ACADEMY OF MUSIC, PHILADELPHIA. tonSympnonu Dictiestra Mr. WILHELM GERICKE, Conductor. Eighteenth Season in Philadelphia. PROGRAMME OF THE SECOND CONCERT FIRST SERIES, MONDAY EVENING, DECEMBER 8, AT 8.J5 PRECISELY. "With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. ME S S R S . CHICKERING & SONS PIANOFORTE MAKERS Invite Critical Inspection of Their Latest Production The Ouarter Grand The Smallest Grand Embodying Modern Principles Ever Made RETAIL W A R E R O O M S 791 TREMONT STREET, BOSTON Repn ! in Philadelphia hy JOHN WANAMAKER. DOStOn ACADEMY OF MUSIC. ph, ladelphia. Symphony•*sj liipiiviy *-* Twenty-second Season, J902-J903, yv -g a ^ Eighteenth Season in Philadelphia* Mr. WILHELM GERICKE, Conductor. SECOND CONCERT, FIRST SERIES, MONDAY EVENING, DECEMBER 8, AT SA5 PRECISELY. PROGRAMME. Berlioz Overture, " Les Francs Juges," Op* 3 (First time.) Joh. Seb. Bach . Concerto for Violin and Orchestra, in A minor, No. \ Allegro. Andante. Allegro assai. Franz Liszt Symphonic Poem No. 2, "Tasso: Lament and Triumph " Lento (C minor). Allegro strapitoso. Adagio mesto (C minor). Meno adagio (E major). Allegro mosso con grazia (quasi menuetto) (F-sharp major).' Allegro con molto brio (C major). Schumann .... Symphony No. 2, in C major, Op. 6\ I. Sostenuto assai (C major). Allegro ma non troppo (C major). II. Scherzo: Allegro vivace (C major). Trio I. (G major). Trio II. (A minor). III. Adagio espressivo (C minor). IV. Allegro molto vivace (C major). SOLOIST: Mr. FRANZ KNEISEL. There will be an intermission of ten minutes txfors the Symphony* Our NewSmall Grand We especially invite the critical attention of artists and lovers of the beautiful in pianos to our NEW SMALL GRAND, which represents the latest and highest development in that field of piano manufacture A request by mail will bring you price and terms. EVERETT PIANO CO., boston New York Mouse, 141, 143 Fifth Avenue i Overture to " The Fehmic Judges " Hector Berlioz. (Born at La Cote Saint-Andre, Dec. n, 1803; died at Paris, March 9, 1869.) Some time after his arrival at Paris in 182 1, Berlioz became acquainted with a young man named Humbert Ferrand, and loved him his life long. Ferrand was a zealous Catholic, who believed in legitimate monarchy. Berlioz was sceptical, a passionate admirer of the first Napoleon, liberal in politics as well as literature", a sworn foe to the Bourbons. But the two young men were one in their enthusiasm for art and their disdain of the commonplace. Ferrand had just written a "grand heroic scene with chorus," inspired by the Greek revolution. Berlioz set music to it ; and Berlioz was eager to write an opera entitled " Les Francs-Juges," with a text which had more or less to do with the " Vehm-gericht," a text versified by his dear friend Ferrand. The Vehmic, or Fehmic, or Femic, Tribunal was a strange, irregular, and fear-compelling institution, peculiar to Germany, which flourished especially in Westphalia from 1150 to 1568. Civil cases were tried before it openly, but crimes such as heresy, witchcraft, and murder were tried at night and with blood-curdling rites. Each member was sworn to conceal the pro- ceedings "from wife and child, father and mother, sister and brother, fire and wind, from all that the sun shines on and the rain wets, and from every being between heaven and earth." The symbols of authority were a coil of ropes and a naked sword. For an account of the probable origin, the duties, the power, and the ending of this tribunal, see Sir Francis " Palgrave's Rise and Progress of the English Commonwealth " ; Sir " Walter Scott's Anne of Geierstein," chapter xx. and notes ; and the article in volume nine of the Encyclopaedia Britannica, in which German writers on the "Vehm-gericht" are cited. THE JWANAGEnENT OF THE NEW ENGLAND CONSERVATORY OF MUSIC BOUNCES THE RETURN OF gJQ^ ORE$TE BIMBONI AND THE OPENING OF THE SCHOOL OF OPERA, Which will give, in addition to the performances in JORDAN HALL, nd TWO PERFORMANCES, Z £ ^TtV BOSTON THEATRE. R. CEORC HENSCHEL will teach — until March, 1903 — EXCLUSIVELY in the Conservatory. Particulars and terms (tor one or any number of lessons) may be had of the Registrar or from Mr. Henschel personally. (5) nBaBHHEMEMBHKaaH&flHHHH^Hii^aa AT HEPPE'S ONLY Certified Pianos The average buyer knows no more about pianos than we know about the inhabitants of Mars. It's different here, for A Jury of Tone Experts tell you what each piano is in touch, scale, and action, also value, by a certificate sealed to its back. " No other house handles l% Certified pianos, or pianos with 3 Sounding-boards instead of I, A tone developer which is placed in the THREE GREAT PIANOS of the day, namely, the " Heppe, 1 " Marcellus," and "Edouard Jules." A broad ten-year guarantee, a .six- months 1 free exchange privilege, and a strict "one-price" system are a few of the other advantages that you >y here. Prices, $247 to $500 We have many slightly used pian ( reatly reduced. 'all or write I >ept. s B for complete li t and terms. HPPPP ft <sON / Mircc \ 1113-1117 Ch«*tnut 5t. CI• u. lllwl I L tv Ov/11 vstorcs/ 6th and Thompson Sts. i x PHIL M»» I fill v p \ AT HEPPE'S ONLY i The first mention by Berlioz of this opera was in the spring of i828 f when he was working furiously. On May 26, 1828, he gave a concert in the hall of the Paris Conservatory. The programme was made up of the overture "Waverly,"* composed in 1827 or 1828; the overture to " Les Francs-Juges " and an air and trio with chorus ," Melodie Pastorale," from the same opera; the "Scene Grecque," referred to above and com- posed in' 1825 or 1826. On the original programme was "La Mort d'Orphee," written in compe- tition for the prix de Rome in 1827, which, on account of its difficulty, was thrown out by the judges, Cherubini, Paer, Lesueur, Berton, Boieldieu, " Catel. Berlioz intended that this sub-title should be added : Piece declared unplayable by the Academy of Fine Arts of the Institute and performed on the ... of May, 1828." Alexis Dupont, who was to have sung it, was hoarse, and the " Resurrexit" from the " Messe Solennelle " (tried in 1824 at Saint Roch ; revised and performed at Saint Roch, 1825; again revised and performed at Saint-Eustache in 1827) was substituted. The " Marche Religieuse des Mages," composed in 1828, was also per- formed. The solo singers were Gilbert Duprez, later one of the most dis- tinguished tenors of the nineteenth century (his voice at that time was weak and sweet); Louise Marie Caroline Lebrun (1807-65), a second prize of the Conservatory; and Pierre Ferdinand Prevot (1800-79), a first prize of the Conservatory and a member of the Opera from 1824 to 1857. Bloc, of the Nouveautes, conducted. We are concerned now only with the performance of the excerpts from " Les Francs-Juges.'' Berlioz wrote to Ferrand an account of the concert. " The second part began with the overture to ' Les Francs-Juges.' I must tell you what happened at the first rehearsal of this piece. Scarcely had the orchestra heard that fright-inspiring solo of trombone and ophi- *The overture "Waverly" was played in Boston on Dec. 13. 1851, at a concert of the Musical Fund Society. The music was procured for the society by Jonas Chickering. " Where the TECHNIC is imperfect, a singer is limited, whatever may be the temperamental equipment." cliool of Vocal What to do and how to do it, to secure the results desired in Compass, Quality, Power, Evenness, and Execution FOR BEGINNERS, AND SINGERS TROUBLED WITH DEFECTS Dr. B. FRANK WALTERS, Jr. Palace Building, S. E. Corner nth and Chestnut Streets Send for Booklet, " The Making of a Singer" (7) Ulben expert mu$i= I J 1 clans m Cogetber, | S E^^ft^'^ discuss the attractive features W S !>%^lyj of a Piano, .* jf, j. a< > > j*. » ^ t#c fflakbhss Cunningham ^ is sure to be favorably mentioned. Everv player j^ knows something good about this wonderful instru- £** ment. All that is desirable in Pianos is embodied in w The cMatchless Cunningham ;* 4©£ 1 g Perfect in Construction . {? ^J Beautiful in Tinisb ^ S? Sweet and Powerful in tone g? ^ "The Matchless Cunningham Ijp *jL "warranted for fifteen years* $650 value for $425 §gf ^ The Girard Piano § « "warranted for ten years. $350 value for $275 w fSi A large variety of other Pianos and Organs at nearly 8S N all pliers. Write tor catalogue, ^k f!i eas\ payment plan, etc. W> % Cbe Cunningham Piano (& ^ fe 1105 Chestnut Street, Philadelphia q$ " ; cleide, which goes with your words for Olmerick in the third act, when ' a violinist stopped and exclaimed : Ah ! ah ! the rainbow is your violin bow, the winds play the organ, and Time beats the measure.' Thereupon the orchestra hailed with applause an idea which it had not even under- it playing to applaud. The day of the concert this intro- stood ; stopped duction produced a stupefying and terrible effect, hard to describe. I was near the drummer. He grasped one of my arms with all his might, and he could not help exclaiming convulsively at intervals, \ Superb ! My dear man, it is sublime ! It is frightful ! It is enough to frighten one out of ! his senses ' With my other hand I was pulling madly a lock of my hair. I came near screaming, forgetting it was my work. ' How monstrous, colossal, horrible it is !' ... A member of the Opera said the night of the rehearsal that this effect in the overture was the most extraordinary thing ' he had heard in his life.