INFANTRY HALL PROVIDENCE
Thirty-third Season, 1913-1914
Dr. KARL MUCK, Conductor
WITH HISTORICAL AND DESCRIPTIVE
NOTES BY PHILIP HALE
i :u i
\ut- ir* vii. n r r
TUESDAY EVENING, DECEMBER 30
AT 8.15
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Violins.
Witek, A. Roth, O. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Noack, S. Koessler, M. Bak, A. Traupe, W. Goldstein, H. Rissland, K. Ribarsch, A. Baraniecki, A. Sulzen, H.
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Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R.
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English Horn. Bass Clarinet. Contra-Bassoon.
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Horns. Horns. Trumpets. Trombones. Tuba. Wendler, G. Jaenicke, B. Kloepfel, L. Hampe, C. Mattersteig, P. Lorbeer, H. Miersch, E. Mann, J. Alloo, M. Hain, F. Hess, M. Heim, G. Mausebach, A. Resch, A. Hiibner, E. Merrill, C. Kenfield, L.
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297 WEYBOSSET STREET xf PROVIDENCE, R.I.
Ifetf JT ^W TBiax> INFANTRY HALL .... PROVIDENCE
One Hundred and Thirty-second Concert in Providence
(&<\
Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor
THIRD CONCERT
Owing to the indisposition of Dr. Muck,
Mr. Urack will conduct.
LJV1-V1'-/ X
Mr. FRITZ KREISLER
There will be an intermission of ten minutes before the concerto
5
M-fninm £
JM PROVIDENCE, R.I.
.fiii - r^. U J7~ One Hundred and Thirty-second Concert in Providence Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor THIRD CONCERT TUESDAY EVENING, DECEMBER 30 AT 8.15 PROGRAMME Schubert Unfinished Symphony in B minor I. Allegro moderate II. Andante con moto. Bizet . . . Suite No. i, from the Music for Alphonse Daudet's Play, "L'Arlesienne" I. Prelude. II. Minuetto. III. Adagietto. IV. Carillon. Lalo Overture to "Le Roi d'Ys" Brahms . . . Concerto in D major, for Violin and Orchestra, Op. 77. I. Allegro non troppo. II. Adagio. III. Allegro giocoso, ma non troppo vivace. SOLOIST Mr. FRITZ KREISLER There will be an intermission of ten minutes before the concerto 5 llflTTl itasmt&^amlm Boston's Great Art Product Admittedly the finest piano the world has ever seen Providence Representatives 276 WESTMINSTER STREET Unfinished Symphony in B minor Franz Schubert (Born at Lichtenthal, near Vienna, January 31, 1797 ; died at Vienna, November 19, 1828.) Two brothers, Anselm and Joseph Huttenbrenner, were fond of Schubert. Their home was in Graz, Styria, but they were living at Vienna. Anselm was a musician; Joseph was in a government office. Anselm took Schubert to call on Beethoven, and there is a story that the sick man said, "You, Anselm, have my mind; but Franz has my soul." Anselm closed the eyes of Beethoven in death. These brothers were constant in endeavor to make Schubert known. Anselm went so far as to publish a set of " Erl King Waltzes," and assisted in putting Schubert's opera, "Alfonso and Estrella" (1822) in rehearsal at Graz, where it would have been performed if the score had not been too •difficult for the orchestra. In 1822 Schubert was elected an honorary member of musical societies of Linz and Graz. In return for the compliment from Graz, he began the Symphony in B minor, No. 8 (October 30, 1822). He finished the Allegro and the Andante, and he wrote nine measures of the Scherzo. Schubert visited Graz in 1827, but neither there nor elsewhere did he ever hear his unfinished work. Anselm Huttenbrenner went back to his home about 1820, and it was during a visit to Vienna that he saw Beethoven dying. Joseph remained at Vienna, and in i860 he wrote from the office of the Minister of the Interior a singular letter to Johann Herbeck, who then conducted the concerts of the Gesellschaft der Musikfreunde. He begged permission to sing in the concerts as a member of the society, -and urged him to look over symphonies, overtures, songs, quartets, choruses, by Anselm. He added, toward the end of the letter: "He [Anselm] has a treasure in Schubert's B minor symphony, which we put on a level with the great symphony in C, his instrumental swan- song, and any one of the symphonies by Beethoven." Herbeck was inactive and silent for five years, although several times he visited Graz. Perhaps he was afraid that, if the manuscript came to light, he could not gain possession of it, and the symphony, like the one in C, would be produced elsewhere than at Vienna. Perhaps he thought the price of producing one of Anselm Hiitten- Formerly of the Vienna Opera House THE ART OF SINGING IN ALL ITS BRANCHES Special courses for teachers of the voice Scientific Voice Culture based upon the methods of the European Masters. Recommended by Metropolitan Opera Artists. Special Attention to Voice-Building (tone-work). Appointments for voice trials by letter "Oscar Leon, the well-known teacher of singing, has produced results even with voices that were given up by other teachers as hopeless cases."—From the New York Tribune. "Some of Oscar Leon's pupils are world-renowned singers." —From the New York Evening Mail. Studio: AEOLIAN HALL, New York imiinni A NEW STYLE OF THE NEW ENGLAND'S FAVORITE PIANO GIVE YOUR CHILDREN this piano. Its full, rich tone will be a delight to you and an education to them. They can- not begin too early to develop an artistic feeling for tone quality. Hundreds of music teachers in New England use and recommend the Jewett Pianos. They are durable, reliable pianos — uniformly of the highest quality and good for a lifetime's musical satisfaction. See this handsome new style at any Steinert store Prices of Jewett Pianos range from $375 up. Old Pianos taken in exchange. Liberal credit terms. 509 WESTMINSTER STREET, PROVIDENCE, R.I. STORES IN ALL THE PRINCIPAL CITIES OF NEW ENGLAND — brenner's works in Vienna too dear, and there is reason to believe tlr Joseph insisted on this condition. (See " Johann Herbeck," by L. Her beck, Vienna, 1885, p. 165.) In 1865 Herbeck was obliged to journey with his sister-in-law, who sought health. They stopped in Graz, and on May 1 he went to Over- Andritz, where the old and tired Anselm, in a hidden, little one-story N cottage, was awaiting death. Herbeck sat down in a humble inn. He talked with the landlord, who told him that Anselm was in the habit of breakfasting there. While they were talking, Anselm appeared. After a few words Herbeck said, ?I am here to ask permission to pro- duce one of your works at Vienna." The old man brightened, his indifference dropped from him, and after breakfast he took him to his home. The work-room was stuffed with yellow and dusty papers, all in confusion. Anselm showed his own manuscripts, and finally Herbeck chose one of the ten overtures for performance. "It is my purpose," he said, "to bring forward three contemporaries, Schubert, Huttenbrenner, and Lachner, in one concert before the Viennese public. It would naturally be very appropriate to represent Schubert by a new work." "Oh, I have still a lot of things by Schubert," answered the old man; and he pulled a mass of papers out of an old-fashioned chest. Herbeck immediately saw on the cover of a manuscript "Sym- phonie in H moll," in Schubert's handwriting. Herbeck looked the symphony over. "This would do. Will you let me have it copied immediately at my cost?" "There is no hurry," answered Anselm, "take it with you." The symphony was first played at a Gesellschaft concert, Vienna, December 17, 1865, under Herbeck's direction. The programme was as follows: Overture in C minor (new) Huttenbrenner Symphonie in B minor Schubert g MS. First tune.) ^.Andan°t,}( 3. Presto vivace, D major Old German Songs, unaccompanied 1. Liebesklage ) Herbeck 2. Jagergluck \ ]$\rst time.) Symphony in A Mendelssohn W due > PUBLISHERS AND IMPORTERS OF MUSIC LONDON BOSTON NEW YORK 18, Berners Street 26 & 28 West Street 3 East 43d Street m m fMfnmn M^MH What was this "Presto vivace, D major," put on the programme as the third movement of the "Unfinished" Symphony? There are only nine measures of the Scherzo, which is in B minor. Neither Ludwig Herbeck nor Hanslick tells us. Hiittenbrenner's overture was described as "respectable Kapellmeis- termusik"; "no one can deny its smoothness of style and a certain skill in the workmanship." The composer died in 1868. The Unfinished Symphony was played at the Crystal Palace, Syden- ham, in 1867. The first performance in Boston was by the Orchestral Union, led by Mr. Zerrahn, February 26, 1868. The first performance at a concert of the Boston Symphony Orchestra in Boston was on February 11, 1882, Mr. Henschel, conductor. The symphony remained a fragment, as " Christabel," until a Ber- liner named August Ludwig added two movements of his own inven- tion. He entitled the third "Philosophen-Scherzo," in which "a ring was put through the nose of the bear Learning, i.e., counterpoint, that he might dance, to the amusement of all." "The second and tender theme conjures from the fairyland of poetry (Invention) a fay which tames and frees the bear, who pines in constraint." The Finale is a "March of Fate," and it is described by the composer at length and in fearsome words. The motto is, "Brazen stalks Fate, yet is she crowned with roses and love!" "Truly," says Ludwig, "Fate has stalked with brazen steps over our ancient masters. A new age has awakened a new music-era." There is much more of this. The incredible work, the Unfinished Symphony of Schubert, finished ICraka The Krakauer Piano I' The Krakauer carries the testimo- nials of thousands of is made by piano teachers scat- musicians, tered throughout the entire country. A tested by Piano can be subject- ed to no harder strain musicians and than in a Studio, endorsed by yet the Krakauer is praised by popular musicians. teachers everywhere. Sold here on the most favorable terms Conrad Building, 385 Westminster St., Providence, R.I. 10 26 CABOT STREET, Corner MEETING STREET PROVIDENCE, RHODE ISLAND ANNE GILBRETH CROSS, Director Piano, Violin, Violoncello, Mandolin, Harp, Harmony, Composition, Instrumentation, Normal Training, Public Performance, String Ensemble GUSTAV STRUBE, Conductor 913- SECOND SEASON 1914 Programme of First Concert includes an Octette by Svendson, Peer Gynt Suite by Grieg, and D-major Quartet by Haydn. This work, begun in 191 1, had last season 187 pupils, 23 experienced teachers and the use of rooms in 5 social centers, where lessons were given, for a nominal sum, to young people earning their own living, and to children of people of limited means. ANNE GILBRETH CROSS, Director. HELEN SOMES HEATH, Secretary. ii null Hi by August Ludwig, was performed at the Philharmonie, Berlin, December 8, 1892. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, kettledrums, strings. The first movement, Allegro moderato, B minor, 3-4, opens with a solemn phrase in 'cellos and double-basses in low octaves. The first and second violins enter in the ninth measure with restless passage- work in thirds and sixths, an accompaniment to a lamenting theme of oboe and clarinet. There has been dispute concerning the classi- fication of these motives. Let us quote Mr. W. F. Apthorp: "I have long been in doubt exactly how to classify these three phrases; indeed, I think I have classified them differently each time I have had to analyze the symphony for these programme-books. It seems to me, however, on maturer consideration, that the true classification, the one most consistent with the ordinary canons of the sonata-form, is this. The plaintive melody of the oboe and clarinet is but the con- tinuation and further development of the initial phrase of the 'cellos and double-basses—or the response to it—and the two together con- stitute the first and second members of the first theme. The nervous passage-work in the violins is the counter-theme to this." The development is suddenly cut short by syncopated chords in the full orchestra. A long-held D in horns and bassoons is followed by a modulation to G major, and the most Schubertian second theme is sung first by 'cellos against syncopated harmonies in the violas and the clarinets, and then by violins in octaves. The development is soon of an imitative contrapuntal character. The free fantasia is a long DIAMONDS ART GOODS JEWELRY FINE FURNITURE SILVER IMPORTED NOVELTIES CLOCKS, WATCHES LIGHTING FIXTURES VICTROLAS VICTOR RECORDS 12 xWh dLLfC%^# (The World's Best Piano) Unchallenged Supremacy since 1837 and (The World's Best Player-Piano) Your inspection is respectfully invited to the complete line of Knabe Grands, Uprights, and Player-Pianos which we have in our display rooms. Sole Rhode Island Representatives Cash or Credit 13 mfnnn and elaborate working-out of the first section of the first theme. The third part of the movement begins with the first theme in the tonic, and the second theme enters in D major. The coda is short and based on the first section of the first theme. The second movement, Andante con moto, E major, 3-8, is in sonatina form, "the sonata form without the free fantasia." The first theme is in E major in the strings. Wind instruments interrupt occasionally. A subsidiary theme is given out forte by wood-wind and brass over a contrapuntal bass in all the strings. There is a return of the first theme in the wood-wind. The second theme is a clarinet solo in C-sharp minor over syncopated harmonies in the strings. The theme suffers modulation in the development. A subsidiary in C-sharp minor is announced fortissimo by the full orchestra, and a theme in D major follows; the first violins imitate the 'cellos and the double-basses against a syncopated accompaniment in second violins and violas. There is a free closing passage, based on figures from this conclusion theme. The second part of the movement is planned according to the same scheme with the conventionally regular changes of tonality. The coda is short and built on the conclusion theme and the first theme. 1 Suite) No. i, from "I/Ari^sienne Georges* Bizet (Born at Paris, October 25, 1838; died at Bougival the night of June 2-3, 1875.) When Leon Carvalho was manager of the Vaudeville Theatre, Paris, he wished to revive the melodrama, the dramatic piece with incidental and at times accentuating music. He chose as dramatist Alphonse Daudet, who happened to have a Provencal play ready for the Vaude- ville. He chose as musician Bizet, whose "Djamileh," an opera in one act, produced at the Opera-Comique on May 22, 1872, had been praised by only a few critics. The libretto and the incapacity of a Mme. •Alexandre Cesar Leopold Bizet is the name of the composer of "Carmen." The name Georges was given to him by his godfather; and as Georges he was always known to his family, his friends, and the world at large. Only in official papers, as a citizen of France, and in the archives of the Conservatory, was he named Alexandre Cesar Leopold. TEACHER OF MUSIC—PIANO Telephone, 1215 R2 — Pawt. MUSICAL MOMENTS WITH CHILDREN NORMAL COURSE FOR TEACHERS FROM A NORMAL STUDENT:— " I think your work is wonderful. It is such a revelation of what can be accomplished with children." 14 Prelly, a woman of society who longed for applause as a public singer, did woful injury to the composer. Bizet was accused of being a Wagnerite, and Wagner was not then in fashion. "L'Artesienne," a piece in three acts, was produced at the Vaudeville on October i, 1872. The cast was as follows: Balthazar, Parade; Fr£deri, Abel; Mitifio, R£gnier; L,e Patron Marc, Colson; Francet, Cornaglia; L'fiquipage, Lacroix; Rose Mamai, Mme. Fargueil; Mere Renaud, Mme. Alexis; L'Innocent, Miss Morand; Vivette, Jeanne Bartet. The play was not liked, and there were only fifteen performances. Various objections were made against it: there was no action; it was "too literary"; it was too psychological, etc. The audience chattered or yawned during the prelude and the entr'actes. Good-natured dramatic critics asked why there was such "orches- tral cacophony"; but the menuet-intermezzo pleased by its frank, gay rhythm. The music as a whole shared the fate of the piece. "Its character harmonizes happily with the general color of the work. . . . There is nothing distinguished in the score. . . . The composer seems to have wished to hide himself behind the dramatist. The melodrama thus loses in importance." Now the orchestra at the Vaudeville was singularly composed. Ac- cording to Adolphe Jullien, it was made up of seven first violins, no second violins, two violas, five 'cellos, two double-basses, flute, oboe, cornet-a-pistons, two horns, two bassoons, drums, harmonium, piano. Charles Pigot gives a different list : two flutes, an oboe interchangeable with English horn, one clarinet, two bassoons, one saxophone, two horns, kettledrums, seven violins, one viola, five 'cellos, two double- basses, pianoforte.* Pigot says the harmonium was put in the wings to support the choruses in this particular piece, and it was played now by Bizet and now by Guiraud.f For this orchestra Bizet wrote his original score. The conductor was Constantin. t * Ernest Reyer gave the same list of instruments in his review published in the Journal des Debais. t Ernest Guiraud was born at New Orleans (U.S.A.) in 1837; he died at Paris in 1892. Educated at the Paris Conservatory, he took the Prix de Rome in 1859. He wrote operas, orchestral suites and overtures, pieces for solo instruments, songs, and a Treatise on Instrumentation. He taught at the Conservatory, and was a member of the Institute. t Titus Charles Constantin, born at Marseilles in 1835, died at Paris in 1891. A conductor of concert theatre, and opera orchestras ,he wrote some overtures and other pieces. Canzoncina: Odor di pesche primaticcie Guido Bianchini Offerta: lo venge piena l'anima d'ebrezza Serenatar Vien la brezza dal mar . Stornello: Vorrei farti una corona (con 2a voce ad lib.) Ultimo Canto Breve cosi Enrico Morpurgo Campane a vespero . Nel sonno mio Spes, ultima dea La stanza vuota Vien I Presso al Gange Lc Vieux Moulin Felix Fourdrain L'Oasis . Le long des Saules Alger le soir . Fleurs de Paravent . Le Papillon . Carnaval Les Abeilles . II neige des fleurs 60 CENTS EACH 14 East 43d Street, NEW YORK And Milan, Rome, Naples, Palermo, London, Paris, Leipzig. Buenos Ayres 15 tmnn After the failure of the piece Bizet chose certain numbers out of the twenty-seven, rescored them, and arranged them in the form of a suite. The first performance of this version was at a Pasdeloup concert on November 10, 1872. The first performance of this suite in Boston was at a Philharmonic concert on April 2, 188 1. After the death of Bizet a suite No. 2 was arranged by Guiraud from other numbers of the melo- drama. This suite is scored for two flutes, two oboes (the second of which is interchangeable with cor anglais in the first movement), two clarinets, two bassoons, alto saxophone, four horns, two trumpets, two cornets, three trombones, kettledrums, snare-drum, harp, strings. " " 1/Arl6sienne was revived at the Od6on, Paris, on May 5, 1885, when Bizet's revised score was played by Colonne's orchestra. Paul Mounet was the Balthazar; Lambert the younger, Frederi; Aim£e Jeanne Tessandier, Rose Mama'i; Irma Crosnier, Mere Renaud; Eugenie Yahne, LTnnocent; and Miss Hadamard, Vivette. Kdmond de Goncourt, in the " Journal des Goncourts," wrote about this first performance : "Public cold, icy cold. Mme. Daudet beats her fan about her with the angry rustling of the wings of fighting birds. Audience still cold, ready to titter and sneer at the piece. It applauds the music enthusiastically. Suddenly Mme. Daudet, who is leaning in a state ' of pitiful depression against the side of the box, exclaims : I'm going home to bed; it makes me sick to stay here.' Thank God, with the third act the piece goes, and its quality and the acting of Tessandier provoke loud applause in the last scenes." Here is a list of the per- formances at the Od£on : 1885,60; 1886,14; 1887,42; 1889,8; 1890, 19; 1891, 6; 1898, 30; 1899, 11; 1906, 30; 1901, 9; 1902, 15; 1903, 18; 1904, 20; 1905, 20; 1906, 9; 1907, 21. NOTE.—All of the Fritz Kreisler Compositions are obtainable at the local Music Stores, or direct from publisher CARL FISCHER, Cooper Square, NEW YORK. Send for special descriptive list. PIANIST AND TEACHER Studio, 58 Steinert Building Wednesday and Saturday afternoons and by appointment P.O. Address, Box 61, Providence, R.I. Most up-to-date in every department, 30 Expert Operators. Fashionable Hair Dressing, Marcel Waving, Scalp and Hair Treatment, Face and Neck Massage, Manicure and Pedicure Chiropody, Treatment of Blemishes, Warts, Moles, etc. 564 Washington St., Opp. Adams House, Boston, Mass. > Established 20 years Telephone 22279, 22325. Oxford 16 l\UU The piece was performed with Bizet's music in Germany for the first time on September 8, 1899, at Bremen. "The Woman of Aries," a version by Charles H. Meltzer and Willy Schulz, was produced at the Broadway Theatre, New York, on March 22, 1897, when Agnes Booth was the Rose Mamai; Rosa Rand, Mere Renaud; Florence Thorn- ton, The Innocent; Mary Haines, Vivette; Charles M. Kent, Bal- thazar; John Kellerd, Frdderi. The other parts were taken by Augustus Cook, Horace Lewis, Walter Craven.* Mr. Seidl led the orchestra. An opera in four acts founded on Daudet's piece and entitled "L'Ar- lesiana," libretto by Leopoldo Marenco, music by Francesco Cilda, was produced at the Lyric Theatre, Milan, on November 27, 1897. Three numbers were encored, and the composer was called before the curtain twenty-one times. The chief singers were Mmes. Frida Rici- De Paz, Tracey, and Orlandi; and Messrs. Caruso, Casini, Aristi, and Frigotti. Daudet's "L'Artesienne," reproduced on the cinematograph in Paris by Paths' Freres, was presented at a special performance at the Alhambra, London, November 20, 1908, and at that theatre later in the month. An English version of Daudet's play by Jocelyn Brandon was entitled "The Love that Kills." * Laura Moore sang an air in this performance. Born at Terre Haute, January 6, 1863, she took the first in prize for singing at the Paris Conservatory in 1885. She sang Ophelia in Thomas's "Hamlet" early 1888 at the Opera, but her voice was not large enough for the hall. On her return to this country she sang for a time in concert and in operetta. Thus she was heard in Eoston in "The Oolah" (1889) and in 'The Lion Tamer" (1893)- f=^^^^^^^^^^^= I'M NOT AS OTHER LASSES ARE (Ich bin wie andre Madchen nicht) By HUGO WOLF High voice in G, medium voice in F PRICE, POSTPAID, 25 CENTS NET Siang by SCHUMANN - HEII SPINNING SONG (Spinnerliedchen) German Folk Song Arranged by HEINRICH REIMANN High voice in A, medium voice in G PRICE, POSTPAID, 25 CENTS NET SB3B^S^I!i3i!DBOSTON[yjOIimkNEWYORKD!^!iff 17 ..•III III Overture to the Opera "The King of Is" . . . iSdouard L,alo (Born at Lille, January 27, 1823; died at Paris, April 23, 1892.) The opera "Le Roi d'Ys" was composed long before it was produced. An overture to it was performed for the first time at a Concert Populaire, Paris, led by Jules Pasdeloup, November 12, 1876. This overture, thoroughly remodelled, was first played in its present form at a Lamoureux concert at the Eden Theatre, Paris, January 24, 1886. The first performance of the overture in Boston was at a concert of the Boston Symphony Orchestra, Mr. Nikisch conductor, November 21, 189 1. The latest performance in this city was at a concert of the Boston Symphony Orchestra in Symphony Hall, November 23, 1907, when Dr. Muck conducted. The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four trumpets, four horns, three trombones, bass tuba, kettledrums, bass drum, side-drum, and strings. The opera is dedi- cated to M. and Mme. Schleurer-Kestner. The overture begins, Andante, 3-4, with a few sustained measures for strings in unison. After a short and plaintive song for the oboe, the clarinet has a tender melody, D major, which has been described as the mother-idea of the strain sung by the returning soldier, Mylio (act i.), "Si le ciel est plein de flammes." A trumpet fanfare ushers in the main body of the overture, Allegro, D minor, 2-2. The strongly rhythmed and fiery opening, which is supposed by some to picture the wild passion of Margared,—the invocation sung by her in act ii. is heard,*—leads to B-flat major, with a new version of the trumpet fanfare. A solemn phrase is begun by wind instruments against tremulous chords for the strings. A still more important section is the 'cello theme, Andantino non troppo, B-flat major, 6-4, taken from Rozenn's air, "En silence pourquoi souffrir?" in her duet with Mar- gared. There. is a return to the opening theme of the allegro, and a reminiscence of the introductory andante leads to an impassioned and brilliant peroration, Mylio's war song. * * "Lorsque je t'ai vu soudain reparaltre." Inflammation of the throat, bronchial and asthmatic troubles are relieved promptly by the use of CAMPHORATED SAPONACEOUS For over half a century recognized throughout the world as the staple throat remedy. Safe to use whenever re- quired to check a cough or give relief in any throat trouble. The combination of camphor and soap in this preparation Entirely free from opiates in any form. Fine for singers makes a Dentifrice of superior merit. and speakers to clear the voice Keeps the teeth and gums in healthy condition. Leaves Sold everywhere in boxes — never in bulk a particularly clean and pleasant feeling in the mouth. Prices, 25c, 50c, and $1.00 Price, 25 cents. Sample sent on request Sample sent free on request Manf'd by JOHN I. BROWN & SON, Boston JOHN I. BROWN & SON, BOSTON, MASS. Curtis & Brown Mfg. Co., Ltd.. New York 18 The baritone Manoury* sang an aria from "Le Roi d'Ys" at a concert of the Societe* Nationale in Paris, April 29, 1876, and a duet from the opera was sung by Mme. Lalof and Mme. H. Fuchs at a concert of the same society, March 13, 1880. The libretto had been in his hands for some years. The sketch of the opera was not completed, however, until 188 1. In 1886 he made many changes, and at the same time worked on the instrumentation. The opera was completed in 1887, and the manuscript was given to the publisher. It had been Lalo's wish to produce his work at the Opera, and Vau- corbeil, even before he was director of the Opera, J had given Lalo great encouragement; he even recommended the work strongly to the Minister of Public Instruction and of Fine Arts; but, when he was chosen director, and Lalo reminded him of his interest in the opera, he asked him to write music for a ballet, and did not even give him the choice of a scenario. Furthermore, Lalo was obliged to write the music in four months. He accomplished the task, but during the rehearsals he had a paralytic stroke. This ballet, "Namouna," was Adolphe Thebphile Manoury took the first prize for opera at the Paris Conservatory in 1874, and made his debut in "La Favorita" at the Opera, November 14 of that year. Remaining at the Opera until 1880, he sang in many cities. He was director of vocal studies at the New York Conservatory (1889-90), and, returning to Paris, busied himself there as a teacher. t Lalo married, July 5, 1865, one of his pupils, Julie Marie Victoire Bernier de Maligny, a distinguished contralto, for whom he wrote some of his best songs, as "L'Esclave." director of the in he held the _ t Auguste Emmanuel Vaucorbeil (1821-84) became Opera 1879, and position until his death. A pupil of the Paris Conservatory, he wrote a comic opera, "Bataille d'amour" (1863), chamber music, songs, etc. His wife, Armah Sternberg, was a distinguished singer and teacher. She died in 1898. Telephone Connection Ladies' Scalp and Facial Treatment Shampooing and Manicuring Rooms 603-4 Jackson Bldg. Martha Matilda Harper's Method 511 Westminster Street Rochester, N. Y. Providence, R.I. CONCERT PIANIST Soloist, Mmes. Sembrich, Lypkowska; Messrs. Constantino, Schroeder Assisting Artist, Kneisel Quartette BOSTON, MASS. PROVIDENCE, R.I, Trinity Court 123 Benevolent St. 19 III I produced at the Opera, March 6, 1882, with Rita Sangalli as chief dancer.* "Le Roi d'Ys" went a-begging. Carvalho refused to put the opera on the stage, although it was played to him at Gounod's house, with Gounod singing certain passages. But it found a publisher, and PareVey of his own accord asked permission of the composer to pro- duce it at the Op6ra-Comique. The first performance was at that theatre, May 7, 1888. The cast was as follows: Mylio, Talazac; Kar- nac, Bouvet; the King, Cobalet; Saint Corentin, Fournets; Jahel, Bussac; Margared, Miss Deschamps; Rozenn, Miss Simonnet. The opera at once made him famous, although he had already composed many of his best works, orchestral, concertos, and chamber music. He was then sixty-five years old. For this opera he was made an officer of the Legion of Honor. He had received the decoration in 1880. The one hundredth performance of "Le Roi d'Ys" at the Op6ra-Comique was celebrated May 24, 1889. (See Elz£ard Rougier's pamphlet on the occasion, published in 1890.) Since then the opera has remained in the repertory. In 1905 it was performed four times. The first performance of the opera in the United States was at New Orleans, January 23, 1890, when the cast was as follows: MyHo, Furst; Karnac, Balleroy; the King, Geoffroy; Saint Corentin, Rossi; Jahel, Butat; Margared, Miss Leavinson; Rozenn, Mrs. Beretta. The Aubade from the opera was sung in Boston at a concert of the Boston Symphony Orchestra, Mr. Gericke conductor, by Mr. Charles Gilibert, with pianoforte, December 23, 1904. * * * The libretto of this opera in three acts was written by Udouard Blau (1836-1906), who heard an. old legend of Brittany, told to him, it is said, by Jules de la Morandiere; but the legend itself was no doubt known *A suite from this ballet was played here for the first [time at a concert of the Boston Symphony Orches- tra, Mr. Paur conductor, January 4, 1896. COMMONWEALTH AVENUE, BOSTON A hotel of the highest class with moderate prices. Especially inviting to those who prefer good taste to display. An illustrated booklet on request, S. M. Costello, Manager 1425 BROADWAY NEW YORK CITY Announces for Season 1913-14 JULIA CULP, the Most Wonderful Lieder Singer in the World KATHARINE GOODSON, the Famous English Pianist MADAME MARIE MAUDE, English Contralto ELEANOR SPENCER, Pianist EMILIO DE G0G0RZA, Baritone PAUL REIMERS, Tenor RUTH HELEN DAVIS, In Her Unique Recitals, Messages from Many Lands 20 SYMPHONY HALL BOSTON SUNDAY AFTERNOON JANUARY 4, 1914 At 3.30 KR Direction, C. A. ELLIS CARL LAMSON, Accompanist PROGRAMME i. (a) Sonata in D major . . . . . Handel Adagio—Allegro maestoso—Larghetto—Allegro (b) Adagio and Fugue in G minor (for Violin alone) . J. S. Bach 2. Concerto for Violin in E minor, Op. 64 . . Mendelssohn I. Allegro molto appassionato II. Andante III. Allegretto non troppo; Allegro molto vivace (a) Sarabande Sulzer (b) Menuetto Pugnani (c) Scherzo . Dittersdorf (d) La Precieuse Couperin (e) Fugue Tartini (a) Lied ohne Worte Mendelssohn-Kreisler (b) Canzonetta Indienne Dvorak (c) Tambourin Chinois Kreisler Tickets, 50 cents to $2.00. On sale at Box Office. Mail orders to L. H. Mudgett, Symphony Hall, Boston STEINWAY PIANO USED 21 ^ 55T ••>:: I %:': m ;,; ..": •0-.-»>t»! ii£i*M$ mf]sm& Telephone Union 907 ALSO New York Philadelphia Hartford Waterbury Worcester Albany Washington New Haven Newport Springfield Rochester Baltimore Bridgeport Portland Fall River Boston Brookline Lynn Cambridge Watertown Salem Roxbury Waltham Maiden Lowell EXECUTIVE OFFICES 286 BOYLSTON STREET BOSTON 'YOU CAN RELY ON LEWANDOS 22 ^B INFANTRY HALL PROVIDENCE Tuesday Evening, February 3, 1914 AT 8.15 BY THE Dr. KARL MUCK, Conductor SOLOIST Greatest of Women Pianists 23 rri i to Blau in his childhood. Blau's libretto is a very free treatment of the legend about the submersion of the ancient Armorican city of Is. In Blau's version the king of Is—or Ys, as Blau preferred—had two daughters, Margared and Rozenn. They both loved Mylio, a knight who was supposed to die far from home. The king was waging war with a neighbor, Karnac. To bring peace, he gave Karnac the hand of Margared, to her infinite distress. When Mylio, who loved Rozenn, returned, Margared refused to wed Karnac, and he renewed the war. Mylio routed him. Margared, mad with jealousy, plotted with Karnac, and opened the gate that kept the sea from the town. In the con- fusion Mylio killed Karnac, but the water kept rising until Margared cried out, "It will never stop till it has reached its prey," and threw herself into the flood. Saint Corentin appeared on the surface of the water, and commanded it to recede. The old legend is much more striking. The city of Is was a mighty town in the fifth, sixth, or seventh century. It stood between the Baie des Trepasses and Douarnenez, a little west of Quimper. It was famous for its commerce, its civilization, and its luxury, but it was singularly built: it was protected against the ocean by a dike, and the gates could only be opened by a key which was kept by the king. The city suddenly disappeared beneath the ocean. Some say that this happened accidentally, but the mass of people looked on the dis- appearance as an act of divine justice and said that the innocent were drowned with the licentious to punish the crimes committed by the Princess Dahut. She was the daughter of the good King Gradlon of Quimper, and she was so corrupt and perverse that, to escape his vigi- lance, she went to live at Is. She bore night and day on her neck the keys of the gates. As she was deeply versed in magic, the fairies helped her to improve and adorn the city. The people of Is grew wicked, and will always be a source of pleasure to you on account of its likeness, naturalness and artistic quality. We go to your home anywhere without extra charge over our regular prices. PROVIDENCE. 120 UNION STREET TELEPHONE. 6592 UNION BOSTON, 647 Boylston Street WORCESTER, 1 Chatham Street BUSONI. ARTHUR ALEXANDER. American Tenor. WILLY BURMESTER. ALICE VERLET, Soprano of the Paris Grand Mrs. KING-CLARK, of Berlin. Opera, Opera Comique, and Gaite Lyrique. BARONESS von RAPPE, Soprano of Stockholm and Vienna Opera Houses. NORAH DREWETT, Pianist, THEODORE HARRISON. American Baritone. VIDA LLEWELLYN. An American Pianist. IN ADDITION TO HIS PRESENT LIST HELEN STANLEY. OTTILIE METZGER, MARIE RAPPOLD, VERA BARSTOW. Mme. OHRMAN. BORIS HAMBOURG. MYRTLE ELVYN 435 FIFTH AVENUE ::::::::::: NEW YORK CITY 24 strangers joined them in their orgies. If the men were handsome, they were allowed to visit Dahut in her tower ; but they were forced to wear a magic mask, which at daybreak closed tight and strangled them. One night a tall man, dressed all in red, with a thick, long beard, with eyes that glittered like stars, wooed her; and he pleased her, for he was very wicked. He proposed a dance, the reel footed madly by the Seven Deadly Sins in hell. He called for his bagpiper, a dwarf clad in goatskin. While all were dancing, he stole the keys. The waters entered, and all were drowned save Gradlon, whom Saint Corentin rescued. Only Gradlon remained; and he saw afar off the man in red, waving in triumph the silver keys. Concerto in D major, for Violin, Op. 77 . . . Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) This concerto was written for Josef Joachim, dedicated to him, and first played by him under the direction of the composer at a Gewand- haus concert, Leipsic, on January 1, 1879. The first performance in Boston was by Franz Kneisel at a concert of the Boston Symphony Orchestra on December 7, 1889, when Mr. Kneisel played a cadenza of his own composition. It has since then been played at these con- certs by Messrs. Brodsky (November 28, 1891) and Kneisel (April 15, 1893, February 13, 1897, with a cadenza by Charles Martin Loeffler, and at the concert in memory of Governor Wolcott, December 29, 1900); by Miss MacCarthy, November 15, 1902, December 19, 1903; by Mr. Kreisler, March 11, 1905; by Mr. Heermann, November 25, BOYLSTON AND EXETER STREETS (Two minutes from Back Bay Stations), BOSTON EXCEPTIONAL CUISINE ATTRACTIVE ROOMS MODERATE PRICES Under same management as Hotel McAIpin, New York, and Hotel Taft, New Haven MERRY & BOOMER J. B. WILSON, Resident Manager "The first American Contralto in the Concert field." Glenn Dillard Gunn in the Chicago Tribune, Feb. 21st, 1913 For concert engagements address: HAENSEL & JONES, AEOLIAN HALL, NEW YORK BOUND COPIES of the Mmttm ^gmnfumij (Btt^mitUB Studios PROGRAMME BOOKS Control distinctive talent; musicians, Containing Mr. Philip Hale's analytical and de- lecturers, entertainers and novelties for all scriptive notes on all works performed during the occasions. 25 years' practical experience. season ("musically speaking, the greatest art an- 508 Kensington Building, 687 Boylston St. nual of to-day."—W. J. Henderson, New York Sun), may be obtained by addressing Boston C. A. ELLIS Tel. B. B. 5991 PRICE $3.50 SYMPHONY HALL 25 III III. i9°55 DV Mr. Wendlingj October 26, 1907; by Mr. Berber, November 26, 1910. The orchestral part of this concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings. Hanslick once said that this work was "the ripe fruit of the friend- ship between Joachim and Brahms." A prominent Leipsic critic, friendly disposed toward both composer and violinist, wrote at the time of the first performance that Joachim too evidently had great difficulty in playing the concerto. Marcella Sembrich sang at the same concert. The composition is fairly orthodox in form. The three movements are separate, and the traditional tuttis, soli, cadenzas, etc., are pretty much as in the old-fashioned pieces of this kind; but in the first move- ment the long solo cadenza precedes the taking up of the first theme by the violin. The modernity is in the prevailing spirit and in the details. Furthermore, it is not a work for objective virtuoso display. The first theme of the first movement, Allegro ma non troppo, D major, 3-4, of a somewhat pastoral character, is proclaimed by violas, 1 cellos, bassoons, and horns; and the development is carried on by the full orchestra in harmony. In the course of the introduction this theme is pushed aside by other motives; and it first becomes again prominent through wood-wind and strings in the highly developed introductory cadenza of the solo violin. The free fantasia begins with an orchestral tutti in A minor, and for some time the orchestra carries it on alone; then the working-out is continued between orchestra and violin. In the coda, after the orchestral fury, Brahms has given op- portunity for the violinist to introduce an unaccompanied cadenza. The second movement, Adagio, F major, 2-4, is in the nature of a serenade movement. It may be called a romanza. The chief song is played first by the oboe, which is accompanied by wind instruments; then it is played in changed form by the violin, which also plays a more emotional second theme, and ornaments it in the development. After frequent modulations in the development of the second theme there is a return to F major and the first theme, which is sung by the solo violin. The Finale, a rondo in D major, 2-4, is built on three themes. There is brilliant work for the solo violin,—double-stopping, florid running passages, arpeggios, technical demands on the player. Jrk i Teacher of Singing 3 1 2 Pierce Building - - Copley Square, Boston 26 I Miss CLARA E. MUNGER TEACHER OF SINGING 60 FENWAY, THE RUSRIDGE .... BOSTON Telephone. B. B. 195 PROVIDENCE MUSIC TEACHERS' DIRECTORY PIANO, ORGAN, THEORY Mr. NEWELL L. WILBUR 509 BUTLER EXCHANGE Organists Associate, American Guild of PROVIDENCE, R. I. TELEPHONE BARITONE SOLOIST and TEACHER of SINGING CONCERT — RECITAL — ORATORIO Concert Direction, Marshall B. Martin, 1405 Turks Head Bldg., Providence, R. I. STUDIO, 511 BUTLER EXCHANGE PIANO and HARMONY Mondays in Providence Telephone I215-R 2 Pawtucket Pupil of HELEN HOPEKIRK AND PERCY GOETSCHIUS Boston Address, 163 HEMENWAY ST. Telephone 24719 Back Bay VOICE and PIANO Caesar Misch Building, Rooms 518, 519 CHARLES F. PROVIDENCE, R. I. Telephone, 3444 L.-Union STUDIO Mr. FRANK E. STREETER 517 BUTLER EXCHANGE PROVIDENCE, R. I. Pianoforte, Harmony, Counterpoint, Canon, Fugue, Instrumentation 705 LEDERER BUILDING 139 Mathewson Street WELL KNOWN BOSTON TEACHER OF SINGING Pupil of HERBERT WITHERSPOON Tuesday Afternoons and Saturday Mornings, Steinert Building Boston address, Huntington Chambers 27 II II II PROVIDENCE MUSIC TEACHERS' DIRECTORY PIANOFORTE INSTRUCTION Formerly pupil Royal Conservatory of Brussels, Belgium (1897-1901) Also Organist and Accompanist HUNTINGTON CHAMBERS - - BOSTON VOICE BUILDING and SINGING (Trinity Court, Boston) Providence Studio. 44 STEINERT BUILDING Tuesdays, Wednesdays, and Saturdays Mr. Lister is particularly successful in restoring voices that have suffered from incorrect methods. Coaching, Execution, Diction; Italian, German, and French Songs and Arias; Oratorio and Opera. PIANO and ORGAN Mondays and Thursdays, from 1 to 6 At No. 637 BUTLER EXCHANGE Residence Studio, 98 BEACON AVENUE PROVIDENCE, R.I. Telephone. Union 4885-R PIANIST 60 MAPLE STREET TELEPHONE PIANO Room 56 STEINERT BUILDING VOICE and PIANO Student of the New England Conservatory of Music, Boston, Mass. Studio: Room 637, Butler Exchange, Tuesdays Residence Studio: 1 5 Marrin St., Pawtucket, R.I. Telephone VIOLONCELLO SOLOIST—INSTRUCTION Address Residence, 57 Dunedin Street Laurel Hill, Providence Telephone ,. (37 Conrad Building btudios ) Thg Music School, 26 Cabot Street THE ART OF SINGING AND PIANOFORTE PLAYING 513 BUTLER EXCHANGE 28 . PROVIDENCE MUSIC TEACHERS' DIRECTORY MANDOLIN SOLOIST and TEACHER Teacher at Miss Wheeler's School Elmhurst Convent St. Mary's Academy LEDERER BUILDING. PROVIDENCE, R.I. HUNTINGTON CHAMBERS. BOSTON. MASS. SOLOIST 1910 Lansing Mandolin Orchestra, Boston, Mass. MANDOLINIST 1911 Boston Festival Mandolin Orchestra, Boston, Mass. 1912 Chicago Symphony Mandolin Orchestra, Chicago.Ill CONCERTS 1912 New York Plectrum Orchestra, New York City 1913 Cleveland Mandolin Orchestra, Cleveland, O. INSTRUCTION STUDIOS 305 Jackson Bldg. The Music School, 26 Cabot St. VIOLIN Residence Studio, 188 BENEFIT STREET Corner Thomas Street, Next Providence Art Club TELEPHONE, UNION 6760-W Fridays in Edgewood PIANOFORTE 613 JACKSON BUILDING PIANOFORTE 612 JACKSON BUILDING, Tuesdays and Fridays Residence Studio, 293 INDIANA AVENUE, Wednesdays and Saturdays Telephone Pupil of Mme. Avis Bliven-Charbonnel and Prof. Leschetizky of Vienna 613 JACKSON BUILDING Wednesday Afternoons and Saturdays PIANISTE 199 HIGH STREET, PAWTUCKET Tuesdays Residence, 1 5 1 Ford Street Telephone PIANOFORTE Studio, 37 CONRAD BUILDING Residence, 1 03 Chapin Ave., Providence Telephone, West 894-R PIANO 615 JACKSON BUILDING 29 PROVIDENCE MUSIC TEACHERS' DIRECTORY After coaching another season in London and Paris, resumes teaching VOICE ELOCUTION and PIANO STUDIOS 33 CONRAD BUILDING. 385 Westminster Street Tuesdays 19 WOOD STREET, Saturdays Telephone, West 2063-R PROVIDENCE. R. I. VOCAL INSTRUCTOR OPERATIC TENOR Late of Covent Garden Theatre, London, Eng. 49 STEINERT BUILDING, PROVIDENCE PIANIST Residence, 19 Fairview Street, Edgewood Studio, 50 STEINERT BUILDING 505 Westminster Street Telephone, Broad 1957 PIANIST Pupil of Mme. Charbonnel 44 STEINERT BUILDING Residence, 368 Blackstone Street Telephone VOICE Hall-Whytock, A.A.G.O. Grundmann Studios, Boston RECITALS COACHING CRITICISM 41 CONRAD BUILDING, Providence 36 Potter Avenue, Providence CONTRALTO SOPRANO Studio, 612 JACKSON BUILDING SOLOIST INSTRUCTOR Wednesday and Saturday Studio, 58 Steinert Building Residence Telephone, 38-R-4, East Providence Residence Telephone PIANIST and TEACHER VOICE CULTURE Pupil of Arthur Foote Residence, 14 Highland St., Meshanticut Park 17 THAYER STREET Telephone, West 1951-R Telephone, Angel 131 9-R SINGING VIOLIN STUDIO Diction and Interpretation in Italian. English, German and French Song Especially adapted Studies for young voices 164 BROADWAY The Cluny Studio, 543 Boylston Street Telephone Connection In Worcester, Wednesdays, 317 Day Building Residence, Hotel Brunswick Resumes lessons October 27 30 . 1 1 i i i i \ MUSICAL INSTRUCTION TEACHER of SINGING EMMA S. HOSFORD HUNTINGTON CHAMBERS BOSTON, MASS. PIANIST — INSTRUCTION Studio: CARNEGIE HALL, NEW YORK Miss KATHERINE LINCOLN TEACHER OF SINGING NEW YORK, 33 West 67th Street BOSTON, 514 Pierce Building Saturdays and Mondays Copley Square Representing Miss CLARA E. MUNGER TEACHER OF SINGING Miss PRISCILLA WHITE 602 Pierce Building Copley Square, BOSTON 20 PINCKNEY STREET TEACHING AT BERTHA GUSHING CHILD LANG STUDIOS 6 NEWBURY STREET. BOSTON RECITALS a SPECIALTY IN HERMANN LOUD Instruction in Organ, Harmony and Piano CONCERT ORGANIST Address, 140 Boylston Street, Boston, or 92 Corey Road, Brookline (Fellow of The American Guild of Organists) Telephone, 2717-M Brookline Music teaches most exquisitely the art of development.—D'ISRAELI ATION 08 ' "' 6 NeW ry Stre lm Studios CALVIN B. CADY. Studios . r fe ' \ g , f ( INew York, id Llaremont Avenue Pianoforte, Harmony, etc., and Normal Courses ADDRESS TEACHERS COLLEGE, COLUMBIA UNIVERSITY. NEW YORK, for Syllabus of Course in Music Education. ADDRESS CLAYTON F. SUMMY CO.. CHICAGO. ILL., for Poetic Folk Dances. Books I. and II.. Folk Songs for Ten Fingers. First Home Studies. Music Education. An Outline. Books I. and II. 31 MUSICAL INSTRUCTION CONCERT BARITONE and Management. LOUDON CHARLTON TEACHER OF SINGING 868 Carnegie Hall, New York Studio, 563 Park Avenue, New York City Soloist, Mmes. Sembrich, Lypkowska CONCERT PIANIST Messrs. Constantino, Schroeder Boston, Mass. Providence, R.I. Assisting Artist, Kneisel Quartette Trinity Court 1 23 Benevolent St. TEACHER of SINGING 372 BOYLSTON STREET TEACHER OF SINGING Six years study in Europe under world's greatest masters, Jean De Reszke, Lasalle, Sbriglia, Wm. Shakespeare, Colonnese, and Sebastiani, DRAMATIC TENOR Studios, 801-802 Carnegie Hall, New York For appointments, apply to Mr. J. Irwin Mutch. 1 15 Broadway, New York City SINGERS — Suzanne Baker Watson, Cora Cross, Nellie Hart, Willette Kershaw, Gertrude Hutcheson, Ivy Scott, Marion Stanley, Estelle Ward, Mabel Wilbur, Flora Zabelle, Edward Foley, George Gilbert, BEL CANTO John Hendricks, Andrew Mack, Dr. Eugene Walton Marshall, Fiske O'Hara, Umberto Sacchetti, Ellis Rhodes, Albert Wallerstedt, and many other singers Studio - - 1425 Broadway, NEW YORK now before the public in operatic and church work. THE ART OF SINGING IN ALL ITS BRANCHES Ex-President of New York State Music Teachers' Association BARITONE LECTURES and RECITALS Aeolian Hall, 33 West 42nd St., New York City Musical Director of People's Institute Tuesdays and Fridays Some prominent pupils: Lillia Snelling, three years with Metropolitan Opera Co.; Winifred Mason, First Church Christ's Science, Brooklyn; Bertha Kinzel, Park Church, N.Y.; Clarence C Baw- of soprano, West TEACHER SINGING den, tenor, Washington Square Methodist Church, N.Y.; Russell Bliss, bass, Madison Church; Antoinette Fourth Church Christ Scientist, New AEOLIAN HALL, 35 W. 42nd St., N.Y. City Harding, soloist, York; Bertha Barnes of Boston, Mass. PIANIST VIOLINIST (Boston, Friday and Saturday, 516 Huntington Chambers) For concert engagements, address HULTMAN-McQUAID SCHOOL OF MUSIC DAY BUILDING . WORCESTER, MASS. 32