegfried's "motive," where he announces his intention of going out into the world, never to return (act i.), but the form is that assumed in the love scene. Flute and clarinet embroider this horn theme with hints at the bird song in the " Waldweben." There is a mass of trills, and the strings play the accompanying figure to Siegfried's "Ein herrlich Gewasser wogt vor mir" (A splendid sea surges before me), 'cellos and violas, then violins. The music swells to forte, and, after there is a modulation back to E major and a combination of the first two themes, the climax of the idyl is reached, and the trumpet sounds the forest-bird motive. The chief themes are further developed, alone or in combination. The pace slackens more and more, and the first two themes bring the end in pianissimo.

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"A Siegfried Idyl" was performed at Maniiheim in December, 1871, and at Meiningen in the spring of 1877. The work was pubHshed in February, 1878, and the first performance after pubUcation was at a Bilse concert in BerUn toward the end of February of that year. Ac- cording to Dr. Reimann the music drama "Siegfried" was then so Uttle known that a BerUn critic said the idyl was taken from the second act. So Mr. Henry Knight, a passionate Wagnerite, wrote verses in 1889, in which he showed a similar confusion in mental operation. The first performance in Boston was at a concert of the Harvard Musical Association, December 19, 1878.

Overture to "The Mastersingers of Nuremberg." Richard Wagner (Bom at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) The overture to "Die Meistersinger von Niimberg" was performed for the first time at Leipsic, November i, 1862. The opera was first performed at Munich, June 21, 1868. The idea of the opera occurred to Wagner at Marienbad in 1845, and he then sketched a scenario, which differed widely from the one finally adopted. It is possible that certain scenes were written while he was composing "Lohengrin," and there is a legend that the quintet was finished in 1845. Some add to the quintet the different songs of Sachs and Walther. Wagner wrote a friend, March 12, 1862: "To-morrow I at least hope to begin the composition of 'Die Meistersinger.'" The libretto was completed at Paris in 186 1. He worked at Biebrich in 1862 on the music. In the fall of that year he wished the public to hear fragments of his new works, as yet not performed nor pubUshed, fragments of "Siegfried," "Tristan," "Die Walkiire,"—and he himself added to these the overture to "Die Meistersinger," the entrance of the mastersingers, and Pogner's address, from the same opera. His friend, Wendelin Weissheimer (bom in 1838), opera conductor at Wiirzburg and Mainz, composer, teacher, essayist, organized a concert at Leipsic for the production of certain works. Von Biilow was inter-

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1816 " ested in the scheme, and the concert was given in the hall of the Gewand- haus, November i, 1862, as stated above. The programme included a symphony and five choral works by Weissheimer, Liszt's Pianoforte Concerto, No. 2, played by von Biilow, and Wagner's Prelude to "The Mastersingers" and Overture to "Tann- hauser." Wagner conducted the two overtures. The hall was nearly empty, and the concert was given at a pecuniary loss. This was naturally a sore disappointment to Wagner, who had written to Weissheimer, October 12, 1862: "Good: 'Tannhauser' overture, then! That's all right for me. For what I now have in mind is to make an out-and- out sensation, so as to make money." Wagner had proposed to add the prelude and finale of "Tristan" to the prelude to "Die Meister- singer"; but his friends in Leipsic advised the substitution of the overture to "Tannhauser." There was not the faintest applause when Wagner appeared to conduct. Yet the prelude to "Die Meistersinger was received then with such favor that it was immediately played a second time. Here in condensed and paraphrased form is Mr. Maurice Kufferath's analysis of this overture.* This Vorspiel, or prelude, is in reality a broadly developed overture in the classic form. It may be divided into four distinct parts, which are closely knit together. I. An initial period, moderato, in the form of a march built on four

See "Les Mattres Chanteurs de Nuremberg," by Maurice Kufferath (Paris and Brussels, 1898), pp. 200-210.

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ISld chief themes, combined in various ways. The tonality of C major is well maintained. 2. A second period, in E major, of frankly lyrical character, fully developed, and in a way the centre of the composition. 3. An intermediate episode after the fashion of a scherzo, developed from the initial theme, treated in diminution and in fugued style. 4. A revival of the lyric theme, combined this time simultaneously with the two chief themes of the first period, which leads to a coda, wherein the initial phrase is introduced in the manner of a stretto. The opening energetic march theme serves throughout the work to characterize the Mastersingers. As Wagner said, "The German is angular and awkward when he wishes to show his good manners, but he is noble and superior to all when he takes fire." The theme might characterize the German bourgeoisie. (Compare Elgar's theme of "London Citizenship," in "Cockaigne.") Secondary figures are formed from disintegrated portions of this theme, and there is a peculiarly appropriate scholastic, pedantic polyphony. Note also how from the begiiming a cunning use of the ritardando contributes to the archaic color of the work. The exposition of the initial theme, with the first developments, leads to a second theme of wholly different character. It is essentially lyrical, and, given at first to the flute, hints at the growing love of Walther for Eva. Oboe, clarinet, and horn are associated with the flute, and alternate with it in the development. A Weberish flourish of violins leads to a third theme, intoned by the brass, sustained by harp. It is a kind of fanfare. The theme seems to

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1817 have been borrowed by Wagner from the "Crowned Tone" of Heinrich Miigling.* This pompous theme may be called the fanfare of the corporation, the theme of the guild, or the theme of the banner, the em- blem of the corporation. It is soon combined with the theme of the Mastersingers, and at the conclusion the whole orchestra is used. There is in this brilliant passage an interesting chromatic walk of trumpets and trombones, supported by violas and 'cellos. A short and nervous episode of eight measures introduces a series of modulations, which lead to a sweet yet broadly extended melody,—the theme that characterizes in general the love of Walther and Eva. And here begins the second part of the overture. The love theme after development is combined with a more passionate figure, which is used in the opera in many ways,—as when Sachs sings of the spring; as when it is used as an expression of Walther's ardor in the accompaniment to his trial song in the first act. The tonality of the first period is C major, that of the love music is E major. And now there is an Allegretto. The oboe, in staccato notes, traces in double diminution the theme of the initial march ; while the clarinet and the bassoon supply ironical counterpoint. The theme of youthful ardor enters in contention; but irony triumphs, and there is a parody (in E-flat) of the solemn March of the Mastersingers, with a new subject in counterpoint in the basses. The counter-theme in the 'cellos is the theme which goes from mouth to mouth in the crowd — ' when Beckmesser appears and begins his Prize Song, ' What ? He ? Does he dare? Scheint mir nicht der Rechte!" "He's not the fellow

See "Der Meistergesang in Geschichte und Kunst," by Curt Mey (Carlsruhe, 1892, pp. 56, 57).

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Early in January he will begin a series of ten weeks at the THomas Orcliestra Hall, Ctiica^o. During this course he will also lecture in St. Louis, Mil- waukee, Indianapolis, Evanston, and Oak Park.

Immediately at the close of these engagements he will leave for an extended foreign tour, in order to secure material for an entirely new series of "Travel Lectures," to be delivered at the Tremont Temple, Boston, early in the fall of 1908. 1819 ; posed without reference to them, that a simple instrumental phrase was fitted to verses that were already in existence? Impossible. If we admit that the theme has appeared in notation for the first time in this overture, we cannot agree with Weissheimer in his conclusion, that it was composed especially for the overture, and that the composer had not yet thought of applying it to the Preislied. On the contrary, we may confidently affirm that the Preislied, words and music, existed, at least in its essential nature, in Wagner's brain, when he introduced the chief theme of it into his instrumental preface."

WORKS PERFORMED AT THE SYMPHONY CONCERTS

DURING THE SEASON OF 1 907-1 908.

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 D'Albkrt: Overture to the Opera, "The Improvisatore," April 18, 1908 1686 D'Ambrosio: Concerto in B minor for Violin and Orchestra, ** Op. 29 (Richard Czerwonky f **), December 21, 1907 659

Bach, C. P. E. : Symphony in E-flat major. No. 2,** April 11, 1908 1574

Bach, J. S. : Suite in D major, No. 3, for Orchestra, October 12, 1907 7 Toccata in D minor * for Organ (Peters edition, vol. iv.,

No. 4) (Wallace Goodrich), December 28, 1907 . . 731 Balakireff: Symphony in C major,** March 14, 1908 .... 1351 Beethoven: Symphony inJCfmajor, No. i, Op. 21, April 18, 1908 t 1639

Symphony in D major, No. 2, Op. 36, November 30, 1907 . 528

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Sympliony in B-flat major, No. 4, Op. 60, January 18, 1908, 938 Symphony in C minor, No. 5, Op. 67, May 2, 1908 .... 1783 Symphony in F major, No. 6, "Pastoral," Op. 68, October 12, 1907 50

Overture to "Leonore" No. i. Op. 138, November 2, 1907 . 287 Overture to "Coriolanus," Op. 62, April 11, 1908 .... 1609 Berlioz: Overture to the Opera, "Benvenuto Cellini," Op. 23, March 28, 1908 1465 BisCHOFF: Symphony in E major, Op. 16,** January 4, 1908, February 29, 1908 815, 1254

Bizet : Dramatic Overture, "Patrie," C minor, Op. 19, Decem- ber 14, 1907 .- ^567 BoEHE: "Taomiina," Tone Poem, Op. 9,** November 30, 1907, ' 483 Bossi, E.: "Goldonian Intermezzi," Op. 127,** December 21, 1907 660 Brahms: Symphony in D major. No. 2, Op. 73, November 16, h^^ 1907 I366

Symphony in E minor, No. 4, Op. 98, March 28, 1908 . . 1423 Concerto in D major for Viohn and Orchestra, Op. 77 (Cari. Wendung t **), October 26, 1907 174 Bruckner: Symphony in D minor, No. 9 (Unfinished), Novem- ber 2, 1907 239 Chabrier: "Espaiia," Rhapsody for Orchestra, November 23, 1907 • 438

Overture to the Opera "Gwendoline," March 14. 1908 . . 1386 Chadwick: Symphonic Sketches: Suite for Orchestra,* Feb- ruary 8, 1908 105

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Gotz: Symphony in F major. Op. 9, December 14, 1907 . . . 614 Hadley: Svmphony No. 3, in B minor. Op. 6q,** April 11, 1908, 1614 Handel: Concerto in F major for Strings and Two Wind Or- chestras (edition of Gustav F. Kogel),** December 28, 1907 740 Haydn: Symphony in G major, "The Surprise" (B. & H., No. 6), January 18, 1908 895 Hinton: Concerto in D minor for Pianoforte and Orchestra, Op. 24 ** (Katharine Goodson), March 7, 1908 .... 1306 Humperdinck: Overture to the Opera, "The Forced Mar- riage,"** December 21, 1907 651 DTndy: "Wallenstein," Trilogy, after the Dramatic Poem of Schiller, Op. 12,** October 19, 1907 83 "Summer Day on the Mountain," ** Op. 61, April 25, 1908, 1755 Laeo: Overture to the Opera, "The King of Is," November 23, 1907 403 "Spanish" Rhapsody for Viohn and Orchestra, Op. 21 (Fritz KreiseEr), November 30, 1907 491

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Liszt : Concerto in E-flat major, No. i, for Pianoforte and Or- chestra (Olga Samaroff), April 4, 1908 1527 Concerto in A major, No. 2, for Pianoforte and Orchestra (Rudolph Ganz), October 19, 1907 114 LoeffuER: "Pagan Poem" (after Virgil), Op. 14, for Orchestra, Pianoforte, EngHsh Horn, and Three Trumpets ObbU- gati.t November 23, 1907, March 14, 1908 .... 416, 1376

MacDowell: Suite in A minor. Op. 42, December 14, 1907 . . 584

Suite in E minor. No. 2, "Indian," Op. 48, March 7, 1908 . 1316 Concerto No. 2, in D minor, for Pianoforte and Orchestra, Op. 23 (Teresa Carreno), January 4, 1908 824 Mendelssohn: Symphony No. 3, in A minor, "Scotch," Op. 56, October 26, 1907 196 Overture, "Sea-calm and Prosperous Voyage," Op. 27, April 25, 1908 171 Mo6r: Pianoforte Concerto with Orchestral Accompaniment, Op. 57** (Harold Bauer), April 18, 1908 1666

Mozart : Symphony in D major (K. 504), December 21, 1907 . 698 Symphony in G minor (K. 550), October 12, 1907 .... 26

Overture to "The Marriage of Figaro," April 11, 1908 . . 1567

Three German Dances** (K. 605), January 18, 1908 . . . 904 Pfitzner: Overture to "The Little Christ Elf," a Christmas Fairy Tale by Use von Stach, Op. 20,** November 16, 1907 319 Reger: Variations and Fugue on a Merry Theme of J. A. Hiller (1770), Op. 100,** February 14, 1908 1131 Reznicek: Adagio and Scherzo-finale from Symphonic Suite in E minor,** November 23, 1907 434

Rheinberger : Concerto in F major for Organ, Three Horns, and Strings, Op. 137 * (Wallace Goodrich), December 28, 1907 763

RiMSKY-Korsakoff : Caprice on Spanish Themes, Op. 34,** February 15, 1908 ii59 Rubinstein: Concerto in D minor, No. 4, for Pianoforte and Orchestra, Op. 70 (Ignaz PadEREwski), November 16, 1907 334 R U C B UYI N C

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Dealers in Oriental Rugs and Merchandise S PARK STREET, BOSTON, MASS. Telephone, Haymarket 929. 1825 Saint-SaEns: Aria, "My Heart at thy Dear Voice," from "Sam-

son and Delilah" (Jeanne GervillE-R^ache*) , Feb- ruary 8, 1908 1068 ** Schelling : Fantastic Suite for Pianoforte and Orchestra (Ernest Schelung), January 25, 1908 988 Schjelderup: "Summer Night on the Fiord,"** February 15,

1908 1 1 50 "Sunrise over the Himalaya," from Stage Music to Gjelle- rup's "Opferfeuer,"** February 15, 1908 1150

Schubert: Symphony in B-flat major, No. 5, April 25, 1908 . 1716 "The Young Nun" (accompaniment orchestrated* by Liszt) (Ernestine Schumann-Heink), November 2, 1907 271 "Death and the Maiden" (accompaniment orchestrated ** by Mottl) (Mme. Schumann-Heink), November 2, 1907 275 "The Erlking" (accompaniment orchestrated * by Berlioz) (Mme. Schumann-Heink), November 2, 1907 .... 276 Schumann, R.: Overture to "Genoveva," Op. 81, October 26, 1907 163 Overture to Byron's "Manfred," Op. 115, February 29, 1908 1207 Strauss, R.: "Till Eulenspiegel's Merry Pranks," Op. 28, Jan- uary 25, 1908 975 STRUBEf: Two Symphonic Poems for Orchestra and Viola

Solo, "I^onging," Fantastic Dance, f March 28, 1908 . 1451

TscHAiKOWSKY : Symphony No. 5, in E minor. Op. 64, April 4, 1908 1539 Wagner: A "Faust" Overture, May 2, 1908 1792 Prelude to "The Mastersingers," May 2, 1908 1815 "A Siegfried Idyl," May 2, 1908 1810 The Emperor's March, October 19, 1907 133 WoivF: Symphonic Poem, "Penthesilea," after the Like-named Tragedy of Heinrich von Kleist, April 4, 1908 .... 1495

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D' Albert . . HiNTON I

D'Ambrosio . Humperdinck I Bach, C. P. E. D'Indy 2

Bach, J. S. . IvALO 2

Balakireff . Liszt 2

Beethoven . IvOEFFLER t2 Berlioz . . . MacDowell 3

BiSCHOFF . . Mendelssohn 2

Bizet .... Mo6r I

BoEHE . . . Mozart 4 Bossi .... Pfitzner I

Brahms . . . Reger I

Bruckner . . Reznicek I

Chabrier . . Rheinberger I

Chadwick . . Rimsky-Korsakoff .... I

Chausson . . Rubinstein i

Converse . . Saint-Sa^ns I

Dohnanyi . . SCHELLING I

Dvorak . . . Schjelderup I

Hrtel . . . Schubert 4

Franck . . . Schumann 2

Gluck . . . Strauss i

goldmark . . Strube 2

GOTZ .... Tschaikowsky I

Hadley . . . Wagner 4

Handel . . . Wolf i

Haydn . . . 82 * BischofF's symphony was played twice. t Loeffler's "Pagan Poem" was played twice. WORKS^jPERFORMEDlJFOR THE FIRST TIME IN BOSTON. Symphonies.

Bach, C. P. E. : Symphony in E-flat'major, No. 2, April 11, 1908. Balakireff: Symphony in C^major, March 14, 1908 2 Carried forward 2

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Write for Booklet. TRY A BOX TO-DAY F. H. RAND, PERRY & AYERS 491 Boylston Street 38 "West Street, Boston Boston, Mass. 1827 Brought forward 2 BiscHOFF: Symphony in K major, Op. 16, January 4, 1908.

HadlEy: Symphony No. 3, in B minor, Op. 60, April 11, 1908. . 2 Symphonic Poems, etc.

BoEhE: "Taormina," Tone Poem, Op. 9, November 30, 1907. Ertel: "The Midnight Review," Symphonic Poem, Op. 16, April 18, 1908. Franck: Symphonic Piece from the Poem Symphony, "The Redemption," December 28, 1907. D'Indy: "Wallenstein," Trilogy, Op. 12, October 19, 1907. "Summer Day on the Mountain," Op. 61, April 25, 1908. LoefflEr: "Pagan Poem," November 23, 1907. Schjelderup: "Summer Night on the Fiord," February 15, 1908. Strube: Fantastic Dance, March 28, 1908 8 Suites, Variations, etc. Bossi: Goldonian Intermezzi, Op. 127, December 21, 1907. Handel: Concerto in F major for Strings and Two Wind Orchestras, as arranged and editedjby G. F. Kogel, December 28, 1907. Reger: Variations and Fugue on a Merry Theme of J. A. Hiller, Op. 100, February 14, 1908. REznicek: Adagio and Scherzo-finale from Symphonic Suite in E minor, November 23. 1907.

RiMSKY-Korsakoff : Caprice on Spanish Themes, Op. 34, February 15, 1908.

Schjelderup : "Sunrise over the Himalaya," from Stage Music to Gjellerup's " Opferfeuer," February 15, 1908 6 Overtures and Preludes. Humperdinck: Overture to "The Forced Marriage," Decem- ber 21, 1907. Pfitzner: Overture to "The I^ittle Christ Elf," November 16, 1907 2 Carried forward 20

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1829 Brought forward • 20 COXCERTOS. D'Ambrosio: Concerto in B minor for Violin and Orchestra, Op. 29 (Richard CzERWONKYf**), December 21, 1907.

DoHNANYi : Concert-piece in D major for Orchestra with Violon- cello Obbligato, Op. 12 (Heixrich WarnkeI), Febru- ary 29, 1908. Hinton: Concerto in D minor for Pianoforte and Orchestra, Op. 24 (Katharine Goodson), March 7, 1908. Mo6r: Pianoforte Concerto with Orchestral Accompaniment, Op. 57 (Harold Bauer), April 18, 1908. Schelung: Fantastic Suite for Pianoforte and Orchestra (Ernest Schelling), January 25, 1908 5 Miscellaneous.

Mozart: Three German Dances (K. 605), January 18, 1908 ... i Te THE FOLLOWING ARTISTvS HAVE APPEARED THIS SEASON. PACE Mr. Harold Bauer, Pianist, April 18, 1908, Moor's Concerto, Op. 57 ** (Sketch) 1664 Mme. Teresa Carreno, Pianist, January 4, 1908, MacDowell's Concerto No. 2, in D minor (Sketch) 822 Mr. Richard Czerwonky,! ** Violinist, December 21, 1907, D'Ambrosio's Concerto in B minor, Op. 29 ** (Sketch), 658 Mr. Rudolph Ganz, Pianist, October 19, 1907, Liszt's Concerto in A major. No. 2 (Sketch) 113 Miss Jeanne Gerville-Rejache,* Contralto, February 8, 1908, "I have lost my Eurydice," from Gluck's "Orpheus and Eurydice"; "My Heart at thy Dear Voice," from Saint-Saens's "Samson and Delilah" (Sketch) .... 1058 Mr. Wallace Goodrich, Organist, December 28, 1937, Bach's Toccata in D minor (Peters edition, vol. iv., No. 4); Rheinberger's Concerto in F major for Organ, Three Horns, and Strings, Op. 137 (vSketch) 762

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1830 Mme. Katharine Goodson, Pianist, March 7, 1908, Hinton's Concerto in D minor for Pianoforte and Orchestra, Op. 24 ** (Sketch) 1305 Mr. Fritz Kreisler, \'iolinist, November 30, 1907, Lalo's Spanish Rhapsody for Viohn and Orchestra, Op. 21

'. (Sketch) . . . 490 Mr. Ignaz Paderewski, Pianist, Xox'ember 16, 1907, Rubin- stein's Concerto in D minor, No. 4, for Pianoforte and Orchestra, Op. 70 (vSketch) 330 ' Mme. Olga Samaroff, Pianist, April 4, 1908, L-iszt's Concerto

in E-flat major. No. i, for Pianoforte and Orchestra . 1524 Mr. Ernest vSchelling, Pianist, January 25, 1908, SchelHng's Fantastic Suite for Pianoforte and Orchestra ** (Sketch) 98.8 Mme. Ernestine Schumann-Heink, Contralto, November 2, 1907, Schubert's "The Young Nun" (accompaniment orchestrated* by Liszt); "Death and the Maiden" (ac-

companiment orchestrated** by Mottl) ; "The Erlking"

(accompaniment orchestrated* by Berlioz) (Sketch) . 270 Mr. Heinrich Warxke,! Moloncellist, February 29, 1908, Dohnanyi's Concert-piece in D major for Orchestra, with Violoncello Obbligato, Op. 12 ** (Sketch) .... 1222 Mr. Carl Wendling,! ** VioUnist, October 26, 1907, Brahms's Concerto in D major for Violin and Orchestra, Op. 77 (Sketch) 172 * * * Contraltos: Miss Ger\'ille-Reache,* Mme. vSchumann-Heink ... 2 Pianists: Mmes. Carreno, Goodson, Samaroff; Messrs. Bauer, Ganz, Paderewski. Schelling 7 ** ** Violinists: Messrs. Czerwonky.t Kreisler, Wendlingt ... 3 Violoncellist: Mr. Warnke f i

Organist: Mr. W. Goodrich i * * * Incidental Solos: Mr. Ferir f played the viola solos in Strube's two symphonic poems.

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Mr. Heinrich Gebhard played the pianoforte part in Loeffler's "Pagan Poem" and d'Indy's "Summer Day on the Mountain." ENTR'ACTES AND EXCURSIONS. PAGE

Baughan, E. a. : Problem of the Infant Prodigy, with Reference to Mischa .' Elman . . . 1241

Beatty-Kingston, W. : Goldmark iioi Bennett, Joseph: Concert -room Clapping 929 English Festival-goers 41 Incidental Music 589 Music and Disease 1601 Blackburn, Vernon: Concerning an Allegory 1311 Mendelssohn and Mrs. Crummies 213

EveMng Post (New York) : Music t;^. Pepsin 11 56 GORST, H. E.: Theatre Music 360 Hale, Philip: American Popular Songs 1073 Arc, Jeanne d', in Music 1292 Bizet as Patriot 570 Bruckner 246 Burney and C. P. E. Bach 1580 Chabrier 448 Chaconne and Passacaglia 1442 Colored Audition 1426 Colored Voices 120 Concerts, Early Concerts in America (review of O. G. Sonneck's " Early Concert Life in America") 176,344 "Dixie" and Dan Emmett 994 Grieg 36 Handel's Orchestra 753 Hazlitt as Music Critic 1738 'Indians, Music of North American 1323 Is and Other Cities 412 Librettos fitted to Music (Rossini and Dumas the Elder) 511 Merlin, his Legend '. 1018 Musical Comedies and Laughter 1231 "Old Folks at Home" and S. C. Foster 1003

Opera Land, Views of (with Sketches of Singers of the Second Empire) . 832 Penthesilea and Other Amazons 1506 Rimsky-Korsakoff viewed by Tschaikowsky and Others 11 65 Russian Opera 688 Schirmer, G., In Memoriam 429 Schubert 1720 AQUAMARINES We axe showing a wonderful collection of these exquisite sea-blue precious stones in unique Brooches, Pendants, etc., of our own make. EDWARD H. CLARKSON BOYLSTON STREET Opposite Arlington Street Church

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Schubert's Songs.. First Singers of 283 Schumann's Letters 594 Sunbeams from Cucumbers,—Ethics of Wagner's "Ring" 602 Trumpets in Time of Bach and Handel 20, 746 Turgenef's Letters to PauHne Viardot 1084 " Wallenstein, " Music to Schiller's 107 Waltz, Note on Origin of the ^ 914 Wax Images and Sorcery 422 Wax Images and Sorcery (enlarged) 1379

Wolf, Hugo 1 52 "Yankee Doodle" 1009 Henderson, W. J.: Beethoven's Orchestra 1671 Comment on Opera 1458 Question of Tempo 518 Musician, The (London, 1897): Rubinstein's Hand 338 Pall Mall Gazette, The: Beethoven and Theresa Brunswick 926 Dancing, The Use of ... 192 Modem Spirit, The 129

SalEEby, Dr. C. W. : Are the English becoming more Musical ? 116 Periods of Genius 507

Sun, The (New York) : Making Weather by Music 765

Daily Telegraph, The (London) : The One Hundred Best Musicians 1522 State of Music in London in 179 1 i595 Wallace, William: Beethoven's Orchestra 1683

INDEX TO SUNDRY REFERENCES AND FOOTNOTES. Biographical (Men): Achilles, 1510; Ambrogetti, G., 1753; Auber, 851; Ave- Lallement, 1543; Becker, H., 1222; Benoit, C, 92; Beutler, 287; Bossi, R., 660; Bronsart, H., 114; Braham, J., 1747; Cabana, 436; Christy, E. P., 1004; Coffey, C, 1146; Da Ponte, 1567, 1570; Drouet, L., 1745; Duparc, H., 88; Eberl, A., 943; Gaveaux, 291; Goldoni, 662; Goodson, J. E., 33; Gounod, 1094; Guadagni, 1059; Hiller, J. A., 1148; Hinton, A., 1310; Incledon, C, 1746; Jackson of Exeter, 1595; Johnson, W. L., 1451; Joseph II. of Austria, 26; Kastropp, 1686; Kitzler, O., 252; Koessler, H., 1226; Kogel, G. F., 742; Legros, J., 1062; Leopold of Anhalt-Cothen, 7; Liszt, E., 1528; Liszt, F. (as score reader), 34; Lowe, F., 239; Louis, R., 244; Mandyczewski, 1617; Manoury, 405; Meyerbeer, 854; Moline, 1059: Naldi, G., 1745; Pasdeloup, 90; Phillips, T., 1744; Richter, F. X., 1599; Rossini, 854; Sapellnikoff, 1540; Sechter, S., 248 et seq.; Serato, A., 660; Seroff, 1094; Tramezzani, 1744; Vaucorbeil, A. E., 405; Veron, Dr., 856; Vogl, J. M., 283; Wartel, P. F., 287;

Wranitzky, 1641 ; Zedlitz, 1656. Biographical (Women): Alboni, 1088; Breval, L., 1512; Bouffar, Z., 862; Campi,

A., 51 ; Denin, Susan, looi ; Frezzohni, E., 842; Fursch-Madi, E., 783; George, ti Hiss n. G. CLIFFORD, The Boston Symphony Orchestra MILLINERY. Programme For tl.e twenty-four Boston concerts, with Historical inPORTER. DESIGNER. and Descriptive Notes by Philip Hale. Bound copies of the Programme for the entire season can 739 Boyl5ton Street, Room 225. be had at 1 1.50 by applying before the last concert. Address all communications to

Imported Models shown, and copied at F. R. COMEE, moderate prices. Symphony Hall, Boatoa.

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II Summer Street, Boston, Mass. 1833 Mme., 844; Gohringer, F., 282; Grassini, J., 844; Grisi, C, 1092; Hamaekers,

B., 848; Kilitzky, J., 51 ; Krebs, M., 334; Laborde, R., 1058; Lalo, Mme., 405; Libussa, 1517 et seq.; Mainvielle-Fodor, 1750; Marguerite (wife of Henry IV. of France), 920; Mars, Mme., 844; Mehlig-Falk, A., 114; Menter, S., 1531; Mercy-Argenteau, 11 80; Milder, A., 50; Nilsson, C, 1095; Patti, A., 832 et seq.; Saal, Miss, 1639; Scathach, 1520; Schneider, H., 862; Schroter, C, 276; Scio,

J., 291 ; Silly, L., 859; Stephens, C, 1743; Tautin, L., 858; Topp, A., 1527; Tree, A. M., 1750; Vaucorbeil, Mme., 405; Vestvali, F., 1064; Wagner, Cosima, 1810; Wagner, Rosalie, 1794; Wood, Mrs. John, looi.

Musical and Poetic Forms : Alborada, 11 59 ; Burlesca, 684 ; Carol, 442 ; Complainte, 163; Continuo, 9; Noel, 1053; Minuet and scherzo, 702; Parties, 7; Overture (early), 9; Programme music (early), 55; H. Bischoff on programme music, 817; Singspiel, 1144; Suite, 7; Symphony as follower of suite, 701; Toccata, 734.

Dances: Bourr^e, 15 ; Chaconne, 1442 et seq.; Davis, poem on Dancing, 676; Deutsche, 914; Fandango, 446, 1162; Flamenco, 446; Galliard, 666; Gavotte, 10; Gigue,

16; Jota Aragonesa, 439; Malaguena, 446; Minuet, 662 ; Musette, 682 ; Passa- caglia, 1442 et seq.; De Quincey on the dance, 924; Reel, 922; Siciliana, 744; Vienna, dancing in 1786, 27, 910; Volte, 919; Waltz, 917 et seq. Instruments: Bagpipe, 207; Bassoon, double, 758; Cymbals (ancient), 418;

Drum, 1324, 1681 ; Horn (post), 904; Horns (Beethoven's), 1683; Indian pipes and whistles, 1328; Musette, 682; Oboe in Bach's time, 24; Ophicleide, 1467, 1682; Sistrum, 1531; Theorbo, 753; Triangle, 1530 et seq.; Trumpet in Bach and Handel's time, 20, 746; Violetta marina, 753. Songs and Hymns: "All Coons look Ahke," 1078; "Ave, Maris Stella," 485; "Bill Simmons," 1083; Browning, Galuppi's toccata, 739; Christy minstrel senti- mental songs, 1075; "Color'd Fancy Ball," 1077; Daniel, poem on sorcery by wax images, 429, 1386; Davis, poem on dancing, 676; "Dixie," 994; "Enjoy Yourselves," 1080; "Gilligan's on a Tear again," 1082; Goethe's "Meeres Stille" and Gliickliche Fahrt," 1711; "Gwine ober de Mountain," 10.77; W. J. Henderson's "Schubert," 1730; "I'm Living Easy," 1080; "I owe Ten Dollars to O'Grady," 1080; "Jasper," 1083; "Jim Crow," 1076; W. L. Johnson's "Longing," 1452, and Fantastic Dance, 1455; "Little Johnny Dugan," 1082; Mackail's translation of Virgil's Eighth Ecologue, 418; "Miss Julia Tanner," 1076; "O'Hoolahan," 1083; " Old Folks at Home," 1003; Saint-Ibald, recommendation to waltzers, 922; Saint-Saens's sonnet on " Djami- leh," 582; Thackeray's "Red Flag," 1713; "Veni, Creator Spiritus," 1281; Submersion la Ville d'ls," Villemarque, " de 411 ; Virgil, excerpts from Eighth Eclogue, 418; Wagner's Dedication of the Siegfried Idyl, 1811; Wagner's " Heil dem Kaiser," 134; "When you ain't got no Money," 1079; "Who dat say Chicken?" 1080; "Yankee Doodle," 1009; Yeats's "Little Isle of Innis- free," 1006; Zedlitz's "Midnight Review," 1652, 1663. Theatre and Opera House: "Der arme Heinrich," 322 et seq.; "Angelo, Tyran de Padoue," 1687; "Ascanio," Saint-Saens's, 1466; Benvenuto Cellini, operas, 1473; Bizet, unfinished operas, 502; Coriolanus, operas, 1612; "The Devil to pay," 1144; "La Flamenca," Lambert's, 446; Genevieve de Brabant, operas, 168 et seq.; "King Lear," 1370; "Manfred" as stage play, 1216; "Mariage de Figaro," Beaumarchais's, 1569; "Namouna," Lalo's, 502; "La Navarraise," Massenet's, 444; Opera, Hazlitt on, 1739; "Patrie," opera and play, 574; "Penthesilea," Kleist's, 1495; "Les Petits Riens," Mozart, 14; Riccio, operas, 196; Singspiel, origin of, 1144; "Song of Solomon," stage play, 1438; "Taming of the Shrew," Gotz, 619; "Trip to Japan in Sixteen Minutes" (perfume concerts), 1440. Legends and History: Amazonian women, 1098; "Der arme Heinrich," 322; Erlking, 276; Genevieve de Brabant, 163; Hobgoblin, 1054; Iram, the city, 414; Is, the City, 408; Libussa, 1519; Merhn and Vivien, 1016 et seq.; Pen- thesilea, 1506; Puck, 1054; Tamara, 1368; Till Eulenspiegel, 977, 984; Tour de Nesle, 410.

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Critical and Literary: Aldrich, T. B., "Miantowona," 1318; Apthorp, W. F., on Liszt, 34, on MacDowell's "Indian Suite," 586, on ophicleide, 1467, on Berlioz, 1468; Ash's Dictionary on galliard, 670; Bachet, Sieur de Meziriac, on Penthesilea, 150S; Balir on H. Wolf, 1502; Bailey's Dictionary on chaconne, 670; Baudelaire, "Correspondances," 1432; Bayle on Achilles, his beauty, 1510, on sorcery by wax dolls, 1383; Berhoz on Beethoven's Symphony No. I, 1642, Symphony No. 2, 533, Symphony No. 4, 943, Symphony No. 5, 1785; Bischoff, H., on programme music, 817; Blackburn, V., on Wagner's conduct-

. ing in London, 1807 ; Borodin on Balakireff, 1358; Brossard on chaconne, 677,

1442; Bruneau on Chabrier, 453 ; Burney on Handel's trumpets, 22, on C. P. E. Bach, 1580; Burton, R. F., on Amazons, 1514; Campion, Major, Spanish dance, 440; Celler, gavotte, 12, volte, 919; Chase, F. E., "The Devil to pay," 1144; Chorley on "Benvenuto Cellini," 1472; Churchill, J., on Coleridge's " Wallenstein," 85; Colombani on Beethoven's First Symphony, 1646; Compan on chaconne, 1448; Converse on stage music, 1282; Cossmann on Pfitzner,

328; Czerwinki on dances, 14,439, 1449, i45o;Delvau on the musette, 683 ; Des-

; libretto for rat on dances, 18, 447, 921, 1451 Dubor on Libussa, 1517 ; Dumas's Rossini, 511; Elson, L. C, 1009, 1713; Fertiault on gavotte, 14; Fletcher on Indian music, 1329; Ford, R., on the Jota, 440; France, A., on Jeanne d' Arc, 1284,

on symbohsts, 1432; Francke, Dr., on Kleist's "Penthesilea," 1497 ; Gerstner on

Gotz's "Taming of the Shrew," 619 ; Ghil, colored words, 1432, 1436 ; De Gourmont on "Ave, Maris Stella," 485; Gozlan, color suggestions, 1436; Grimm on Beau- marchais's " Mariage de Figaro," 1569; Grove, Mrs., on dances, 446; Hanslick, images, Brahms's Second Symphony, 367 ; Hardy, T., sorcery with wax 428, 1385 Harris, H. W., analysis of Bruckner's Ninth Symphony, 241, translation of Wolf's "Penthesilea" argument, 1500; Heywood on Penthesilea, i5io;Hruby's "Bruckner," 263; Huysmans, color gustation, 1436; Imbert, d'Indy's "Wallen- stein," 85, Brahms's vSecond Symphony, 369; D'Indy, Franck's "Redemption," 772 et seq.; Johnson's Dictionary, galliard, 668; Kastner, chaconne, etc., 678, 680, 1450; Kelly, dancing in Vienna, 27, 910; Kelterborn, reminiscences of Gotz, 615; Klatte, analysis of Strauss's "Till Eulenspiegel," 977; Kobbe, of "Dixie," 997, "Yankee Doodle," loii ; Kufferath, analysis Prelude to "The Mastersingers," 1816; Loliee, singing women of Second Empire, 837 et seq.; Lumley, colored voices, 126; Mace, dances, 676; Macleod, Fiona, Amazonian women, 1520; Marnold, Rimsky-Korsakoff, 1181; Mattheson, dances, 10, 15, 1447; Matthews, A., "Yankee Doodle," 1009 et seq.; May, Brahms's Second Symphony, 371; Melville, horror of color white, 1434; Morley, dances, 677; Naylor, dances and suite form, 678; Newman, Tschaikowsky's Fifth Symphony, 1546; Nev.march, Mrs., Balakireff, 1362; Oxford English Dictionary, galliard, 670, chaconne, 1451; Parry, C P. E. Bach, 1575, Schubert, 1730; Pudor, Rim- sky-Korsakoff, 1 181; De Quincey, splendor of dancing, 924; Reichardt, Beet-

hoven's Fifth Symphony, 52, 1783 ; Reimann, Brahms's Fourth Symphony, 1428; Rimbaud, colored vowels, 1432; Rossetti, "Sister Helen" and sorcery, 1384; Rousseau, chaconne, 1448; Rowbotham, Indian music, 1329; Runciman,

JULES ET FREDERIC CIE. 380-382 BOYLSTON STREET

Announce the Private Showing of High-class Millinery dttfing the week of May 4. It being their first season in the city, they hope that the patrons of the Symphony will call and criticise their offerings. Their special automobile designs, including veil, at $10, are worthy of attention.

Appointments for their experts in Hair Dressing, Shampooing, Manicuring, Marcel Waving, Facial Massage, Hair and Scalp Treatment, may be secured by telephone. Back Bay 4239.

1835 MISS M. F. FISK THE RED GLOVE SHOP 322 BOYLSTON STREET Opposite Arlington Street

Has a most attractive display of Ladies' and Men's Gloves, Ladies' W^aists, Veils, Neckwear, and Belts.

(^Farmerly 14^ Tremont Street)

Foreign Books NEW SONGS Foreign Periodicals

Tauchnitz's British Autliors MY SONG. Elizabeth T. Ordway $0.50 FOR BABY AND ME. Elizabefh T. Ordway .30 SCHOENHOF BOOK CO. COME TO THE WOODLAND. 128 Tremont St., 2d door north of Winter Street, Charles T. Ferry .40 over Wood's Jewelry Store. (Tel., Oxford 1099-2.) SONG OF THE LEAVES. R. Q. Harvey .60 hOller-valle school of PROPOSAL. Lucina Jewell . .50 LIFE'S FANTASIES. Annie H. Virtue .50 LIP READING RIVER SONG. Milo Benedict . .40 for the LOVE SONG. John Heiser . . .50 DEAF ADULT Persons growing deaf taught to read speech from the lips. Simplest and most successful method. Instruc- tion private and in class. School reopens for sixth G. W. THOMPSON & GO. season at 610 Pierce Building, Copley Sq., Boston. A and B Park Street, BOSTON MARTHA E. BRUHN, Principal. Circulars sent upon application.

MME. TETRAZZINPS ART by W. J. Henderson PELLEAS AND MELISANDE by Richard Aldrich

EDITORIAL COMMENTS: 1 , p tt DEBUSSY ^ AND OTHER TOPICS | These are a few of the leading items of interest in the April number of NEW MUSIC REVIEW The magazine for the cultivated music lover Price, lo cents. $i.oo a year

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1836 Mozart, 29, Schubert, 1735; Schoelcher, defence of Handel, 757; Sonneck, early concerts and musicians in America, 176, 344, "Yankee Doodle," 1009; Tabourot, dances, 673, 675; Tschaikowsky, Balakireff, 1358; Turgenef on Balakireff, 1095; Vuillier, dances, 18, 439, 442, 447, 1451; Wagner, Beethoven's "Coriolanus" overture, 1610; Walther, dances, 677, 684, 1445; WeckerHn, chaconne, 1450; Weingartner, Bruckner, 269; White, R. G., on certain singers, 842, 1064; Wilder,

Chabrier, 448 ; WiUiams, F. H., poetic" characterization of instruments, 1434;

' Zabel, Rubinstein, 341.

Miscellaneous: Biscayan amusements, 1450; Carnival, 865 ; Curfew, 679; Liszt's hands, 343. Sundry Notes. Mr. Carl Wendling, concert -master, conducted the nineteenth and twentieth pubhc rehearsals and concerts; Hadley's symphony, performed at the twenty- first; and Mo6r's pianoforte concerto, performed at the twenty-second. Dr. Muck's right arm was temporarily disabled. Mr. Gustav Strube conducted the performance of his two symphonic poems, March 28, 1908. The concerts in aid of the pension fund of the Boston Symphony Orchestra took place on December 29, 1907, and on February 9, 1908, in Symphony Hall. Dr. Muck conducted. The programme of the first was as follows: Tschaikowsky, Symphony No. 6, Op. 74; Beethoven, Concerto for pianoforte. No. 5, in E-flat major. Op. 73 (Mr. Paderewski, pianist). The programme of the second was as follows: Wagner's Overture to " The Flying Dutchman"; Prelude to "Lohengrin";

Overture to "Tannhauser" ; Erda's scene from "Rhinegold" and Waltraute's scene from "Dusk of the Gods" (Mme. Schumann-Heink, singer); Funeral Music from "Dusk of the Gods"; Prelude to "Parsifal." The orchestra gave a concert in Symphony Hall, April 27, 1908, in aid of the Chelsea Relief Fund. Dr. Muck conducted. The programme was as follows: Beethoven, Overture, "Leonore" No. 3; Beethoven, Concerto in E-flat major. No. 5, for pianoforte (Mr. Harold Bauer, pianist); Chabrier, "Espana"; Wagner, Overture to "Tannhauser." Errata. Date of first performance of d'Indy's " Wallenstein " Trilogy in New York, given on p. 83 as December 10, 1888, changed on p. 217 to December i, 1888. Correction of date of performance in Boston of Brahms's Violin Concerto at a Symphony Concert by Mr. Heermann " (November 25, 1906)" to November 25, 1905 (pp. 174 and 293). For "Alfred Tagliapietra " (p. 824) read Arthur Tagliapietra. The dog Hylax barked (not "basked") in Virgil's Eighth Eclogue (pp. 420, 1378, 1475). Addenda. Add a performance of d'Indy's pianoforte quartet at an Eaton-Hadley concert, January 23, 1905, to the list of performances of d'Indy's works in Boston on p. 105. Add cymbals to the list of instruments in Hadley's symphony given on p. 161 5. Liberty Gowns Don't Nedlect Your NEW AND MOST COMPLEXION ATTRACTIVE MODELS FROM Neglect and careless experimenting soon destroy the fresh beauty of any LIBERTY & COMPANY woman's -skin. The one thing that assures a bright, healthy complexion LONDON is the daily use of MADE UP IN OUR OWN WORKROOMS IN A VARIETY OF BEAUTIFUL REMOLA CREAM FABRICS FOR DAY AND Superfluous Hair, Warts, Moles, EVENING WEAR Wrinkles, Lines, Frowns, Hollows, and all Facial Defects permanently cured. Shampooing, Manicuring, and Chiropody. tuer mQiR Home RENA M. BLOOD ^X3 B!m.ST0n,6ZREET 420 Boylston Street, Berkeley Bldg. 1837 The name one hears everywhere Lewandos Americas Greatest Cleansers and Dyers Boston Shops 17 Temple Place and 284 Boylston Street

All materials Cleansed or Dyed and properly refinished including

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I Galen Street Watertown (with delivery in the Newtons) Also Ne^v York Philadelphia \Vashington Baltimore Providence Newport Worcester Lynn Hartford New Haven

1838 SYMPHONY HALL TWENTY-EIGHTH SEASON, 1908-1909 BOSTON SYMPHONY ORCHESTRA

MAX FIEDLER, Conductor

OPENING CONCERT Saturday Evening, October lo 1908

1839 STEI1TEI?;T HJLXjIj

Miss A/N/NA MILLER WOOD Announces a SONG RECITAL by TEN OF HER PUPILS on

WEDNESDAY AFTERNOON, MAY 13, at 3 o'clock

Cards of admission may be had of Miss Wood, Pierce Building, Copley Square,

or of Mr. Newman, Steinert Hall. (There will be no charge for these cards.)

THE FOXBUONAMICI SCHOOL OF PIANOFORTE-PLAYING

FELIX FOX CARLO BUONAMICI AND CORPS OF INSTRUCTORS

Opens in September

Application for instruction may be made now Address STEINERT HALL J62 BOYLSTON STREET BOSTON

1840 SOCIAL AND SCENIC CENTRE OF THE WHITE MOUNTAINS

JMa])Ieli>Qolt ilotel antr Cottages

OPEN JULY TO OCTOBER

Excellent Cuisine and Service. Milk and Vegetables from Maplewood Farm

Fine trout fishing in June Symphony Orchestra morning and evening PURE MOUNTAIN SPRING WATER NO HAY FEVER DRY AND INVIQORATINQ AIR HIGH ALTITUDE SEVERAL CHARMINQ PRIVATE COTTAQES TO RENT

18-HOLE GOLF COURSE, having a ran^e of 5,300 yards Unsurpassed by any in the State FINE TENNIS COURTS AND BASEBALL riAPLEWOOD CASINO. Reading-room, Writing-room, Ladies' and Gentlemen's Billiard and Pool Rooms, Fine Bowling Alleys, Souvenir Store, Beautiful Ballroom and

Theatre, Open Fireplaces ; Wide Balconies overlooking Golf Links, the White Moun- tains, and Various Ranges in Canada and Vermont.

Ample Garage facilities for Repairs of Automobiles; Gasolene and Electricity supply. " MAPLEWOOD COTTAGE ^•-teS*rd5"e;r'i-5?!''"Ti".SrJo"£?iS" LEON H. CILLEY, flanager NUMBER 6 BEACON STREET, BOSTON. MASS., UNTIL MAY 10. LATER. MAPLEWOOD N.H.

lUaitratcd Booklato forwarded on request 1841 SYMPHONY HALL TWENTY -THIRD SEASON 4 ^he POPS

GRAND ORCHESTRA of FIFTY-FIVE

Conductor, Mr, GUSTAV STRUBE

Every Night except Sunday Opening Night, TUESDAY, May Fifth

PROGRAMME

1. CORONATION MARCH Meyerbeer

2. OVERTURE, "Si j'etais Roi" Adam " Strauss 3. WALTZ, Donauweibchen " (First time)

4. SELECTION, "La Boheme" Puccini

" Ponchielli 5. BALLET MUSIC from Gioconda"

( rt. BERCEUSE for String Orchestra Strube ^- Dvorak I h. HUMORESKE (First time)

7. OVERTURE, "Rienzi" Wagner 8. CAPRICE ESPAGNOL Rimsky-Korsakoff (First time)

9. OVERTURE, "Raymond" A.Thomas

10. SELECTION, "The Red Mill" . . . Herbert 11. WALTZ, "The Merry Widow" Lehar " 12. MARCH, "Flag of Victory Blon

Admission and Second Balcony, 25 cents. First Balcony, reserved, 50 cents. Table seats, reserved, 75 cents. Telephone, J 492 Back Bay NOW ON SALE 1842 Mrs. J. M. MORRISON

Cailorcd Coreete Lingerie Exclusive Agency for the Wade Corsets

Orders are also executed for original designs in Hand-made French Neckwear and Antique Lace 367 BjOYLSTON STREET Telephone. 3142-S Back Bay

Hotel Belvedere Charles and Chase Streets,Baltiinore»Md.

European Cuisine Unexcelled

Situated in the Fashionable Cen- tre of the City, on the Highest Point in Baltimore. Convenient to All Theatres. Direct Car Lines to All Railway Stations and Steamship Lines. Absolutely Fireproof. Mod- ern and Complete in Every Ap- pointment. Ample Elevator Ser- vice is provided by Three Plunger Elevators, fully Protected by the ?<;n - • ' i^nA^n I" 1^ r~ ~ most Efficient Safeguards. 400 Rooms, All Outside, with Private Bath, Single and En Suite. Special Carriage and Automobile Service

1843 SANDERS THEATRE, Cambridge CONCERT In celebration of the One Hundredth Anniversary of the Pierian Sodality Orchestra

And of the Fiftieth Anniversary of the HARVARD UNIVERSITY GLEE CLUB Friday Evening, May 22, at 8

The program, consisting entirely of the works of Harvard composers, will be rendered by Harvard undergraduate musicians.

Tickets, $1.50 and $1.00, by mail on application to C. C. TRUMP, Fairfax 22,

Cambridge, before May 9. After that date on sale in Boston at HERRICK'S, in

Cambridge at THURSTON'S, KENT'S, or HARVARD CO-OPERATIVE.

1844 mi i iiinm ii iiiiimiiit mt88g8SSHtg1!»igg8Kg8»g| ^oloh-^inti^ €o. INVITE ATTENTION TO THEIR COLLECTION OF

FROM THE LEADING HOUSES OF PARIS, INCLUDING ^tre^t and ôwst (ôxvns^ 'Wimsts^ ^tjening (ôvans^ and

also Attractive Furs

278 BOYLSTON ST., BOSTON, MASS.

JSSBSSSBSS^SS^^S^SSSSSCSSSC^^SSSSSSEBSS^^^SSSSBESSBSSSSSSSSSSSBSSSS

MUSICAL INSTRUCTION. TIPPETT-PAULL STUDIOS.

THE ART OF SI/NGING AND THE CULTIVATION OF THE SPEAKING VOICE.

3J2 Pierce Building, Copley Square - - Boston

CLARA TIPPETT. WM. ALDEN PAULL. AMistant, GRACE R. HORNE.

Mrs. Tippett teaches in Portland, Me., en WedneAdayt, Baxter Buildinf.

Mrs. NELLIE EVANS PACKARD,

STUDIO, 218 TREHONT STREET (Room 309), BOSTON. VOCAL INSTRUCTION.

Mrs. Packard is commended by Walker^ Randegger (LondonX Marcheii, Bouhy, Trabadel* (Paii«), L*o«i (Milan), Vannucdni (Florence), Cotog:ni, Franceichetti (Rome).

1845 MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and SOPRANO SOLOIST. Studio, 246 Huntington Avenue. Hiss HARRIET S. WHITHER, Exponent of the method of the late Charles R. Adaai*. Portsmouth, Naw HampiUr*, Moaiajrs.

TEACHER OF SI/NGING. Studio: SaMa 14. Stainart Hall. 1&3 BayM«a Mr. CHARLES 6. STEVENS, Streat, Boatoa, Mau. Telephone, 1331 Oxford. Brockton, Man., Wadnaadajri.

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

PIA/NIST. Hiss LAURA HAWKINS, No. 6 NEWBURY STREET.

Classes in Sight Reading (EIGHT HANDS). Hiss CAROLINE H. SOUTHARD, Advanced pupils follow tha Symphony programmes TEACHER OF THE PIANOFORTE. as far as practicable. 22 Huntington Avenue - Boston

Concert and Oratorio.

Hiss GERTRUDE EDMANDS, Vocal Instruction,

The Copley, 18 Huotinctoa Areaue.

TEACHER of SI/NGING. 407 Pierce Building, His. HALL HcALLISTER, COPLEY SQUARE. Musical Management.

Taeal tartrnetton by the Laapeitt wakhcd t* a limited nosiber of pupils. Oratorios tanght la aaeM-danea with traditional renderings under Sir Mleha«l Costa, Mile. AVIGLIANA Maefarren, eto. Highest references. Terv* cb appU- oaUon at (Rayal ItalUa Opara. Covant Qardan). 137 Newbury Straat axt«en yean of foreign stndy and professlomU lU* DRAMATIC SOPRANO. la Untad Opera to Italy and In Opera, Oratorio, and Cotunrt tn saoland, Seotland, etc., bar* amply quail- Concert, Oratorio, fled Mile. ATUtUMMk t* pivpara aar papU* lat anr paaidMi. 1846 PIANIST and TEACHER. Hemenway Chambers, Mrs. CAROLYN KING HUNT, Westland Avenue, Boston.

Physical and Personal Culture, Rhythm, Poise, Breathing, Concentration, Relaxation, Mrs. LUCIA GALE BARBER, Normal Course. The Ludlow, Copley Sq., Boston.

WALTER LOUD FREDERICK BLAIR Violinist, Violoncellist, of the SCHUBERT STRING QUARTET. n-U BATAVIA STREET. Telephone. Back Bay 1888-4. VOICE CULTURE. SBRIQLIA METHOD. STUDIOS: PALMER, Room 408, Pierce Building, Boston, MaM. EFFIE Room 45, Chalifoux Building, Lowell, Mast.,

Room 509, Butler Exchange, Provideoce, R.I., fVedfiesdays.

Pianist and TeacKer. Miss ELEANOR BRIGHAM, Trinity Court.

TEACHER of SINGING. Organist and Conductor. E. COTTER, Jr., STUDIO, 6 NEWBURY STREET. Booklet, " Of Interest to those who Desire to Sing," mailed on request.

PUinST and TEACHER. Miss JOSEPHINE COLLIER, 6 NEWBURY STREET.

THOMAS E. JOHNSON. JAMES C. BARTLETT. GEORGE H. REMELE, Maoartr. D. MARKS BABCOCK. ALBION QUARTETTE. Music for all occasions. Special arrangement of Hymns, Anthems, etc.

160 Boylston St. Tel., Oxford 1935-2. AND THE BRICE TRIO. CONCERTS PEARL BRICE, VioUn. PRIVATE MUSICALES. KATHERINE HALLIDAY, Violoncello. For Program address MARGARET QORHAM, Piano. GARRISON HALL - - - Boston

1847 TENOR- BARITONE. Pupil of ProfMtor Jachman-Wagner, Berlin, and Profescor Galliera, Milan, Italy. KARL D0ERIN6, Training and Finishing of Voice. fcbool for Qraiul Opera and OratorU. STEINERT HALL. ROOM 37. Op«o Tuesday, October 8. Send for new Proipsctui. BARITONE SOLOIST and TEACHER of SINQINQ. WILLIAM W. WALKER, (Soloiat Boston Symphony Orcbaatra, 1899-1900.) 149 a Tremont Streetr Soitoa.

Pupils of Mr. Lister who had the foundation for their success laid under his method; Mrs. Viola (Camp- ROBERT N. LISTER, Teacher of Singing BELL) Wateehousk, .Sopraiio, Church of the Pilgrims, Brooklyn, N.Y.; Miss Isabel C. Melville, Con- tralto. Kogprs Memorial Church, Fairhaven, Mass.; Mrs. ROBERT N. LISTER, Soprano Soloist Mrs. Robert N. Lister, Soprano, Piedmont Church, Worcester, Mass.; E. M. Watbrhouse, Tenor, All Angels' Church, New York; Howard E. Whitimg, studio 35, Symphony Chambers, 246 Huntington liaritone, St. James's Church, Cambridge. Mass.; Avenue (corner Massachusetts Avenue), Boston.

CUIDE MAITLAND GRIFFETH, Miss Rose Stewart, PIANO and HARMONY INSTRUCTION Vocal Instruction. 133 Carnegie Hall, New York City. 246 Huntington Avenue. Fourteenth Season opened October i.

BOSTON MUSICAL BUREAU. HENRY T, WADE, Establisfaad 1899. Supplies Scboola.CoIItfM, and ConsarvatorlM PIANOFORTE, with Teachera of Music, etc.; also Churchas with Orgaolfts, Dlractors, and Sincars. a* Stcinert Hall, Boston. Address HENRY C. LAHEE, 25 Wesley Street, Newton. 'PhoBS, 475-1 Oxford. ii8 Trbmont St., Boston.

Practical F. ADDISON PORTER, EDWIN LOCKHART, Finger BASSO. Exarciies, Pianoforte Instructor. Manager, R. E. JOHNSTON, Op. 11, Address, Steinert Hall or 1 Broadway, New for sale by 133 York. all muaic New England Consenratory of Music, ORATORIO and CONCERT. deal era. Boston, Mass. Vocal Studio, Carnegie Hall, New York. MiM IZETTA B. HOLWAY, Contralto Soloist and Clarence B. Shirley, Teacher of Voice. Tenor Soloist and Teacher. StHdle, Staloart Hall, 1 63 BoyUton St., Bestoa. Raaldaoca, 1 9 Rothvan Strcat, Roxbury. CONCERT AND ORATORIO. Tuesday and Friday Aftemooas. Studio, Huntin{ton Chambers, Bestea. Telephone, 1685-2 Roxbury. I^ESTER S. BXJTIL.EI*, Mrs. niRAIVI SINQINO. HARMONY. HALU Specialty : Restoration of voices injured by incorract methods and care of children's voices. Pianist and Teacher. laitruction In Public School Music. Director of Olaa Clubs and Sinflag Sodadaa. HARMONY BY MAlL 118 Charles Street. 447 Day Building, Worcester, Mass. 5 Vose Building, 160 Boylston Street, Boston.

Miss ANNA MILLER WOOD, MABEL ADAMS BENNETT, nEZZO-CONTRALTO SOLOIST COACH and cACCOMPANIST, and TEACHER. Opera and Raparteira. past four years Coach and Accompanist for For " Studio, Pierce Building, Copley Square. pupils of M." Alfred" Giraudet, of the National Boston. Co)nservatory and Grand Opera of Paris. Tel«phoB«, Back Bay 2736-1 TRINITY COURT, DARTMOUTH STRBBT. 1848 MUSICAL SEASON 1907-1908 THE

PIA/NO has been played as solo instrument with the following ORCHESTRAS The Boston Symphony Orchestra The New York Philharmonic Orchestra The St. Louis Symphony Orchestra The Theodore Thomas Chicago Orchestra The Philadelphia Orchestra The Hartford Philharmonic Orchestra The New Haven Orchestra The ^A^orcester Festival Orchestra The Minneapolis Symphony Orchestra The St. Paul Orchestra The New York Young People's Symphony Orchestra The Denver Symphony Orchestra The Boston Festival Orchestra The Pittsburgh Orchestra The Chicago Symphony Orchestra The Volpe Symphony Orchestra Also with the follo^ving Chamber Music Organizations The Kneisel Quartet The Lekeu Quartet The Adamowski Trio The Flonzaley Quartet The Hoffmann Quartet The Longy Club And in RECITAL in all large cities from BOSTON to SAN FRANCISCO and from BANGOR to NEW ORLEANS and by many of The World's Greatest Pianists

including . Harold Bauer, Katharine Goodson, Rudolph Ganz, Heinrich Gebhard, Emil Paur, Antoinette Szumowska, Carl Stasny, Sigismond StojoAvski, Mary Angell, Jan Sickesz, Edith Moxom Gray, Louis Bachner, Alfred De Vote, Edith Thompson, Ernst Kroeger, Charles Anthony, Ethel Newcomb —

FROM THE DAYS when Helmholtz approved its scientific construction, evoked divine harmonies from its when Rubinstein strings, acknowledged his indebtedness to when Wagner the inspiring beauty of its tone, STEINWAY PIANO HAS BEEN CONTINUOUSLY WITHOUT A PEER IN THE MUSICAL WORLD.

T was created to be a medium to express the very soul of music, and Steinway genius made it a masterpiece, defying imitation. It has maintained its pre-eminence because the inventions of each successive generation of the Steinway family have kept it far in advance of all other pianos, have seemingly exhausted mechanical possibilities and attained a perfect instrument. The wonderful refinement of its tone beauty has never been equalled. The proven durability of Steinway w^ork- manship has never been rivalled. Infinite pains and the highest skill have placed it beyond comparison. Yet Steinway reputation has never been exploited for commercial ends. Steinway always means BEST, one grade only. Every Steinw^ay piano is an ORIGINAL, not a COPY made by alien hands. t W^hat the Steinway has been to other musicians — a prized work of art, an object of affection, like a real Stra- divarius violin, to be handed down from one generation to another — THAT the Steinway would be to you. Its price is low for a masterpiece, and differs little from that of so-called "just as good" pianos. Ultimately you will want a Steinway, anyhow. Catalogue and prices upon application. STEINWAY & SONS Steinway Hall, 107 and 109 East 14th Street

NEW YORK ^ Subway Express Station at the Doorj^ REPRESENTED BY M. STEINERT & SONS COMPANY 162 Boylston Street, Boston, Mass.