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, ( Ticket Office, 1492 J Telephones_, , Back^ ^ Bay-d \ Administration Offices. 3200 \ TWENTY-NINTH SEASON, 1909-1910

MAX FIEDLER, Conductor

prngramm^ of % Nineteenth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, MARCH 18 AT 2.30 O'CLOCK

SATURDAY EVENING, MARCH 19 AT 8.00 O'CLOCK

COPYRIGHT, 1909, BY C. A. ELLIS

PUBLISHED BY C. A.ELLIS, MANAGER

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Nineteenth Rehearsal and Concert

FRIDAY AFTERNOON, MARCH J8, at 230 o'clock

SATURDAY EVENING, MARCH i% at 8 o'clock

PROGRAMME

Strube Comedy Overture, "Puck" (MS.) First performance

' Strauss . . . Symphonia Domestica, Op. 53 (in one movement)

Arias with Orchestra:

a. Mozart . . "Deh vieni" ("O come, my heart's delight"), from "Le Nozze di Figaro," Act IV., Scene 10

d. Graun . .- . "Singtdem gottlichen Propheten " (" Lo, the heaven descended Prophet"), from " Der Tod Jesu" ("The Death of Jesus")

" Mozart .... Overture to the Opera " The Magic Flute

Songs with Pianoforte Accompaniment:

a. Brahms . " Die Nachtigall " ("The Nightingale "), Op. 46, No. 4

^. Schumann . . "Widmung" ("Dedication"), Op. 25, No. i " " c. Fiedler . . . Wiegenlied ("Cradle Song"), Op. 8, No. i " a. Strauss . . . " Standchen ("Serenade"), Op. 17, No. 2

SOLOIST Madame SEMBRICH

Baldwin Piano Used

There will be an intermission of ten minutes after the Symphonia Domestica

The doors of the hall ivill he closed driving 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 be- tween the numbers.

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Comedy Overture, "Puck" (MS.) Gustav Strube

(Horn at FJallenstedt, March 3, 1.S67; now living in Boston.)

This overture was written in the winter of 1908. The overture, dedicated to Max Fiedler, is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, four horns, four trumpets, three trombones, bass tuba, kettledrums, snare-drum, bass drum, cymbals, triangle. Glockenspiel, and the usual strings.

I am indebted to the composer for the following note: The overture has no program. The title indicates merely that the composer wished to portray in tones a sylvan picture, some frolic with Puck as the main figure. The form is that of the Sonata. After a short introduction theme, which is developed at some length, the main motive enters (D major). It is played by the horn and accom- panied by a tremolo in the strings. This is followed by little episodes that lead into the second motive (F major). A conclusion theme of a more tranquil character ends the first part. There is a working-out

section, and after this the first motive enters again, and this time it is played by the whole orchestra, fortissimo, over a basso ostinato. Then the second motive and the conclusion theme appear again. There

is a short coda.

Puck is the rascally imp that frights maidens of the villagery, skims milk, mocks the breathless housewife at the churn, misleads night wanderers, disconcerts sorely the wisest aunt telling the saddest tale.

Those that Hobgoblin call you, and sweet Puck, You do their work, and they shall have good luck.

Richard Grant White says in a note to "A Midsummer Night's SONGS WORTH SINGING

Sung by Madame Nordica. "NOW SLEEPS THE CRIMSON PETAL." Composed by Roger Quilter. 3 keys. Sung by Madame Marchesi. "A COTTAGE SONG." Composed by Laura G. Lemon. 3 keys. Sung by John McCormack. "THE PHILOSOPHY OF LOVE." Composed by John F. Larchet. 3 keys. Sung by Harry Dearth. "TOMMY LAD." Composed by E. J. Margetson. 2 keys.

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Dream": "Until after Shakespeare wrote this play puck' was the generic name for a minor order of evil spirits. The name exists in all Teutonic and Scandinavian dialects; and in New York the the — Dutch have left it in a form- 'spook,' meaning a ghost or spirit —known to all who are Knickerbockers by blood or birth. The name was not pronounced in Shakespeare's time with the u short. Indeed, he seems to have been the first to spell it puck, all other previous or contem- porary English writers in whose works it has been discovered spelling; it either powke, pooke, or pouke. There seems to be no reason to doubt that Shakespeare and his contemporaneous readers pronounced it pook. The fact that it is made a rhyme to 'luck' is not at all in variance with this opinion, because it appears equally certain that the u in that word, and in all of similar orthography, had the sound of oo." Burton, in his "Anatomy of Melancholy," makes a puck a separate demon, will-o'-the-wisp. In Ben Jonson's "Sad Shepherd" he ap- pears as Puck-hairy. In "Hudibras" he figures as "good Pug-Robin." See Heywood's "Hierarchie," Lib. IX.:

In John Milesius any man may reade Of divels in Sarmatia honored Call'd Kottri of Kibaldi; such as wee Pugs and hobgoblins call. Their dwellings In corners of old houses least frequented bee, Or beneath stacks of wood; and these convented Make fearful! noise in buttries and in dairies, Robin good-fellowes some, some call them fairies.

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SyMPHONIA DOMESTICA, Op. 53 RiCHARD STRAUSS J

(Born at Munich, June 11, i> 4; now livin:^ in Cliarlottenburo — Berlin.) 1

Richard Strauss was sojourning in London late in he When 1902, i said to a reporter of the Musical Times of that city: "My next tone- poem will illustrate 'a day in my family life.' It will be partly lyrical, partly humorous, —a triple fugue, the three subjects representing papa, mamma, and the baby." * The symphony was composed in 1903.- On the last page of the score is this note: "Charlottenburg, December 31, 1903." The score

was published in 1904. It is said that Strauss received from the ! publisher a sum equivalent to nine thousand dollars for it. It was performed for the first time at the last concert of the Richard Strauss Festival in Carnegie Hall, New York, March 21, 1904, by Wetzler's Orchestra, and the composer was the conductor. The con- cert began with a performance of Strauss's "Don Juan," and closed with a performance of his "Also sprach Zarathustra." It may here be said that Strauss's Symphony in F minor, Op. 12, was also per- formed for the first time in New York by the Philharmonic Society of that city and from manuscript on December 13, 1884, when Mr. Theodore Thomas conducted.

* See the Musical Times, January i, 190J, p. 14.

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147 Tremont Street^ Boston. The first perfo nuance of the Syniphonia Domestica in Europe was at the Fortieth Festival of the Allgemeiner Deutscher Musikverein

at Frankfort-on-the-Main, June i, 1904. The composer conducted. The first performance in Belgium was at a Concert Populaire, Novem-

ber 13, 1904, when vS. Dupuis conducted. The first performance in England was on February 25, 1905, at the

Queen's Hall, London. Mr. Henry J. Wood was the conductor. The first performance in France was at a Colonne concert, Paris, March 25, 1906, when the composer conducted. The first performance in Boston was at a concert of the Boston Symphony Orchestra, February 16, 1907. The symphony was played again in Boston by the Boston Symphony Orchestra, March 30, 1907. The dedication of the symphony reads: "Meiner lieben Frau und unserm Jungen " ("To my dear wife and our boy"). The symphony is scored for one piccolo, three flutes, two oboes, one oboe d' amore,* one English horn, one clarinet in D, one clarinet in A, two clarinets in B-flat, one bass clarinet, four bassoons, one double- bassoon, eight horns, four trumpets, three trombones, one bass tuba, four saxophones ad lib.,^ four kettledrums, bass drum, cym-

bals, triangle, tambourine. Glockenspiel, sixteen first violins, sixteen

• second violins, twelve violas, ten violoncellos, eight double-basses, two harps. *

When Dr. Strauss was in New York, he wished that no program of this symphony should be set forth in advance of the performance. As Mr. Richard Aldrich. wrote, in the of \ New York Times March 6,

* The haulhois d' amour, oboe d'amore, was invented about 1720. It was an oboe a minor third lower in pitch than the ordinary oboe. "The tone was softer and somewhat more veiled than that of the usual instru- ment, being intermediate in quality, as well as in pitch, between the oboe and the English horn," This instru- ment fell out of use after Bach's death, but it has been reconstructed by the house of C, Mahiilon, of Brussels.

t Strauss says, "only in cases of extreme necessitv ad libitum." .

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1427 1904: "He wishes it to be taken as music, for what it is, and not as 1 the elaboration of the specific details of a scheme of things. The ' symphony, he declares, is sufficiently explained by its title, and is to be listened to as the symphonic development of its themes. It is of interest to quote the title, as he wishes it to stand. It is 'Symphonia j Domestica' (meiner lieben Frau und unserm Jungen gewidmet). Op. 53, which is, interpreted, 'Domestic Symphony, dedicated to my dear Wife and our Boy, Op. 53.' It bears the descriptive subtitle, 'In

einem Satze und drei Unterabteilungen : (a) Einleitung und Scherzo;

(6) Adagio; (c) Doppelfuge und Finale.' (In one movement and three subdivisions: (a) Introduction and Scherzo; (6) Adagio; (c) Double Fugue and Finale.) It is highly significant that the composer desires these movements to be listened to as the three movements of a composition, substantially, as, he declares, in the old symphonic form. He believes, and has expressed his belief, that the anxious search on the part of the public for the exactly corresponding passages" in the music and the program, the guessing as to the significance of this or that, the distraction of following a train of thought exterior to the music, are destructive to the musical enjoyment. Hence he has forbidden the publication of any description of what he has sought to express till after the concert.

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'"This time,' says Dr. Strauss, 'I wish my music to be listened to purely as music, ' When the symphony was performed at Frankfort-on-the-Main, the only program note published in advance in Die Musik after the an- nouncement of title and subdivisions was as follows: "The first theme, 'The Husband,' is in three parts: an 'easy-going' beginning (which

' recalls the beginning of the Pastorale Symphony') ; a continuation that is designated as 'meditative'; and a melody that rises 'in a fiery manner' on high. The second theme, ''^he Wife,' is extremely ca- pricious. The third theme, 'The Child,' is very simple, and in Haydn's manner. It is to be played by an oboe d' amore. From this theme springs the first theme of the double fugue, 'Assertion,' with which the second theme, 'Contrary Assertion,' is contrasted. The orchestra must be enlarged to one hundred ai^d eight instruments, among them four saxophones. Richard Strauss refuses to give any further pro- gram," The symphony was performed for the first time in Berlin at the Philharmonic concert of December 12, 1904, and Dr. Strauss con- ducted it. The program books of the Philharmonic concerts, as a rule, contain minute analyses, with illustrations in notation of the orchestral works performed. The only note on the Symphonia Domes- tica was as follows;

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"This work, written in one movement, is divided" (or, rather, articu- lated) "into four subdivisions, which correspond, on the whole, to the old form of the sonata:

"I. Introduction and development of the three chief groups of themes. The husband's themes: (a) Easy-going, (6) Dreamy, (c) Fiery. The wife's themes: (a) Lively and gay, (b) Grazioso. The child's theme: Tranquil. II. Scherzo. Parents' happiness. Childish play. Cradle-song (the clock strikes seven in the evening). III. Adagio. Doing and thinking. Love scene. Dreams and cares (the clock strikes seven in the morning), IV. Finale. Awakening and merry dispute (double fugue). Joyous conclusion." * * * The symphony was given a few weeks before this in Dresden at a concert of the Royal Orchestra (November 15, 1904). The program book contained three pages of general and innocuous remarks, with the conclusion that the composer here portrays his own family life; that he is outwardly "easy-going," occasionally "dreamy," but at bottom a "fiery" husband, who, although his wife is lively and grace- ful, yet remains the superior, who follows with inward joy the thoughts and feelings of his little child, —a man among men, one upon whom a kind fate has bestowed unconquerable humor. Then followed two pages and a half of thematic illustrations 'with the titles given above. When the symphony was again played in Dresden, March 8, 1905, this time under the direction of the composer and for the benefit of the

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1438 — — — fund for the widows and orphans of the members of the Royal Music Band, —the identification of Strauss as the hero of his symphony was omitted.

It is plain that Strauss, like Mahler, does not believe in analytical programs; but, unlike the latter, he is at least consenting to their appearance after a performance. Even when he was in New York, he noted down the themes of his symphony for Mr. Aldrich, and they were published in the New York Times of March 6, 1904, before the performance. Furthermore, in the "Richard Strauss volume" of Die Musik (Berlin and Leipsic), second number of January, 1905, appeared an analysis, nine pages long, by Mr. Wilhelm Klatte, of this very sym- phony, which the author, a Berliner, wrote as one with authority. * * *

When the symphony was played in London for the first time, an "official" description was published, and an elaborate analysis was prepared by Messrs. Kalisch and Percy Pitt. The Daily News of February 23, 1905, published the former with a prefatory note: "In accordance with his custom the composer has not put forward a definite program of his own, but, with some inconsistency, he has allowed a description to be made public, —with some inconsistency, because he has declared that he wishes his music to be listened to as if it meant nothing in particular if the hearer feels more comfortable in ignoring the program. The only indications given are in the subheadings to the separate sections of the symphony. The official description of the symphony runs as follows : "'The symphony continues without a break, but has four well- defined sections:

1. Introduction. 2. Scherzo. 3. Cradle-song and Adagio. 4. Finale: Double Fugue.

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"'The symphony is concerned with three main themes, that of the husband, that of the \viie, and that of the child. The husband theme is divided into three sections, the first of which is marked "gemachUch" (easy-going, or deHberate), the second "sinnend" (meditative), and the third "feurig" (fier\^). The first section of the symphony, the introduction, is devoted to an exposition and treatment of the chief themes, or groups of themes, its most striking feature being the in- troduction of the child theme on the oboe d' amore, an instrument which has practically fallen out of use. The composer himself has spoken of this theme as being of "almost Haydnesque sim.plicity." On this follows a ver\' characteristic passage, which has been inter- preted as representing the child in its bath. The scherzo bears the headings: "Eltemgliick—Kindliche Spiele" (Parents' Happiness The Child at Play). Its chief theme is the child theme in a new rhythm. At its end the music suggestive of the bath recurs, and the clock strikes seven. We then come to the lullaby, where we have another version of the child theme. The subheadings of the adagio are : "Schaffen und Schauen^—Liebes-scene —Traume und Sorgen" (Doing and Thinking —Love Scene—Dreams and Cares). This elaborate section intro- duces no new themes of any importance, and is really a symphonic slow movement of great polyphonic elaboration and superlatively rich orchestral colour. The gradual awakening of the family is next depicted by a change in the character of the music, which becomes more and more restless, the use of rhythmical variants of previous

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1437 themesfbeing very ingenious; [and then there is another reference to the bath music, and the glockenspiel indicates that it is 7 a.m.

P"'In this way we reach the final Fugue. The principal subject of this is also a new version of the child theme. Its subtitle is "Lustiger Streit —Frohlicher Beschluss" (Merry Argument —Happy Conclu- sion), the subject of the dispute between father and mother being the future of the son. The Fugue (the chief subject of which is another variant of the child theme) is carried on with unflagging spirit and humour and great variety of orchestration, the introduction of the four saxophones adding fresh colours to the score. As the Fugue proceeds, the child theme gradually grows more and more prominent, and finally seems to dominate the whole score. Some new themes, all more or less akin to it, and all in the nature of folk-tunes, are introduced. The father and mother, however, soon assume their former importance, and the whole ends with great spirit and in the highest good humour with an emphatic reassertion of the husband theme with which it began, " suggesting that the father had the last word in the argument. ' Here we have the second section of the Husband's theme character- ized as "sinnend" instead of "traumerisch." The latter is the term published in the score. And it may here be said that after the musical sentence characterized in the score as "traumerisch" a short phrase, orchestrated for clarinet in A, two clarinets in B-flat, and a bass clarinet, is characterized by the composer "miirrisch," —ill-humored, peevish, cross. This theme is used afterward most sparingly. At the same time it is a singular fact that this section of the Husband theme is not mentioned in any "official" program. Strauss 's reticence about the program of a work and his subsequent explanatory confidences have annoyed even the admirers of his strange and enormous talent. Thus, when the Symphonia Domestica was performed for the first time in London, Mr. Ernest Newman wrote in the Speaker:— "It has been said very confidently that here Strauss has forsaken program music and gone back to music of the absolute order; it

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1439 — has also been said, with equal confidence, that he has done nothing of the kind. Strauss himself has behaved as foolishly over it as he might have been expected to do after his previous exploits in the same line. He writes a work like 'Till Eulenspiegel,' that is based from start to finish on the most definite of episodes, and then goes through the hea\y farce of ' mystifying' his hearers by telling them he prefers not to give them the clue to the episodes, but to leave them to 'crack the nut' as best they can. All the while he is giving clue after clue to his personal friends, till at length sufficient information is gathered to reconstruct the story that Strauss had worked upon; this gradually gets into all the program books, and then we are able to listen to the work in the only way it can be listened to with any comprehension, with a full knowledge of the program. With each new work of Strauss there is the same tomfoolery, —one can use no milder word to describe proceedings that no doubt have a rude kind of German humor, but that strike other people as more than a trifle silly. So it is now " with the 'Symphonia Domes.tica. ' * * * The themes of the Husband are exposed at once. The violoncellos begin the "easy-going" theme (F major, 2-4) without accompaniment. A horn and the bassoons are added. The oboe sings the "dreamy" theme, and, as it ends it, clarinets and bass clarinet have a melodic thought designated by the composer as "ill-tempered." As I have said, this motive is unimportant. The third significant theme ("fiery") of the Husband is given to violins (E major). The mood of ill-temper recurs for a moment, but is interrupted by a trumpet shout. The "easy-going" theme reappears (F major). The most important theme of the Wife enters (B major, "very lively," violins, flutes, oboes). This capricious motive is followed by a gentle, melodic theme, "tenderly affectionate" (solo violin, flute, clarinet), but the capricious theme interrupts, and it is now character- ized as "wrathful," and a chattering passage for violins and clarinets appears later, slightly changed, as the expression of "Contrary Asser- tion." There is a return to F major and the first tempo, with the UNIVERSITY TRAVEL Scholarly guidance for the serious traveller. Especial interest in Art, History and Archaeology of Europe and the Orient. Tours in Spring and Summer, including a performance of the Passion Play at Oberammergau, 19 10. Send for our announcement. UNIVERSITY PRINTS 2000 reproductions of master-pieces of sculpture and painting one cent each. Handbooks for the student. Send two-cent stamp for complete catalogue. T«lephon«. Back Bay 2620

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1441 "

Husband's first theme transformed and over a pedal F. These themes are used in close conjunction until after a cadence in F major the theme of the Child is introduced. The Child's theme is introduced with mysterious preparation, while the other themes have been exposed frankly. Second violins, tremu- lous, sound gently the chord of D minor. The oboe d' amore hints at the theme in minor. There is a change in mode. There are chords of a strange nature, now for solo violins and violas, now for bassoon and horns. The first figure of the Wife's theme is heard, and then the Child's theme is sung in D major, 2-2, by the oboe d' amore. A gay episode serves as a coda. And here Strauss introduces one of his little jokes, for himself and a few friends, that apparently give keen annoyance to the symphonically sedate. A short, incisive ascending, figure is played by clarinets and muted trumpets. This is answered by a descending and equally incisive figure for oboes, muted horns, and trombone. According" to a note in the score the ascending figure portrays: "The Aunts: 'Just like his papa!'" The descending figure represents: "The Uncles: 'Just like his mamma!' Two transitional measures lead to the second division of the sym- phony, the Scherzo (D major, 3-8). The Child's theme, transformed, is played by the oboe d' amore; fragments from the motives of Husband and Wife are also employed in this section, "Child's Play, Parents' Happiness." After a broad crescendo the climax comes in twenty-five measures of tutti, with a combination of alia breve and 6-8 rhythms. The 3-8 rhythm reappears and with it the second section of the Scherzo begins: "The Baby is

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1448 tired, and the tender Mother wishes it to rest" (solo violin). The Child's motive now appears for the first time in the very concise and sturdy form which later plays an important part. The episode of putting-to-bed is characterized by Mr. Klatte, of Berlin, to whom I am indebted for some of these analytical notes, as abounding with "drastic details of tone-painting." Two clarinets sing a cradle-song (G minor, 6-8), to which the Child falls asleep. The clock strikes seven and the Scherzo is at an end. An Intermezzo of about forty measures follows, restful and peaceful music. The "dreamy" section of the Husband's motive is played in turn by oboe, flute, violin, and an inverted form of it, which is much used later, is joined to it. The strings have a passage "that is as the Confirmation of Happiness." The Adagio is divided into two sections, to which a species of coda is added. The first section, "Doing and Thinking," or "Creation and . Inspection," is developed out of the Husband's themes. The "dreamy" I motive is carried to its furthest extent, and, appearing in its inverted form with the theme of the "Confirmation of Happiness," it leads to a new melodic thought. The chief theme of the Wife is played passion- ately by violins, and with its gentler companion theme is most prom- inent. Then enter the motives of the Husband, and the themes of the two rise through a powerful crescendo to a climax in F-sharp major. This is the "Love Scene." After a short diminuendo the theme of happiness brings the end of this portion of the Adagio. The second portion, "Dreams and Cares," is music of twilight tones. The title "Sleep-chasings," invented by Walt Whitman for one of his early poems, would here not be inappropriate. The cares flee away, for the Child's theme is heard, and the tender melody of the caring Mother follows. The dreams fade with the harp notes and the tremolo of the violins. It is morning. The clock strikes seven and the cry of the Child ("a trill on the F-sharp major 6-4 chord, muted trumpets and wood-wind") arouses everything into life. The Finale is divided into two sections. The first is entitled "Awak- ing and Merry Strife." The bassoons give out a fugue subject, which is the Child's theme in a self-mocking version. This is the theme of

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Songs from Mme. SEMBRICH'S Repertoire

An die Nachtigall ... J. Brahms 1 Les Berceaux .... G. Faure

Lea Cloches C- Debussy | Love has Wings . . . James H. Rogert In editions for liigh, medium, and low voice. First Production in America of the Notable European Success PARADISE LOST Oratorio by M. Enrico Bossi Concert of the HANDEL and HAYDN SOCIETY, March 27th Vocal Score, paper, n. $1.75 Bound, n. $2.75 Libretto, n. $0.25| 14M — "Assertion," and it- is developed by wind instruments. The third trombone brings it in augmentation. The second subject of the double fugue, the theme of "Contrary Assertion," is introduced by the violins. These voices are led in merriest mood, separately and against each other. The preceding themes that are used are chiefly those typical of the Wife, though the Husband's trumpet cry is introduced. The chmax of this portion of the Finale is a tutti/y/ of over thirty measures on an organ-point on C. "The Child seems to have hurt himself in boisterous play. The mother cares for him (theme given in the Scherzo to solo violin), and the father also has a soothing word." A folk-song (F major, 2-4). The second section of the Finale, "Joyous Decision," begins with a calmly flowing theme, given at first to the violoncello and led over an organ-point of forty-odd measures on F. The preced- ing themes, typical of the "easy-going" character of the Husband and of the gentler side of the Wife, are brought in. The capricious theme of the Wife is suddenly heard. The struggle begins again, but now the "dreamy" theme of the Husband, with a highly pathetic emphasis, dominates until it makes way for the Child's theme (horns and trom- bones). After a cadence in D major the "easy-going" theme is thundered by trombones, tuba, bassoons. It then goes into F major. Now the Child's theme and other chief motives appear in their original form, but amusingly rhythmed. The gently expressive theme from the first section of the Adagio introduces a diminuendo. There is a joyous ending (F major). * * * In Manskopf 's Historical Museum of Music at Frankfort-on-the-Main is a program of a concert which took place at Jena, March 9, 1845. The sixth piece then performed bore the following title :

The First Harmonies of Life. Joyous Fantasia for Orchestra. Composed by Chapel-master Chelard * of Weimar.

Hippolyte Andr6 Jean Baptiste Chelard was born at Paris, February i, 1789. He died February 12, 1861, at Weimar. The son of a clarinet player of the Paris Opera, he studied with Fetis, Dourlen, and Gossec. Obtaining in 181 1 the prix de Rome, he went to Italy, studied there with Baini, Zingarelli, and Paesiello, brought out his first opera, " La casa a vendere," at Naples in 1815, and the next year played as violinist in the orchestra

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There is an introductory essay to each of the volumes. The texts are both in the original and in English. Each. Paper. Net, $1.00 Cloth. Net. $2.00

1446 liriliJIISSS .'^.': 'l

m.i?t:%,S«l ^/i 7: m0NeH^88Not

those who are unfamiliar TOwith the ANGELUS—with its tone, its simplicity of mechanism and durability, its perfect ease in operation —-to such the possibilities of Player-Pianos are unknown. In the ANGELUS, with its complete pianoforte scale of 88 NOTES, its solo-producing "Melodant," its accentu- ating melody "Buttons" — its whole harmonious blending of all its distinctive and exclusive features — it seems almost impossible to believe that the performance of such music is not the expression of human intelligence, acting through human fingers gifted with a superb technique. N Such music is within your own reach — in your owm home— its only requisite being the ANGELUS Player-Piano. As distributors for the ANGELUS, we shall be very glad toj give a special recital for yourself and friends in ouri ANGELUS Room, where you may hear the selections of your choice. C. C. HARVEY CO. 1446 Program: Birth, Baptism, Cradle; the Nurse's Song, the Mother, the Child, his Games, the First Lesson, Epoch of Youth, Choral. (Led by the composer.)

Mme. Marcella Sembrich was born at Wisniewczyk, Galicia, on February i8 (according to Riemann) or February 15 (according to Grove's Dictionary and Spemann's "Goldenes Buch der Musik"), 1858. Her maiden name was Praxede Marcelline Kochanska, and her father, Kasimir Kochanski, was a violinist and music teacher, (Sembrich was her mother's maiden name). Her father taught her music, the pianoforte when she was four years old and the violin when she was six. At the age of twelve she played in public both as pianist and violinist, and led the life of a wanderer in the provinces. She entered the Conservatory at Lemberg, where she studied under Brus- termann and under Wilhelm Stengel,* whom she afterward married. When she was about fifteen, she sang for herself and in choruses. After five years it was planned that she should study with Liszt. She stopped at Vienna, and it was then determined, on the advice of Julius Epstein, that she should study for an operatic career. In 1875 she

of the Paris Opera where his " Macbeth," with the libretto by Rouget de L'Isle, was produced in 1827 with little success. Disheartened, Chelard went to Germany with a revised version of "Macbeth," which, produced at Munich in 1828, was enthusiastically received. The kin.? of Bavaria appointed him court chapel-master. In 1829 Chelard returned to Paris, brought out an opera-comique, "La Table et le Lofement," which failed, and established a music shop, which was quickly ruined by the Revolution of 1830. Goine: back to Munich, he produced his operas, "Der Student," " Mitternacht," and a mass, and again tasted success. He conducted German opera in London in 1832. The manager failed. Chelard's opera, " Die Hermannsschlacht," was pro- duced in lilunich in 1835. From 1836 till about 1850 he conducted at Weimar. From 1852 to 1854 he lived again in Paris. His comic operas, "Der Scheibentoni " (1842) and "Der Seekadet" (1844), were produced at Weimar. The posthumous opera, "L'Aquila Romana." was produced at Milan in 1864. For an account of Mme. Schroeder-Devrient as Lady Macbeth in Chelard's opera see Chorley's "Modern German Music," vol. i., pp. 345-347 (London, 1854). For an account of German opera in London as led by Chelard see Chorley's "Thirty Years' Musical Recollections," vol. i., pp. 50-59 (London, 1862).

* Wilhelm Stengel, pianist, was born .\ugust 7, 1846.

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Our new catalogue of prices we feel sure will interest you.] 1447 f began to take singing lessons of Viktor Rokitansky* in Vienna, and afterward she studied under G, B. Lamperti, Jr., then living in Milan, who should not be confounded with the famous Francesco Lamperti, of Milan.

Mme. Sembrich made her first appearance in opera at Athens as

Elvira in "I Puritani," June 3, 1877. She was at that time married. She sang for about two months at Athens, as Lucia, Dinorah, and Elvira. Returning to Vienna, she studied the German repertory with Richard Lewy.f In 1878 she sang at Dresden as Lucia, and remained at the Dresden Opera House until 1880. She made her first appearance in London on June 12, 1880, as Lucia, and was engaged immediately for five seasons. In the summer of 1884 she studied with Francesco Lam- perti. Her brilliant career is known to all. Since 1878 her home has been alternately Dresden and Berlin. The first appearance of Mme. Sembrich in America was at the Metropolitan Opera House, New York, October 24, 1883, as Lucia in Donizetti's opera. * * *

* Viktor FreiheiT von Rokitansky was born in 1836. He died at Vienna, July 17, 1896. Singer and com- poser of songs, he taught at the Vienna Conservatory, and wrote "Ueber Sanger und Singen" (Vienna, 1891; I 2d ed., 1896).

t Lewy (Levy), born at Vienna in 1827, died there, December 31, 1883. He was originally a horn vir- tuoso, and for thirteen years a member of the Court Opera Orchestra. Later he was Regisseur of the Opera. Mallinger and Lucca studied singing with him.

SELECTION of some of the choicest books in our stock has just been placed on counters and slielves in the front part of our store, to be sold at substantial reductions in price during the next few weeks. ^This is a small overstock, shown by our annual inventory, of a class of books carried in stock by no other dealers in this part of the country, and seldom offered by us under our usual low net prices. ^ Both books and prices are quite unusual, and if you are a book-lover you will be interested in both.

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1448 Here is a list of Mme. Sembrich's appearances in opera in Boston: —

1883, December 27. Boston Theatre. Her first appearance in Boston. Lucia in "Lucia di Laramermoor." Miss Forti, Messrs. Campanini, Del Puente, Augier, Fornaris, Grazzi. \'ianesi, conductor. H. E. Abbey, director. 1883, December 29. Amina in "La Sonnambula." Mmes. Corani, Fortis, Messrs. Campanini, Novara, Corsini, Grazzi. Cleofonte Campanini, conductor. 1883, December 31. Violetta in "La Traviata." Mmes. Forti, Lablache, Messrs. Capoul, Augier, Contini, Fornaris, Corsini, Grazzi, Barberis. Mme. Mal- vina Cavalazzi, chief dancer. Vianesi, conductor. 1884, January 2. Rosina in "The Barber of Seville." Mme. Lablache, Messrs. Stagno, Del Puente, Corsini, Mirabella, Contini, Grazzi. Vianesi, conductor. 1884, March 3. Ophelia in "Hamlet." First performance of Thomas's opera in Boston. Mme. Scalchi, Messrs. Kaschmann (Hamlet), Stagi, Contini, Corsini, Mirabella, Augier, Grazzi. Mme. Cavalazzi, chief dancer. Vianesi, conductor. 1884, March 6. Zerlina in "Don Giovanni." Mmes. Fursch-Madi, Nilsson, Messrs. Campanini, Kaschmann (Don Giovanni), Mirabella, Corsini, Augier. Via- nesi, conductor. 1884, March 8. Rosina in "The Barber of Seville." Mme. Lablache, Messrs. Capoul, Del Puente, Corsini, Mirabella, Contini, Grazzi. Vianesi, conductor 1899, March 29. Boston Theatre. Margaret of Valois in "The Huguenots" (in Italian). Mmes. Nordica and Mantelli, Messrs. Jean de Reszke, Ed. de Reszke, Maurel, Plansron. Mancinelli, conductor. Grau, director. 1899, March 31. Rosina in "The Barber of Seville.'^ Salignac, Campanari, Carbone, Ed. de Reszke. Mancinelli, conductor. 1899, April I. Zerlina in "Don Giovanni." Mmes. Lehmann and Nordica, Messrs. Maurel (Don Giovanni), Sahgnac, Ed. de Reszke, Carbone, Devries. Mancinelli, conductor. 1899, April 4. Susanna in "The Marriage of Figaro." Mmes. Eames, Bauer- meister, Adams, Messrs. Campanari, Ed. de Reszke, Vanni, Maestri, Carbone, Dufriche. Bevignani, conductor. 1899, April 8. Zerlina in "Don Giovanni." Mmes. Lehmann and Adams; men as on April i.

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1440 1 899, December 5. Boston Theatre. Susanna in "The Marriage of Figaro." Mmes. Eames and de Lussan, Messrs. Ed. de Reszke, Campanari, Vanni, Maestri, Pini-Corsi, Dufriche. Mancinelli, conductor. Grau, director. 1899, December II. Margaret of Valois in "The Huguenots" (in French). Mmes. Ternina and Mantelli, Messrs. Dippel, Ed. de Reszke, Illy, Plangon. Be- vignani, conductor. Mmes. Sembrich and Ternina sang their respective parts for the first time in French. 1899, December 16. Rosina in "Barber of Seville." SaUgnac, Campanari, Pini-Corsi, Ed. de Reszke. Bevignani, conductor. 1901, January 7. Boston Theatre. Sembrich Opera Company. C. L. Graff, director. Rosina in "The Barber of Seville." Salignac, Bensaude, Arcangelo Rossi, Dado. Bevignani, conductor.

1 901, January 9. Violetta in "La Traviata." Salignac, Bensaude. Bevignani, conductor. 1901, January 10. Norina in "Don Pasquale." Rossi (Don Pasquale), Ben- saude, de Lara. Bevignani, conductor. 1901, January 12. Marguerite in "Faust." Mmes. Mattfeld and MacGregor, Messrs. Cremonini, Bensaude, and Dado (Mephistopheles). Bevignani, conductor. 1902, March 13. Boston Theatre. Metropolitan Opera House Company. Grau, director. Queen of Night in "The Magic Flute" (in ItaUan). Mmes. Eames, Scheff, Ternina, Homer, Bridewell, Marilly, Van Cauteren, Randall, Messrs. Dippel, Reiss, Ed. de Reszke, Campanari, Dufriche, Muehlmann, Vanni, Maestri. W. Dam- rosch, conductor. 1902, March 15. Ulana in Paderewski's "Manru." First performance in Boston. Manru, von Bandrowski; Hedwig, Louise Homer; Asa, Fritzi Scheft; Urok, Bispham; Oros, Muehlmann; Jagu, Blass. W. Damrosch conducted. 1902, March 18. Susanna in "The Marriage of Figaro." Mmes. Eames, SchefT, and Bauermeister, Messrs. Ed. de Reszke, Campanari, Reiss, Maestri, GiUbert, Dufriche. Seppilli, conductor. 1902, March 22. Queen of Night in "The Magic Flute" (in Italian). The other chief singers were Mmes. Gadski, Ternina, Scheff, Messrs. Dippel, Reiss, Blass, Campanari. W. Damrosch conducted.

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1450 1903, March 23- Boston Theatre. Metropolitan Opera House Company. Marie in "The Daughter of the Regiment." jMme. Van Cauteren, Messrs. Salignac, Gili- bert, Dufriche. Flon, conductor. 1903, March 25. Violetta in "La Traviata." Messrs. Dani and Scotti. Man- cinelli, conductor. 1903, March 28. Mimi in Puccini's "La Bohfeme." Mme. Scheff, Messrs. De Marchi, Campanari, Gilibert, Journet. Mancinelli, conductor. 1903, March 31. Norina in "Don Pasquale." Gilibert (Don Pasquale), Scotti, and Dani. Flon, conductor. 1903, April 2. Queen of Night in "The Magic Flute" (in Italian). I Mmes. Gadski, Scheff, Seygard, Homer, Bridewell, Marilly, Van Cauteren, Mapleson, Messrs. Salignac, Reiss, Ed. de Reszke, Campanari, Dufriche, Muehlmann, Vanni, Maestri. Mancinelh, conductor. 1904, April 6. Boston Theatre. Metropolitan Opera House Company. Con- ried, director. Queen of Night in "The Magic Flute" (in German). Mmes. Gadski, Seygard, Weed, Ralph, Poehlmann, Lemon, Bouton, Mapleson, Messrs. Kraus, Reiss, Blass, Goritz, Muehlmann, Harden, Stellmach, Bayer, Dufriche. Mottl, conductor. 1904, April 8. Rosina in "The Barber of Seville." Mme. Bauermeister, Messrs. Dippel, Campanari, Journet, Rossi. Hinrichs, conductor. 1904, April 13. Adina in "L' EHsir d' Amore." Miss Bouton, Messrs. Naval, Scotti, Rossi. N. Franko, conductor. 1904, April 15. Susanna in "The Marriage of Figaro." Mmes. Gadski, Sey- gard, Bauermeister, Messrs. Scotti, Campanari, Reiss, Rossi, Dufriche. Mottl, conductor. 1905, March 6. Boston Theatre. Metropolitan Opera House Company. Con- ried, director. Lucia in "Lucia di Lammermoor." Messrs. Caruso, Parvis, Journet. Vigna, conductor. 1905, March 9. Rosalinde in Johann Strauss's "Die Fledermaus." Mmes. Weed, Alten, Elliott, Messrs. Dippel, Reiss, Goritz, Greder, Muehlmann, Bayer, Franke. N. Franko, conductor. 1905, March 11. Marguerite of Valois in "The Huguenots." Mmes. de Macchi and Edyth Walker, Messrs. Saleza, Scotti, Journet, and Plan^on. Vigna, con- ductor. ***

Adina in "L' Elisir d' Amore," April 13, 1904. Amina in "La Sonnambula," December 29, 1883. Lucia in "Lucia di Lammermoor," December 27, 1883; March 6, 1905. Margaret in "Faust," January 12, 1901. Margaret of Valois in "The Huguenots," March 29, 1899; December 11, 1899; March 11, 1905. Marie in "The Daughter of the Regiment," March 23, 1903.

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MiMi in Puccini's "La Bohfeme," March 28, 1903. NoRiNA in "Don Pasquale," January 10, 1901; March 31, 1903. Ophelia in "Hamlet," March 3, 1884. Queen of Night in "The Magic Flute," March 13, 1902; March 22, 1902; April 2, 1903; April 6, 1904. Rosalinds in "Die Fledermaus, " March 9, 1905. • RosiNA in "The Barber of Seville," January 2, 1884, March 8, 1884; March 31, 1899; December 16, 1899; January 7, 1901; April 8, 1904. Susanna in "The Marriage of Figaro," April 4, 1899; December 5, 1899; March 18, 1902; April 15, 1904. Ulana in "Manru," March 15, 1902. ViOLETTA in "La Traviata," December "31, 1883; January 9, 1901; March 25, 1903. " Zerlina in Don Giovanni," March 6, 1884; April i, 1899; April 8, 1899. *

Mme. Sembrich has sung frequently in concert in Boston.

Boston Symphony Orchestra Concert, Wilhelm Gericke, conductor, Music Hall, December 9, 1899: Mozart, Aria, "Che pur aspro al cuore," from "II Seragho" ("Die Entfiihrung aus dem Serail"); Belhni, Recitative, "Sediziose voci"; and "Casta Diva" from "Norma."

Concert Programs.

Mme. Sembrich has given these concerts:

1897, November 23. Music Hall. Assisted by William Lavin, tenor, E. de Gogorza, baritone, and an orchestra of Boston Symphony Orchestra players led by Bevignani. She sang "Che pur aspro al cuore" from Mozart's "II Seraglio"; Reci- " tative and aria Casta Diva, '.' from "Norma"; Schumann's "Nussbaum"; Schu- MEHLIN & SONS

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1452 ;; bert's "Forelle," Foerster's "Ich liebe dich." Professor Stengel played the piano- forte accompaniments. 1897, November 27. Assisted by Miss Florence Terrell, pianist, William Lavin, tenor, E. de Gogorza, baritone, and an orchestra of Boston Symphony Orchestra led Bevignani. sang aria players by She Elvira's from Verdi's "Ernani," J. Strauss's "Voce di Priraavera," and these songs: Rubinstein, "Es bHnkt der Thau"; Mozart, '•Das Veilchen"; Brahms's " \'ergebliches Staendchen." Professor tengel played the pianoforte accompaniments. 1900, January 20. Music Hall. Assisted by David Bispham and an orchestra led by Emil Mollenhauer. Mme. Sembrich sang with orchestra "L' amer6, sar6 constante, " from Mozart's "II R^ Pastore" (violin obbhgato by Felix Winternitz) "Ah! fors fe lui" from "La Traviata"; Arditi's Waltz, "Parla." She sang these songs with pianoforte accompaniment (Professor Stengel, pianist): Schumann: "Der Nussbaum," "Auftrage"; Schubert, "Die Forelle"; Rubinstein, "Es blinkt der Thau." v 1900, December 14. Symphony Hall. Isidore Luckstone, accompanist. Lotti,

" Pur dicesti " ; Paradies, "M' ha presa alia sua Ragna" ; Anon, "Mon petit coeur soupire," "The Three Ravens," "It was a lover and his lass"; Schubert, "Gretchen " " " am Spinnrad," Du bist die Ruh'," Weinen und Lachen" ; Brahms, Wie Melodien zieht es mir," "Staendchen"; Schumann, "Er ist's," "Auftrage"; Franz, "Marie,"

"Liebesfeier" ; Tschaikowsky, "Er liebte mir so sehr"; Zehnski, Mazurka; Bohm, "Uber's Jahr," "DerSchwur"; Fiehtz, "Das Kraut \'ergessenheit," "Es liegt ein Traum auf der Heide."

1 90 1, February 4. Symphony Hall. Wallace Goodrich, accompanist. Messrs. Spindler and North, flute players. Mozart, " Deh vieni"; Haydn, "My mother bids me"; Schubert, "Delphine"; Bungert, "Ich hab' ein kleines Lied erdacht"; R. Strauss, "Standchen"; Loewe, "Glockenthiirmers Tochterlein," "Niemand " hat's gesehen"; Norwegian, Kau fra Halhngdalen" ; Irish, "The CooHn"; " French Canadian, "Gai Ion la"; German, "Das Miihlrad, " Spinnerliedchen " grand air from "The Star of the North, " with obbligato for two flutes. 1902, January 17. Symphony Hall. Mr. Luckstone, accompanist. Bach, "Mein glaubiges Herze"; Hasse, "Ritornerai fra poco"; Beethoven, "Lied aus

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1453 "; derFerne"; Mozart, "Warnung"; Schubert, "Der Muller und der Bach," "Das Lied im Grtinen"; Schumann, "Mutter, Mutter, glaube nicht," "Lass mich ihm am Busen hangen," "Auftrage"; Mendelssohn, "O Jugend, o schone Rosenzeit"; Brahms, " Wie Melodien zieht es mir," "O liebliche Wangen"; Gounod, "Mignon";- Godard, "Le Corbeau et le Renard"; Paderewski, "Ach! die Qualen"; R. " " Strauss, Allerseelen ; d' Albert, "Zur Drossel sprach der Fink"; Taubert, "Sonne " hat sich Muh Gelaufen," "Von I'stigen Grasmiicklein" ; Bungert, Wenn die Wilden Rosen bliihn." 1902, November 7. Symphony Hall. Ruben Goldmark, accompanist. Gluck, aria from "Iphigenie en Tauride"; Handel, "O had I Jubal's lyre"; Pergolesi, aria from "La Serva Padrona"; Campra, "Chanson du Papillon" from "Les Fetes Venetiennes"; Bach, aria from "Der Strait zwischen Phobus und Pan"; Beethoven, "Neue Liebe, neue Leben"; Schubert, "Friihlingstraum," "Die bose " Farbe"; Schumann, "Nussbaum," Friihlingsnacht " ; Loewe, "Die Mutter an " " der Wiege" ; Brahms, Immer leiser wirdmein Dort in den Weiden" Schlummer," ; H. Wolf, "Heimweh," "Der Gartner";. R. Strauss, " Ich trage meine Minne"; Tschaikowsky, "Ob heller Tag"; Bizet, "Pastorale"; Grieg, "Verborgene Liebe," " "Zickeltanz" ; Bungert, In der Rosenlaube" ; Van der Stucken, " Fallih ! Fallah!" 1905, January 14. Symphony Hall. Isidore Luckstone, accompanist. Mozart, "Batti, batti, " from "Don Giovanni"; Giordani, "Caro mio ben"; Handel, "Lusinghe piu care" from "Alexander"; Arne, "Where the bee sucks"; Schu- bert, "Die Forelle"; Brahms, "Wie Melodien"; Schumann, "Mit Myrthen und Rosen," "Auftrage"; R. Strauss, "Allerseelen," "All mein Gedanken," "Heim- liche Auflorderung " ; Hahn, "TousDeux"; Debussy, "Romance"; Vidal, "Prin- temps Nouveau"; H. Wolf, "Der Knabe und das Immlein," "Mogen Alle bosen

Zungen"; Reger, "Beim Schneewetter" ; Grieg, "EinTraum." 1906, January 13. Symphony Hall. Isidore Luckstone, accompanist. Per- golesi, "Serpina, penserete"; Purcell, "Nymphs and Shepherds"; Marie Antoin- ette, "C'est mon ami"; Beethoven, "Andenken"; Anon., "Fingo per mio diletto";

Schubert, "Der Muller und der Bach," " Friihlingssehnsucht " ; Schumann, "Rose- lein," "Friihlingsnacht"; Brahms, "Die Nachtigall," "Roslein dreie"; Hahn, "Simesvers"; H. Parker, "Milkmaid's Song"; MacDowell, "A maid sings light "

H. Wolf, " Verborgenheit " ; Reger, "Ich glaub' lieber Schatz"; R. Strauss, "Ich trage meine Minne," "Mohnblumen" ; Foerster, "Ich liebe dich." 1906, November 24. Symphony Hall. Isidore Luckstone, accompanist. Gretry, "Ah! si parfois" from "L'Ami de la Maison"; D. Scarlatti, "Qual farfaletta amante"; Bach, "Bist du bei mir"; Garner, "Ein Kindlein in der Wiegen"; Arne, "The Plague of Love"; Carey, "A Pastoral"; Schubert, "Friihhngstraum, "Musensohn"; Schumann, "Meine Rose," "Auftrage"; Brahms, "Feldeinsam- keit," " Vorschneller Schwur"; Dvofdk, "Mein Lied ertont," "In dem weiten, breiten, luft'gen Leinenkleide," "Als die alte Mutter," " Reingestimmt die Saiten,"

" Darf des Falivcn Scnvvinge " ; Gernsheim, "Liebe verrath niciit " ; Hauser, "There is a lady"; Mrs. lieach, "The year's at the spring." 1907, November 8. Symphony Hall. Mrs. Charbonnel, accompanist. A. Scar- latti, "Se Florindo e fedele"; Spohr, "Rose, wie bist du reizend"; Paradies, "Quel ruscelletto"; Handel, "O Sleep" from "Semele"; Monro, "My lovely Celia"; Haydn, "The Mermaid's Song"; Schubert, "Gretchen am Spinnrade," "Liebe

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1454 " schwarmt," 'Wiegenlied," 'Liebhaber in alien Gestalten"; Schumann, "Rose- lein," "Widmung"; Brahms, "Wie Melodien," "Botschaft"; R. Strauss "Aller- seelen"; Gretschaninoff, "Rose-red the light "; Arensky, "But lately in dance I embraced her"; Weingartner, "Motten"; Raff, " Keine Sorg' um den Weg"; J. H. Rogers, "Love has wings"; H. Parker, "Love in May"; Mrs. Beach, "Elle et moi." 1908, November 6. Symphony Hall. Isidore Luckstone, accompanist. Schu- bert, "Der Lindenbaum," "Rastlose Leibe"; Schumann, "Dein Angesicht," "Die Soldatenbraut," "Er ist's"; Brahms, " An die Nachtigall," "O liebliche Wangen" ; " vSinding, "Rosen bluthen im Grande"; Reger, Waldeinsamkeit" ; Grieg, "Ein

Traum" ; R. Strauss, "Die Nacht," "Morgen"; Schutt, Ries, "Einen Sommer lang" ;

"Es muss was Wunderbares sein"; Rubinstein, "Neue Liebe" ; Debussy, "Les Cloches," " Aquarelle No. i," "Green"; Faure, "Les Berceaux"; Paderewski, "My sweetheart darling"; Arensky, "But lately in dance"; Cui, "The waves rush and roar"; Luckstone, "A Love Symphony"; Foote, "The nightingale has a lyre of gold." 1909, November 12. Symphony Hall. Frank La Forge accompanist. Bach,

"Mein glaubige Herze"; Paradies, "Quel ruscelletto " ; Handel, " O Sleep " from "Semele," "Hallelujah"; Schubert, "Trockne Blumen," "Eifersucht und Stolz"; Schumann, "Stille Thranen," "Roselein"; Brahms, "Die Mainacht," " Sonntag,

"Der Schmied"; Massenet, "L'ame des oiseaux," "L'Eventail" ; R. Straus, Al- lerseelen"; La Forge, "The Sheep Herder," "An einen Boten"; Nuwiadamski,

"Otworz Janku" ; Foote, "There sits a bird on every tree."

The editor will welcome additions and corrections. It is almost impossible to prevent errors slipping into lists of this character. The programs published in the newspapers and even distributed in the opera house or in the concert hall are not always trustworthy.

Aria, "Deh vieni," from "Le Nozze di Figaro," Act IV., Scene id. Wolfgang Amadeus Mozart

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

"Le Nozze di Figaro: dramma giocoso in quadro atti; poesia di Lorenzo Da Ponte,* aggiustata dalla commedia del Beauraarchais, 'Le

* Lorenzo Da Ponte was born at Ceneda in 1749. He died at New York, August 17, 1838. His life was long, anxious, strangely checkered. "He had been improvvisatore, professor of rhetoric, and politician in his native land; poet to the Imperial Theatre and Latin secretary to the Emperor in Austria; Italian teacher, operatic poet, litterateur, and bookseller in England; tradesman, teacher, opera manager, and bookseller in America." Even his name was not his own, and it is not certain that he ever took orders. He arrived in New York in 1805. See Mr. H. E. Krehbiel's entertaining chapter, " Da Ponte in New York" ("Music and Manners," New York, 1898).

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1465 Manage de Figaro ' f musica di W. A. Mozart," was composed at Vienna in 1786, and produced there on May i of the same year. The cast was as follows: il Conte Almaviva, Mandini; la Contessa, Laschi; vSusanna, Storace; Figaro, Benucci; CherubJno, Bussani; Marcellina, Mandini; Basilio and Don Curzio, Ochelly (so Mozart wrote Michael Kelly's name, but Kelly says in his "Reminiscences " that he was called OKelly in Italy); Bartolo and Antonio, Bussani; Barberina, Nan- nina Gottlieb (who later created the part of Pamina in Mozart's " Magic Flute," September 30, 1791). Mozart conducted. The Wiener Zeitung (No. 35, 1786) published this review: "On Monday, May i, a new Italian Singspiel in four acts was performed for the first time.

It is entitled 'Le Nozze di Figaro,' and arranged after the French comedy of Hrn. v. Beaumarchais by Hrn. Abb. Da Ponte, theatre-poet. The music to it is by Hrn. Kapellmeister Mozart. La Sign. Laschi, who came here again a little while ago, and la Sign. Bussani, a new singer, appeared in it for the first time as Cou'htess and Page." The opera was performed nine times that year. Only Martin's "Burbero di buon cuore" had as many performances. But when Martin's "Cosa rara" met with overwhelming success on November 17, 1786, emperor and public forgot "The Marriage of Figaro," which was not performed in Vienna in 1787 and 1788, and was first heard thereafter on August 29, 1789. The first performance in the United States was one of Bishop's

remodelled English versions, in New York, on May 3, 1823. The scene is a garden, —an arbor at the right and another to the left. Night. The Count Almaviva has begged Susanna, his wife's maid, to meet him. This she has promised to do, but she changes clothes with her mistress. The Countess dressed as Susanna meets the Count, whilst Susanna as the Countess accepts the advances of Figaro. Air. Andante, F major, 6-8. Accompanied by flute, oboe, bassoon, and the usual strings.

Dell vieni, non tardar, o gioja bella! Vieni ove amore per goder t' appella. Finche non splende in ciel notturna face, Finche 1' aria e ancor bruna, e il mondo tace.

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Qui mormora il ruscel, qui scherza 1' aura, Che col dolce susurro il cor ristaura, Qui ridono i fioretti, e 1' erba e fresca, Ai piaceri d' amor qui tutto adesca.

Vieni ben mio ! tra queste piante ascose Ti vo' la fronte incoronar di rose! Air: O come, my heart's delight, where love invites thee. Come then, for without thee no joy delights me. The moon and stars for us have veil'd their splendor. Philomela has hush'd her carols tender.

The brooklet murmurs near with sound caressing, 'Tis the hour for love and love's confessing. The zephyr o'er the flow'rs is softly playing, Love's enchantment alone all things is swaying.

Come then, my treasure, in silence all reposes. Thy love is waiting to wreathe thy brow with roses! *

Ann (otherwise Anna) Selina Storace, soprano (1766-18 17), who created the part of Susanna, was the daughter of Stefano Storace (originally Sorace), Italian double-bass player. She studied with her father and Ranzzini in London, and appeared there in concerts from 1774 to 1778. She studied with Sacchini at Venice, and appeared in 1780 at La Pergola, Florence, with great success. In 1781 she sang at Parma, and in 1782 at La Scala in Cimarosa's "II Pittore Parigino"

(August 10), and in Sarti's "Fra i due litiganti il terzo gode" (Sep- tember 14). In 1784 she was engaged at the Imperial Theatre, Vienna, at a salary equal to $2,500 for the season, —a remarkably high sum for that period. In Vienna she contracted an unhappy marriage with John Abraham Fisher, the violinist. He beat her. They soon sep- arated, and she never afterward used her husband's name. The Emperor ordered Fisher to leave Austria. Returning to London in

* The English version is by Natalie MacFarren.

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1458 1787, she sang in opera. She became intimate with B raham, and sang with him on the Continent. On May 30, 1808, she left the stage, fare- weUing the pubHc in "The Cabinet." She left a large fortune, —^11,000 in pecuniary legacies, and about ^40,000 for a cousin as residuary legatee. There is much entertaining gossip about her as woman and singer. (See Kelly's " Reminiscences " for stories of her life in Vienna.) Beaumarchais's "La Folle Journee, ou le Mariage de Figaro," was produced privately at a festival prepared by de Vaudreuil for the Count d'Artois in September, 1783. The comedy was completed in 1781, and the performance at the Theatre Frangais was arranged, but Louis

XVI. read the piece, and declared that it should not be played. The king also forbade a performance at court in June, 1783. Beaumar- chais finally succeeded in producing his play publicly at the Theatre Frangais, April 27, 1784. The success was overwhelming, although its "profound immorality" —to quote the phrase of Annales Drama- tiques, 1809—was severely censured. Grimm, in his " Correspondance Litteraire" (April, 1784), wrote: "As for this immorality concerning which the decency and the seriousness of our manners have made such a scandal, it may be admitted that the work as a whole is not of the most austere class: it is a picture of contemporaneous manners, the manners and principles of our best society; and the picture is made with a boldness and a naivete which might well be kept off the stage, if the purpose of a comic playwright is to correct the vices and follies of his period, and not to confine himself to painting them for his own taste and enjoyment." Epigrams, satirical pamphlets, bitter attacks on the author, followed the production, and "Les Amours de Cherubin," opera-comique in three acts, with music by the younger Piccini, and "Le Veritable Figaro," opera-comique in three acts, text by de Sau-

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Bxcellent articles on chamber music organizations dealer's Cloth, 8 vo, $j 00 net ; postpaid. $S.2J ; at your or FREDERICK A. STOKES COMPANY PUBLISHERS 333 FoHKTH Avbnub NEW YORK 1469 vigny, a censor on the police force, with music by DezMe, were per- formed in 1784, the former on November 4. Mozart saw in the play an excellent libretto for an opera. Da Ponte tells the story in his amusing Memoirs: "Talking one day with him [Mozart], he asked me if I could turn Beaumarchais's 'Noces de Figaro' into an opera. The proposition was to my taste, and the success was ij

impiediate and universal. A little before, this piece had been forbidden > by the Emperor's command on account of its immorality. How then to propose it anew? Baron Vetzlar * offered me with his customary '

generosity a reasonable price for my libretto, and assured me that he ' would see to its production at London or in France, if it were refused

in Vienna. I did not accept the offer, and I secretly began work. I waited the opportune to propose either moment the poem to the Intend- 'i ant or, if I had the courage, to the Emperor himself. Martin alone was in my confidence, and he was so generous, out of deference to ( Mozart, to give me time to finish piece before I my began work on I one for him. As fast as I wrote the words, Mozart wrote the music, } and it was all finished in six weeks. The lucky star of Mozart willed an opportune moment, and permitted me to carry my manuscript directly to the Emperor. '"How's this?' said Joseph to me. 'You know that Mozart, remarkT able for his instrumental music, has with one exception never written {

' for song, and the exception is not good for much.' "I answered timidly, 'Without the kindness of the Emperor, I should have written only one drama in Vienna.'

* Da Ponte refers here to Baron Wezlar. I

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1461 —

"'True; but I have already forbidden the German company to play this piece, "Figaro."' "'I know it; but, in turning it into an opera, I have cut out whole scenes, shortened others, and been careful everywhere to omit any- thing that might shock the conventionalities and good taste; in a word, I have made a work worthy of the theatre honored by his Majesty's protection. As for music, as far as I can judge, it seems to me a masterpiece.' "'All right; I trust to your taste and prudence. Send the score to the copyists.' "A moment afterward I was at Mozart's. I had not yet told him the good news, when he was ordered to go to the palace with his score. He obeyed, and the Emperor thus heard several morceaux which delighted him. Joseph II. had a very correct taste in music, and in general for everything that is included in the fine arts. The prodigious success of this work throughout the whole world is a proof of it. The music, incredible to relate, did not obtain a unanimous vote of praise. The Viennese composers crushed by it, Rosenberg and Casti especially, never failed to run it down." There was a cabal from the start against the production of Mozart's opera. Kelly says in his "Reminiscences": "Every one of the opera company took part in the contest. I alone was a stickler for Mozart, and naturally enough, for he had a claim on my warmest wishes. . . . Of all the performers in this opera at that time, but one survives myself. [This was written in 1826.] It was allowed that never was opera stronger cast. I have seen it performed at different periods in other countries, and well too, but no more to compare with its original performance than light is to darkness. All the original performers had the advantage of the instruction of the composer, who transfused into their minds his inspired meaning. I never shall forget his little ani- mated countenance, when lighted up with the glowing rays of genius; it is as impossible to describe it as it would be to paint sunbeams."

Aria, "Lo! the heav'n descended Prophet," from "The Passion

OP OUR Lord" ("DerTod Jesu") . . Karl Heinrich Graun

(Born at Wahrenburck, May 7, 1701 ; died at Berlin, August 8, 1759.)

Graun's "Der Tod Jesu," text by Ramler, was performed for the first time in the cathedral at Berlin, March 26, 1755, and it was, until a few years ago, performed annually in this cathedral on Good Friday. A centenary performance took place March 26, 1855, when Frederick

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1463 ;

William IV. attended. There was an endowment for the purpose of the yearly repetition.

It is said that the first performance in England was at St. Gabriel's, Pimlico, in Lent, 1877. The score was published in 1760, 1766, and 18 10. The first edition for pianoforte and voices was published by J. A. Hiller at Leipsic in

1783. It was curiously imperfect, and a later one edited by J. C. Rellstab was not much better. The first available one for choral societies was edited by C. Klage in 1822.

Singt dem gottlichen Propheten, Der den Trost vom Himmel bringet; Dass der Geist sich aufwarts schwinget; Erdensohne, singt ihm Dank.

Die du von dem Staube fliehest, Und die rollenden Gestirne Unter deinen Ftissen siehest, Nun geniesse deiner Tugend. Steig auf der Geschopfe Leiter Bis zum Seraph! steige weiter Seele! Gott sei dein Gesang!

Singt dem gottlichen Propheten, etc.

Lo! the heav'n descended prophet, Who to us glad tidings bringeth, News whereat each soul upspringeth Ev'ry creature sing his praise.

Thou that mounting wings unfoldest, And the stars beneath thy feet beholdest; Now thy full reward receiving, ^ .g From a mortal to a seraph rising, ^^ ,0 my soul, to God thy song upraise.

Lo! the heav'n descended prophet, etc.

English Version by Rev. John Troutbeck.

FRENCH II'^I'I^^ D n n If C GERMAN DUUIVw SPANISH AND PERIODICALS SPRING, 1910 Deutschman Co. are now prepared RIHER & FLEBBE to show the latest effects in Spring styles. We are offering a large se- Formerly C. A. KOEHLER & CO. lection of newest and best imported Tel. Oxford tji Lawrence Building 24-25 materials. Also linens at moderate 149A TREMONT STREET, BOSTON prices. The latest improved Riding and Hunting Skirt combined, assuring ab- solute safety, from Scott, of London, West. Made by Mr. Deutschman. Refer by permission toNoyes Bros., Boston. DEUTSCHMAN CO. 486 Boylston Street, BOSTON 2 St. James Ave. Cor. j CITY In Block of Brunswick Hotel Berkeley St. SPRING OPENING 1464 The air is Vivace, B-flat major, 2-4. Graun studied with Gottlieb in Dresden as a boy, and was treble singer to the town council. He afterward studied composition with

J. C. Schmidt, and the harpsichord with Petzold. He was tenor at the Brunswick opera in 1725, but he soon became known as a composer of operas and music for the church. In 1 735 he was invited to Rheinsberg, the residence of the Crown Prince of Prussia, afterwards Frederick the Great, and when Frederick ascended the throne he made Graun his Kapellmeister. Graun wrote nearly forty operas, instrumental compositions, solfeggi, and music for the church. Frederick put him above all other composers, and, when at Dresden he heard of his death, he wept, and exclaimed :" Never shall I find such a man again!"

Graun 's "Death of Jesus" was performed in Boston by the Handel and Haydn Society on February 5, 1882. This was the first perform- ance of the cantata in America. The solo singers were Miss Ida W.

Hubbell, Mrs. L. S. Ipsen, William J. Winch, Georg Henschel. Carl Zerrahn conducted. There was an audience of thirteen hundred. The receipts were $1,200, and the expenses were Si, 600. "This falling off was owing to the heavy snow storm of the night before which inter- fered with travel in the suburb." The chorus numbered three hundred and fifty; the orchestra, fifty-six. The air "Lo, the heav'n descended prophet "has been sung in Boston at concerts of the Boston Symphony Orchestra by Mrs. Georg Henschel,

March 17, 1883; by Miss Rose Stewart, December 24, 1887.

Overture to the Opera, "The Magic Flute." Wolfgang Amadeus Mozart

(Born at Salzburg, January 27, 1756; died at \'ienna, December 5, 1791.) Emanuel Johann Schikaneder, the author of the libretto of "The Magic Flute," was a wandering theatre director, poet, composer, and play-actor. Vain, improvident, shrewd, a bore, he nevertheless had good qualities that won for him the friendship of Mozart. In

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ELIAS HOWE CO., 9B Court Street, Boston 1466 - Schikaneder therefore put Mozart in a little pavilion which was in the midst of a garden near his theatre. The music of "The Magic Flute" was written in this pavilion and in a room of the casino of Joseph dorf. Mozart was deep in doleful dumps when he began his task, and Schikaneder surrounded him with members of his company. It was long believed that the composer was then inspired by the beauti- ful eyes of the singing woman, Gerl, but the story may rest on no better foundation than the one of the Mrs. Hofdaemmel tragedy, which even Otto Jahn thought worthy of his investigation. Schikaneder made his proposal early in March, 1791. The overture was composed September 28, 1791. On September 30 of that year "Die Zauberflote," a grand opera in two acts, was produced at the Auf der Wieden Theatre. The cast was as follows: Sarastro, Gerl; Tamino, Schack; Queen of Night, Mme. Hofer; Pamina, Miss Gott- lieb; Papageno, Schikaneder; Monostatos, Nouseul. Mrs. Gerl took the part of the "Third Lady" and "An Old Woman." Mozart con- ducted the first two performances. Mme. Hofer, who was the Queen of Night, was born Josepha Weber, and was the sister-in-law of Mozart. She was married a second time to a bass named Meyer, and died in 1820. Mozart described her in

1 78 1 in a letter to his father as a lazy, rude person, who was "thick back of her ears." She was not a good musician, but she certainly had a high and flexible voice, for Mozart wrote the music of the Queen of Night for her and an aria, "Schon lacht der holde Friihling" (1789), for her to introduce in "Der Barbier von Seviglien." Yet Schroder, who heard her in 1791 as Oberon, referred to her as "a very disagree- able singer, whose voice is not high enough for this part, so that she stretches her mouth from ear to ear" (Meyer's "Schroder," II., i,, p. 85). Anna Gottheb was a Viennese, born in 1774. She was the Bar- berina in "The Marriage of Figaro," and Schikaneder then engaged her. In 1792 she became the first singer at the Leopoldstadt Theatre,

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The opera disappointed the Viennese at first, and Mozart was cut to the quick. The cool reception was not due to the character of the subject; for "magic plays" with music of Viennese composers, as Wenzel Miiller, were very popular, and "The Magic Flute" was re- garded as a Singspiel, a "magic farce," with unusually elaborate music. The report from Vienna that was published in Kunzen and Reichardt's music journal, Studien jiir Tonkiinstler und Musikjreunde (Berlin,

1793. P- 79). tells the story: " The new machine-comedy, 'The Magic Flute,' with music by our Kapellnmeister Mozard [sic], which was given at great expense and with much sumptuousness, did not meet with the expected success, for the contents and dialogue of the piece are utterly worthless." But Schikaneder was obstinate in his faith, and the] opera soon became the fashion, so that the two hundredth representa-j tion was celebrated at Vienna in October, 1795. "The Magic Flute"!

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T«l«pboiM Back Bay 2330 Telephone 3033-3 Oxford 1468 made its way over the continent. The libretto was translated into Dutch, Swedish, Danish, Polish, Italian. Paris knew the opera in i8oi (August 23) as "Les Mysteres d'Isis." The first performance in London was May 25, 18 19, in Italian. Mozart's operas have met with little favor in Italy. "The Magic

Flute" met with scanty recognition in Milan in 1816, and it failed at Florence in 1818. The first performance of "The Magic Flute" in Boston was on Jan- uary II, i860 (in Italian), when Mme. Colson was Astrifiammente, the Queen of Night. Later performances: 1864, October 18, Johanna Rotter (in German); 1873, October 31, lima di Murska (in Italian); 1882, May II, Etelka Gerster (in Italian); 1902, March 13, 22, Mar- cella Sembrich (in Italian); 1903, April 2, Mme. Sembrich (in Italian); 1904, April 6, Mme. Sembrich (in German; Mr. Mottl, conductor). In 1897 Gustav Mahler brought out at the Vienna Opera House "The Magic Flute" in the original version without the customary cuts or changes, and he even had the flying machine for the three genii reconstructed. Mozart died shortly after the production of "The Magic Flute," in deep distress. This opera with the music of his Requiem was in his mind until the final delirium. The frivolous and audacious Schika-

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1469 " neder, "sensualist, parasite, spendthrift," filled his purse by this opera, and in 1798 he built the theatre An der Wien. On the roof he put his own statue, clothed in the feather costume of Papageno. His luck was not constant, and in 181 2 he died in poverty.

* *

The overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, and strings. The overture begins Adagio, with three fortissimo E-fiat major chords for full orchestra, "which have some hidden Masonic signifi- cance," The chief movement is a brilliant and elaborate fugue, which is treated with orchestral freedom. About the middle of its develop-

ment it is interrupted by the "Masonic" E-flat major chords which were heard at the beginning. "These chords are the only thing in -the

overture that reappears in the opera; yet the work is by no means open to the charge of musical irrelevancy, for the theme of the fugue is eminently suggestive of the lively character of Papageno, the bird- catcher. The overture to 'The Magic Flute' was probably the one Rossini had in mind when he once said: 'I've been trying for months to write some fugued overtures a la Mozart; but I've had to tear them all up, the great model is too overpowering! Minp were all detestable.' There has always been since 1791 discussion concerning the treat- ment of Masonic thoughts and rites in "The Magic Flute," both in the text and the music. Jahn had a firm belief that "the dignity and grandeur with which the music reveals the symbolism of these mys- teries certainly have their root in his [Mozart's] intense devotion to the Masonic idea. A clear indication of this devotion was given in this overture to the initiated, but in a way that shows how well he distinguished between Masonic symbolism and artistic impulse."

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1470 Mozart's devotion to Masonry is well known, and he may have been inspired by Masonic thoughts when he wrote the overture. He may have anticipated Herder and Ulibischeff and endeavored to express the idea of a struggle between light and darkness. It is highly prob- able, however, that he was chiefly concerned with making music. As

Henri Lavoix says in his "Histoire de I'lnstrumentation " : "Here the master, wishing, so to speak, to glance back and to give a final model of the old Italian and German overtures with a counterpointed theme, which had served, and still served, as preface to many operas, pleased himself by exhibiting the melodic theme that he had chosen, in all its forms, adorned with the riches of harmony and instrumen- tation. The result of this marvellous work of the carver is one of the most perfect instrumental compositions ever produced by human genius. Yet no one can establish the slightest resemblance between the overture and the grotesque magic piece on which Mozart lavished the most precious treasures of his prodigious imagination," The theme of the fugue is not unlike one in a sonata in B-flat major, that Clementi played in 1781 before the Emperor Joseph in Mozart's presence; it also resembles the subject of an orchestral "symphony"

in J. H. Rolle's cantata, "The Resurrection of Lazarus" (Leipsic, 1779), which Mozart probabty never saw or heard. Fugue subjects were common property, and they were often wandering melodies. The more important question was, "What did the composer do with his theme after he caught it?" The solemn chords that open and interrupt the overture may suggest the knocking of those seeking initiation, or they may recall "the probation which must be under- gone by those who engage in the search for a higher light." They are effective without explanation. As Jahn well said: "The true triumph of genius consists in having created a work which, wholly apart from scholarship or esoteric meaning, produces by its perfection an irresistible effect on the musical mind, animating it to more active endeavor and lifting it to an atmosphere of purest serenity." * * * Evening Cloaks AND Smocked Dresses

H Our Smocked Gowns have an established I ^ Our eveDing cloaks of Liberty Velveteen Kl> are beautiful and practical for the cold reputation for simple grace and elegance. weather. Very warm and rich in appear- Made with smocking around the neck and ance. at the waist line, skirt in walking length or 1 Lined throughout with silk and made long long for house wear, neck cut high or to be to cover the entire gown. Hleeves loose, so worn with guimpe. that the garment slips on easily. Inner IT These are in soft silks and satins, or any of sleeves for extra warmth if desired. the season's new soft materials. Wc bav* recently Inported a nnmber o f new nodalat both In Evanlni Cloaka aad Saaeckad Draaaea. and aball make a apecialty of tbeoa in tba fatara. DAVIS EAST INDIA HOUSE 373 BOYLSTON STREET. BOSTON 1471 — — "The overture of 'The Magic Flute,' which will for centuries to come still ravish the ear: that sportive, happy wonder-child—shedding light and joy, it will ever soar skyward, in spite of fog and utter dark- ness." Robert Schumann. "Mozart, whom no one will accuse of melodic poverty, pursued for a long time the chimera of instrumental music without 'melody.'

' The overture of Cosi fan tutte ' was an unfortunate attempt in this respect; for the absence of 'melody' is cruelly felt. The overture of 'Don Giovanni' is a compromise. In the overture to 'The Magic Flute' the problem was solved—not a bit of straight cantabile, a pro- digious complexity, and as a result, clearness, fascination, irresistible effect. It is a tour de jorce which Mozart only could have accom- plished." Camille Saint-Saens.

Song, "An die Nachtigall" ("To the Nightingale"), Op. 46, No. 4. Johannes Brahms

(Born at Hamburg on May 7, 1833; died at Vienna, April 3, 1897.)

The poem is by H. von Holty (1828-87). Op. 46 was published in 1868. "An die Nachtigall" was composed in the early summer of that year at Bonn.

Geuss' nicht so laut der liebentflammten Lieder Tonreichen Schall Vom Bliithenast des Apfelbaums hernieder, O Nachtigall! Du tonest mir mit deiner sussen Kehle Die Liebe wach; Denn sclion durchbebt die Tiefen meiner Seele Dein schmelzend Ach.

Dann fiieht der Schlaf von neuem dieses Lager, Ich starre dann, Mit nassem Blick und todtenbleich und hager, Den Himmel an, Fleuch, Nachtigall, in griine Finsternisse, In's Haingestrauch, Und spend' im Nest der treuen Gattin Kiisse, Entfleuch, entfleuch!

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1472 Oh, cease to pour thy passion-glowing sonnets, Thy lovesome tale, ;*3" Down from the spray of tender apple blossoms, Nightingale! 1 hear the clear notes from thy sweet throat shaken, And Love replies. Thy melting measures by-gone mem'ries waken In wondrous wise.

Then from my couch again repose is banished. And long I stare With tearful eye, from which all hope has vanished, To Heaven there. Go, Nightingale; hence to thy green abysses. With blossoms gay. And greet thy loving mate with loving kisses. Away! Away!*

The original key is E major, Ziemlich langsam (rather slowly), 4-4,

Song, " Widmung" ("Dedication"), from "Myrthen" ("Myrtles"), Op. 25, No. I Robert Schumann

(Born at Zwickau, June S, iSio; died at Endenich, near Bonn, July 29, 1856.)

The poem "Widmung" was written by Friedrich Rtickert (1788- 1866). Schumann composed the music to "Myrthen" in 1840.

Du meine Seele, du mein Herz, Du meine Wonn', o du mein Schmerz, Du meine Welt, in der ich lebe, f-^ Mein Himmel du, darein ich schwebe, O du mein Grab, in das hinab Ich ewig meinen Kummer gab!

* This translation by Frederic Field Bullard is used here through the courtesy of Oliver Ditson Company.

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Du bist die Ruh', du bist der Frieden, Du bist vom Himmel mir beschieden; Dass du mich liebst macht mich mir werth, Dein Blick hat mich vor mir verklart, Du hebst mich hebend iiber mich, Mein guter Geist, mein bess'res Ich

Du meine Seele, du mein Herz, Du meine Wonn', o du mein Schmer/, Du meine Welt, in der ich lebe, Mein Himmel du, darein ich schwebe, Mein guter Geist, mein bess'res Ich!

Thou art my life, my soul and heart, Thou both my joy and sadness art, Thou art my heav'n, my matchless lover, The world of bliss wherein I hover. Thou art the grave wherein I cast For ever all my sorrow past.

Thou bringest rest and peace abiding; Heav'n is through thee me kindly guiding So has thy love to me appeal'd, I see my inmost self reveal'd Thou liftest me beyond myself. Good genius thou, my better self.

Thou art my life, my soul and heart. Thou both my joy and sadness art. Thou art my heav'n, my matchless lover, The world of bliss wherein I hover. Good genius thou, my better self! *

The original key is A-flat major. Innig, lebhaft, Animato, afifettiioso, 3-2- Miss Sophie Schloss sang "Widmung" at a concert given by Clara Schumann in the Gewandhaus, Leipsic, March 31, 1841, for the benefit of the orchestra's pension fund. It was at this concert that Schumann's symphony in B-flat major was performed for the first time. " Myrthen " is a cycle of twenty-six songs. The poems are by Goethe, Riickert, Byron, Moore, Heine, Burns, and Mosen. "Widmung" is dedicated to Clara Wieck, "Seiner geliebten Braut."j

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Song, "Wiegenlied" ("Cradle Song"), for Mezzo-soprano and Pianoforte, Op. 8, No. i Max Fiedler

(Born at Zittau, December 31, 1859; now living in Boston.)

The German words of this song are by A. Fitger after Jacques Normand. The EngHsh version is by Mrs. Bertram Shapleigh.

Eia popeia, Schlaf'ein! Musst dein rosiges Fiisslein Stecken unter die Decken; Fiisslein ist noch so klein; Kann noch nicht gehen allein, Eia popeia, Schlaf'ein.

Eia popeia, Schlaf'ein! Gehen lernt mein kleine Geselle Schnelle, wie schnelle! O Gott in Himmel mein, Was wird seine Strasse wohl seini Eia popeia, Schlaf'ein.

Eia popeia, now asleep! Each small foot we must cover Safely under the blanket O how tiny they keep Scarce is he able to creejx Eia popeia, now sleep!

Eia popeia, now sleep! Soon, too soon, afar he will wander, Quickly, how quickly! O God, thy love is deep; What harvest of fate will he reaj) ? Eia popeia, now sleep!

Song, "Standchen" ("Serenade"), Op. 17, No. 2. Richard Strauss

(Born at Munich, June 11, 1864; now living in Charlottenburg, Berlin.)

The German poem is by A. F. von Schack.

Mach' auf, raach' auf, doch leise mein Kind, Um keinen vom Schlummer zu wecken, Kaum murmelt der Bach, kaum zittert im Wind Ein Blatt an den Biischen und Hecken! D'rum leise, mein Madchen, dass nichts sich regt, Nur leise die Hand auf die Klinke gelegt. i^J^Brancb Stat© Stpect Tpu-St Co. Corner MASSACHUSETTS AVENUE and BOYLSTON STREET

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1476 !

Mit Tritten, wie Tritte der Elfen so sacht, Um liber die B lumen zu triipfen, Flieg' leicht hinaus in die Mondscheinnacht Zu mir in den Garten zu Schliipfen. Rings schlummern die Bluthen am rieselnden Bach Und duften im Schlaf, nur die Liebe ist wach!

Sitz' nieder, hier dammerts geheimnissvoll Unter den Lindenbaumen. Die Nachtigall uns zu Haupten soil Von uns'ren Kiissen traumen, Und die Rose, wenn sie am Morgen ervvacht, Hoch gliih'n, von den Wonneschauern der Naclit.

Hush, hush, my love, unfasten thy door In silence, lest some one awaken Soft murmurs the brook on hedges and trees, The leaves in a breeze are scarce shaken. Be wary, my maiden! let no one hear That you lift the latch, that your lover is near.

With footsteps, like elves at their mischievous play, O'er flowers and grass lightly leaping. Come hasten to me, while the moon's soft ray With silvery light greets our meeting. Beside the clear brook let dew laden each flow'r Its perfumes send forth t'ward our cool blissful bow'r.

Draw nearer! In mystery draws the day, Tvindens with fragrance seeming Enfold the nightingale in grey, Now silent, of our kisses dreaming. And the roses wakening soon in delight, Grow red, shamefaced, at the thought of the rapt'rous night.*

The "Serenade" is the second of "Sechs Lieder" by A. F. von Schack, for a high voice with pianoforte accompaniment. It was published in 1897. Strauss's "Serenade" was sung in Boston at a concert of the Boston

Symphony Orchestra on March 15, 1902, by Mme. Nordica. Mr. Romayne Simmons was the accompanist.

This English version by Alexander Blaess made for " Famous Composers and their Works, New Series, Musical Selections" (1900), is printed here through the courtesy of J. B. Millet Company.

Exduatel^ 10H2 to inBB Olrrmonl ^Imt. loalon

1477 ¥ IT^IUL/^ A 1V¥\/^C! cleanses or Dyes Mens Suits JLCj /l-i^UV-f3 Gloves Overcoats Ties A T BjI^SAT" a IVTV^^CJ Cleanses or Dyes Womens 1j£j V? i\lll J^V^iJ Apparel of all kinds Cleanses and Dyes SdrLEWANDOS Carpets and Ru^s Where Cleanses or Dyes Laundering of LEWANDOS Draperies Portieres Shirts Collars T JJ^XAT \ IVT^/^^ Cleanses Silks Cuffs ShirtwaistsJj Hi jfl i\i^lJvfl3 and Satins Underwear Lin- Dyes Faded gerie Tablecloths LEWANDOS Clothes Centerpieces Cleanses Mapkins Doylies LEWANDOS Feathers Sheets Pillow Cases f 'ITI'lAT' A 1\JT\/^C' Cleanses and Household Linens MJMli ¥ i%.i^JLI V^l3 Laces Is done in the very best T 'Cp'^A/' \ ^I¥\/^dJ^Dyes manner possible JjHi TT /\i^JLf V-f iJHose With Pure Soap and Water and without Bleaching Powders LEWANDOS BOSTON SHOPS 17 Temple Place 284 Boylston Street

Salem 197 Essex Street Lynn 70 Market Street Watertown i Galen Street Cambridge 1274 Massachusetts Avenue Roxbury 2206 Washington Street South Boston 469 A Broadway

New York Philadelphia Washington Albany Hartford New Haven Bridgeport Worcester Providence Newport BRANCH TELEPHONE EXCHANGES 943 Cambridi{e 600 South Boston 3900 Back Bay -v 3901 Back Bay „ 1860 Lynn / Connecting.,^11all 533 Oxford \ 1800 Salem D<^P'*r<"«'»t* 907 Union Providence 336 Oxford ( 1622 Worcester 300 Newton North ) 300 Newton North Watertown BUNDLES CALLED FOR AND DELIVERED IN BOSTON AND SUBURBS

Full information by Correspondence for Bundles by Mail or Express "YOU CAN RELY ON LEWANDOS"

1478 Fifth orchestral trip next week. There will be no public rehearsal and concert on Friday afternoon and Saturday evening, March twenty-fifth and twenty-sixth

Twentieth Rehearsal and Concert

FRIDAY AFTERNOON, APRIL I, at 2.30 o'clock

SATURDAY EVENING, APRIL 2, at 8 o'clock

PROGRAMME ^

Beethoven Symphony in F major, "Pastoral," No. 6, Op. 68

Tschaikowsky Francesca da Rimini," Fantasia after Dante, Op. 32

a. Elegie and Musette from Suite "King Christian II." Sibelius b. Valse triste

(First time in Boston)

Dvordk Overture, "Carneval"

1479 Son^ Recital BY Mr. and Mrs. GAINES

THURSDAY EVENING, APRIL 14, at 8.15

Reserved seats, $1.50, $1.00, and 50 cents Tirkets are now on sale at the Hall

Mr. WILLARD HOWE

Takes pleasure in presenting Mme. Marie von Unschuld

The Brilliant Austrian Pianist

IN A Pianoforte Recital

ON TUESDAY AFTERNOON, APRIL 12, AT 3 O'CLOC]

Reserved seats, $1.50, $1.00, 50 cents. Tickets will go on sale March 21 Steinert Hall, or may be ordered by mail or telephone (Oxford 1330).

Local Manager. RICHARD NEWMAN

THE STEINWAY PIANO USED RECITAL

. . BY . .

Misses NATHALIE and MARJORIE PATTEN' Violin and Violoncello

Assisted by Mr. JOHN BEACH (Piano) Mrs. MARY E. PATTEN, Accompanist

FRIDAY EVENING, APRIL 15, at 8 o'clock

Reserved seats, $1.50, $1.00, 50 cents On sale at Steinert and Symphony HaOs 1480 1

Boston Symphony Orchestra

Engagements

Academy of Music . . . Philadelphia Monday Evening, March 2

New National Theatre . . Washington Tuesday Afternoon, March 22

Lyric Theatre . . . . . Baltimore Wednesday Evening, March 23

Carnegie Hall . . . . Nevv^ York Thursday Evening, March 24

Academy of Music .... Brooklyn Friday Evening, March 25

Carnegie Hall . . . . New York Saturday Afternoon, March 26

Buckingham Music Hall . . Waterbury Monday Evening, March 28

1481 HOTEL TUILERIES, 270 Commonwealth Ave., Boston

Saturday Afternoon, March 26, at 3 A LECTURE RECITAL ON THE OPERA "E L E C T R A"

An analysis of the music and a talk on the sources of the play, following which Miss (jrant recites the entire text, accompanied by an arrangement of the Piano score. Miss AMY GRANT, Reader

Mrs. ELIZABETH RUGGLES at the Piano

Tickets, $2.00. Professional or Student's Tickets, ;jSi.oo. On sale at Symphony Hall. Mail Orders accompanied by Check or Money Order, and addressed to L. H. Mudgett, Symphony Hall, will receive prompt attention.

CHARLES HENRY MELTZER in N.Y. American says of Miss Amy Grant's work in Electra:— Miss Amy Grant is an artist blessed with an unusually fine voice. It is musical, and it is haunting. The clear diction of the reader, aided by her harmonious personality — and dramatic feeling, made it a rare treat to listen to her interpretation of the tragedy.

A CARD to the LADIES of BOSTON and VICINITY

presume that you are thinking where you will WEgo for your next Spring Suit. We undertake to

save you all the trouble of looking around, _^ If you will come direct to our factory, we will show you the new Spring Models and let you select your own materials, linings, and trimmings from our stock, of which we have the latest. Will make you a suit to your measure, with as many fittings as necessary to insure entire satisfaction, from $35.00 up, according to materials and linings. Guaranteed perfect fit and workmanship or you need not accept suit. Just think what a relief this is for you. Our factory is one of the cleanest under the inspection of the Consumers' League,

M. J. FREEDMAN & CO. Manufacturers of Cloaks and Suits 17 and 23 Beach Street BOSTON, MASS. Take Elevator Telephone 2988-3 Oxford

1482 SYMPHONY HALL

EASTER SUNDAY, MARCH 27, at 7.30

Handel and Haydn Society Mr. EMIL MOLLENHAUER, Conductor Mr. H. G. TUCKER, Organist CHORUS 400, ORCHESTRA, ORGAN and SOLOISTS

Bossrs PARADISE LOST

(First time in America)

SOLOISTS Mme. JOMELLI Mme. LAKIN Mr. TOWNSEND Mr. BIDEN

Tickets, %i.oo^ ^1.50, and ;^i.oo. Now on sale at Symphony HaU and Schirmer's Music Store, 26 West Street 1488 EMERSON COLLEGE OE ORATORY

A school with a national reputation. It has a larger number of teachers and students than any similar institu- tion in the United States. The students come from fortj^ States and foreign countries.

Last year seventy graduates were placed in positions ranging from grammar grades to Harvard University. Ten of these were college positions, and more than that number were normal schools. Courses in literature, oratory, dramatic art, physical culture, voice work.

SUMMER SCHOOL, JULY 11 to AUGUST 5

Send for Catalogue to

HARRY SEYMOUR ROSS, Dean, Chickering Hall |

JORDAN HALL, WEDNESDAY AFTERNOON, APRIL 13

AT 3 RECITAL BY LAURA VAN KURAN, Soprano AND CHARLES ANTHONY, Pianist

Mr. ALFRED DeVOTO, Accompanist

Tickets, $1.00, at Jordan Hall Box Office

1484 THE KNEISEL QUARTET FRANZ KNEISEL, First VioUn LOUIS SVECENSKI, Viol* JULIUS ROENTGEN, Second Violin WILLEM WILLEKE, Viohnalb TWENTY-FIFTH SEASON, 1909- 1910 CHICKERING HALL, and FENWAY COURT

Seventh and Last Concert of the Season

AT CHICKERING HALL

Tuesday, March 22, at 8.15 p.m.

PROGRAMME

Mozart ...... Quartet in B-flat major

C^sar Franck ...... Trio in F-sharp minor, Op. i-i

Schumann Quartet in F major

Assisting Artist, Mr. GEORGE PROCTOR

CHICKERING PIANO

Tickets for sale at Boston Music Co. (G. Schirmer, Inc.), 26-28 West Street, $1.50, $1.00, and 75 cents

1485 SANDERS THEATRE, Cambridge Boston SymphonyOrchestra MAX FIEDLER, Conductor Twenty-ninth Season, 1909-10 SEVENTH CONCERT Thursday Evening, March 31, 1910

PROGRAM Schumann .... Symphony in B-flat major, No. i, Op. 38 1. Andante un poco maestoso; Allegro molto vivace. II. LarghettQ.

III. Scherzo: Molto vivace. Trio I. : Molto piu vivace. Trio II. IV. Allegro animato e grazioso.

Saint-Saens . . Concerto for VioUn, in B minor, No. 3, Op. 61 I. Allegro non troppo. II. Andantino quasi allegretto. III. Molto moderato e maestoso. Allegro non troppo.

Rachmaninoff . . Symphonic Poem, "The Isle of the Dead," for full Orchestra, to the picture by A. Bocklin, Op.

29. First time in Cambridge _

Strauss . . "On the Shore of Sorrento," the third movement of "From Italy," a Symphonic Fantasia, Op. 16

Berlioz ..... Overture, " The Roman Carnival"

SOLOIST Mr. SYLVAIN NOACK

TICKETS, $1.00, ON SALE AT KENT'S UNIVERSITY BOO! STORE, HARVARD SQUARE, CAMBRIDGE, AND AT THE DOOj I486 1487 CLARA TIPPETT,

Teacher of Singing ,

Assistant, GRACE R. HORNE. 312 Pierce Building, Copley Square.

CONCERT ausjfces'of Thc Church of the Higher Life

Chauncy Hall Building, 585 Boylston Street

FRIDAY EVENING, MARCH 25, 1910, at eight o'clock

TheAmerican String Quartette

Miss GERTRUDE MARSHALL. First Violin Miss EDITH JEWELL. Viola Miss EVELYN STREET. Second Violin Mrs. SUSAN LORD-BRANDEGEE. 'Cello

PROGRAMME

Violins, Viola Violoncello, Op. 18, No. 4 Beethoven . . . Quartette for two and Debussy ...... Two Movements from Quartette in G Minor Violoncello, 13 Ippolitoff-Iwanow . . Quartette for two Violins, Viola, and Op.

Tickets $1.00 and 50 cents, for sale at the Boston Music Company. 26 and 2S West Street. Boston.

MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and *°'"'^'"' *°'-°'*'- Miss HARRIET S. WHITTIER, Studio, 246 Huntington Avenue.

Portsmouth. New Hampshire. Mondays. i ««,.™,^.,.^ Classes in Sight Reading MissCAROLIHEM. SOUTHARD, ,eiqht hands,. Advanced pupils follow the Symphony programmes TEACHER OF THE PIANOFORTE. as far as practicable. 165 Huntington Avenue - Boston 1488 PIANISTEand TEACHER.

Mrs. CAROLYN KING HUNT, Hemenway Chambers, BOSTON.

TEACHER OF SINGING.

Miss CLARA E. HUNGER, Century Building, 177 Huntington Avenue, Boston.

TEACHER OF SINGING. 602 Pierce Building, ffiss PRISCILLA WHITE, Copley Square, BOSTON.

Tuesdays and Fridays at Lasell Seminary.

TEACHER OF SINGING. 514 Pierce Building, Miss KATHERINE LINCOLN, Copley Square, Boston. Saturdays and Mondays in New York. SOLO SOPRANO. Representlnii Miss Clara E. Mnniier. Address, 254 West 85th.

38 BABCOCK ST., BROOKLINE. TEACHING AT BERTHA GUSHING CHILD, LANG STUDIOS,

6 NEWBURY ST., BOSTON.

PIANIST. iRICHARD PLATT, 23 Steinert Hall . . Boston. Mason & Hamlin Piano.

Pierce Building, Copley Square, Room 703. INSTRUCTION IN THE SAM'L L. STUDLEY, ART OF SINGING. OPERA. ORATORIO, AND SONQ.

14S9 Vocal instruction Lamperti method to a limited MUe. AVIGUANA number of pupils. Oratorios taught in accordance with traditional renderings under Sir Michael Costa, (Royal Italian Opera, Covent Qarden). Macfarren, etc. Highest references. Terms on appli- DRAMATIC SOPRANO. cation. Sixteen years of foreign study and professional life Concert, Oratorio. in Grand Opera in Italy and in Opera, Oratorio, and Concert in England, Scotland, etc., have amply 137 NEWBURY STREET. qualified Mile. Avigliana to prepare her pupils for any position.

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

B. GUCKENBERGER, Director. 30 Huntington Avenue . Boston WILLIAM ALDEN PAULL INSTRUCTOR OF VOICE CULTURE, Episcopal Theological School, Brattle Street, Cambridge '^^ Office Hours: | Daily except Saturday. Telephone, Cambridge 2816-1. I| P R I VAT E- I^ESSONS BY APPOINTMENT

I RECITALS a SPECIALTY. JOHN HERMANN LOUD InstrnctloD In Oriian, Harmony and Plana. CONCERT ORGANIST. Address, 140 Boylston Street, Boston, or 154 Oakleigh Road, Newton. (Fellow of American The Guild of Organists) Telephone 798-4 Newton North j

Pianist and Teacher. Miss MARY INGRAHAH, Lan^ Studios, 6 NEWBURY STREET.

ELEANOR FOX-ALLEN, THE APPLETON QUARTET, EDITH LAMPREY-UNDERHILL,J KATHLEEN RUSSELL-COOK, RECITALS, CONCERTS, EDITH LOUISE MUNROE. FUNERALS. 28 Warren Ave., Somerville, flas^ Musical Director, Mrs. S. B. FIELD. Telephone 572-6 Somerville

BARITONE SOLOIST AND Mr. LOUIS SGHALK, TEACHER OF SINGING.

Studio, 25 5teinert Hall, Boston.

IS24Chestnnt Street. Philadelphia Krs. WILLIAM S. NELSON, Mondays and Thursdays. 589 Main Street. East Orantfe. N.J. Vocal Instruction, Accompanist Wednesdays. I East 40th Street. New York Musicales Arranged. Tuesdays and Fridays. 1490 YEAR 1909>1910 SIXTH LOUIS NORMAN CULLIS, INSTRUCTOR IN VOICE PRODUCTKJN. Now receives pupils in singing (either beginners or advanced) at liis new studios in Carnegie Hall. Mr. CuUis is a pupil of the Royal College of Music, London, and Bouhy of Paris, and teaches the Old Italian (Nava) Method, for which he is especially equipped, having studied the same under Bouhy of Paris, and Visetti of London, both of whom were pupils of Nava.

VOCAL INSTRUCTION. Room 420. Pierce Building.

ELIZABETH GARY LORD, Pupil of Randegger, London. Mme. Baucarde, Florence. Opera Repertoire, M. Juliani, Paris.

Miss Rose Stewart, EDITH LANG, Vocal Instruction. PIANIST.

246 Huntington Avenue. Lang Studios, 6 Newbury Street.

HELEN ALLEM HUNT. MISS EDITH ROBBINS, TEACHED OF PIANO PLAYING. CONTRALTO SOLOIST. Teacher of Singing. Suite 57. Garrison Hall. Telephone Back Bay No. 514 Pierce Building . Boston. 2307.

ANNA ELLIS - DSXTf^R, ERNEST COORENGEL, Soloist at New Jerusalem Church, Boston. Cultivation of Art and Individuality in VOCAL INSTRUCTION. PIANOFORTE PLAYING. STUDIOS NEW SYSTEM. Brockton, Mondays and Tuesdays, 55 Centre Street. All Branches of COMPOSITIONi Boston, Wednesdays and Saturdays, 218 Tremont Street, Room Symphony Chambers, opposite For particulars apply 51 Providence, Thursdays and Fridays, Butler Exchange. Symphony Hall, Boston. to Business Manager.

BERTEL Q. WILLARD, Mrs. H. CARLETON SLACK, "BASS. LYRIC SOPRANO. Voice Development and Breath Control. Concerts. Recitals. Society Moslcales. Vocal Instructor. Harvard University. Vocal Inatrnction. 404 Huntiniiton Chambers Lanii Studios. 6 Newbury Street. Wednesday and Saturday. Tuesday and Friday Afternoons. At other times by appointment.

MISS GERTRUDE EDMANDS, School of Vocal Instruction Under exclusive social and artistic patronage for the Concert and Oratorio. finish and introduction of young ladies in OPERA ORATORIO CONCERT Vocal Instruction. Miss ALICE BREEN. Studios Opera House Building, New York City TheCopley. 18 Huntington Avenue, St. 6 F- Metropolitan and 56 Irving Place, Brooklyn.

MAY SLEEPER RUGGLES ARTHUR THAYER, (CONTRALTO) Soloist in Boston Concert Trio. Teacher of Singing. Liederheim School of Vocal Music, AUBURNDALE. MASS. Boston Studio: PiBBCE Building. Send for Prospectus. 200 HUNTINGTON AVENUE. 1491 EDWIN Basso COLLEGE, SCHOOL, AND CONSERVATORY N.C. Cantante positions secured for TEACHERS of MABEL and Teacher MUSIC. of SinKing. ORATORY. GYMNASTICS. &c. Also CROCKER BARNES CHURCH engagements for SINGERS. Dramatic Art Pupil of Charles Fry, ORGANISTS, and DIRECTORS. London Academy. HENRY C. LAHEE Piione. Oxford 475-1 Symphony Hall Symphony Chambers, Boston, opp. 218 Tkkmont Street. Boston

Pianoforte Instruction. Mrs. BERTHA I. KAGAN, Qerman Diction, for Opera, Concert, ARTHUR GERS. and Oratorio Work. Formerly pupil Royal Conservatory Girnu lauitfi. Clissit ud Modira Lltiritori. of Brussels, Belgium, (1897-1901). Address, 19 Trowbridge Street, Cambridge Also Oriianlst and Accompanist* Telephone 2331-1 Cambridge. HUNTINGTON CHAMBERS • BOSTON.

MME. DE BERG-LOFGREN, Miss INEZ DAY, TEACHER OF SINGING. The "GARCIA" Method. PIANIST and TEACHER. Teacher of Bettina Freeman and Virginia Pierce, Grand of Boston's new Opera. LANQ STUDIOS, Studio. 12 WesUand Avenue, BOSTON, MASS. Telephone, Back Bay 3762-1 6 NEWBURY STREET.

MR. ROBT. N. JOHN CROGAN MANNING, MRS. ROBT. N. LISTER, CONCERT PIANIST. Teacher of Singing, Soprano Soloist. Monday, Wednesday, and Thursday afternoons. Symphony Chambers, opposite Symphony Hall BOSTON. Symphony Chambers, 246 Huntington Ave.

Alice Bates Rice, F. P. Mccormick, Soprano Soloist, Teacher of Sin^ln^. TEACHER OF SINGING. LANG STUDIOS. 6 NEWBURY STREET. Special training for injured voices. House Address, 41 Commonwealth Avenue, 37 Stelnert Hall Annex, Boston. Chestnut Hill.

Mrs. NELLIE EVANS PACKARD. ALBERT M. KANRICH studio, 218 Tremont Street (Room 308), Boston. Violinist and Musical Director VOCAL INSTRUCTION. The Kanrich Orchestra may be engaged for Con- Theatricals, Dinners, Dances, etc. Mrs. Packard is commended by Walker, Randegger certs, Weddings, (London), Marches!, Bouhy, Trabadelo (Pans), Orchestration, Vocal and Band. Leoni (Milan), Vannuccini (Florence), Cotogni, 164 A Tremont Street Franceschetti (Rome).

JOSEPH J. GILBERT, ROSABELLE TEMPLE, Soloist, and Teacher TEACHER OF SINGING of the Flute. MUSICAL LECTURES Suite 2, 40 Batavia St., Boston, Mass. 719 BOYLSrON STREET, BOSTON Tel. conn, with Batavia Chambers. TELEPHONE, 1507 BACK BAY

C. B. HA'WLEY, niss MABEL ADAMS BENNETT, VOCAL TEACHER ^"""Su^ctor Coach and Accompanist. Correct Tone Production. Breathing and interpre- tation. Special Training for Church Choir, Concert Opera and Repertoire. and Oratorio. Four years accompanist for M. Giraudet of Paris. Organist Madison Avenue M. E. Church. Season of igoS-oo in New York, with Fraulein Morena Studio, 35 West 42nd Street, New York City. of the Metropolitan Opera Co., and Victor Maurel. Philadelphia Studio, 1524 Chestnut Street. Room 1004 Tuesdays and Fridays TRINITY COURT, DARTMOUTH STREET. Telephone 1492 TH^

TENSION RESONATOR (PATENTED)

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A demonstration of the function of this invention will gladly be given at our warerooms.

Catalogue Mailed on Jtpplication Old Pianos Taken in Exchange

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is to-day the only high-grade piano in the United States which is made and controlled by the direct descendants of

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