Progrs^VAE Heinrich Gebhard PIANIST, COMPOSER, TEACHER

PRoGRS^VAE heinrich Gebhard PIANIST, COMPOSER, TEACHER

and one of the foremost musicians of this coantry, writes regarding

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Dear Sirs:

As yoti are awaret for several seasons I have used the Mason & Hamlin Pianos in my public and private playing, with orchestra, in recitals, before musical organizations throttghotjt the country, as well as for my teaching. It gives me great pleasure to tell you that these instruments have met every demand under all these exacting con- ditions. The tone is one of surpassing beauty^ characterized by a singing quality 'which suggests the human 'hoice. The action is exquisitely sensitive, and lends itself to every desire and demand of the artist. I congratulate you on these wonderful instruments, and believe that you are doing much, in their manufacture, for the good of the art of music.

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„ , , ( Ticket Office, 1492 I „ , „ T^^«P^°"^H Administration Offices,3200 t^^'^^^^y TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

frogramm? of % Sixteenth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, FEBRUARY 26 AT 2.30 O'CLOCK

SATURDAY EVENING, FEBRUARY 27 AT 8.00 O'CLOCK

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Sixteenth Rehearsal and Concert*

FRIDAY AFTERNOON, FEBRUARY 26, at 2.30 o'clock.

SATURDAY EVENING, FEBRUARY 27, at 8 o'clodc.

PROGRAMME*

Elgar Symphony in A-flat major, Op. 55 First time iu Boston I. Andante nobilmente e semplice — Allegro.

II. I Allegro molto.

III. ( Adagio. IV. Lento — Allegro.

Volkmann Serenade for String Orchestra, F major, Op. 63

I. Allegro moderato. TI. Molto vivace. III. Waltz. IV. March.

Svendsen The Carnival at Paris," Episode for Full Orchestra, Op. 9

There will be aa intennission of ten mkitites after the symphony.

The doora of the hall will he closed during the performance of each number on the program,me. Those who wish to leave before the end of the concert are requested to do so in an interval be^ tween the numbers.

City of Boston. Revised Re|{ulatioii of Auiiust 5. 1898.— Chapter 3. relating to the

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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 thereiln potxyided for spectators, it being understood that a low head covering without projection, which does not

•bstznict such view, may be worn. . Attest J. M. GALVIN, City Clerk. 1253 e Alw(^5tbeKiabe

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1254 Symphony in A-flat major, Op. 55 Edward Elgar

(Bom at Broadheath, near Worcester, England, June 2, 1857; now living at Malvern.) ° ^

This symphony was performed for the first time at Manchester,

England, December 3, 1908, by the Halle Orchestra, led by Hans

Richter. The first performance in London was on December 7, 1908, by the London S^^mphony Orchestra, led by Dr. Richter. The first performance in the United States was at New York On

January 3, 1909, by the New York Symphony Orchestra, led by Mr. Walter Damrosch. * *

This statement was made by the Glasgow Herald of December 4, 1908: "No one can accuse Elgar of composing in haste to repent at leisure. He studied the poem of 'Gerontius' for eleven years, and the firstjconception of 'The Apostles' goes back to his school-days.

- The new symphony was begun seriously about a year ago, but, as it

was expected for the Elgar Festival of 1904, it probably had been taking shape in the composer's brain long before any actual notes were transferred to paper."

At the time of the first performance it was said that the symphony was inspired by the life and death of General Gordon. There was an immediate denial of this statement. To quote again from the Glasgow

Herald: "Elgar's new symphony is suggestive enough, although there is no official 'programme' attached. At first sight everything seems orthodox. There are the usual four movements, an Allegro with an GRAND OPERAS In this Season*s Repertory

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introductory Andante, an Allegro molto, which is really a Scherzo, an

Adagio, and a final Allegro preceded by a short Lento. Before dis- cussing details, perhaps it might be said here that, although the work has no 'programme,' it follows a familiar emotional scheme. Auto- biography has been hinted at, but the experiences that are voiced may be said to be as much general as particular. The 'programme,' if there be any, is that evolved by Beethoven, and is in a sense as old as the Greeks—the struggle of man with his environment. Beethoven, unlike the Greek dramatists, belie ed that man was the master of his fate. He may be said to have invented the symphony that speaks of the victory to be wrested from sorrow. The four movements of the symphony since his day have been much concerned with the hero's indecisive fight with fate, his retiral for reflection, his return to the world in lighter mood, and his final struggle and victory. Sometimes we have what seems to be a love interest, sometimes it ends in the peace of philosophic pessimism, or even in despair, but the general scheme is usually plain enough without words. Elgar's many serious religious works show him to be a man who has thought and felt, and his symphony reflects what one might call the serious optimism of

Beethoven. It is full of noble feeling, and its last word is unmistakably of triumph." * * * An analysis of the symphony published in the Musical Times of

December, 1908, may be considered as official: "The problem of how far the symphonic form can be moulded to

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J 47 Trcmont Street^ Boston* 1268 meet the individual requirements of a modern composer has been shelved of late, when so- many composers have occupied themselves instead with the tone-poem, a form which is entirely pliable to the particular programme chosen for illustration. Must the symphony be regarded as too rigid a structure to admit the free play of modern ideas, or can it be satisfactorily used for the illustration of a programme as Tschaikowsky used it? Or, further, is there something new to be said in music which admits no translation into words, and can the symphony more fitly express that ? Many have felt that a symphony by Elgar must help to answer such questions, or at least give important data to those who are concerned with them. "Now that the symphony is before us, the first fact that strikes us is its likeness to the classical model. It is in four movements: i. An- dante nobilmente e semplice—^Allegro; 2. Allegro molto; 3. Adagio;

4. Lento—^Allegro. The first is substantially in what is known as ' first movement' form, with certain important modifications which we shall note later; the second is practically a Scherzo in all but name; the third is a serene slow movement in a binary form without development, and with an important Coda; while the fourth, after a slow introduction, breaks into a swinging theme, the principal one of a' rondo movement. So far all is orderly and even conventional in pattern, but closer study reveals indications that the formal scheme is subservient to a deeper purpose. The composer has denied that the symphony illustrates apy particular story or phase of life; its purpose, however, is greater than can be contained in a programme of words. It is written out of a full life-experience, and is meant to include the innumerable phases of joy and sorrow, struggle and con- quest, and especially the contrast between the ideal and the actual in life. If, in a sense, it is the composer's private diary, it is written

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1259 in a cypher to which every hearer possesses a key in his own experience." * * * The symphony, dedicated "To Hans Richter, Mus. Doc, true Artist and true Friend," is scored for three flutes (one interchangeable with piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, double bassoon, four horns, three trumpets, three trombones, bass tuba, a set of three kettledrums, bass drum, tamburo piccolo, cymbals, two harps, and the usual strings.

Introduction. The first theme is unfolded at length in the introduction. It is given at first to violas, flute, clarinets, bassoon. "It clearly represents the heroic attitude of mind and heart in its stately rhythm, and its unswerving advance to a majestic climax of sound. No chromatic discord mars its outline; the whole is broadly diatonic in the key of A-flat major. When the melody has been twice pre- sented,—the second time with the fullest power of the orchestra and richly harmonized,—a typical harmonic progression wrenches the mind away from the exalted picture, and introduces a restless, searching theme in D minor, the principal one of the Allegro" (violins, clarinet).

' ' We see the most important modification of form alluded to above in this contrast between the remote keys of A-flat major and D minor. Though the composer has made no avowal of his purpose, it is not

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1261 perhaps too fanciful to connect the one with the inward life of thought and aspiration, the other with the outward struggle in the world of action. At any rate, this strenuous theme is developed in a way that suggests the battle of existence until, with a change of signature (from 2-2 to 6-4) the composer passes to the consideration of a number of secondary themes, each of which has a poetic beauty of its own, and which gradually lead to the second subject in F major. This is a suave, extended melody in the strings, whose meditative character is enhanced by the softly falling sixths which stand as accompaniment.

It is succeeded by a development of the first theme, opening into a leaping arpeggio figure marked Giusto, and the softer emotions of the second theme give way to a virile treatment of the subject-matter, until it is arrested by a reminiscence of the idealistic theme of the introduction, suggesting that the heroic mood is involved in these turbulent surroundings. This begins the actual development section, in which the diverse elements are expanded and contrasted at length.

To them is added a new theme, an arpeggio figure of uncertain tonality and sinister import, which is worked through a long sequence, till the principal theme struggles with it and finally conquers it. The first theme returns in its completeness and in its original key, D minor, but here again the contrast of the two principal keys (A-flat major and D minor) is taken into account, and a sudden transposition places the

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120S bulk of the recapitulation in the key of A-flat. This allows the heroic theme to return in its original key, and to blend with the matter of the Allegro as though it would gradually subdue the world forces to consonance with the ideal. It is heard in the Coda in simple duple time against various rhythms of the other themes. Amongst them the

6-4 rhythm is prominent, and the evil-sounding arpeggio is heard. In the end they give way before the sublime attitude of the heroic theme, and the movement ends with a peaceful pianissimo.

"The key of the Scherzo lies only two steps away, as it were, on the subdominant side. Yet, as F-sharp minor, it looks and feels remote enough to detach it from all previous matter, and the whirling semi- quaver passage on which it is built introduces an entirely new aspect of things. "One of the fugitive transitional passages in which the symphony abounds here follows, . . . and soon a reckless, almost barbaric second subject follows in C-sharp minor. The Trio of this movement is in B-flat major, and, like the Scherzo, has two principal subjects. The first is a flute duet on a B-flat pedal, a kind of Musette. The second is less notable, but it achieves success when, later on, it is combined with the principal subject. The climax of this movement is reached in the ultimate return of the two scherzo subjects combined. If the whole be taken as a picture of the exuberance of youth, then the gradual ebb of energy from the principal theme in the Coda has a special significance. From its semi-quaver form it passes to triplet quavers, thence to plain quavers and finally to crotchets, and dies down till life becomes almost extinct. When, however, it is only maintained by a single thread of sound, the theme reappears completely transfigured into a rich cantabile melody, the opening of the Adagio. . . . The actual notes are the same as those of the Scherzo, but its rhythm and key and mood

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\2.&x. are all entirely new. It is extended into a movement ... in which the composer seems to have embodied his deepest thoughts and feelings. There is a high seriousness in the way the themes are unfolded, relieved by touches of human sympathy in the more chromatic epi-

sodes which link them together, and finally the movement is summed up by an inspired melody in which, as will be seen, the interval of the rising seventh is prominent. It has no thematic connection with either of the melodies on which the movement is built, yet it seems to be the complement of them both, and after it the pianissimo ending comes as a complete point of repose. "The two middle movements have carried the hearer far from the main problem of the symphony, and a Lento introduction to the Finale recalls us. In it the heroic theme and the tortuous arpeggio, which strongly suggests some malign force, both find place, and with them are combined fragments from the themes of the Finale. The two chief keys (A-flat major and D minor) are suggested, though the latter prevails. Out of reminiscence and foreboding the vigorous

principal theme leaps to light. It is marked risoluto, and its character is typical of a concentrated and manly energy. A striking harmonic progression quickly leads to a joyous, open-hearted second subject, smoother, but not less energetic than the first." The first phrase of this is used in the peroration. After an ascending passage, a broad diatonic phrase makes its appearance, and from a soft entry marches through a sequence of keys to a climax. "With these materials the movement is elaborately developed until at last a reference to the heroic theme brings a more thoughtful treatment of the matter. The whole mood changes, the physical energy is relaxed, and the violins play an augmented and cantabile form," of the broad diatonic phrase, "supported by flowing arpeggio figures in the key of E-flat minor.

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Serenade for String Orchestra, No. 2, in F major. Op. 62. Robert Volkmann.

(Bom at Lommatzsch (Saxony), April 6, 181 5; died at Budapest, October 30, 1883.)

Volkmann wrote three serenades for string orchestra at Budapest in 1869-70. The first is in C major, Op. 62; the second in F major,

Op. 63; the third in D minor. Op. 69. The second was played in Boston at a concert given by Theodore

Thomas, December 4, 1871. It was performed for the first time at a Boston Symphony Orchestra Concert in Boston, Mr. Henschel, conductor,

November 25, 1882; and again, under Mr. Nikisch, April 2, 1892.

It is in four movements, allegro moderato, molto vivace, waltz.

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1268 MADAME TETRAZZINI Uses exclusively the HARDMAN PIANO In both her American and European homes

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1269 march. These movements are simple and require no explanation.

The allegro moderato, F major, 3-4, is in the form of a minuet with

trio. The opening theme is developed freely In the episode B-flat

major there is a dialogue carried on by two of the instruments while the others accompany.

Molto vivace, D minor, 3-4. The second movement is in rondo

form. The first episode, D major, is followed by the leading section.

A second episode, D major, is a repetition of the second section of the

first, after which the leading subject again returns. The third episode

is a r.epetition of the first with a different continuation. The movement ends with another return to the chief theme.

Walzer: Allegretto moderato, B-fiat major, 3-8. It has been said

that this waltz inspired Eugene Field to write a fairy story. The waltz, like the Allegretto of Volkmann's Symphony in B-flat major, has a

rococo flavor.

Marsch : Allegro marcato, F major, 4-4. Hans Volkmann says in his biography of Robert that this serenade has a certain relationship with the latter's Symphony in B-flat major, both in melodic contour and in the prevailing mood. The sym-

phony is the more fiery, the Serenade is more "easy-going."

The composer wrote on July 21, 1869, to his friend Heckenast:

"I hope that this genre, since it appears as somewhat new and is my invention, will be known as a most grateful species of composition,

although it perhaps does not answer to the name itself." As serenades

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1271 these pieces have Httle in common with the classic serenade. The instrumental serenata, or serenade of the eighteenth century, was

originally night music performed in the open.

Serenade and aubade are terms that have been loosely used. If

one speaks by the card, an aubade is a concert of voice and instruments, or voices alone and instruments alone, given under the window of some

one toward daybreak, "quod sub albam." And yet the aubade is often

called serenade, even when the concert is in the morning, witness the morning "serenade" in Rossini's "Barber of Seville." During the sixteenth and the seventeenth centuries serenades were exceedingly popular in Germany, and they were composed of vocal music or instrumental; and sometimes voices and instruments were united. The vocal serenades were usually male trios, quarters, or quintets. There were serenades also of wind instruments, with music of the chase, or simple fanfares. There were "torchlight serenades." Rousseau, who defines a serenade as a concert given at night, generally with instru-

ments, insists that the delightful effect was due largely to the darkness,

and also to the silence "which banishes all distraction." Georges

Kastner comments on this statement, and adds that the celebrated viola player, the mystic Urban, would never play to his friends unless

the blinds of his little room were hermetically closed. Kastner also mentions ancient collections of serenades and nocturnes that might be

called scholastic, written by Praetorius, Werckmeister, and others, and

he classes these works with qu^dlibets.

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1273 In the eighteenth century * nearly every prince or rich nobleman had his own orchestra, which on summer evenings played in a park; and in cities, as Vienna, there was much music in the streets, music of a complimentary or amorous nature. The music composed for these open-air and evening concerts was also performed in halls. Short movements for one instrument or several were known in Ger- many as Parthien, and they were seldom published. Then there was a cassazione, or cassation, from the Latin cassatio; and this species of music should have been a piece that brought the end of the concert, an overcoat-and-galoshes piece; but the term was applied to any piece suitable for performance in the open air at night. The serenade,

which in form is much like the cassation, was performed during parties, dinners, wedding feasts, in the parlors or the gardens of princes or rich merchants. Haydn and Mozart wrote much music of this nature, but they did not always distinguish between the cassation and the serenade, according to Michel Brenet, who says that the serenade always opened with a march, and that the movements were separated by Mermettos. The number of movements was from one to ten, and

* Even in the sixteenth century princes and dukes plumed themselves upon their household musicians. The Duchess of Ferrara had her own orchestra, composed of women; yet the Lord Julian in Castiglione's "Book of the Courtier" (Hoby's translation into English, 1561) speaking of studies fit for a woman said: " Likewise the instrumentes of musike which she useth (in mine opinion) ought to be fitt tor this pourpose. Imagin with your selfe what an unsightly matter it were to see a woman play upon a tabour or drumm, or blowe in a flute or trompet, or anye like instrumente; and this bicause the boisterousnesse of them doeth both "^over and take away that sweete mildenes which setteth so furth everie deede that a woman doeth."

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the instruments were from four to six. When the pieces were played in the open air, the parts were not doubled. A cassation of four instruments was played by only four musicians. Johann Mattheson believed that a serenade should be played on the water: "Nowhere does it sound better in still weather; and one can there use all manner of instruments in their strength, which in a room would sound too violent and deafening, as trumpets, drums, horns, etc.

. . . The chief characteristic of the serenade must be tenderness, la

tendresse. . . . No melody is so small, no piece so great that in it a certain chief characteristic should not prevail and distinguish it from others otherwise it is nothing. And when one employs a serenade out of its element—I mean effect—in congratulations, pageants, advancement of pupils in schools, etc., he goes against the peculiar nature of the thing. Things of government and military service are foreign to it; for the night is attached to nothing with such intimate friendship as it is to love" ("Kern melodischer Wissenschaft," Hamburg, 1737, p. lOl).

The first symphonies of Sammartini (1705-75 ?) were written for open- air performance, and Mozart wrote his father in 1782 that one Martin had obtained permission to give twelve concerts in the Augarten at Vienna and four "grand concerts of night-music" in the finest squares of the town. But Volkmann planned his serenades for concert-hall use. Brahms applied the term "serenade" for his Op. 11 and Op. 16, which were published in i860, but Hans Volkmann, in his biography of Robert Volkmann (Leipsic, 1903), says that the latter did not know these works of Brahms when he composed his own serenades. The serenades by Brahms are more in the symphonic manner; while the purpose of Volkmann seems to have been to write music that would satisfy the dictum of Athenseus: "Music softens moroseness of temper;

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1276 for it dissipates sadness, and produces afifability and a sort of gentle- manlike joy." Yet the third serenade begins in doleful dumps. * * * W. Beatty-Kingston met Robert Volkmann at Budapest in 1867. "A glance at the great Hungarian composer sufficed to convince any observant person thqt he had before him a man of sorrow, acquainted with grief. His bowed shoulders and sad, lustreless eyes told a tale of excessive application, toil at the desk, and immoderate consumption

of 'midnight oil.' A heavy, drooping, grizzled moustache enhanced the melancholy expression of his countenance, furrowed by the pencil of care rather than of time, and 'sicklied o'er' with a sallow pallor by long years of confinement to small rooms, insufficient nutriment, and lack of exercise. His chief characteristic appeared to be an invincible shyness, almost amounting to painful timidity. To me he conveyed the impression of a nature, originally gentle and diffident, that had been subdued by ill-luck and unkind usage to a chronic condition of self-depreciation and hopelessness. To my endeavors to draw him into conversation he replied with discouraging brevity, in low and hesitating tones. His black clothes—too manifestly a ci-devant gala suit, indued only upon occasions of exceptional pomp and moment—were thread- bare and of strangely antiquated cut. Even Hellmesberger's kindly jesting and inexhaustible flow of apposite anecdote failed to brighten Volkmann's mournful visage with even a fleeting smile, until our host's good cheer and generous wine had somewhat thawed the ice of his inborn reser\'-e and habitual low spirits. "Toward the end of supper, when cigars had been lighted and cham- pagne was flowing freely, he began to take part in the conversation, which was of an extraordinarily animated and brilliant character, dealing mainly with the two topics in which every one present was

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C. C. HARVEY COMPANY 144 BOYLSTON STREET 1278 more or less keenly interested—music and the political resurrection of Hungary. It was in commenting upon the latter, rather than upon the former, that Volkmann displayed knowledge and eloquence of no ordinary calibre. In speaking of the public men by whom the transaction with Austria had been brought about, he let fall a few masterly sketches of character, revealing a depth of psychological in- sight that took most of his hearers by surprise. Upon the poten- tialities of music, as a descriptive art, he made some very striking remarks, never at any considerable length, but, like a meat-lozenge, containing much essential force compactly propounded. "Commenting, for instance, on the Wagnerian theories, he observed:

'Music, like painting, is imitative, not reproductive. Her imitations are necessarily addressed to persons gifted with musical apprehension, just as those of painting appeal only to the eye that is appreciative of color or form. Her graphic power is not indicative of concrete facts, but of their characteristics, and makes itself readily manifest to the ear that is at once receptive and cultivated. Even that ear requires, in nine cases out of ten, to be prepared for the recognition of a tone-description by a certain amount of information, conveyed to the intelligence in the ordinary manner. ... A mere melody is seldom able to tell its own story intelligibly. I mean, of course, the story its composer intends it to tell. Tempi, phrasiilg, and harmonic treatment are more available, as musical narrators—or, rather, de- scribers—than tunes. The inevitable formality of a tune fetters its faculty of depicting ideas, circumstances, or actions, all of which may be recognisably sketched in sound by imitative figures and instru-

mental combinations. . . . That information other than oral is indis- pensable, in descriptive music, to the hearer's perception of the meaning sought to be conveyed to him, is beyond a doubt. For instance,

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tiae special significance of cei:tain rhythmical mannerisms and accents in our national music cannot but be lost upon those who possess no acquaintance with Hungarian history, traditions, and manners. In my own attempt to describe musically the ordinary incidents of a day's life in a Hungarian frontier stronghold of the olden time,* I feel confident that I have made 'my tone-sketches comprehensible to such of my countrymen as may be endowed with musical understandings. To the average foreign musician my special meanings can only appear in the light of eccentricities in tonality.'" Beatty-Kingston then describes a suddenly improvised performance of Volkmann's string quartet in G minor, Op. 14 (completed in 1846) : "Volkmann sat ensconced in a huge arm-chair, smoking a powerful Partagas, his eyes half-closed, and his whole attitude expressive of that blissful state of body and mind hight kief. As the executants commenced the spirited Allegro with which his G minor quartet opens, every eye was turned towards him. He started up, as though stricken by an electric shock, hastily put down his cigar, and clutched both arms of the fauteuil, looking about him confusedly, like one suddenly awakened from a deep sleep. Presently, he sank back into his seat, covering his face with his hands ; and when we next caught a glimpse of his sad grey eyes, they were wet with happy tears. Never before

* Volkmann here referred undoubtedly to his "Visegrdd," twelve musical poems for piano, Op. 21.—^Ed.

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1281 — or since that memorable night have*I heard the quartet—perhaps his most passionate and romantic composition for strings—so magnifi- cently played or so enthusiastically applauded. At its close a shout of 'Eljen 4 Volkmann!' was raised by all present, and Heckenast calUed upon his guests to drink 'the Master's' health in brimming bumpers of Roederer. Rendered speechless by glad emotion, Volkmann could only express his gratification by repeatedly pressing the artistic hands that had wrought him such paramount pleasure, his cheeks glisten- ing the while with 'unfamiliar brine.' A little later, when he had recovered his self-possession, he sat down to the piano of his own accord, and held us spellbound for some twenty minutes with an im- provisation 'on a heroic subject' (which I recognized years after in his recueil of 'Musical Poems' intituled 'Visegrdd'), ever to be remembered by the survivors of that joyous company as an extempore production of unique beauty and indescribable fascination." * (Beatty-

Kingston's "Music and Manners," vol. i., pp. 93-97. London, 1887.)

ENTR'ACTE. THE MODERN SYMPHONY.

(From the London Times, January 9, 1909.)

Musical London has been startled by the unique event of a new

symphony t receiving five performances in as many weeks ; and the

fact that the symphony is the work of an English composer has added

to the amazement of those who still fancy that English music is neg-

* All this was in 1867. "Visegrdd" was composed during Volkmann's sojotim in Vienna, 1854-38. No. 9 of the collection is entitled "Das Lied vom Helden." Ed.

t Elgar's symphony in A-flat major, P. H.

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lected. It would be difficult to sift the causes for the unprecedented enthusiasm over Sir Edward Elgar's symphony, and to do so might be disappointing. We might find that to some extent the demand has been created by the supply, for to announce frecuent performances is a sure way of arousing public interest. We should certainly find that, so far from the English origin of the work being a disadvantage, it is a strong commercial asset. For, having got the idea firmly rooted that

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But when all the artificial aids to popularity have been placed on one side, there still remains a certain residuum which is valuable as an in- dication of musical taste. In all the different points of view which have been expressed —from those of the indiscriminate eulogists to the discoveries of the plaguing finders of plagiarisms—there has been a general belief that the appearance of Elgar's symphony at this particular

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stage in musical development is important. On the otie hand, it ha« been hailed as the beginning of a new era in the life of symphonic form on the other, it has been assailed as failing in that very respect. Some assert that, after all, it only transfers the methods of modern programme music to the symphony, and, as it were, fits them into its shell while the reminiscence-hunters say that even its themes are not new.

Leaving out of count the last group as irrelevant to our point, it seems that the contrary opinions of the first two rest upon a disagreement as to what symphonic form actually is. To the latter the symphony appears as a fully developed type of musical expression, a medium ior the utterance of certain kinds of musical ideas in a certain wa5^ Since the form has for them definite limits, they have no hesitation in pro- nouncing ideas not of that character to be unsuitable for symphonic treatment—or, more shortly, to be unsymphonic. For them the first eight symphonies of Beethoven (the vagaries of the "Pastoral" are passed over with an indulgent smile), Schubert's C major symphony,

and the first three by Brahms must stand as the limits of true symphonic expression, while the ninth of Beethoven and, at any rate, the

finale of Brahms 's fourth include types of expression which do not

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1284 ^^ belong to the symphony proper. If this view is accepted, it is difl&cult to see what more can be done, or how symphonies can be written to-day which do not merely cover well-trodden ground.

Perhaps it has been partly owing to the prevalence of this view that so many composers of late years have left the symphony and contented themselves with the production of illustrative music. The literary basis for music held out opportunities for the use of varieties of expression, emotional, dramatic, or directly descriptive, which were beyond the pale of the symphony in the days of its glory. For some time such music seemed to open up an endless vista of possibilities, and very great have been the additions to the resources of the art from its wide-spread vogue. But the vista no longer seems endless; and so far have we walked along the path that now the hearers of a new piece of illustrative music frequently come away feeling that they have been merely repeating old experiences, while the composers themselves seem to feel that this kind of work imposes limits of its own which are sometimes as galHng as "rules of form" were to their predecessors of the last century. The statements of Richard Strauss about his music are not to be taken too seriously ; but apparently even he longs at times

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lasd for a wider acceptation for his music than the depicting either of heroic battles or infantine toilets, while lesser men, through their writers of programme notes, resort to the most pitiable attempts to escape re- sponsibility for their subjects. It is a commonplace to leave the subject of a new work only half told, or to state that it was written after reading such and such a poem, which cannot mean that at this late date composers are ashamed or afraid to write programme music; simply, they are conscious that music must have something to say beyond what can be contained in any description of words, and that

that something is, after all, its kernel. So they take their story or

their poem as an aid to expression, and they hope to carry their audience with them beyond it and to convey the message of the music in spite of it.

To those who believe in the larger possibilities of the symphony this process seems rather like the action of Charles Lamb's Chinaman who burnt down his house in order to enjoy roast pig. Why have a literary

basis at all if in the end it merely stands between the composer and his

audience, and obscures his real meaning ? All the subtlety of expres-

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"ALL HOUSEKEEPERS WILL WANT IT" " ' Daily Living' is the title of a neat cloth-bound volume of 580 pages, containing menus and cooking recipes for every day in the year. It is issued by H. P. Hood & Sons, Milk Dealers, Charlestown, Mass., with a view to simplifying the work of housekeepers and giving them some practical hints on the preparation of afternoon teas, birthday parties, children's lunches, care oi cooking utensils, etc. The delightful menus and recipes have been prepared by Nellie E. Ewart, who seems to have a perfect understanding of just what is required in such a book and to have well met that want. The book is finely bound and is illustrated with charming pastoral scenes in half-tones." — TAe Boston Globe. Price $1.84 net, sent postpaid $3.00 H. P. HOOD (Sl sons 494 RUTHERFORD AVENUE, CHARLESTOWN 70 HUNTINQTON AVENUE, BOSTON Also on sale at Book Stores THE MEANING AND FUNCTION OF MUSIC Single lecture by EDWARD HOWARD GRIGGS

To be delivered on Saturday Morning, February 27, at 11 o'clock, in Tremont Temple, Boston. Single admissions, $1.00, 75c., and 50c. 1287 sion conveyed by characteristic phrases combined and contrasted in a thousand ways unknown to the older symphonists, all the wealth of emotional force which a modern conception of harmony and of orchestral colour can give, have been gained through the illustrative use of music; but there is no need for a composer to cumber himself with its paraphernalia in order to use these resources to the fuel. They now lie ready to his hand, and he has only to rediscover the true significance of a perfectly balanced design in order to write music at once sponta- neous and direct in expression and breathing the pure spirit of beauty which has earned the name of absolute music. But in this realization of the meaning of design rests the difficulty. To take the materials of programme music and merely fit them into the shell of the classical symphonic form, as has so often been attempted, must result in the same confusion as arises when people write programme music and refuse to tell what it is all about. The symphony of to-day must involve new principles of design appropriate to its material; and consequently many people have looked eagerly to Sir Edward Elgar's work for light on the question of what those principles are. Some assert that they find them made convincingly clear through every page of the symphony, and they are the eulogists; others, who have looked no less hopefully, are disappointed. One cannot be sur- prised by the divergence of opinion, because it appears that the composer has not kept the issue clear in his own mind. Though his main purpose was to write a piece of music which should be a consistent expression of emotion contained in an outline of self-sufficient beauty, yet certain of the themes were for him so closely connected with sundry ideas—^for the most part moral qualities, such as aspiration, courage, love, and hatred—that in some places, forgetful that the audience could have no such connecting idea, he has used them without reference pD£(tOn Wf^tatXt, €tDo l^ttk^y com. i^acct zm ©i^car Jlammemein'sJ Jttanj)attan i^ptta Co.

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1288 to the musical context. Wherever he has done so, the continuity of

the design is broken, the hearer's thought is checked, and he is sent groping after the idea which Hes behind the music in order to find the connection. This will not do for a symphony^ and the fact that it is possible to point to half-a-dozen such places in the two largest move-

ments is sufficient to account for the feeling of disappointment. But these are only points of detail in a structure of undeniable strength. The original yet well-ordered contrasts of tonality, the workman- ship of the exposition of the first allegro, the whole plan of the two middle movements, and much of the working-out of the finale can fairly claim to shed light upon the essential question of how modern musical thought can take shape as a symphony.

This fact is so valuable that it is in itself sufficient to justify an unusual enthusiasm. The actual life of the symphony of course will depend upon the intrinsic beauty and interest of the musical ideas

which it contains, and this is a side of the question into which we have not entered. It will no doubt be the precursor of a number of sym-

phonic efforts, many of which will fall far short of it, but some of which

may reach beyond it ; and the influence of Elgar's first symphony upon these will be perhaps even more important than its own success. If its

success is only partial, it may for that very reason do more to clear the

vision as to what is needed than if by a single stroke of genius Elgar had produced a work beyond the range of criticism. It clearly points to the possibility of a form of orchestral composition which, while discarding the clumsy mechanism of programme music, can com- bine its vivid utterance with the pure enjoyment of outline and beautiful design which belonged so conspicuously to the symphonies of the classical school.

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Mrs. Litchfield refers to the remarks of the Boston Transcript about her distinguished pupil. Miss Charlotte Qrosvenor

as Juliette in Gounod's "Romeo et Juliette" A new and girlish Juliette came to the operatic stage Tuesday afternoon in Miss Charlotte Grosvenor. Miss Grosvenor has never studied abroad, as has Miss Farrar, Miss Nielsen and others of this land. She found her voice here and it has been trained here in Boston by a preceptress herself experienced in operatic endeavor and now skillful in imparting her knowledge and the benefit of her practical experience to others of a younger generation. On the whole Gounod's Margherita would have been an easier task for the debutante than Juliette, for it is a more familiar role, one more easily guided by the unchanging conventions of past interpretations. But she chose Juliette and thereby, vocally at least, was certain to gain a larger success if she were to succeed at all. Distinctively girlish was Miss Grosvenor's Juliette. This daughter of the house of Capulet was no matured woman, sure of hereseif, sure of her charms. She was diffident when introduced to a throng of flattering guests; she was shy and reserved at the first encounter with Romeo, though none the less she showed that he had impressed her and attracted her. In the balcony scene she revealed her love for Romeo gradually and with maidenly caution. In Friar Laurence's cell, again, she approached the fateful union and accepted the impressive benediction with apparently full realization of the tragedy to follow, and not at all as budding and even full blooming Juliettes have been known to do. Likewise in the tomb, her grief, her despair, and her determination to die by Romeo's side were of girlish quality. In truth, if criticism is to be made, in such degree did Miss Grosvenor's repression of dramatic fire deaden the vocal blaze, but it could not weaken the purity of the tone itself, it could not lure it from the pitch and it could not cloud the almost flawless attack on the coloratura passages which Juliette must travel to be an acceptable Juliette. A singer who can meet the technical requirements, avoid the subtle pitfalls and translate the many difficult pages of Juliette's score with only the slightest lapse or deviation, as Miss Grosvenor did, has won two-thirds of the battle. This much seems certain, that Miss Grosvenor, barring a first few moments of tense nervousness, has in her the power of absolute vocal control and of physical poise. The large and fluttering audience was not disappointed; it was even tremulous with joy when the floral parade at the end of the first act brought to Juliette's feet roses and violets sufficient to stock a conservatory. 1201 who wrote a mass of dry music after he had shaken oft the influence of Schumann, Wagner, and the new German school. He deliberately

choked his exuberant temperament. He first took Bach for a model;

then he set up Brahms as an idol. As Mr. Kalbeck says, "There is no doubt that his compositions lost in spontaneity and imagination in consequence, for his ruthless suppression of the natural instincts he had learned to mistrust made him almost a slave to form and technic."

In his later years Herzogenberg wrote chiefly oratorios and church music. Personally he appears to have been an unselfish, sweet, and

modest soul. His wife was Blisabet von Stockhausen, the daughter of Freiherr

Bodo Albrecht von Stockhausen, whose full title was: Herr auf

Lewenhagen, Imbsen, Niedemjesa, Stane, Hermannsrode. She is described as beautiful, charming, intelligent, brilliant, a well-grounded musician. Brahms gave her piano lessons for a short time. When Herzogenberg lived in Leipsic, he endeavored to rtiake Brahms' music

popular in- that city. A "Brahms Week" was arranged, and the composer went to Leipsic. This was in 1874. The Herzogenbergs became exceedingly fond of him. Elisabet wrote to a friend: "I must

tell you how much we liked your Johannes this time. He was not

like the same person. ... So many people suffer shipwreck on that

dangerous rock called Fame; but we all felt that it had mellowed him, and made him kinder and more tolerant. He does not wear a

halo of infallibility a la Richard Wagner, but has a. quiet air of having

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1293 achieved what he set out to accomplish, and is content to live and let live." Elisabet died of heart disease in 1892, and Brahms mourned her deeply. In his will he ordered all letters found in his house after his death, to be destroyed without reservation. His executor disregarded his wish, on the ground that "the will had been drawn up in a moment of irritation, and was not to be taken too literally." He saved the letters written by the Herzogenbergs, and now they are published.

There is only one way to prevent such disregard : There is always fire for a letter after it has been read. Even waste-baskets are not safe, for there are collectors of souvenirs even in one's own household.

Elisabet is said to have had womanly tenderness, a passionate love of truth, courage in the expression of opinion. It may also be said that she was often extravagant, if not violent and hysterical, in her judgments. Thus she wrote to Brahms from Nice in 1888: "Nothing is to be had here except the Hungarian dances—and any amount of

French trash. Bizet excepted, it is all so impossible to us; even the more modern Delibes is dreadful. Thank God one belongs to Germany and is your country-woman." Here is a fine and catholic spirit. And she gave Delibes an acute accent for the first "e" in his name, possibly to accentuate her contempt for him.

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Many of these letters will interest only musicians, for they are often technical, and there are many criticisms of music from a purely theoreti- cal standpoint, and illustrated with examples in notation. Yet Elisa- bet was human and a housewife. She wrote to Brahms in 1876 about food : "I remember hearing that, at Sassnitz, they give you nothing to eat but pale gray beef and indescribable wobbly puddings, made of starch and vanilla. But you, it is to be hoped, are indifferent to such things." Here Mr. Kalbeck added an illuminative foot-note: "The writer permits herself a little irony here, as Brahms was known to be anything but indifferent to what he ate." EHsabet continued: "The person who told me her own bitter experiences was reduced to living on eggs, which she boiled or fried in the privacy of her own room. I tell you this so that you may adopt the same measure if driven to extremes. We are better off here. There is char and salmon in plenty, though the prices are so exorbitant that we never have either; on the other hand, cutlets and bacon cakes are within our reach. Best of all, a certain B. F. of Vienna, not unknown to you, sometimes sends us a wonderful meat pudding for supper, and every time we go to see her she stuffs us with the unrivalled Aussee brand of Lebktichen." This is one of the most interesting pages in the whole volume to the general reader. Klisabet added, for she and her husband wished Brahms to stop with them at Aussee: "I promise you a bed, at least as good (as at the hotel) ; much better coffee, no very large room, but two decent-sized ones, a silken bed-cover, any number of ash-trays, and, above all, peace and quiet." Let us hear from Brahms. He wrote to her that when he opened a duet and played it in imagination he had a distinct vision of "a slender, golden-haired figure in blue velvet seated on my right ; if I say

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1297 any more, I shall offend one or other of you. . . . Nothing is worse to read than a duet when the music is at all complicated. ... I might have something to say on the subject of variations in general. For instance, I could wish people would distinguish variations from 'fantasia variations,' or whatever we may choose to call the greater number of modern writings in this form. I have a peculiar affection for the variation form, and consider that it offers great scope to our talents and energies-

Beethoven treats it with extraordinary severity, and rightly calls his variations 'alterations.' All the later ones by Schumann, H., or Notte- bohm, are very different. I am, of course, objecting neither to the form nor the music. I only wish for some distinction in the name to denote the distinctive character of each."

' 'Three days before the concert, I begin to perspire and drink camo- mile tea."

Here is a singular instance of the hatred toward Wagner in 1878. Elisabet wrote apropos of a concert led by Franz Wiillner, the father of Dr. Wiillner now in this country, at which Mme. Schumann was expected to play: "You must really make Wiillner change the programme. 'It takes many hounds to kill a hare,' but one 'Feuerzauber' would be Frau Schumann's death. It is inconceivable that she should play. There really is a want of delicacy in the arrangement. How can any audience be expected to appreciate really artistic work and a piece like 'Feuerzauber' on one and the same evening? O Wiillner,

Wiillner ! I always thought you a gentleman, but this programme be- trays the impresario. The glittering 'fire-piece ' will excite everybody of course, and the palm of the evening goes to Wagner. 'Oh, how far, how far above' are the gentle D major,* breathing beauty, dropping balsam into the soil; and the Phantasie,t written for the elect —and * Brahms Symphony in D major, t Beethoven's Choral Fantasia. Mademoiselle Alary TheEnglishTeaRoomJnc. Berkeley Building 430 BoyUton Street Tel., Back Bay 2320 Room 213 ENGLISH TEA ROOM 160 Tremont Street, Boston (Over Moseley's) Luncheon and Afternoon Tea Manicure Shampooer Hair Work a Specialty Facial, Scalp, and Neck Massage DELFT TEA ROOM

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Fire is mighty when watched by its master; When fire is master itself—there's disaster.

"Frau Schumann will do quite right in refusing to play, but surely you can influence Wiillner to a change of programme ? Shake off your indifference for once—for the sake of your dear, dear symphony, too" (the one in D major), "and make him understand that it is inartistic to appeal to our higher and our lower natures in one evening. What would Wiillner say, I wonder, to a picture exhibition with a Raphael and a Makart hung side by side?"

Does not this splutter now seem incredible ? Elisabet did not hesitate to take Brahms to task for passages in his music that she did not like and for his own and personal conduct. Brahms had spoken slightingly of one of her husband's quartets: "I know you don't mean to be cruel at such times. It is a kind of 'black dog' (no intimate acquaintance, thank heaven!) on your back which prompts these speeches, so deadly in their power to wound others. If you knew how deadly, you would give them up; for you are kind

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enough at bottom and would never consciously throw scorn on true affection." She could be angry at those who did not rave over Brahms' music. "Did Ehlert'a article in the Rundschau infuriate you, too, I wonder? Even praise is offensive from such a source. I call it low to discuss any one's work in that cheap, shallow way. The man puts the things that matter on one side, and gets off easily with would-be witty comments and comparisons. Beethoven shows his profile, you your full face, indeed! Your variations are different from Beethoven's and

Schumann's (as if they pretended to any resemblance!), yet you 'make your bow and go out of the door in the same way.' What is the use brought of such twaddle ? . . . Tell me, please, is it the womanfolk who

all this mischief into the world or do the men say these insipidities of this sort of thing, but their own accord ? . . . One should be used to somehow rage gets the upper hand every time. If only some one would find the right message to send out into the world? Better leave the

beautiful to find it own way into the hearts of men, and let no one unite

on art at all, than endure this nonsense." From a letter of Brahms in 1880 it appears that he was greatly alarmed by a sudden deafness and feared he was doomed to the fate of Beethoven and Smetana. Elisabet the next year gave a remarkable account of von Biilow conducting a Beethoven concert. Mark the bitterness of her speech : "Everybody lay prostrate before this anointed one, who bore himself like a priest elevating the Host in the glittering monstrance for the first time. At times he seemed to be giving a repulsive anatomy

lecture. It was as if he were making the experiment of stripping an antique statue of its lovely flesh, and forcing one to worship the workings of bone and muscle. It is pleasant enough to realize the spring that works the machinery, but it ceases to be pleasant when

it is laid bare and pointed out in the coarsest fashion. Billow's affected

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"It is hard to say which is worse, the decent dulness of a Hiller or the indecent dulness of a Liszt! Both are intensely exhausting."

"Most people borrow somewhere, and when it is from the right person it is pretty enough to listen to."

"I know there is occasional evidence of real talent and vigor (as in the Borodin symphony), but side by side with such atrocities, such amateurishness, that it seems as if the new German Musikverein had taken pattern by Busch's little remark at the end of his St. Antony:

Lots of great sheep are admitted and so To one nice little pig they can hardly say no.

"Nikisch took a lot of trouble and did all that any one could do at Leipsic, where the ladies of the chorus are not much concerned as to whether they sing flat or sharp, although they can look languishing and sing from memory with their arms folded." She spoke of "Carmen," an opera that Brahms liked much: "I have

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The Boston Symphony Orchestra Jacob Tlionia& Son Programme For the twenty-four Boston concerts, with Historical Violin IHaicars and Importers and Descriptive Notes by Philip Hale. Bound copies of the Programme for the entire season can Repairer* to the be had at I2.00 by applying before the last concert. Boston Symphony Orcliestra Address all communications to Agents for the SILVESTRE & MAU> F. R. COMEE, COTEL Tested Violin Strinc* Symphony Hali, Boston. (Extra and Tricolore) Agents for the C. F ALBERT Pat. Triple-covered, wound Violin, PHILADELPHIA Viola, and 'Cello Strings Large Assortments of ICE-CREAM CO. VIOLINS, 'CELLOS, AND BOWS SILK PLUSH VIOLIN CASES, 38 WEST STREET Rosin, Strings, and Sundries NEAR TREMONT STREET BOSTON 47 Winter Street, BOSTON, MASS. TELEPHONE, OXFORD 582 Talephona, U9ir4 Oxford 1301 —; no quarrel with the music, but only with the horrible shock one receives on first seeing 'Carmen,' and the tactlessness of springing that tragic ending on an unsuspecting audience toned to comedy." Mr. Kalbeck adds this foot-note: "Her aesthetic instinct was not at fault, but she was too open-minded to reject the good with the bad." Let us examine the gentleman's bumps. Elisabet rebelled at having Bruckner's music thrust upon her "like compulsory vaccination." She said Biilow was unfortunately

' ' one of those for whom a novelty has much the same attraction as any red rag for a bull. It is practically all the same to him from which quarter the wind blows it—Brahms or Bruckner, Dvorak, Tschaikow- sky, or any other. Now I think that is dreadful. As I often say, of what good to be uplifted by the best things if you are satisfied with the worst the next minute ? ... He has always been worshipped at Leipsic no one has ventured a word of warning except Bernsdorf, whose cen- sure is more likely to strengthen one in crime." neces- "Heinrich and I . . . believe that a talent for music does not sarily presuppose an artistic nature." She was writing about an infant phenomenon. "At the opening of the new Gewandhaus, last year, a L-eipsic girl, one of your, great admirers, overheard another girl say: 'You really enjoy " music twice as much decolletee.' "No one seems to venture any variation from Wagnerian tradition in describing the tender passion. Indeed, one of the most pernicious results of Wagner's influence is this rejection of the fresher, more inno- cent conception of sensuality for a sultry, oppressive atmosphere of supreme desire which arouses a kind of evil conscience in the listener a feeling that his presence amounts to an impropriety." ANNOUNCEMENT EXTRAORDINARY

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Reading books by Nietzsche in 1 888, she prophesied that his vanity would bring him to a lunatic asylum. Elisabet died, and Brahms wrote this letter to her husband: "I am too much with you in thought to be able to write. It is vain to attempt any expression of the feelings that absorb me so completely. And you will be sitting alone in your dumb misery, speechless yourself and not desirous of speech from others. Be assured I am full of sorrow and profoundest sympathy as I think of you. I could ask questions without end. You know how unutterably I myself suffer by the loss of your beloved wife, and can gauge accordingly my emotions in thinking of you, who were associated with her by the closest possible human ties. As soon as you feel at all inclined to think of yourself and others, let me know how you are, and how and where you intend to carry on your own life. It would do me so much good just to sit beside you quietly, press your hand, and share your thoughts of the dear, marvellous woman." Brahms was indeed fortunate in having such a friend, a devoted friend, but not a mere flatterer, not a woman who was of kin to Mrs. Leo Hunter, Elisabet often expressed her dislike for measures or even pages of Brahms' works in the manuscript, and she gave shrewd rea- sons for her dislike. It would be a pleasure to quote from her observa- tions on musical manners and life—from her acute criticisms. She had her prejudices; she was at times unreasonable, bitter, but her bitterness was that of a brilliantly intellectual woman fighting for musical righteousness as she understood it; it was not the bitterness of a natural shrew ; not that of a chatterer who had been told that she was brilliant, and could not forget it.

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{Englished fffeely by P. H. from the French of le Comte de Villiers de I'lsle Adam.)

" Les cygnes compretment les signes." — Victor Hugo.

After he had examined volume after volume concerning natural history, my illustrious friend, Doctor Tribulat Bonhomet, came to the opinion that the swan really sings just before dying. He confessed to me the other day that this music alone, since he has heard it, aids him

in enduring the deceptions of life ; all other music is to him a charivari or Wagnerian.

How did he procure for himself this joy of a music lover ? Listen.

In the environs of the very ancient walled town wherein he lived, the practical old fellow discovered, one fine day, in a time-honored and neglected park, an old pond under the shade of tall trees. On the sombre looking-glass of this pond, so old that it seemed sacred, glided a dozen or more peaceful swans. The Doctor studied carefully the approaches, pondered the distances; and he took special notice of the black swan, their watchman, who was asleep, lost in a sun-ray. Every night the black swan kept open his great eyes. A polished stone was in his long rosy beak. At the least noise he suspected danger for those whom he guarded; then, by a movement of his neck, he threw suddenly into the water, into the middle of the white circle of sleepers, this awakening stone. The herd of swans, at the signal, guided by him, darted across the darkness toward far-off swards or some fountain that reflected gray statues or some other asyle that

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J304 i they remembered well. And Bonhomet, silent, watched them for a long time; and, as he watched, he smiled on them. He dreamed of

cloying his ears, as an accomplished amateur, with their last song. Sometimes—when an autumnal midnight sounded, and there was no moon—Bonhomet, fretted by sleeplessness, would start up and dress himself especially for the concert which he must needs hear once more. The bony, gigantic physician hid his legs in enormous rubber boots.

He added a waterproof coat heavily lined with fur. He put his hands into steel armorial gauntlets; some mediaeval armorer had made them. (Bonhomet bought them at a curiosity shop. Lucky fellow, he paid only thirty-eight sous for them, a ridiculously low price!) Then he put on his enormous hat, blew out the light, pocketed the latch-key, and turned his respectable steps toward the edge of the abandoned park.

Soon he was a-venturing through dark paths to the retreat of his favorite singers, toward the pond whose shallow water did not mount above his waist. And under leafy vaults he groped his way. When he was close to the pond, slowly, oh, so slowly, and without the least noise, he risked one boot after the other; he made his way in the water with unheard-of precaution; he did not dare breathe. The melomaniac awaiting the cavatina! To go the twenty steps that separated him from the dear virtuosos took him as a rule from two hours to two hours and a half, he was so afraid of alarming the keen black watchman.

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1305 The breath of a starless sky mourned through the high leafage in the darkness around and above the pond; but Bonhomet, unvexed by the mysterious murmur, kept advancing almost imperceptibly, so that by three o'clock in the morning he found himself, unseen, only half a step from the black swan, who seemed wholly unaware of any one so near him. Then the good Doctor smiled in the darkness, and scratched gently, very gently, so that he just touched with mediaeval forefinger the sur- face of the water in front of the watchman. And he scratched with such delicacy that the black swan, although somewhat astonished, judged the vague alarm hardly worthy of the signal. The swan was listening. His instinct appreciated finally and vaguely the idea of danger; and his heart, ah, his poor heart began to beat terribly. This heated Bonhomet with joy. Lo and behold, the beautiful swans, one after the other, disturbed by the noise in their deep sleep, drew lazily the head from beneath their pallid silvern wings: they began to feel the shadow of Bonhomet. Agony mastered them little by little. They had a confused conscious- ness of the deadly peril that was threatening. But in their infinite delicacy of spirit they suffered silently, as did the watchman. They could not escape, because the stone had not been thrown! The hearts of the white exiles throbbed in dull agony. The throbs were intelligible and distinct to the ravished ear of the estimable physician, who well knew that his proximity alone was the moral cause of the wild beatings. Incomparable were his itchings of joy at the terrific sensation awakened by his immobility. "How sweet it is to encourage artists!" he said to himself.

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Then he tottered as in a fit, fell down on the bank, stretched himself on the grass, and rested on his back in his warm and impervious clothes. And there this Maecenas of our period, lost in voluptuous sluggish- ness, retasted, to the very bottom of his being, the remembrance of the delicious song of these dear artists, although it was tainted with a sublimity which, to his mind, was out of fashion. And, plunged in an ecstatic coma, he chewed thus, in true bourgeois fashion, even unto the rising of the sun, the exquisite impression.

M.A.GRAGE'S NEW MILLINERY SHOP

Removed from Summer Street to 165 TREMONT STREET, BOSTON

Aflle. Mrs. Mabel Mann Jordan* Pupil of SiLVBSTRi, Naples, Italy. TEACHER OF MANDOLIN, GUITAR, and BANJO,

U Irvington Street, Suite J, 486 BoyUton Street, BOSTON BOSTON. In Block •£ Braanrick Hotel 1307 "'rHE Carnival at Paris/* Episode i^or I^ull Orchestra, Op. 9. JOHAN SVENDSEN.

(Bom at Christiania, Norway, September 30, 1840; now living at Copenhagen, Denmark.)

"The Garnival at Paris" was published at Leipsic in 1877. Carl Siewers states in his biographical sketch of Svendsen that the piece was written at Bayreuth soon after Wagner had made that town

his dwelling-place. It was in 1871 (January 12) that Svendsen's sym-

phony in D was performed at a Gewandhaus concert in I^eipsic. "He composed in that year his concerto for 'cello in D. In the autumn he went to America to be married to an American lady, whom he had mpt in Paris, and returned the same year to Leipsic, where, after the end of the war, he undertook the leadership of the Euterpe concerts for one year. There he finished the overture to 'Sigurd Slembe,' which was played at the Euterpe then, and in the following year at the musical festival at Cassel, where Wszt was present, and both times with great success. This year was one of the most momentous in Svendsen's

life, since in it he met Wagner at Bayreuth, and soon became his intimate associate. He took the opportunity of making himself fully

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BERKELEY BUILDING - BOSTON, MASS.

1308 . acquainted with Wagner's music and ideas. In Wagner's house he met the Countess Nesselrode, who formed a warm friendship for the Norwegian composer, and whose talents and experience became of great benefit to him. In Bayreuth some of his happiest days were spent,

and it was during this stay he composed his 'Carnaval k Paris,' . . . * which depicts . . . the varied aspects of the capital of pleasure."

The overture is dedicated to W. Th. Seifferth. It is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, tambourine, cymbals, strings. The first performance in Boston was at a Philhar- monic Concert, Mr. Listemann conductor, October 24, 1879. There is a pianoforte arrangement for two hands by W. Sapellnikoff and one for four hands by Alois Reckendorf

Allegro con brio, E major, 6-8. A swelling trumpet tone over roll of drums leads to a full orchestral entrance, fortissimo. A horn passage is answered by trumpets and trombones. The pace grows livelier, pivL mosso, after a chromatic headlong run of wood-wind instruments in unison. The chief theme is announced at first in modest and delicate fashion by flutes and clarinets. There are repetitions, and then follows a stormy outbreak of full orchestra. The divided first and second violins lead to the second theme, pianissimo. In the development there is a continued alternation of 6-8 and 2-4 time, and the opening theme for full orchestra and the chief theme furnish the prevailing material. This chief theme appears in the bassoons. It is modified

* It is a curious fact that Svendsen's name is not mentioned m the many volumes of letters written by and to Liszt, who was always zealous in bringing forward young composers of merit.

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it again appears in its first form. The second theme appears in modified form (trombones), and it leads to an idyllic episode, Moderato, C major, with a theme for divided violins, which is further developed.

There is a long drum-roll, which, with calls of muted horn, opens in a powerful crescendo the closing section, tempo primo, in which all the earlier motives return in manifold modifications. # * The Carnival at Paris has for some years been described as "lugubre, bete, surannS." The two chief features are the procession of the baeuf gras and the ball at the Opera. These balls, by the way, were estab-

lished in 1 7 15. The Carnival in the earlier days was often reproached for its malicious and licentious character. Henry III. with his mignons went about the streets, tormenting and insulting the citizens. Louis XIII. viewed the sports with sour eyes. Under Louis XIV. there were striking processions, tableaux, and masks. The Republic chilled the spirits of revellers, but in 1799 there was a revival of frolic and license. During the first Empire military balls distinguished the Carnival. The Carnival at Venice, Rome, Vienna, has furnished subjects for dramatic and orchestral composers, but the Carnival at Paris has received scanty attention. How was Svendsen's attention drawn to it. ?

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1310 —

Svendsen, as a boy, showed unmistakable talent for the violin; but his parents were poor, and he entered the light infantry of the Nor- wegian army. No sooner was he a soldier, according to his own wish, than he thought of a musical career. He played the clarinet and then the flute in a band, nor did he neglect the violin. He was allowed to play for dancing, and they say that he twisted etudes of Kreutzer and Paganini into suitable tunes for the dancers. When he was twenty-one, he left the army and wandered about in Sweden and Northern Germany as a virtuoso. The Scandinavian consul at Lubeck, Dr. Leche, hap- pened to hear him, and was so much interested in him that he obtained a pension for Svendsen from Charles XV., by which the violinist was enabled to study at the Leipsic Conservatory (1863-67) under David, Hauptmann, and Richter. In 1867 Svendsen gave concerts in Den- mark, Great Britain, Norway. In 1868 he went to Paris, where he remained two years, and to support himself he became a member of the orchestra at the Odeon theatre. He also played in Musard's orchestra. He arranged the incidental music for Coppee's "Le Passant," in which Mmes. Sarah Bernhardt and Agar played, wrote his violin concerto in A major, orchestrated studies by Liszt, and began his overture "Sigurd Slembe." After various adventures in Europe and America, he returned to Paris in 1878, where he lived, helped in large measure by a pension granted him by Oscar II. In 1880 he went back to Christiania as conductor. He had already led the Music Society concerts of that city from 1872 to 1877. In 1883 he was called to Co- penhagen as Court Conductor. * * *

Here is a list of Svendsen 's chief compositions for orchestra as played in Boston: Overture to Bjornson's drama, "Sigurd Slembe," Op. 8: Thomas Concert, November 28, 1873; Philharmonic Concert, March 10, 1881. CITY TICKET OFFICE 306 WASfflNGTON STDEET NEXT TO OLD SOUTH MEETINQ-HOUSE

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CANTI POPOLARI ITALIANI Tauchnitz's British Authors

A collection of Tuscan Stornelli, $1.50 SCHOENHOF BOOK CO. (Italian and English Text) 138 Tromont St., 2d door north of Winter Street over Wood's Jewelry Store, (Tel., Oxford 1099-3. CONTENTS Beppino Nacqua Bellezze Beauty was born Bella Belina Fairest, O Fairest O Sol Che Te ne Vai Setting Sun Art Needlework Chi V Amera Who loves my love? O, Rondinella Song of my malting Beads EMMA A. SYLVESTER C. W. THOMPSON & CO. 3 Winter Street Room 32 A and B PARK STREET BOSTON Elevator

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307 BOYLSTON STREET TelepKone, 3142-5 BacR Bay 1312 Coronation March for Oscar 11,, Op. 13: Thomas Concert, January 23, 1875, and many times since. "Carnival at Paris," Episode, Op. 9: Philharmonic Concerts, October

24, 1879, December 13, 1879: Symphony Concerts, December 5, 1891, December i, 1894, March 28, 1903. Overture to "Romeo and Juliet," Op. 18: Philharmonic Concerts,

November 5, 1880, November 9, 1890; Roberts course, 1883-84; Orchestral Club, 1885-86; concert led by Mr. Listemann at the Boston Theatre, June 13, 1886. "Zorahayde," legend after Washington Irving, Op. 11: Philhar-

monic Concert, April 4, 1883; Symphony Concert, November 26, 1892; Boston Orchestral Club, April 15, 1903. Rhapsodie Norv^gienne: Orchestral Club, 1884-85.

Symphony in B-flat, No. 2, Op. 15; Symphony Concerts, January

5, 1884, January 23, 1904. Rhapsodie Norv^gienne, No. 2, Op. 19; Symphony Concert, Novem- ber 16, 1889.

Addendum: In the account of Mr. Paderewski's concerts in Boston published in Programme Book No. 15, p. 11 78, this statement was made: "He [Paderewski] also played with the Adamowskis a quartet by Brahms, as some say on February 26, 1892, but newspapers of that month said nothing about the concert. I have been unable to verify this date." Through the courtesy of Mrs. S. B. Field I have seen the programme of this concert given in Bumstead Hall February 26, 1892, at 9.30 o'clock. The concert was of a private nature, and the audience was invited. "Mr. Paderewski will play pianoforte .pieces by Beethoven, Bach, Schuman (sic), Chopin, and a quartet for pianoforte and strings by Brahms."

CThe musical public is reminded that the Ruth Burrage room, with its two pianofortes and library of all music that exists for two pianos, four hands and eight hands, is located at Steinert Building and is open daily from 9 to 6. FREE TO ALL. Inquiry for free time should be made at the office of M. Steinert & Sons Company.

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1314 Seventeenth Rehearsal and Concert*

FRIDAY AFTERNOON, MARCH 5, at 2.30 o'clock.

SATURDAY EVENING, MARCH 6, at 8 o'clock.

PROGRAMME.

Berlioz Fantastic Symphony

Weber . . Aria from "Oberon," "Ocean, Thou Mighty Monster"

Songs with Pianoforte.

Other orchestral selections to be announced.

SOLOIST, Mme. BERTA MORENA.

From the Metropolitan Opera House.

1316 STEIITEK/T H ^ L Xi THIRD VIOLIN RECITAL CZERWONKYBY Mr. CARL SGHEURER, Viola, Assisting WEDNESDAY EVENING, MARCH 10, AT 8.15 PROGRAM DOLMETSCH POTTER HALL - - 177 Huntington Avenue

Monday Afternoon, March 1 , 1 909, at 3 SONG RECITAL HELEN ALLEN HUNT ISIDORE LUCKSTONE Assisting

PROGRAMME

Deggio morire Aveil pose des pieds lents Handel Paulin Cosl m' alletti J'ai pleure en reve Hiie

Es hat die Rose ) Chanson de Juillet Godard Franz Stille Sicherheit ] Weil ich wie einstmals allein Crossing the Bar Lucks tone Tschaikowsky Love's Symphony Schlupfwinkel . . . .La Forge Boat Song Ware Botschaft Brahms The Bluebell MacDowell The Merry Month of May Huhn La Princesse Eudormie Borodine The Rainbow ) Les trois chansons Pierne Woodman An Open Secret ) D'une prison Hahn

Tickets, $1.00, at Symphony Hall

STEINERT HALL

Thursday Afternoon, March 11, 1909, at 3 o'clock The American String Quartette GERTRUDE MARSHALL, First Violin ETHEL BANKART. Viola ^ EVELYN STREET. Second Violin GEORGIE PRAY-LASSELLfi, Violoncello

Assisting Artist, Mr. HEINRICH GERHARD

Besenred Seats, «l.50. Jl.oo, d/Ud 6Qc., to be had at Symphony Hall, Steinert Hall. Herrick's. and from Mrs. Robert Grant, 211 Bay State Road, and Miss C- H. Guild, 251 Beacon Street.

The Boston SppbonyOrcbestra Programme

For the twenty-four Boston Concerts, with Historical and Descriptive Notes by Philip Hale. Bound copies of the

Programme for the entire season can be had at $2.00

by applying before the last concert. Address all com-

munications to F. R. COHEE, Symphony Hall, Boston. 1318 THE KNEISEL QUARTET FRANZ KNEISEL, F/r« Violbt tOUIS SVECENSKI, Fuh JULIUS ROENTGEN, s.«ndrM-i WILLEM WILLEKE, r«&n«a TWENTY-FOURTH SEASON, 1905-1909 FENWAY COURT

FIVE CONCERTS TUESDAY EVENINGS

at 8.15 o'clock CHICKERING HALL The Hess - Schroeder Quartet

PROF. WILLY HESS, First Violin

J. VON THEODOROWICZ, Second Violin EMILE FERIR, Viola * ALWIN SCHROEDER, Violoncello

FOURTH CONCERT Tuesday, March 2, 1909, at 8.13 o'clock

PROGRAM SCHUBERT .... String Quartet in D minor, Op. Posth.

MAX REGER . . . Three movements from Suite, Op. 103a,

' for Violin and Pianoforte, (new).

BEETHOVEN . . Trio for Pianoforte, Violin, and Violoncello,

in B flat major, Op. 97.

ASSISTING ARTIST Mr. nEIIHHlCH OfBHARD

THE MASON & HAMLIN PIANO

Last Concert of the Season, Thursday Evening, March 25, 1909.

Tickets, J1.50, $i.oq, and soc, at Box Office, Symphony Hall 1320 SUNDAY EVENING, FEBRUARY 28, 1909 AT EIGHT CONCERT BY THE BOSTON SYMPHONY ORCHESTRA MAX FIEDLER, Conductor

IN AID OF ITS PENSION FUND

Dr. LUDWIG WULLNER, Assisting

programme

" " RICHARD STRAUSS . . . Tone Poem, Ein Heldenleben

SONGS . Selected Dr. LUDWIG WtJLLNER

RECITATION of Wildenbruch's Poem, "Hexenlied" (Witch's Song), by Dr. Ludwig Wiillner with the accompaniment of Max Schillings'

music for orchestra. '

Tickets $2.00, $1.50 and $1.00. On sale at Symphony Hall, Friday, February 19

1321 THE STUDIO GIFT SHOP AND TEA ROOM 394 BOYLSTON STREET Miss ANNE ABBOTT

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Mrs. R. J. HALL'S CONCERT

Friday Evening, March 5, at 8.1 5 o'clock

Assisting Artists

Mrs. MARIE SUNDELIUS ^ Soprano Messrs. A. MAQUARRE and A BROOKE, Flutes Mr. F. HAIN French Horn

Mr. J. KELLER . 'Cello Mr. H. SCHUECKER Harp

Programme

H. Woollett Sonata in B-flat minor for Flute and Piano a. L. Delibes ...... Myrto b. A. Bachelet . Chere Nuit Songs

H. Woollett Danses Pa'iennes, for Saxophone, 2 Flutes, 'Cello, and Harp

Cesar Franck L'Ange et 1' Enfant

Rimsky-Korsakoff Air de Snegourotchka (Taken from the opera of the same name)

H. Woollett Nocturne for French Horn and Piano

H. Woollett Scherzo for 2 Flutes and Piano

Tickets, $1 .00, at Symphony Hall 1323 1

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I SOUTH CORRIDOR

1324 '

MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and SOPRANO SOLOIST *»""»• ^'<- "-.«««»., Aven«e. ffiss HARRIET S. WHITTM, Exponent of the method of the late Charles R. Adams. Portsmouth, New Hampshire, Mondays.

Classes in Sight Reading Miss CAROLINE M. SOUTHARD, (e.oht hands,. Advanced pupils follow the Sjrmphony pr<^amme8 TEACHER OF THE PIANOFORTE. as far as practicable. 165 Huntington Avenue - Boston

TEACHER OF SINGING. ffiss CLARA E. MDN6ER, New Century Building, 177 Huntington Avenue, Boston.

Concert and Oratorio. Iss GERTRUDE EDMANDS, Vocal Instruction* The Copley, ISHuatington Avenue.

Pianist and TeacHer. Iss ELEANOR BRIGHAM, Trinity Court.

PIANIST and TEACHER. ffiss JOSEPHINE COLLIER, LANQ STUDIOS, 6 NEWBURY STREET.

VOICE PLACING, Mr.SAMUELJ.MacWATTERS, Development of Tone and Professor of Voice Building in Resonance. Boston University. 72 MOUNT VERNON STREET. RHYTHM Applied to Physical and Personal De- Mrs. LUCIA GALE BARBER. velopment. MUSIC — Interpretation. LECTURES and INSTRUCTION. THE LUDLOW, COPLEY SQ., BOSTON.

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38 BABCOCK ST., BROOKLINE. TEACHING AT BERTHA GUSHIN6 CHILD, LANG STUDIOS, 6 NEWBURY ST., BOSTON.

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

TEACHER OF PBANO.

Hiss RENJl I. BISBEE, LANG STUDIOS,

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PIANOFORTE INSTRUCTION. LDCY FRANCES GEREISH, GERRISH STUDIO,

140 Boylston Street . . Boston.

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

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

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

RICHARD PLATT, 23 Steinert Hall . . Bostoo. Mason & Hamlin Piano. 1326 PIANO, OIIGAN,

CHARLES S. JOHNSON, HARMONY.

LANG STUDIOS, 6 NE^TBURY STREET.

Pierce Buildingt Copley Square, Room 3t3. INSTRUCTION IN THE SAM L. STODLEY, ART OF SINGING. OPERA, ORATORIO, AND SONQ. TEACHER OF SINGING. 602 Pierce Building, ffiss PRISGILLA WHITE, Copley Square, BOSTON. Tuesdays and Fridays at Lasell Seminary. BARITO/NE. EARL CARTWRIGHT, TEACHER OF SINQINQ. Lang Studios, 6 Newbury Street.

Pianist and Teacher.

Hiss HART INGRAHAH, Lan^ Studios, 6 NEWBURY STREET. Miss EDITH JEWELL, Miss Rose Stewart, VIOLINIST AND TEACHER, Vocal Instruction. 37 BRIMMER STREET. Refers by permission to Mr. C. M. Loeffler. 246 Huntington Avenue.

HELEN ALLEN HUNT, BOSTON MUSICAL BUREAU. Established 1899. CONTRALTO SOLOIST. Supplies Scbools, Colleges, and ConservatoriM nnth Teachers of Music, etc.; also Churches witk Teacher of Singing. Organists, Directors, and Singers. Address HENRY C. LAHEE, No. 514 Pierce Building Boston. 'Phone, 475-1 Oxford. 2i8Tremont St., Boston.

Miss l/\EZ DAY, Miss PAULA MUELLER. Teacher of Piano PIANIST and TEACHER. and German Language. STUDIOS, LANQ STUDIOS, 28 Oentral Avenue, Room 30, Steinert Hall MEDFORD. BOSTON. 6 NEWBURY STREET. RECITALS. MLLE. LEA MASSE, CAROLINE WOODS-HOWELL TEACHER OF SINGING 165 Tremont Street, Room 31, BOSTON. French conversation taught in six JEAN DERESZKE METHOD months, reading, diction. 514 Pierce Building Leaeons at home or residence, in classes or privately. Day or evening. Interviews by appointment only 1327 MR. ROBT. N. Mme. de BERG-LOFQREN, MRS. ROBT. N. LISTER, Teacher of Singing, TEACHER OF SINQINQ. Soprano Soloist. " " SjrmphoBjr Chambers, opposite Symphony Hall, The GARCIA Method. BOSTON. Studio, 12 Westtond Avenue. BOSTON, KIASS. TIPPEH ''"'' Mrs. H. CARLETON SLACK, VOCAL INSTRUCTION. ^"•'^'^''^'' PAULL Lyric Soprano. Concerts and Recitals* Lessons at residence, 128 Hemenway Street. STUDIOS ""^'^ VIOLET IRENE WELLINGTON, Assistant, R. Humorous and Dramatic Reader. GRACE HORNE Also Teaeher of Voice, Elocution, Fhynoal Culttu*. 312 PIERCE BUILDING 59 "Westland Avenue. COPLEY SQUARE Telephone, 3439-1 Back Bay.

Miss JANET DUFF, Miss MARIE WARE LAUGHTON, (7 years pupil of Francis Korbay) Contralto, Concerts, Oratorios, and Song Recitals. Lecturer and Reader of Shakspere. Teacher of Voice Production and Singing. Instructor of the VOICE IN SPEECH. Studio, 402 Huntington Chambers. Monday, Wednesday, Thursday and Saturday morn- Courses of Study for Personal Culture and Pr*> ings fessional Training. Management, W. S. Bigelow, Jr., Boston 418 PIERCE BUILDING, COPLEY SQUARE EDITH MAY I.ANG. Ellen M* Yerrinton. PIANIST and TEACHER. Lang Studios, 6 Newbury Street, Boston, Vorbereit^ to Teresa Carreno, Mondays and Thursdays at Moses .Brown School, Providence, R.I. Uhland Str. 30, BERLIN, W.. GERMANY Miss MARY A.STOWELL, Mr. WILLIS W. GOLDTHWAIT, Teacher of Piano and Harmony* Teacher of Piano. % The ILKLEY, Thorough instruction in Harmony, class or private. Huntington Avenue and Cumberland Street. 7 Park Square, Boston. „ (Cumberland Street entrance.) Mr. P. FIUMARA Mrs. Alice Wentworth MacGregor, Orchestra of mem- Will furnish a Small TEACHER OF SINQINQ. bers of the Boston Symphony Orchestra for Musicales, Dinners, Receptions, etc. Residence Studio, 780 Beacon Street. Tueadays and Fridays at Abbot Academy. Address, Symptiony HalL « ARTHUR THAYER, Clarence B. Shirley, TEACHER OF SINGING. Tenor Soloist and Teacher. CONCERT AND ORATORIO. Huntington Avenue 200 Studio, Huntington Chambers, Boston.

Concert. Oratorio EDWIN N. C. BARNES, Mrs. SOPRANO Basso Cantante and Lafayette GOODBAR, SOLOIST. Teacher of Singing. TEACHER OF SINQINQ. Thorough preparation for Concert and Chnrch. Symphony Chambers . . . Boston. Studio . . Steinert Hall. Opposite Symphony HalL 'PluMie, Oxford 1330. llondays and Thondays 1328 i 1

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

Used exclusively in the

PIANOS

The 'Three Epoch-making Discoveries

IN THE MANUFACTURE OF GRAND PIANOS ARE

First, The French Repeating Action, 182 Second, The Full Iron Frame and Over-strung Scale, 1859 Third, The Mason & Hamlin Tension Resonator, 1900, the most important of the three, as it pertains to tone production

*" 3. piano is dependent upon the crown, or Qiialihv r»f arch, Udlll Ul Tr\no1 UlIC ^ of its sounding-board. Loss of tone-quality is caused by the flattening of the sounding-board through the action of the atmosphere and the great downward pressure of the strings.

The Mason & tlamlin Tension Resonator

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

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

0pp. Inst, of Technology 492-494 Boylston Street STEINWAY PIANO

>'*''"'•<•' In Concert Halls ='" " use the otemway 8«fwhen p^fat the

height of their artistic career. It is their first and only choice, when a free and unbiased choice has been made, a choice unin- fluenced by modern commercial methods, and prompted only by a desire and a need for the best the world can give them.

In Private Homes *eStebway piano « the choi« or the cognoscenti the world

over, treasured as one of the most precious Household Gods, a

necessary essential of the refined home. Its very possession puts

the seal of supreme approval upon the musical taste of its owner,

for it denotes the highest degree of culture and musical education.

In Royal Palaces Steinway is the chosen Piano. •^ t^iNo other piano house has been

and is so signally honored by Royalty as the house of Steinway. No other piano has met with the approval that has been accorded the Steinway by the royal and imperial houses of the old world.

STEINWAY (a SONS Stein-way Hall 107 and lOQ £ast 14tK St., New YorR

Subway Express Station at the Door

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