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DIRECTORS CHARLES B. BARNES RAYMOND B. COX WALTER HUNNEWELL JOSEPH S. BIGELOW AMORY ELIOT HOMER B. RICHARDSON ROBERT A. BOIT JOHN W. FARWELL DUDLEY P. ROGERS THEODORE G. BREMER ROBERT H. GARDINER THOMAS W. THACHER WILLLAM R. CORDINGLEY EDWARD W. GREW WALTER TUFTS 8

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

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THIRTY-SEVENTH SEASON. 1 91 7-1 91

Twemty-ifoiLiirtli • fa 1\ T^ A tterim©©!! aed ^¥eiiii Concerts

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, MAY 3 AT 2.30 O'CLOCK SATURDAY EVENING. MAY 4 AT 8.00 O'CLOCK

COPYRIGHT, 1918, BY C. A. ELLIS

PUBLISHED BY C. A. ELLIS. MANAGER

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Ililllllllliil llil'l THIRTY-SEVENTH SEASON. NINETEEN HUNDRED SEVENTEEN AND EIGHTEEN

Twenty-fourth Programme

FRIDAY AFTERNOON, MAY 3, at 2.30 o'clock

SATURDAY EVENING, MAY 4, at 8 o'clock

Beethoven . . Symphony No. 3, in E-flat major, "Eroica," Op. 55 I. Allegro con brio. II. Marcia funebre: Adagio assai. III. Scherzo: Allegro vivace; Trio.

IV. Finale : Allegro molto.

Bach .... Prelude, Adagio, and Gavotte in Rondo Form (arranged for strings by Sigismund Bachrich)

Berlioz . . . Overture to the Opera "Benvenuto Cellini," Op. 23

ERNST SCHMIDT, Conductor

There will be an intermission of ten minutes after the symphony

The ladies of the audience are earnestly requested not to put on hats before the end of a number. The doors oj the hall will be closed during the perjormance oj each number OH the programme. Tliose who wish to leave before the end of the concert are requested to do so in an interval between the numbers.

Gty of Boston. Revised Regulation of August 5, 1 898.—Chapter 3. relating to the covering of the head in places of public amusement

Every licensee shall not. in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering witliout projection, which does not obstruct such view, may be worn. Attest: J. M. CALVIN. City Clerk 1449 L. P. Holl imder m mim.

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1450 "

Symphony No. 3, in E-flat major, "Eroica," Op. 55. LuDwiG van Beethoven

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

Anton Schindler wrote in his Life of Beethoven (Miinster, 1840): "First in the fall of 1802 was his [Beethoven's] mental condition so much bettered that he could take hold afresh of his long-formulated plan and make some progress : to pay homage with a great instrumental work to the hero of the time, Napoleon. Yet not until 1803 did he set himself seriously to this gigantic work, which we now know under the title of 'Sinphonia Eroica': on account of many interruptions it was not finished until the following year. . . . The first idea of this sym- phony is said to have come from General Bernadotte, who was then French Ambassador at Vienna, and highly treasured Beethoven. I heard this from many friends of Beethoven. Count Moritz Lichnow- sky, who was often with Beethoven in the company of Bernadotte, . . . told me the same story." Schindler also wrote, with reference to the year 1823 : "The correspondence of the King of Sweden led Beethoven's memory back to the time when the King, then General Bernadotte, Ambassador of the French Republic, was at Vienna, and Beethoven had a lively recollection of the fact that Bernadotte indeed first awak- ened in him the idea of the 'Sinphonia Eroica.'

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1451 These statements are direct. Unfortunately, Schindler, in the third edition of his book, mentioned Beethoven as a visitor at the house of Bernadotte in 1798, repeated the statement that Bernadotte inspired the idea of the symphony, and added: "Not long afterward the idea blossomed into a deed"; he also laid stress on the fact that Beethoven was a stanch republican, and cited, in support of his admiration of Napoleon, passages from Beethoven's own copy of Schleiermacher's translation of Plato. Thayer admits that the thought of Napoleon may have influenced the form and the contents of the symphony; that the composer may have based a system of politics on Plato; "but," he adds, "Ber- nadotte had been long absent from Vienna before the Consular form of government was adopted at Paris, and before Schleiermacher's Plato was published in Berlin."

The symphony was composed in 1803-04. The story is that the title-page of the manuscript bore the word "Buonaparte" and at the bottom of the page "Luigi van Beethoven"; "and not a word more," said Ries, who saw the manuscript. "I was the first," also said Ries, "who brought him the news that Bonaparte had had himself declared Emperor, whereat he broke out angrily: 'Then he's nothing but an ordinary man!' Now he'll trample on all the rights of men to serve his own ambition; he will put himself higher than all others and turn out a tyrant!'"

Furthermore, there is the story that, when the death of Napoleon at St. Helena was announced, Beethoven exclaimed, "Did I not foresee the catastrophe when I wrote the funeral march in the 'Eroica'?" M. Vincent d'Indy in his remarkable Life of Beethoven argues against Schindler's theory that Beethoven wished to celebrate the French

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1453 Revolution en bloc. "C'^tait I'homme de Brumaire" that Beethoven honored by his dedication (pp. 79-82). The original score of the symphony was bought in 1827 by Joseph Dessauer for three florins, ten kreuzers, at auction in Vienna. On the title-page stands "Sinfonia grande." Two words -that should follow immediately were erased. One of these words is plainly "Bona- parte," and under his own name the composer wrote in large charac- ters with a lead-pencil: "Written on Bonaparte."

' Thus it appears there can be nothing in the statements that have come down from Czemy, Dr. Bart'oUni, and others: the first allegro describes a sea-fight; the funeral march is in memory of Nelson or General Abercrombie, etc. There can be no doubt that Napoleon, the young conqueror, the Consul, the enemy of kings, worked a spell over Beethoven, as over BerHoz, Hazlitt, Victor Hugo; for, according to W. E. Henley's paradox, although, as despot. Napoleon had "no love for. new ideas and no tolerance for intellectual independence," yet he was "the great First Cause of Romanticism." The first performance of the symphony was at a private concert at Prince Lobkowitz's in December, 1804. The composer conducted, and in the second half of the first allegro he brought the orchestra to grief, so that a fresh start was made. The first performance in public was at a concert given by Clement at the Theater an der Wien, April 7, 1805. The symphony was annotmced as "A new giand Symphony in D- sharp by Herr Ludwig van Beethoven, dedicated to his Excellence Prince von Lobkowitz." Beethoven conducted. Czerny remembered that some one shouted from the gallery: "I'd give another kreuzer if they would stop." Beethoven's friends declared the work a master- piece. Some said \i would gain if it were shortened, if there was more

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1454 "light, clearness, and unity." Others found it a mixture of the good, the grotesque, the tiresome. The symphony was published in October, 1806. The title in Italian stated that it was to celebrate the memory of a great man. And there was this note: "Since this symphony is longer than an ordinary sym- phony, it should be performed at the beginning rather than at the end of a concert, either after an overture or an aria, or after a concerto. If it be performed too late, there is the danger that it will not produce on the audience, whose attention will be already wearied by preceding pieces, the effect which the composer purposed in his own mind to attain." * * *

This symphony was performed in Boston for the first time at a concert of the Musical Fund Society, G. J. Webb, conductor, December 13, 185 1. At this concert Berhoz's overture to "Waverley" was also performed in Boston for the first time. The soloists were Mme. Goria Botho, who sang airs from "Robert le Diable" and "Charles VI."; Thomas Ryan, who played a clarinet fantasia by Reissiger; and Wulf Fries, who played a fantasia by Kummer for the violoncello. The overture to "II Barbiere di Siviglia" .nded the concert. The first movement, Allegro con brio, E-flat major, 3-4, opens with two heavy chords for full orchestra, after which the chief theme is given out by the 'cellos. This theme is note for note the same as that of the first measures of the Intrade written by Mozart in 1786 at Vienna for his one-act operetta, "Bastien et Bastienne," performed in 1786 at a Viennese garden-house (K. 50). Mozart's theme is in G major.

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1455 Beethoven's theme is finished by the violins and developed at length. There is a subsidiary theme, which begins with a series of detached phrases distributed among wood-wind instruments and then the violins. The second theme, of a plaintive character, is ^ven out alternately by wood-wind and strings. The development is most elaborate, full of striking contrasts, rich in new i.d.ias. The passage in which the horn enters with the first two measures of the first theme in the tonic chord of the key, while the violins keep up a tremolo on A-flat and B-flat, has given rise to many anecdotes and provoked fierce discussion. The coda is of unusual length. The funeral march. Adagio assai, C minor, 2-4, begins, pianissimo e sotto voce, with the theme in the first -violins, accompanied by simple chords in the other strings. The theme is repeated by the oboe, accompanied by wood-wind instruments and strings; the strings give the second portion of the theme. A development by full orchestra follows. The second theme is in C major. Phrases are given out by various wood-wind instruments in alternation, accompanied by triplet arpeggios in the strings. This theme, too, is developed; and there is a return to the fir^t theme in C minor in Ihe strings. There is fugal development at length of a figure that is not closely connected with either of the two themes. The first theme reappears for a moment, but strings and brass enter fortissimo in A-flat major. This episode is followed by another; and at last the first theme returns in fragmen- tary form in the first vioHns, accompanied by a pizzicato bass and chords in oboes and horns. M. d'Tndy, discussing the patriotism of Beethoven as shown in his music, calls attention to the " miiitartsme," the adaptation of a war- like rhythm to melody, that character izes this march. Scherzo: Allegro vivace, E-flat major, 3-4. Strings are pianissimo and staccato, and oboe and first violm« play a gay theme which Marx says is taken from an old Austrian folk-song. This melody is the basic

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1457 material of the scherzo. The trio in E-flat major includes hunting- calls by the horns, which are interrupted by passages in wood-wind instruments or strings. Finale: Allegro molto, E-flat major, 2-4. A theme, or, rather, a double theme, with variations. Beethoven was fond of this theme, for he had used it in the finale of his ballet, "Die Geschopfe des Pro- metheus," in the Variations for pianoforte, Op. 35, and in a country dance. After a few measures of introduction, the bass to the melody which is to come is given out, as though it were an independent theme. The first two variations in the strings are contrapuntal. In the third the tuneful second theme is in the wood-wind against runs in the first violins. The fourth is a long fugal development of the first theme against a counter-subject found in the first variation. Variations in G minor follow, and the second theme is heard in C major. There is a new fugal development of the inverted first theme. The tempo changes to poco andante, wood-wind instruments play an expressive version of the second theme, which is developed to a coda for full orchestra, and the symphony ends with a joyful glorification of the theme. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, kettledrums, and strings.

* * At the second concert of the Philharmonic Society of New York, February 18, 1843, the following comments were printed on the pro- gramme: "This great work was commenced when Napoleon was first Consul, and was intended to portray the workings of that extraordinary man's mind. In the first movement, the simple subject, keeping its uninterrupted way through harmonies that at times seem in almost chaotic confusion, is a grand idea of Napoleon's determination of character. The second movement is descriptive of the funeral honors paid to one of his favorite generals, and is entitled 'Funeral March on the Death of a Hero.' The winding up of this movement represents the faltering steps of the last gazers into the grave, and the listener

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1459 hears the tears fall on the coffin ere the funeral volley is fired, and repeated faintly by an echo. The third movement (Minuet and Trio) describes the homeward march of the soldiery, and the Finale is a combination of French Revolutionary airs put together in a manner that no one save a Beethoven could have imagined." And this note, Mr. Krehbiel tells us, was inserted in the programme for several, even twenty-five years, after. Marx saw in the first movement of the symphony the incidents of a battle as it is preconceived in the mind of the conqueror. The different incidents are characterized by the chief themes and their developments. The ending with the return of the first theme is the triumph of the victor's plan. The funeral march pictures Night spreading her shade over the battlefield, which is covered with the corpses of those who died for glory; in the scherzo are heard the rejoicings of the soldiery homeward bound; and the finale is Peace consecrating the victories of the hero. Griepenkerl preferred to see in the fugued passage of the first move- ment the entrance of the nineteenth century. Berlioz insisted that there should be no thought of battles or triumphant marches, but rather profound reflections, melancholy recollections, imposing ceremonies,— in a word, the funeral oration over a hero. Wagner wrote: "The designation 'heroic' is to be taken in its widest sense, and in no wise to be conceived as relating merely to a military hero. If we broadly connote by 'hero' {'Held') the whole, the full- fledged man, in whom are present all the purely human feelings—of love, of grief, of force—in their highest fill and strength, then we shall rightly grasp the subject which the artist lets appeal to us in the speaking accents of his tone-work. The artistic space of this work is filled with all the varied, intercrossing feelings of a strong, a consum- mate Individuality, to which nothing human is a stranger, but which includes within itself all truly Human, and utters it in such a fashion that, after frankly manifesting every noble passion, it reaches a final rounding of its nature, wherein the most feeling softness is wedded

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1461 with the most energetic force. The heroic tendency of this art work is the progress toward that rounding off" (Enghshed by Mr. W. A. ElHs). And Wagner explained on these hnes each movement. As the second shows the "deeply, stoutly suffering man," so the scherzo reveals the "gladly, blithely doing man"; while the finale shows us finally "the man entire, harmoniously at one with self, in those emotions where the Memory of Sorrow becomes itself the shaping-force of noble Deeds." Nor should the " rededication " of the "Eroica" to Bismarck by Hans von Billow, cher unique, as Liszt frequently called him, be forgotten. Billow said, at a concert of the Philharmonic Orchestra of Berlin (May 28, 1892): "Yes, the hero was the quintessence of the world to Beet- hoven. We cannot know, we cannot surmise, what slumbered in his soul. Perhaps there slumbered the picture of the great American citizen George Washington. But he looked for a hero of his own time, a European hero; and his eyes fell on the great star of Bonaparte." And there Billow might have stopped where Beethoven began.

Prelude, Adagio, and Gavotte in Rondo Form (arranged for String Orchestra by Sigismund Bachrich) Johann Sebastian Bach

(Bom at Eisenach on March 21, 1685; died* at Xeipsic on July 28, 1750.)

The three movements are Praeludium, Allegro (E major); Adagio (C major); Gavotte e Rondo, Moderato (E major). The first and third are taken from the third Partita for violin solo in E major. The second from the second Sonata for violin solo in A minor. The Prelude is in 3-4 time; the Adagio in 3-4 time; the Gavotte in 2-2. Bach's original titles, as they are stated in the edition of the Bach Gesellschaft, are "I., Preludio; II., Andante; III., Gavotte en Rondeau." Bach- rich did not translate cortectly "Gavotte en Rondeau." The original REED-HOSFORD

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1463 title means simply "Gavotte in Rondo Form." Alfred Dorffel thought this designation may have come from Anna Magdalene Bach, Johann Sebastian's second wife. Much of the second copy is in her writing. Bachrich's change of Andante to Adagio is of little importance, for Italian tempo marks had often a different meaning in Bach's time from the generally accepted meaning now, and they were at times used, as it would seem to us, with Olympian indifference. The first autograph of the original set of Bach's three Sonatas and three Partitas is now in the Royal Library in Berlin. At the end of the first Sonata is the following note in another handwriting: " I found this excellent work, written by Joh. Sebast. Bach with his own hand, in a heap of old paper intended for a butter-shop, among the belongings of the pianist Palschau* in St. Petersburg in 1814. Georg Polchau." t The six solo sonatas and six violoncello sonatas of Bach were, accord- ing to the autograph title-pages, to be played without accompaniment: "violino solo senza basso"; "violoncello solo senza basso"; yet some students of Bach have thought that he intended to have the sonatas accompanied by a clavichord. Mendelssohn and Schumann wrote accompaniments for the chaconne in the second violin partita ; Schumann wrote accompaniments for certain sonatas. In Bach's period it was the custom for a composer to leave a considerable portion of a work unwritten, and the clavichord was looked on as a matter of course in almost every combination of instruments. The six sonatas of Bach for violin were written not later than the years of his sojourn at Cothen, 1717-23. They were written possibly at Weimar between 1708 and 1717.

* Palschau, a pianist of whom little is known, was bom in Germany. In 1771 two of his pianoforte con- certos with accompaniment were published at Riga. It would appear from them that he was a pupil of J. G. Muthel organist at Riga, or that the concertos were written in Mflthel's manner. Gerber states that Pal- eight-year-old infant phenomenon, schau was livmg, highly honored at Petrograd in 1800 . Was Palschau the whom Bumey heard about 1750 in London? An air and variations for pianoforte (four handfe) and a "Suite des Airs russes " by Palschau were published at Petrograd. at Cremon, in Liefland, settled in Hamburg, where he sang in con- t Georg Polchau, bom on July 5, 1773, of C. P. E. Bach after the latter's certs and began to collect a musical library. He bought the manuscripts Berlin, died on death also autographs of others of the Bach family. In 1813 he moved to where he August discovered 120 previously unknown 12 1836. He was much interested in the Singakademie. At Potsdam he compositions of Frederick the Great. His books and music were bought by the Royal Library and the Singa- kademie. In 1835 the former library acquir'ed from the Singakademie the Bach manuscripts. Polchau'a bust is in the Royal Library. SUMMER READING Bachrich's little suite was produced at a Philharmonic concert in Vienna in 1878. The first performance in Boston was at a concert of the Boston Symphony Orchestra on October 18, 1884. Bachrich, born at Zsambokreth, Hungary, January 23, 1841, studied the violin with Bohm at the Vienna Conservatory (1851-57). He conducted in a small Viennese theatre until 1861, when he went to Paris. There he was a humble conductor, a journalist, an apothecary, and he was connected with the crinoline business. Returning to Vienna, he was for twelve years the viola player of the Hellmesberger Quartet. He taught at the Conservatory until 1899 and was a member of the Philharmonic and Opera orchestras, also of the Rose Quartet. He composed chamber music, violin pieces, songs, and these works for the stage: "Muzzedin" (Vienna, 1883), "Heini von Steier" (Vienna, 1884), "Der Fuchsmajor" (Prague, 1889), and a ballet "Sakuntala" (Vienna, 1884). His daughter Cecile was engaged in 1899 as coloratura singer at the Cologne City Theatre. A son is known in Vienna as a violinist. Bachrich died in 19 13.

Overture to the Opera "Benvenuto Cellini," Op. 23, Hector Berlioz

(Born at La Cote-Saint-Andre, December 11, 1803; died at Paris, March 9, 1869.)

This overture was composed at Paris early in 1838. Prudhomme says it was composed probably in January of that year. Berlioz

wrote to Maurice Schlesinger, the publisher, on January 7, 1838: "It is absolutely necessary that I should rest and find a shelter from albums. For a fortnight I have searched vainly for three hours to dream at leisure over the overture of my opera. The inability to obtain them is a torture of which you have no idea, one that is absolutely insup-

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1465 portable. I warn you then that if I were forced to live on bread and water up to the moment when my score would be completed, I do not wish to hear anything more about a criticism of any sort. Meyerbeer, Liszt, Chopin, and Kalkbrenner are not in need of my praise." The overture was performed for the first time at the first perform- ance of the opera "Benvenuto Cellini" at the Opera, Paris, September lo, 1838. Frangois Antoine Habeneck conducted from manuscript. The first performance of the overture in Germany was at the opera- house at Brunswick, March 9, 1843, at a concert given by Berlioz when he conducted. The overture was performed in Boston at a Theodore Thomas concert, April 28, 1885. The programme said " (new)." The overture, when it was published in separate form, was dedi- cated to Ernest Legouve, who had loaned Berlioz two thousand francs, that he might afford the time to complete the opera. It is scored for two flutes (the second is interchangeable with piccolo), two oboes, two clarinets (the second is interchangeable with bass clarinet), four bassoons, four horns, two trumpets, two cornets-a-piston, three trom- bones, ophicleide, a set of three kettledrums (played by three players), bass drum, cymbals, triangles, and strings. The opera was originally in two acts, and the libretto was by Leon de Wailly and Auguste Barbier. The cast of the first performance was as follows : Benvenuto Cellini, Duprez; Giacomo Balducci, Deri vis; Fieramosca, Massol; le Cardinal Salviati, Serda; Francesco, Wartel; Bernardino, Ferdinand Provost; Pompeo, Molinier; un Cabaretier, Trevaux; Teresa, Mme. Dorus-Gras; Ascanio, Mme. Stolz. The story has been condemned as weak and foolish. It is also wholly fictitious.* It is enough to say that in 1532 Cellini is in Rome, called thither by the Pope. He falls in love with Teresa, the daughter of Balducci, an old man, who favors another suitor, Fieramosca, the Pope's sculptor. Cellini attempts to elope with her, and neglects work on his Perseus, which he at last finishes in an hour's time, fired

*It is true that there was a Giacopo Balducci at Rome, the Master of the Mint. Cellini describes him "that traitor of a master, being in fact my enemy"; but he had no daughter loved by Cellini. The statue of Perseus was modelled and cast at Florence in 154s, after this visit to Rome, for the Duke Cosimo de' Medici. Nor does Ascanio, the apprentice, figure in the scenes at Florence.

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1467 — by the promise of Cardinal Salviati to reward him with the hand of Teresa. It should also be said that Cellini and his pupils and friends are disgusted early in the opera at a paltry sum of money given to Cellini by the Pope through Ascanio, but only after he had promised solemnly to complete the statue of Perseus. They decided to revenge themselves on the stingy and avaricious treasurer, Balducci, by im- personating him in the theatre. Fieramosca, who has overheard the plot, calls in the help of Pompeo, a bravo, and they plan to outwit Cellini by adopting the same costumes that he and his pupil Ascanio* will wear. The pantomime of "King Midas" is acted, and Balducci, among the spectators, recognizes in the king a caricature of himself.

He advances to lay hands on the actor ; Cellini profits by the confusion to go towards Teresa, but Fieramosca also comes up, and Teresa cannot distinguish her lover on account of the similarity of the masks. Cellini stabs Pompeo. He is arrested, and the people are about to kill him, when the cadnon-shots announce that it is Ash Wednesday. The Hghts are turned out, and CelHni escapes. The thematic material of the overture, as that of "Le Carnaval Romain," originally intended by Berlioz to be played as an introduc- tion to the second act of "Benvenuto CeUini," but first performed at a concert in Paris, February 3, 1844, is taken chiefly from the opera. The overture opens. Allegro deciso con impeto, G major, 2-2, with the joyful chief theme. This theme is hardly stated in full when there is a moment of dead silence. The Larghetto, G major, 3-4, that follows, begins with pizzicato notes in the basses and a slow cantilena, taken from music of the Cardi- nal's address in the last act: "A tous peches pleine indulgence." (The original tonality is D-flat major.) This is followed. by a melody from the "Ariette d'Arlequin"t (wood-wind and also violins). The trombones hint at the Cardinal's theme, with changed rhythm and without pauses. This is now played (E-flat major) by clarinets, bas- soons, and 'cellos, with florid passages for first violins, then for flute

* "Ascanio," opera in five acts, libretto by Louis Gallet, music by Camille Saint-Saens, was produced at the Opera, Paris, March 21, 1890. The libretto was based on a play, "Benvenuto Cellini," by Meurice and VacQuerie (1852). The operatic cast was as follows: Benvenuto, Lassalle; Ascanio, Cossira; Franfois I., Planfon; Charles V., Bataille; Colomba, Emma Eames; La Duchesse d'fitampes, Mme. Adiny; Scozzonne, Mme. Bosman.

tThe little air of Harlequin in the Carnival scene, the finale of the second act (later edition), is played by the orchestra, while the people watching the pantomime sing: "Regardons bien Maitre Arlequin, C'est un fameux tenor romain." The original tonality is D major.

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1469 and oboe. The Harlequin theme returns, and is worked up to a short cUmax. The main body of the overture begins with the return of the first and joyous theme, Allegro deciso con impeto, G major, 2-2, which is somewhat modified. The motive is given to the wood-wind over syncopated chords in the strings and a restless pizzicato bass. The instrumentation grows fuller and fuller until the violins take the theme, and they and the wood-wind instruments rush fortissimo to a gay sub- sidiary motive, which consists of passage-work in quickly moving eighth notes against a strongly rhythmed accompaniment. This development is extended, and leads, with hints at the rhythm of the first theme, to the second motive, a cantabile melody in D major, 2-2, sung by wood-wind instruments over an accompaniment in the middle strings, while the first violins hint occasionally at the rhythm of the first motive. This cantilena, which has reference to CelUni's love for Teresa, is repeated by first violins and violas in octaves,* while second violins and 'cellos still have the tremulous accompaniment, and bas- soons and double-basses have a running staccato bass. The working-out is elaborate. Nearly all of the thematic material' enters into it. A recitative-like phrase for 'cellos assumes importance later. The transition to the third part of the movement brings in unexpectedly the first theme (wood-wind) in A minor, and the full orchestra suddenly gives a fortissimo repetition of it in G major. In the third part of the movement the trombones and ophicleide take up the 'cello phrase just alluded to, and make a dramatic use of it against developments in counterpoint of figures taken from the first subsidiary. The brass plays a thunderous cantus firmust the cantilena of the clarinets, bassoons, and 'cellos, in the slow introduction (the Cardinal's theme), against sustained chords in the wood-wind and rapid counterpoint for violins, violas, and first 'cellos. This counter- point is taken from the first subsidiary theme. Shortly before the end

* "This writing for first violins and violas (instead of for first and second violins) in octaves seems to have ' been a favorite device with Berlioz. There is much to be said in its favor, little as it has been done (upon the whole) by other cotnposers. Mozart knew the secret well; but comparatively few of the more modem masters of orchestration have had recourse to it."—W. F. Apthorp. The Great Baritone PAS QUALE MATO

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1471 there is a general pause. The Cardinal's theme is heard once more, and a quick crescendo brings the end. * * * Berlioz planned the composition of "Benvenuto Cellini" early in 1834. He wrrote on October 2, 1836, that all he had to do was to or- chestrate the work. On April 11, 1837, he wrote: "My opera is fin- ished." The first mention made by Berlioz of the opera was in a letter to Ferrand, the 15th or i6th of May, 1834; on August 31 of that year the libretto was ready and the "Chant des Ciselevu-s," which opens the second scene, was composed. This music was performed at concerts given by Berlioz, November 23 and December 7, 1834, and then entitled "Les Ciseleurs de Florence: trio with chorus and orchestra." Excited by reading Cellini's Memoirs and E. T. A. Hoffmann's short story "Salvator Rosa," Berhoz wished Alfred de Vigny to write a libretto, with Cellini as the hero. Vigny, busy, recommended Wailly, who in turn sought the aid of Barbier; but Vigny criticised and cor- rected and suggested until nearly the time of performance. The letters and memoirs of Berlioz give much information concern- ing his trials and tribulations in the rehearsal and production of the opera. The music was then thought so difficult that there were twenty- nine full rehearsals. The performance was announced for September 3, 1838, and in several books of reference this date is given as that of the first performance; but Duprez had a sore throat, and the per- formance was postponed until the loth. The second and the third were on September 12 and 14, and there were no more that year. There were four in 1839, and at the first, January 10, Alexis Dupont replaced Duprez. AHzard replaced Derivis after the first, and in 1839 Miss Nau was substituted for Mme. Dorus-Gras. Meyerbeer, Paganini, and Spontini were present at the first per- formance, and Dom Frangois de Paule, brother of the Queen of Spain, sat in the royal box surrounded with princesses. The audience was

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1473 a brilliant one, but the opera failed dismally, although the music was praised by leading critics, and Theophile Gautier predicted that the opera would influence the future of music for good or evil. Berlioz was caricatured as the composer of "Alalvenuto Cellini." See the romantic memoirs of Berlioz, Duprez's "Souvenirs- d'un Chanteur" (pp. 153, 154), and Adolphe Boschot's "Un Romantique sous Louis PhiUppe: Berlioz, Vol. II.," for explanations of the failure. The opera, arranged in four acts, with a libretto translated into German by Riccius, was produced by Liszt at Weimar on JMarch 20, 1852, with Beck as Cellini and Mme. Milde as Teresa. Berlioz was not able to attend the performance. He wrote on February 10 to Morel before the performance: "They have been at work on it for four months. I cleaned it well, re-sewed and restored it. I had not looked at it for thirteen years; it is devilishly vivace." Arranged in three acts and with the text translation into German by Peter Cor- nelius, the opera w^as performed at Weimar in February, 1856. The score was published as Op. 23 and dedicated to the Grand Duchess of Weimar. The opera failed at London on June 25, 1853. Chorley said: "The evening was one of the most melancholy evenings Avhich I ever passed in any theatre. 'Benvenuto Cellini' failed more decidedly than any foreign opera I recollect to have seen performed in London. At an early period of the evening the humor of the audience began to show itself, and the painful spectacle had to be endured of seeing the com- poser conducting his own work through every stage of its condemna- tion." Some say there was a cabal led by Costa in the interest of Italian art. There was even an attempt to prevent the performance of "The Roman Carnival," which was played before the second act, although this same overture had been applauded by a London concert audience in 1848. Chorley criticised the music of the opera apparently without prejudice and with keen discrimination. The following quo- tation from his article bears on the overture: "The ease of the singers is disregarded with a despotism which is virtually another confession of weakness. As music, the scene in the second act, known in another form as its composer's happiest overture, 'The Roman Carnival,' has the true Italian spirit of the joyous time; but the chorus-singers are so run out of breath, and are so perpetually called on to catch or snatch at some passage, which ought to be struck oflf with the sharpest de- cision,—that the real spirit instinct in the music is thoroughly driven out of it." At this performance the chief singers were Mmes. Julienne- Dejean and Nantier-Didiee, and Tamberlik, Formes, and Tagliafico. The opera was produced by Biilow at Hannover in 1879 and after- wards at other German cities, as Mannheim, Carlsruhe, Leipsic (1883),

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1474 Dresden (1888), Hamburg, Munich, Bremen, Stettin, Berlin, Frank- fort-on-the-Main, Stuttgart, Schwerin, Brunswick, Prague, Vienna. It has not been performed in Paris since BerUoz gave it its definite form. For a careful study of "Benvenuto Cellini" by Julien Tiersot see Le Meneslrcl for 1905, Nos. 6, 8-15, 23, 26, 27. Foi a once famous article on the overture to "Benvenuto Cellini" see Louis Ehlert's "Briefe liber Musik an eine Freundin," pp. 126-133 (Berlin, 1868).

WORKS PERFORMED AT THE SYMPHONY CONCERTS DURING THE SEASON OF 1917-1918.

Works marked with a double asterisk were performed for the first time in Boston. Works marked with an asterisk were performed for the first time at these concerts. Works marked with a dagger were pierformed for the first time anywhere. Artists marked with an asterisk appeared at these concerts for the first tim«. Artists marked with a double asterisk appeared for the first time in Boston. Artists marked with a dagger are members of the Boston Symphony Orchestra. The dates given are those on which the Friday afternoon concerts took place. PAGE

Alfv^n: S)anphony No. 3, E major,** Februarys, 19 18 . . . . 875

Bach-Bachrich : Suite: Prelude, Adagio, and Gavotte in form of a Rondo, for string orchestra, May 3, 19 18 1462 BAI.AKIREFF: "Thamar," Symphonic Poem, December 14, 1917, 488 Beethoven: Symphony No. i, C major. Op. 21, January 25, 19 18 809

Symphony No. 2, D major, Op. 36, March 8, 19 18 . . . . 1062 Symphony No. 3, E-flat major, "Eroica," Op. 55, May 3, 1918 1451 Symphony No. 5, C minor. Op. 67, October 12, 1917 ... 7 Symphony No. 6, F major, "Pastoral," Op. 68, December 21, 1917 538 Overture to "Leonore," No. 3, Op. 72, November 2, 1917, 220 Concerto in D major, for violin. Op. 61, October 19, 1917 (Efrem Zimbalist) 93 Recitative, "Jehovah! hear, oh, hear me," and Air, "Oh, my heart is sore within me,"* from "The Mount of * Olives," December 14, 19 17 (John McCor:mack) . . . 480 Berlioz: Fantastic Symphony No. i, C major. Op. 14A, April 26, 19 18 1405 Scherzo: Queen Mab; Garden Scene; Ball at Capulet's, THOMAS WHITNEY SURETTE Announces the Fourth Year of his SUMMER SCHOOL OF MUSIC In Concord, Massachusetts, JUNE 24th to JULY 12th, inclusive The Teaching of Music to Children The Basis and Principles of Music Teaching * Ensemble Playing and Singing

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1475 11

from the symphony "Romeo and Juliet," Op. 17, No- vember 23, 19 17 350

Overture to "King Lear," Op. 4, October 12, 19 17 ... . 14

Overture to "Les Francs-Juges," Op. 3, January 18, 1918 . 711

Overture to "Benvenuto Cellini," Op. 23, May 3,, 1918 . . 1465 Brahms: Symphony No. 3, F major, Op. 90, February 22, 1918, 903

Symphony No. 4, E minor. Op. 98, October 26, 19 17 . . . 135 "Tragic Overture," Op. 81, December 28, 19 17 583 Concerto No. 2, B-flat major, for pianoforte, Op. 83, January 18, 1918 (OssiP Gabrilowitsch) 732 Bruch: Concerto for violin. No. i, G minor. Op. 26, February 8, 1918 (Anton WiTExf) 868

Carpenter; Symphony No, i, C major,** April 19, 1918 . . . 133 Chadwick: Symphonic Sketches: Suite for orchestra, March 22, 1918 1091 " CharpEnTier: Impressions of Italy " : Orchestral Suite, April 5. 1918 1237 Chausson: "Poeme," for violin and orchestra. Op. 25,* December 21, 19 17 (Sylvain NoACKf) 530 Cherubini: Overture to the opera-ballet "Anacreon," December 21, 1917 519 Overture to the opera "Les Abenc^rages," March 29, 1918, 1151 Chopin: Concerto No. 2,' F minor, for pianoforte. Op. 21, April 12, 1918 (GuiOMAR NovAES*) 1278 Davison: Tragic Overture,! April 26, 19 18 139

Debussy: "Printemps," Symphonic Suite, October 26, 1 9 17. . . 166 "LaMer": Three Symphonic Sketches, November 16, 19 17, 263 Nocturne No. i, "Nuages" (In Memoriam), April 5, 1918, 1225 Recitative and Aria of Lia, from "L' Enfant Prodigue," December 28, 19 17 (Mme. Melba) 602 Delius: "In a Summer Garden," February 22, 1918 929

Dittersdorf-Kretzschmar : Symphony in C major, April 12, 1918 1271

Dohnanyi : Concert-Piece in D'major for orchestra with violon- cello obbligato. Op. 12, January 4, 19 18 (Heinrich WARNKEf) 658 DuKAs: Symphony, C major,** March I, 19 18 967 Dvorak: Symphony No. 5, E minor, "From the New World," Op. 95, April 5, 1918 1211 Overture, "Othello," Op. 93, November 16, 1917 298 Enesco: Rhapsodic Roumaine, A major. Op. 11, No. i, October 19, 1917 106

Goldmark: Overture to "Sakuntala," Op. 13, March 8, 1918 . 1031 Overture to "Sappho," Op. 44, April 19, 19 18 1364 Grieg: "Aus Holberg Zeit": Suite in the old style for string orchestra, April 12,1918 1288

Handel-SeiFFERT : Concerto Grosso in D minor. Op. 6, No. 10, January 4, 19 18 664 Air, "Di ad Irene,"* from the opera "Atalanta," December

14, 19 17 (John McCormack) ,. . 466 Haydn: Symphony, D major, "The Chase," November 23, 1917, 327 Symphony, G major, "The Surprise" (B. & H. No. 6), January 25, 1918 775

1476 — d'Indy: Lied for viola and orchestra,** April 19, 1918* (Emil F^RiRf) 1346 Lalo: Concerto for violoncello and orchestra, March 8, 19 18 (Joseph Malkinj) 1050 LiAPOUNOFF: Concerto for pianoforte, Op. 4,** February 22, 19 18 (Ethel Leginska*) ' 916 Liszt: "Prometheus," Symphonic Poem No. 5,* October 12, 1917 32 MacDowELL: Orchestral Suite, E minor. No. 2, "Indian," Op. 48, November 16, 19 17 270 Mendelssohn: Overture, Nocturne, Scherzo, from music to Shakespeare's "A Midsummer Night's Dream," Op. 61, November 30, 1917 414 Mozart: Symphony, E-flat major (K. 543), December 14, 1917, 455 Symphony in G minor (K. 550), January 25, 19 18 .... 782

Concerto for clarinet,* March 29, 1918 (Albert Sandj*) . 1158 Recitative, "Solitudini Amiche," and Aria, "Zeffiretti Lusinghieri," from "Idomeneo, Re di Creta," December 28, 19 17 (Mme. Melba) 590 Canzona, "Voi che sapete," from "Le Nozze di Figaro," December 28, 1917 (Mme. Melba) 594 Aria, "L' amero, saro costante," from "II Re Pastore" violin obbligato by Mr. Witek, November 23, 19 17 (Mabel Garrison*) 332 Rachmaninoff: Symphony, E minor. No. 2, Op. 27, November 30, 1917 391 "The Island of the Dead," Symphonic Poem, Op. 29, Octo- ber 26, 1917 144

Rameau-Kretzschmar : Musette; Rigaudon; Menuet; Ga- " votte from Acanthe et Cephise" ; Menuet dans le goiit de vielle from "Platee," March 29, 1918 1164 Ravel: "Lever du Jour," "Pantomime," "Danse Gen^rale," or- chestral fragments from "Daphnis et Chlo^,"** ballet

in one act, December 14, 1917; January 4, 19 18 . . . 469,682 RoparTz: Symphony No. 4, C major, January 4, 1918 .... 674

SainT-SaSns : Symphony, C minor. No. 3, Op. 78,—John P. Marshall, organist,—March 22, 19 18 1098 Concerto, G minor. No. 2, for pianoforte. Op. 22, November 2, 19 17 (Frances Nash*) 206 JY^RECITAL

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1477 Concerto, B minor, No. 3, for violin, Op. 61, March i, 1918 (Irma Seydei^*) 978 "Havanaise," for violin, Op. 83,* December 21, 1917 (Sylvain NoACKf) 532 Schumann: Symphony, B-flat major, No. i, Op. 38, March 29,

• 1918 1182

Overture to the opera "Genoveva," January 4, 19 18 . . . 647

Scriabin: "The Poem of Ecstasy," Op. 54, October 19, 1917 . 72 SiBEUUs: Symphony, A minor. No. 4, Op. 63, November 2, 1917, 199 "Finlandia," Symphonic Poem for orchestra. Op. 26, No. 7, October 19, 19 17 71 "The Swan of Tuonela": Legend from the Finnish Folk- Epic "Kalevala," December 28, 19 17 598 "Pohjola's Daughter," Symphonic Fantasia, Op. 49, March I, 1918 982 "Night Ride and Sunrise," Symphonic Poem, Op. 55, March I, 1918 1009 SmETana: Symphonic Poem, "Vitava" ("The Moldau"), No. 2,

from "Ma Vlast" ("My Country"), April 12, 1918 . . 1300 Strauss: Aiia of Zerbinetta,** from "Ariadne on Naxos,' No- vember 23, 19 17 (Mabel Garrison*) 342 Strube: Fantastic Dance for viola and orchestra, April 19, 19 18 (Emil FEjRiRf) 1348 SvEndsen: "Zorahayda": Legend for orchestra. Op. 11, April

' 19. 1918 . 1336 Tschaikowsky: Symphony, F minor. No. 4, Op. 36, December 28, 19 17 607 Serenade for strings. Op. 48, January 18, 19 18 745

Wagner: Prelude to "Parsifal," October 12, 19 1 7 41 Wallace. "Villon," Symphonic Poem No. 6, for orchestra, Feb- ruary 8, 1918 839

Wolf: Italian Serenade for small orchestra, April 26, 19 18 . . 1392

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1478 SUMMARY. AivFve;n I Haydn 2

Bach-Bachrich I d'Indy I

Balakireff I Lalo . . I

Bebthoven 8 LlAPOUNOFF I

Berlioz 5 Liszt i Brahms 4 MacDowell I Bruch I Mendelssohn i Carpenter i Mozart 6 Chadwick I Rachmaninoff 2 Charpentier 1 Rameau I Chausson I Ravel 2*

Cherubini 2 Ropartz I Chopin i Saint-Sa^ns 4 Davison i Schumann 2 Debussy 4 Scriabin I

I . Delius Sibelius , 5

DiTTERSDORF I Smetana . . , . I

Dohnanyi I Strauss i- DUKAS I Strube I Dvo:^k 2 Svendsen I

Knesco I TSCHAIKOWSKY 2

.' GOLDMARK . . . 2 Wagner i Grieg i Wallace i Handel 2 Wolf i 86 'The excerpts from "Daphnis et Chloe" were performed at two concerts. [n5^^^^^^^^se=

THE (SCHOOL CREDIT PIANO COURSE A Four-Year Loose-Leaf Course for the Systematic Training of Ears, •J Fingers, and Mind in Piano Playing and Musicianship EDITORS Prof. Clarence G. Hamilton, Wellesley College; Prof. John P. Marshall. Boston University; Dr. Percy Goetschius, Institute of Musical Art, N.Y.; Will Earhart, Director of Music, Pittsburg, Pa.; William Arms Fisher, Managing Editor. PURPOSE To provide a course of study worthy of credit in the public schools. PLAN Each lesson includes Ear Training. Harmony, Musical History, and Musical Form. Each lesson contains all the material necessa;^ for the preparation of that lesson, including exercises for technic, sight-reading, transposition, duets, compositions for study. The material has been selected from the standard piano liter- ature. The Teacher's Manual includes the key to all exercises in the Course, and a graded list of supplementary material. ^ PRICES Net each $-20 Single lessons . . . . • • ,',' j ^ One Quarter's lessons (nine in each quarter) in heavy paper binder, tied with a cord . 1.50 One Year's lessons (thirty-six) ...... •• 5.00 Descriptive booklet and miniature pages sent free on request

i^lfl^tQa BOSTONiilElISflNEWyORK"cl^ri^3^51Qjf 1479 ORCHESTRAL COMPOSITIONS, CONCERTOS, AND ARIAS PERFORMED FOR THE FIRST TIME IN BOSTON.

Symphonies.

Alfvejn: Symphony No. 3, E major, February 8, 19 18. Carpenter: Symphony No. i, C major, April 19, 19 18. i, DuKAS: Symphony, C major, March 1918 . 3

Symphonic Poems, etc. Davison: Tragic Overtm^e, April 26, 19 18. First performance. Ravel: "Lever du Jour," "Pantomime," "Danse Generale," "Daphnis et Chloe," December 14, 1917

Concertos, etc. dTndy: Lied for viola and orchestra (Mr. F^&RiRf), April 19, 1918. LiAPOUNOFF: Concerto for pianoforte, Op. 4 (Mme. Leginska*), February 22, 19 18.

Mozart : Concerto for Clarinet (Mr. Sand!*), March 29, 19 18 .

Aria. Strauss: Aria of Zerbinetta, from "Ariadne on Naxos" (Miss Garrison*), November 23, 19 17

WORKS PERFORMED FOR THE FIRST TIME AT THESE CONCERTS.

Chausson: "Poeme," for viohn and orchestra (Mr. NoACKf), December 21, 19 17. LiszT: "Prometheus," Symphonic Poem No. 5, October 12, 1917. Saint-Saens: "Havanaise," for violin and orchestra (Mr. NoACKf), December 21, 19 17 3

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1481 ARIAS SUNG FOR THE FIRST TIME AT THESE CONCERTS

Beethoven: Recitative, "Jehovah! hear, oh, hear me," and Air, " Oh, my heart is sore within me," from " Christ on the Mount of OHves" (Mr. McCormack), Decem- ber 14, 1917. Handel: "Di ad Irene," from the opera "Atalanta" (Mr. Mc- Cormack), December 14, 19 17 2

THE FOLLOWING ARTISTS HAVE APPEARED THIS SEASON. PAGE FijRiR.t Emil: April 19, 1918, d'lndy. Lied for viola and orches- tra**; Strube, Fantastic Dance. Sketch 1345 Gabrilowitsch, Ossip: January 18, 19 18, Brahms's Concerto in B-fiat, No. 2. Sketch 728 Garrison,* Mabel: November 23, 19 17, Mozart, ' L' amero, saro costante," from "II Re Pastore"; Strauss, Air of

Zerbinetta,** from "Adriadne on Naxos." vSketch . . 332 Leginska,* Ethel: February 22, 19 18, Liapounoff, Concerto for pianoforte, Op. 4.** Sketch 916 McCormack, John: December 14, 1917, Handel, "Di ad Irene,"* from the opera "Atalanta"; Beethoven, Recitative, "Jehovah! hear, oh, hear me," and Air, "Oh, my heart is sore within me,"* from "Christ on the Mount of Olives." Sketch 462 MALKiN,t Joseph: March 8, 1918, Lalo, Concerto for violon- cello. Sketch 1048 Melba, Mme." December 28, 19 17, Mozart, Recitative, "Soli- tudini Amiche," and Aria, "Zeffiretti Lusinghieri," from "Idomeneo, Re di Creta"; Canzona, "Vol che bapete," from "Le Nozze di Figaro"; Debussy, Recita- tive and Aria of Lia, from "L'Enfant Prodigue." Sketch 584 Nash,* Frances: November 2, 19 17, Saint-Saens, Concerto in G minor for pianoforte. Sketch 204 MISS COMER CREATOR OF ART IN Permanent Hair Waving Summer Shop 462 BOYLSTON STREET MAGNOLIA BOSTON

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1483 NoACK.t Sylvain: December 21, 1917, Chausson, "Poeme,"* for violin and orchestra; Saint-Saens, Havanaise,* for violin and orchestra. Sketch 528 NovAES,* Guiomar: April 12, 1918, Chopin, Concerto- No. 2, 'P minor, for pianoforte. Sketch 1278 SAND,t* Albert: March 29, 19 18, Mozart, Concerto for clari- net.* Sketch 1 158 Seydel,* Iraia: March i, 19 18, Saint-Saens, Concerto in B minor for violin, No. 3. Sketch 974 WARNKE,t Heinrich: January 4, 19 18, Dohnanyi, Concert- Piece in D major for orchestra with violoncello obbli- gato. Sketch 656 WiTEK,t Anton: February 8, 19 18, Bruch, Concerto for violin, No. I, G minor. Sketch 866 Ztmbaust, EfrEm: October 19, 19 17, Beethoven, Concerto in D major for violin. Sketch 92 * * * Sopranos: Mmes. Garrison,* Melba 2 Tenor: Mr. McCormack i Pianists: Mmes. Leginska,* Nash,* Novaes*; Mr. Gabrilo-

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Violinists: Miss Seydel; Messrs. Noack.f Witek.f Zimbalist . 4 Viola: Mr. Ferirf i Violoncellists: Messrs. Malkin,t Warnkef 2 Clarinet: Mr. Sandf* i

15

ENTR'ACTES AND EXCURSIONS. PAGE Abell, A. M.: Strauss's "Ariadne on Naxos" 342 Berlioz, Hector: Beethoven's Second Symphony 1067 Beethoven's Fifth Symphony 8 Blackburn, Vernon: Mendelssohn and Mrs. Crummies 428

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14S5 Brinton, Christian: Bocklin 152 Brunbau, Alfred: Debussy 1228 Daily Telegraph (London): Delius 942 Sentimental Journey, A 802 Debussy, Claude: On Music 1234 Delius, Frederick: Certain Contemporaries 945 DowNES, Olin: Sibelius's Fourth Symphony 202 Enesco, Georges: On Himself 108

Gilbert, Henry F. : North American Indian Music 288

Glasgow Herald : Music Madness 1352 Goldmark, Reuben: Carl Goldmark 1038 Hale, Philip: Beethoven and Programme Music 553 Berlioz and Shakespeare 24 Berlioz and Miss Smithson 360, 1415 Bouilly and "Leonore" 220 Brahms, the Man 920 Charpentier 1242 Dances and Dancers, French 1166,1290 Debussy's Early Years 169 Drum, Pipe, and North American Indian Music 280

Goldmark, Carl •. 1038 Habanera, The 532 Key of E minor and Colored Music 140 Lalo 1052 Metastasio 334 Pohjola and the Kalevala 988 Saint-Saens 1104 Saint-Saens: His Music in Boston m8 Saint-Saens and Liszt 208 Tambourine de Provence 848 Thamar and Margaret of' Burgundy 493 Vainamoinen's Kalevala: Wound , looi Montague-Nathan: Rachmaninoff 405 Newman, Ernest: William Wallace 856 Newmarch, Rosa: Sibelius 994 Pall Mall Gazette: Antoine and " King Lear " ., 28 Bocklin at Basle 160 Vehm-gericht, The 725 Poir6e, iSliE: Chopin's Pianoforte Concertos 1286 Ravel, Maurice: Correspondence with Diaghileff 474

Runciman, J. F. : Delius 940 Composers and Sea Music 408

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I486 ScRiABiN-NoBLE: Poem of Ecstasy 75 Stanford, C. V.: Brahms 926 Mozart 801 Musical Amateurs 1358 Times, the London: Musical Bogey, The . . . . roo Musician's Hand, The 927 Pianola, The . . . 484 Simplicity in Music 294 Time and Rhythm 670 Two Musics, The 104 TscHAiKOWSKY, Peter: His Fourth Symphony !. 612, 617 Wolf, Hugo: Brahms 912

INDEX TO SUNDRY REFERENCES AND FOOTNOTES.

Biographical (Men): Abel, K. F., 1162; Abu-1-hasan, 1152; Albert, a dancer, 1156; Alexander the Great, 340; Anacreon, 526; Antoine, 28; Autreau, 1175. Bachrich, S., 1465; Balducci, 1466; Beard, J., 468; Becker, H., 658; Bertin, L. M. A., 22; Beutler, 221; Bilkoth, T., 735; Boabdil, 1152; Bocklin,

A., 152; Bogolubskoi, G., 495 ; Bono, G., 336; Bouilly, J. N., 230; BrignoU, P., 874; Buridan, J., 494-5. Cecchi, P., 584; Cherubini and Napoleon, 520; Clement, F., 95; Conti, G., 468. Dabadie, 718; Da Ponte, L., 594; Derevis, P., 718; Drouet, L., 416; Ducis, J. F., 28; Dupont, 718. Ehrbar, F., 903;

Eisner, ; A., 1 J. X., 1282 Ernst, 238 ; Esterhazy, Prince Anton—Prince Nicolaus, 778. Faber, J. A. J., 1162; Ferrand, H., 711-12; Fischer, A., 1346; Franck's Pupils, C, 676-8; Frankowski, 356. Gaultier, D., 556; Gavaux, P., 234; Girard, N., 20, 716; Gizziello (Conti), 468; Gluck, 455, 728; Goodson, J. E., 790; Gorner, C, 1282; Gounet, B., 712; Graupner, G., 1274; Guiraud, E., 968. Haizinger, A., 716; Hellmesberger, J., 1396; Herder, J. G., 82; Hol- berg, L., 1288; Hubert, N. A., 917. Johnson, W. L., 1348; Joseph II., 784; Jusuf ben Serragh, 1152. Kajanus, R., 984; Kauffmann, E., 1400; Koessler, H., 661; Kurpinski, K. K., 1282. Dermontoff, M., 488; Lindgren, A., 877. Marsick, M., 532; Marxsen, E., 736; Massol, E.^ 718; Medtner, N., 405; Mercier, S., 231; Metastasio, 334 et seq.; Monn, G. M., 798; Mounet-SuUy, 28, 30. Napoleon and Cherubini, 520; Nourrit, A., 718. Palschau, 1464; Panofka, H., 21; Phaon, 136,6; Polchau, G., 1464; Prevot, P. F., 714. Raff and Liszt, 34; Ribas, A. L. de, 552; Rigaud, 1168. Saal, I., 809; Salomon, J. P., 779; Schleinitz, H. C, 424; Siloti, A., 156, 396; Spazier, J. G. C, 798; Stadler, A., 1158. Tourneur, P. Le, 26. Varesco, G., 590; Vestris, G., 1180. Wendling, J. B., 594; Whittern (Whithorne), R. E., 916; Willent, J. B. J.. 21; Wolf, P., 1395; Wranitzky, P., 810.

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14S7 Biographical (Women): Ayeshah, 1152. Bachrich, C, 1465; Beard, C, 469; Beard, H., 468; Berlioz, M. A. L., 712; Bernhardt, S., 28; Bordogni, L., 21; Bussani, 597. Campi, A., 540; Candar, S., 1290; Caron, R., 602; Cleis, 1366; Courtin, 1156; Cruvelli, S., 224. Dorus-Gras, J. A., 718. Enclos, Ninon de 1', 1292. Falcon, M. C, 718. Gerhardt, V. (Mme. Witek), 866; Gladkowski, C, 127; Graupner, C, 1274; Guicciardi, G., 1064. Hellyer (see Graupner). Jawureck, C., 718. Kilitzky, J., 540. Lafarge, Mme., 364; Lalo, J. M. V. B., 1054; Lebrun, L. M. C, 714; Legrand, J. A. (see Scio); Lubimova, T., 918. McLaren, O. (Mme. W. Wallace), 856; Marche, Blanche, Countess de la, 493; Marguerite of Burgundy, 493; Meek, N. von, 608, 610; Milder, P. A., 221; Milioukoff, A. (Mme. Tschaikowsky), 612; Moke, M. F. D., 14, 1418. Pleyel, Mme. (see Moke); Poitiers, Jeanne, Countess de, 493; Potocka, D., 1285. Recio, M., 1426; Ruegger, E., 1050. Saal, 809; Sappho, 1364; Scio, 234; Smithson, H. C, 360, 362, 1415; Sobiesichanskaya, 620; Solis, Isabel de, 11^2; Spurni, D. (Mme. Wendling), 594. Thamar, 495; Tschaikowsky, Mme. (see Milioukoff), 612. Valdesturla, C. A. O., 328; Vestris, T., 1180. Wallace (see McLaren), 856; Wendling, D. (see Spurni), 594; Witek, V. (see Gerhardt), 866. Musical and Poetical Forms: Amen, Dresden, 43. Cadenzas, 95; Color of Tonalities, 140 et seq.; Complainte. 648; Concertino, 666. Deploration, 648; Dresden Amen, 43. E minor, key of, 140, 142, 144. Form, Plotinus's definition of, 266. Hunting symphonies, 330. Larghetto, 1278. Melic, 1369; Minuet, 796; Musette, 1166. Noel, 1095. Programme music, 556. Sapphic, 1369; Scherzo, 813; Siciliana, 980; Suite, 796; Symphony, 796, 799; Symphonies, hunting, 330; Systaltic style, 1367. Tonalities, color of, 140 et seq. Dances: Ballet music, Tschaikowsky on, 620; Bal musette, 1166; Bergomask, 418; Bolero, 533. Cachucha, 533; Comparsas, 533; Contradanza criolla, 532. Dancing in London, 11 74; Dancing in Vienna, 784. Gavotte, 1177; Ghowasee, 533. Habanera, 532 et seq. Juba, 1094. Minuet, 11 70; Musette, 1166. Nautch, 533. Ole, 533. Rigaudon, 11 68; Romalis, 533. Sarabande, 1290; Siciliana, 980; Siva-siva, 806, 808. Tango, 534. Instruments: Balalaika orchestra, 996; Baryton, 328. Caisse claire, 470,682; Cembalo, 800; Chirula, 848; Cithern, 996; Clarinet, 1159, 1165; Cornette, II 62; Corno da caccia, 11 62. Drum, 280 et seq., 470, 682; Drums, Samoan, 806; Drums and fifes, Swiss, 850; Dulcimer, 848. Flute in G, 470; Flutes, Indian, 284. Galoubet, 848, 850; Guitar at Paris Opera, 11 56; Gusla, Gusslee, Gusli, Gousli, 996. Harp, 1364; Hurdy-gurdy, 11 76. Indian instruments (North American), 280. Julien's orchestra, 778. Kantele, Kannel, Kankles, Kuakles, 996. Lute, 280; Lyre, 1364. Mouth organ, 802; Musette, 1166. Oboe, 1 166; Orchestra, Julien's, 778, Mme. Pompadour's, 1165; Organ, mouth, 802. Pan Pipe, 472, 684; Pandero, 996; Pektis, 1369; Pianolo, 484 et seq.; Pifaro, 1394; Pipe, 280. Rattles, 280. Schalmey, 1394; Swasche, 850; Syrinx, 472, 684. Tabor, 850; Tambour, 470, 682; Tambourin du Beam, 848; Tambourin de Provence, 848. Vielle, 231, 11 76. Whistles, 280, 284. Songs, Hymns, etc.: A Mules, 1249; Adams and Liberty, 526; Allegorie, 1249; Amen, Dresden, 43; Amour, viens m'aider, 1120, 1125, 1126; As when the dove, 1338; At night, 1125; Auf dem Kirchhofe, 139; Ave Maria (Arcadelt), 102; Ave Maria (Saint-Saens), 1125; Av^Verum (Mozart), 102. Balcon, Le, 1232; Behold and See, 140; Bella mia fiama addio, 1338. Carinthian songs, 548; Carnival Song, 11 26; Chanson du Chemin, 1245; Chansons de Bilitis, 1232; Chevaux de Bois, 1228, 1245; Chevelure, La, 1232; Cloche felee, 1249; Come, Lassies and Lads, 103; Complainte, 648. Deploration, 648; Der Freund, 1405;

Dies Irae, ; ist's, 1431 Dresden Amen, 43. Er 1405 ; Erlking, 874; Erstes Liebeslied eines Madchen, 1404; Eternal Peace to Him, 88. Fiancee du Timbalier, 1122; Flute de Pan, 1232; Freebooter Songs, 858; Funiculi -Funicula, 1392; Fussreise, CARMINE

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1488 1404. God bless the Prince of Wales, 103; God preserve the Emperor Francis, 780. Harmonie du Soir, 1232; Heinrich schlief bei seiner neu Vermahlten, 722. I attempt from Love's Sickness, 672; Ich fiihl es, "Zauberflote," 794; Ich hab' in Pena einen Liebsten wonnen, 1405; I know that my Redeemer liveth, 140; Immer leiser wird mein Schlummer, 744. Jacobite Songs, 858; Je vais done quitter pour jamais mon doux pays, 1427; Jeanne d'Arc, 748; Jet d'eau, 1232, 1245; Juba, 1094. Lords of the Sea, 858; Love hath its charm, 1126. Mar- seillaise, 1 241; Ma Voisine, 748; Midi au Village, 748; Mon Cceur s'ouvre, 1 122; Mort des Amants, 1232; My mother bids me bind my hair, 780. Oh! my luve's like a red, red rose, 103; O Love hath its charm, 11 26; Old Folks at Home, 12 12. Pallas Athene, 11 22; Parfum exotique, 1249; Par che mi nasca in seno, 1162; Poinsuis tes belles destinees, 1152; Proses de Reve, etc., 1230. Qui done commande, 1122. Recueillement, 1232; Ronde des Com- pagnons, 1245; Rule, Britannia, 1162; Russian hymn for the dead, 88. Sailors of Kermor, 1126; Se il padre perdei, 794; Soldiers of Gideon, 1126; Song of Ancestry, 1 126; Star-Spangled Banner, 526; St. Peter, 1352; Stein song, 1094; Stradella's Hymn to the Virgin, 1285; Styrian, 548; Suspendez a ces murs mes armes, 1152; Swing Low, Sweet Chariot, 1222. Tipperary, 103; To An- acreon in Heaven, 526; Todessehnen, 744; Tombeau des Naiades, 1232. Veillee rouge, 1245; Verborgenheit, 1405; Vicar of Bray, 103. Wanderer, The, 790; With joy the impatient Husbandman, 776. Legends, Folklore, History: Abencerages, 1152. Genevieve de Brabant, 648. Hobgoblin, 1096. Ilmarinen, 988. Juno jealous, 1175. Kottri, 1096; Kul- lervo, 991. Lemminkainen, 991. Pan and Syrinx, 472; Platae, 11 75; Poh- jola, 988; Puck, 1095. Robin Goodfellow, 1095. Sampo, The, 988. Tamara, 489; Tuonela, 598. Vainamoinen, 988. Theatre and Opera House:— A. Abbe de I'^^pee, 230; Abencerages, 523, 1151; Abu Hassan, 540; Acanthe et Cephise, 1164; Acis and Galatea, 464, 782; Alceste, 221; Aleko, 158, 396; Aline, 850; Amour Africain, 1241; Amour au Faubourg, 1249; Anacreon, 519, 524, 1165; Anacreon chez lui, 519; Anacreon chez Polycrate, 524; Anac- reon en lonie, 524; Anacreonte in Samo, 524; Anacreonte tiranno, 524; Ancetre, 1108; Anneau de Cakuntala, 1034; Antigone, 420; Antony, 1422; Apres-midi d'un Faune, 474; Arbre de Science, 971; Ariane et Barbe Bleue, 971; Ariadne auf Naxos, 342; Ariodante, 468; Armide, 221; Ascanio, 11 08, 1468; Atalanta, 466; AthaUe, 420. B. Ballo in Maschera, 332; Barbares, Les, 208, mo, 1124; Barbiere di Siviglia," 464, 587, 1057, 1067, 1455; Bartered Bride, 104; Bastien et Bastienne, 1455; Beatrice di Tenda, 1285; Beggar's Opera, 469; Belle Helene, 1105; Ben- venuto Cellini, 1466; Bertram, 720; Boheme, 464, 586, 587, 590; Boris Godou- noff, 174; Botruocepale, 11 14; Bourgeois Gentilhomme, 342; Brassolis, 854, 862. C. Calendal, 1058; Carmen, 536, 1057, 1058; Camaval du Pamasse, 1180; Cavalleria Rusticana, 464; Cecylja Piaseczynska, 1282; Cephale et Procris, 1178; Certova Stena, 1307; Charles VI., 1455; Choir Invisible, 1348; Cid, 602; Cimarosa, 232; Clarisse Harlowe, 1058; Commediante, 1249; Conseil IRMA 5EYDLL VIOLINIST

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1489 de Dix, 20, 716; Coppelia, 1056; Cordelia, 31; Corregidor, 1400; Cosa Rara,

596; Cosi fan tutte, 782 ; Coupe du Roi du Thule, 1058; Couvin, 232; Crampe des Ecrivains, 11 14; Cymbeline, 233. D. Daphnis et Chloe, 469, 682; Daphnis et Egle, 1165; Dejanire, 1114; Demetrio, 338; Demetrius, 1338; Deux Journees, 232, 519, 552; Deux Nuits, 232; Deux voleiu-s, 20, 716; Devil's Wall, 1307; Diable Couturier, 680; Diane au bois, 170; Dido, 1 1 54; Djatnileh, 11 14; Djelma, 602; Doktor u. Apotheke, 1274; Don Cesar de Bazan, 587; Don Giovanni, 214, 410, 456, 464, 782, 786, 967, 1 1 14; Don Pasquale, 400. E. Egmont, 544; Elektra, 295, 342; Enfant Prodigue, 171, 172, 602; Entfesselte Prometheus, 32; Eugene Oniegen, 621, 623; Euryanthe, 724. F. Famille Americaine, 232; Famille et Patrie, 678; Fanchon la Vielleuse, 231; Faniska, 523; Faust, 583, 586, 588, 590, 602, 874; Favorite, 1426; Fedelta Premiata, 327; Feen, 984; Felsenmiihle v. Etalieres, 1067; Fennimore and Gerda, 938; Fest auf Solhaug, 1400; Fetes de Ramire, 972; Fidelio, 220, 480, 602, 716; Fiesco, 1054; Fille du Regiment, 464; Fliegender Hollauder, 412; Folie, Une, 232; Folkeraadet, 932, 936; Francesca da Rimini, 158, 402; Francoise de Foix, 232; Francs-Juges, 712; Fredegonde, 970; Freischiitz, 102, 602; Fremdling, 1045; Frogs, 103; Fuchsmajor, 1465. G. Gabriella di Vergy, 1105; Genevieve de Brabant, 652, 654; Genevieve, ou rinnocence reconnue, 652; Genoveffa del Brabante, 652; Genoveva, 647; Genoveva de Brabante, 652; Genoveva ira Turm, 652; Genoveva v. Brabant, 652; Geschopfe d. Prometheus, 222, 1458; Giselle, 1056; Gotterdammerung, 208; Gottind. Vernunft, 139; Gotz v. Berlichingen, 1045; Golo, 652; Griselidis, 1058; Guirlande, 1165; Guzla de I'Emir, 1058. H. Habanera, 536; Hamlet, 16, 28, 583, 587, 588, 590; Heimchen am Herd, 1044, 1129; Heini v. Steier, 1465; Helena, 232; Henry VIII., 602, 1108, 1117, 1 1 20, 1 121; Herodiade, 602; Horn et Rimenheld, 971; House of Aspen, 725; Huguenots, 587, 588, 602, 718. I. Idomenee, 592; Idomeneo, 588, 590, 794; Indes Galantes, 972; Intrigue aux Fenetres, 232; Ipermnestra, 338; Iphigenie in Aulis, 1178; Iphigenie in Tauris, 221, 602; Irmelin, 934; Ivan le Terrible, 1058. J. Jacquerie, 1057, 1060; Jardinier de Sidon, 340; Jeune Henry, 331; Jeunesse d'Henri IV., 231; Jocelyn, 602; Joseph en Egypte, 482; Juive, 602; Julien, 1249; Julius v. Tarent, 327. K. Keruzel, 680; Khovantchina, 492; King Christian II., 982; King Lear, 16, 29; Kiss, The, 1306; Koanga, 932, 934, 936, 942, 943; Konig Lear, 29; Konigin v. Saba, 1032, 1042; Kriesgefagene, 1045. L. Lakme, 587; Leonora, 222; Leonore, 220; Leszek Bialy, 1282; Lisis et Delie, 1165; Lodoiska, 523; Lohengrin, 41, 602; Louise, 590, 1247; Lucia di Lammermoor, 464, 586, 588, 790; Lucrezia Borgia, 874. M. Macbeth, 28, 1065; Madama Butterfly, 464; Maharani of Akaran, 1036; Mahomet, 1356; Manon, 587; Manuel Venegas, 1404; Margot la Rouge, 937; Marguerite d'Ecosse, 680; Masaniello, 552; Mazeppa, 746; Medea, 522, 738; Mefistofile, 967; Meistersinger v. Niimberg, 602, 866, 1238; MerUn, 1044; Merlin's Cave, 468; Midsummer Night's Dream, 414; Miser Klnight, 158, 400, 406; Moine, 21; Moses in Egypt, 1357; Muette di Portici, 1420; Muzzedin, 1465. N. Naissance d'Osiris, 1165; Namouna, 1058, 1062; Nelee et Myrthis, 972; Neron, 1060; Nitetti, 594; Noces de Gamache, 1156; Norma, 552; Nozze di Figaro, 460, 588, 590, 594, 724, 784, 786. O. (Edipus, 647, 1 154; CEdipus Coloneus, 140; Orione, 1162; Othello, 16, 28, 278, 590, 602.

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1490 p. Paladins, Panurge, 1165; 1178; Paris et Helene, 967; Parsifal, 41, 46 546- Fa^arit, 1344; Pays, 680; Paysages de Bretagne, 680; Pecheur d 'Island, 678- Pen^as et Mehsande, 175, 1228, 1232, 1234; Penthesilea, 1045, 1402- Perfect Gentleman, 346; Peri, 972; Petrouchka, 671; Phaon, 1371; Phryne uo8- Pierre le Grand, 231; Platee, 1174; Princesse de Navarre, 972; Princesse Jaune, 1124; Prometheus Bound, 1045; Puritani, 584. R. Re Lear, 31; Re Pastore, 332. 587, 588; Rheingold, 546, 1238; Richilde Rigoletto, 602; 586, 587, 588; Ring, The, 942; Robert le Diable, 1455- Roi Apepi, Roi d'Ys, 1114; 590, 1054, 1062; Roi Lear, 28, 31; Roi lu, 28- Romeo and Juha of the Village, 937; Romeo and JuHet, 350, 586, 588; Rosaliere de Salency, 11 74; Rosenkavalier, 342; Royal Chace, 468; Ruins of Athens, 222 S. Sacountala, 1034; Sacre du Printemps, 671; Sad Shepherd, 1096; Saffo, 1371; Sakuntala, 1034, 1465; Salammbo, 602; Salto di Leucade, i37i;'Samson et Dalila, 748, 972, 1106, 11 20, 11 24, 1125; Sappho, 137 1; Sappho v. Mytilene 1371; Schleier der Pierrette, 662; Secret, 1307; Sejour, 232; Semiramide[ 586; Serse, 1176; Siegfried, 546; Sigurd, 602; Sigurd Slembe, 1342; Sirene^ 724; Sold Bride, 1306; Song of Solomon, 92; Spiegel v. Arkadien, 221; Stra- della, 790; Sylvia, 1056. T. Tajemstvi, Tamerlano, 1307; 1162; Tannhiiuser, 108, 587, 588, 602, 748, 908, 1238; Tempest, 972; Templiers, 1058; Thamar, 492; Timbre d'Argenti 1106, 1108, 1118; Tosca, 590; Tour de Nesle, 493; Tragediante, 1249; Tra- viata, 332, 464, 587, 588; Trip to Japan in 16 minutes, 92; Tristan u. Isolde, 412, 671, 748, 866; Trovatore, 874. V. Valentine de Milan, 232; Vampire, 720; VanDyck, 21; Vestale, 16; Village Romeo and Juliet, 937; Viola, 1306. W. Walkiire, ic8, 602, 972; Water Carrier, 232; White Pevil, 924; Winter- marchen, 1045. Y. Yvan de Russie, 1057; Yvan le Terrible, 1057. Z. Zampa, 910; Zanetta, 1067; Zauberflote, 794; Zephyre, 972.

Criticai, and Literary:—

Abell, A. M., Strauss 's Ariadne 342. ^schyl us, Prometheus, 39. Aldrich, T. B., Miantowona, 272. Alfven, H., His Third Symphony, 875. All. Musik. Zeitung, Beethoven, First Symphony, 810; Second Symphony, 1066. Altschuler, M., Scriabin, 74. Ambros, Beethoven's Sixth Symphony, 554. Annales Drama- tiques, Bouilly, 233. Antoine on King Lear and Mounet-Sully, 29, 30. Apel, A., Mozart's E-flat Symphony, 459. Apthorp, W. F., Beethoven's Leonore No. 3, 226; "Benvenuto Cellini" Overture, 1470; Brahms's Third Symphony, 908; Goldmark's Sakuntala, 1032; Julien's orchestra, 778; MacDowell's Indian

Suite, 272 ; Mozart's G-minor Symphony, 792 ; Saint-Saens's Pianoforte Concerto No. 2, 214; Svendsen's Zorahayda, 1338; Tschaikowsky's Serenade, 751. Bachrich, S., Goldmark, 1032. Bahr, H., Wolf, 1402. Balakireflf, his Thamar, 491. Balzac, Gambara, 1356; Massimilla Doni, 1357. Barbier, Berlioz, 362. Barbey d'AureviUy, Berlioz, 26. Bayle, P., Anacreon, 526; Buridan, Buridan, 495; Sappho, 1366. Beatty-Kingston, Brahms, 920. Beethoven, Cherubini,

1155; Letters, 1063-4; his Sixth Symphony ,^ 552. Berhoz, Beethoven, First Symphony, 812, Second Symphony, 1067, Third Symphony, 1460, Fifth Sym- phony, 8, Fidelio, 234; Euphonia, 14; King Lear, 18; Romeo and Juliet, 351; Francs-Juges, 714; Fantastic Symphony, 1408; Miss Moke, 141 8; Miss Smith- son, 1415; Saint-Saens, 1105. Belloc, H., Antan, 844; Marguerite of Bur- gundy, 493. Bemsdorf, E., Saint-Saens, Pianoforte Concerto No. 2, 206. Bill-

roth, T., Book on Music, 735 ; Brahms, Pianoforte Concerto No. 2, 736. Black- bum, v., Berlioz, 28. Blair, D. H., Brahms, 924. Bleuler and Lehmann, colored sound, 144. Bock, Baron de, Vehmgericht, 726. Bottger, A., Schu-

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1491 mann's First Symphony, 1184. Borowski, F., Brahms's Third Symphony, 906; Carpenter's Symphony, 1332; Lindgren, 877; Rachmaninoflf's Island of the Dead, 146; Sea Music, 267. Boschot, A., Berlioz, 20, 360, 712; Smithson, 1415; Fantastic Symphony, 1428. Boston Daily Advertiser, Bruch, Violin Concerto No. i, 874. Boston Evening Post, clarinets in eighteenth century, 1 162. Bouilly, Souvenirs, 232. Brahms,' Pianoforte Concerto No. 2, 735; Symphony No. 3, 904. Brenet, M., Beethoven's First Symphony, 813. Brin- ton, C, Bocklin, 152. Bruch, M., about himself, 872. Bruneau, A., Debussy, 1228; Ravel, 472. Billow, Beethoven's No. 3 symphony, 1462; Lalo, 1054; Saint-Saens, 213, iioo; Burney, C, Atalanta, 466; Beard, 468; II Re Pastore, 340. Burton, R., Puck, 1096. Burton, R. F., negro as musician, 12 15; Sappho, 1369. Butler, S., Kudibras quoted, 1906. Campan, Rigadoun, 1170. Capon, Fille d'opera, 1182; Les Vestris, 1182. Castil-Blaze, Anacreon, 522; Ballet at Paris, 1182. Catlin, G., North American Indian musical instruments, 280; Indian songs, 286. Celler, L., Gavotte, 1178. Cellini, Balducci, 1466. Chateaubriand, Rene, 1408; Chen- ier. A., quoted, 36. Chop, M., Delius, 932, 940. Chopin, on his Pianoforte Concerto No. 2, 1278. Chorley, H. F., "Benvenuto Cellini," 1474; Miss Falcon, 718; Haizinger, 716. Collier, J., Anacreon, 526. Colombani, Beet- hoven, First Symphony, 814. Courrier de l' Europe, Beethoven, First Sym- phony, 814. Courrier Musical, Debussy's Nocturnes, 1226. Cox, J. E., Fidelio and Cruvelli, 224. Czerwinski, Gavotte, 1180. Dacier, E., Mile. SaUe, 1182. Daily Post (London), Atalanta, 466. Daily Tele- graph (London), Delius, 942. Daudet, A., Numa Roumestan, S52; Trente Ans de Paris, 850. Debussy, about his nocturnes, 1225; on composers, 1234. Decade Philosophique, Beethoven, Symphony No. i, 815. Decsey, Wolf, 1395. Deiters, H., Brahms, Tragic Overture, 584. Delany, M., Atalanta, 469. Del- devez, E., N. Girard, 20, 716. Delius, on composers, 945. Delvau, A., Bal Musette, 1168. Deschamps, E., Queen Mab (tr.), 352. Desrat, Gavotte,

1 1 78; Rigadoun, 11 70. Diaghileff, Ravel's Daphnis et Chloe, 476. Dickens, Mr. and Mrs. Crummle, 429; Mr. Mell and Mr. Morfin, 1354. Dole, N. H., translation of Handelian air, 468. Downes, O., Sibelius, Symphony No. 4, 202. Duprez, G., "Benvenuto Cellini," 1474. Dwight, J. S., Engedi, 482; Saint-Saens, Painoforte Concerto No. 2, 208. Ehlert, O., "Benvenuto Cellini," 1475; tonality and color, 144. Elson, L. C, American national music, 526. Enesco, G., about himself, 108. Emerson, E., Dvorak's Othello overture, 299. Evening Post (New York), Sibelius, Sym- phony No. 4, 202. Faminzin, Gush, 996. Fetis, Beethoven, Symphony No. i, 815. Finck, H. T., Grieg, 1288; R. Strauss, 342. Fletcher, A., North American Indian song, 287. Ford, R., Abencerrages, 1152; Spanish dances, 533. Forsyth, C, vielle, 231, 1176; Wallace's "Villon," 846. Freiligrath, Longfellow and the Kalevala, 598. Friedberg, F., Brahms, the man, 922. Friedenthal, Haba- nera, 534. Gaguin, R., Buridan, 495 Galantiere, L., Ariadne auf Naxos, 346. Gardiner, W., Beethoven, Sixth Symphony, 553; J. P. Salomon, 780. Gazette musicale, Berlioz Concert, 21. Gerber, Monn, 798; Mozart, 456, 458, 788, 789; Stadler, 1 158. Gilman, L., MacDowell, Indian Suite, 274. Goepp, P. H., Rachman- inofT, Second Symphony, 394. Goldmark, R., Carl Goldmark, 1038. Gon- court, E. de. Mile. Guimard, 1182. Gounod, Saint-Saens, 1106, 11 17. Gram- mont, sarabande, 1292. Grieg, on his Holberg suite, 1288. Griepenkerl, Beethoven, Third Symphony, 1460. Grimm, Ducis's King Lear, 28; II Re

Pastore, 340. Grisenger, Haydn, Surprise Symphony, 775 ; Haydn as sports- man, 331. Gyrowetz, Haydn, Surprise Symphony, 776. Hallays, A., Berlioz, 24. Hanslick, Brahms, Third Symphony, 906; Brahms, the man, 924. Harris, H. W., Thamar, 490. Hawkins, J., sarabande, 1292. Hawthorne, Rappaccini's Daughter, 1391. Haydn, dancing in London, min- uets, 1 174. Hazlitt, Drouet, 416. Hedley, P. M. F., Brahms, the man, 922. Heermann, H., cadenzas for Beethoven, violin concerto, 95. Heine, Berlioz, Fantastic Symphony, 1422. Heller, S., Berhoz, Romeo and Juliet, 362. Henderson, W. J., Dresden Amen, 43; Sibelius, Fourth Symphony, 200. Henley, Berlioz, 26; Paradox of Napoleon, 1454; Poets and the Sea, 226; Villon and A. Lang, 840. Heron-Allen, the vielle, 231. Herzogenberg, Brahms, Second Pianoforte Concerto, 738. Heyhood, J., Puck, 1096. Heywood, T., Sappho, 1364. Hiller, F., Paer and Fidelio, 235; Miss Recio, 1426. Hippeau, Berlioz, Rom^o and Juliet, 360; Saint-Saens, 11 17. Hoffmann, E. T. A.,

1492 Beethoven, Sixth Symphony, 559; Mozart, E-flat Symphony, 459; his "Salva- tor Rosa," 1472. Holmes, O. W., Rigaudon. Hood, T., "Elm Tree" quoted, 1230. Horace, quoted, 8; Sappho, 1366. Hovey, R., Patting Juba, and Stein Song, 1094. Hudson, Engedi, 482. Hull, A. E., Scriabin, 82, 86. Hume, D., imagination, 162. Huneker, Herder's Prometheus, 36; Countess Potocka, 1285. Imbert, H., Lalo, 1060; Saint-Saens, 1106. d'Indy, Beethoven's love of nature, 542; his militarism, 1456; Cesar Franck's pupils, 676. Irving, W., Rose of the Alhambra, 1336. James V., "Began wi' a lass," 472, 684. Janet, P., Marguerite of Burgundy, 493. Janin, J., Miss Smithson, 367. Joachim, Bruch, Violin Concerto No. i, 872. Johnson, vS., "London," 1104. Jullien, A., Berlioz concert, 21. Juvenal, the Greek and Saint-Saens, 1104. Kalbeck, M., Brahms, 136, 139, 140, 583, 735, 904, 907. Kalevala, 598, 986. Kastner, G., Cris de Paris, 1247. Keeton, A. E., Holberg, 1288. Keller, O., Goldmark, 1031, 1046, 1129. Kelly, M., Dancing in Vienna, 784; Joseph II., 784. Kerst, F., Beethoven, man and artist, 557. Kirby, W. F., Kalevala, looi; Louhi, 988. Krehbiel, H. E., Afro-American Folk Songs, 534; Beet- hoven, man and artist, 557; "Eroica," 1458; Da Ponte, 594; Dvofak.'New World Symphony, 1212; Sibelius, Fourth Symphony, 20c. Kretzschmar, H., Brahms, Fourth Symphony, 142. Kufferath, Fidelio, 233; Parsifal, 42. Ku- hac, folksongs, 548. Laforgue, J., Pan et la Syrinx, 472, 654. Lajarte, T. de, Abencerrages, 1152; Platee, 1174. Laloy, L., Debussy, 167; Rameau, 1165. Lang, A., Villon and Henley, 840. Laurencie, L. de la, Platee, 1175. Lavoix, Jr., H., Rameau's instrumentation, 1165. Leeler, C, Beethoven's dedications, 1065. Legouve, E., Berlioz and Miss Smithson, 363, 1424; verses about prix de Rome, 1244. Leigh, A., minuet, 799. Letainturier-Fradin, La Camargo, 1182. Letour-

neur's Shakespeare, 360. Liebich, 725 ; Mrs., Debussy, 169. Liszt, his Prome- theus, 36; Saint-Saens, 208. Littlewood, S. R., vSakuntala, 1035. Loennrot, E., Kalevala, 598. Lombardon-Montezan, Tambourin, 852. Londoti Times, Alfven, 878. Longfellow and the Kalevala, 598, 986. Lumley, B., Cruvelli's Fidelio, 224. Mace, T., amateur musician, 1359. Mahillon, baryton, 328. Malherbe, Auber, 232; Saint-Saens, 11 16. Mariana, sarabande, 1290. Marlowe, C, quoted, 1400. Marmontel, Acanthe et Cephise, 1 164. Marnold, J., Debussy's Noc- turnes, 1226. Martine, J. D., Abencerrages, 1154; Anacreon, 526. Marx. Beethoven, First Symphony, 813; Third Symphony, 1460. Mason, W., Schumann's First Symphony, 1186. Mattheson, Gavotte, 11 77; minuet. 1 172. May, F., Brahms, Third Symphony, 903; Fourth Symphony, 135, 138; Second Pianoforte Concerto, 732, 742. Meilhan, S. de, minuet, 1172. Mendehsohn, Cherubini, 1155; Midsummer Night's Dream overture, 415.

Minestrel, BerHoz, March to the Scaffold, 725 ; Saint-Saeus, Second Pianoforte Concerto, 206. Mercure Musical, BerHoz, March to the Scaffold, 725; Dvorak, New World Symphony, 12 16. Moeser, J. N., Beethoven, violin concerto, 98. Montagu-Nathan, Balakireff, 488, 490, 491; Rachmaninoff, 144, 160, 405; Scriabin, 72, 92. Moore, G., Cabaner's speech about music and silence, 557. Moroni, minuet, 1 172. Mozart, letters, 456, 782, 794. Mueller, M., Kalevala, 598. Mure, W., Sappho, 1369. jl/jmca/ ylwemo, Wallace, 852. Musical Cour- ier, Bruch, 87 2. Miisik. PFocAewi/aW, Brahms, Second Pianoforte Concerto, 728. Napier, C, saying about big noses, 1105. Naubert B., Vehmgericht, 726. Neitzel, O., Saint-Saens, Third VioHn Concerto, 981. Newmarch, R., Sibelius, 71, 199, 600, 994. Neiv Music Review, Sibelius, Fourth Symphony, 202. Nicod, Noel, 1095. Niecks, F., Chopin, 1284; programme music, 556. Oracle, The, Hadyn, "Surprise" Symphony, 775. Ortigue, J. d', Noel, 1095. OulibichefT, Beethoven, First Symphony, 813, 815. Ovid, Pan and Syrinx, 472, 684. Paigrave, F., Vehmgericht, 712. Pall Mall Gazette, Alfven, 879; Antoine as King Lear, 28; Vehmgericht, 725. Parke, W. T., Bussani, 597. Pliny, Centum Capita, 1364. Plotinus, the form of fire, 266, 11 14. Pohl, C. F., Baryton, 328; Clement, 95; Haydn at Esterhaz, 327; Haydn, "Surprise" Symphony, 776. Poiree, B., Beethoven, Sixth Symphony, 546; Chopin, concertos, 1286. Pougin, Auber, 232. Prod'homme, J. G., Beethoven, First Symphony, 817. Rabl, W., Goldmark, 1032. Raff, J., keys and color, 142, 144. Rameau, his Platee, 1176. Ravel, letters about Daphnis et Chloe, 474, 478. Reade, W. W., African drums, 282. Reichardt, J. F., Beethoven, Sixth Symphony, 540. Reimann, H., Beethoven, First Symphony, 813; Brahms, Fourth Symphony, 140, 584; Mozart, G-minor symphony, 784; Wolf, 1395. Revue du Thcdtre, Berlioz, King Lear Overture, 21. Revue et Gazette Musicale, vSaint-Saens, Second Pianoforte Concerto, 206. Revue Musicale, Beethoven, First Symphony, 815. Berlioz, King Lear Overture, 21. Riemann, H., Brahms, Third Symphony, 908, Fourth Symphony, 140. Ries, Beethoven, Second Symphony, 1606; Third Symphony, 1452; Fifth Symphony, 8; Sixth Symphony, 553; oratorio Christus, 480. Ritter, W., Dvorak, New World Symphony, 1216; Smetana, 1309. Rolland, R., Handel's use of clarinets, 1 162; Saint-Saens, 11 18. Ros- setti, D. G., Sonnet LIX quoted, 929; Villon (tr.), 843, 844. Rousseau, Rigau- don, 1 168. Rowbotham, J. F., Drum, 284; North American Indian song, 286; Pan-pipes, 472, 684; Sappho, 1365; Sappho's metres, 1369. Rubinstein, A., Beethoven, Sixth Symphony, 584. Runciman, J. F., Delius, 940; Mozart in Vienna, 786. Saint-Foix, Mozart and clarinets, 1162; Mozart and Schobert, 799. Saint-Saens, Djamileh, 1114; German pedantry, 11 17. Samazeuilh, G., Dukas, 974. Schicht, J. G., about his wife Valdesturla, 328. Schindler, A., Beethoven, Third Symphony, 1451; Christus, 480. Schmid, A., Gluck's Venetian operas, 338. Schubart, C. F. D., key of E minor, 144. Schultz, D., Mozart's early symphonies, 799. Schumann, on his First Symphony, 1182. Schure, E. Saint- Saens, 1 1 16. Scott, Sir Walter, Vehmgericht, 712, 718. Servieres, G., Lalo, 1060. Shakespeare, As You Like It, 1331; King Lear, 16; Othello, 299, 908. Smetana, on his deafness, 1304. Sonneck, O. G., clarinets in America, 1162; Star-Spangled Banner, 526; Sowinski, A., Polish Musicians, 1282. Spazier, J. H. C, Beethoven, Second Symphony, 1066; Minuet, 798. Stanford, C. V., Brahms and England, 926; Mozart, 801. StouUig, E., Daphnis et Chloe, 474. Strauss, R., on his Ariadne auf Naxos, 346. Streatfeild, R. A., Atalanta, 469. Studien fiir Tonkiinstler, Mozart's death, 786. Sturm, Lehr u. Er- bauungsbuch, 543. Swift, J., Sunbeams from cucumbers, 94. Swinburne, Sapphics, 1367; Villon, 844. Tablettes de Polymnie, Beethoven, First Symphony, 817. Tabouret, gavotte, 1 180. Tallemant des Reaux, Ninon de I'Enclos, 1292. Taneieff, Tschaikowsky, Fourth Symphony, 617. Thayer, A. W., Beethoven, Third Symphony, 1452; Christus, 480. Tiersot, J., Berlioz, Fantastic Symphony, 1412 et seq. Tolstoy, What is Art (music)? 294. Tschaikowsky, about ballet music, 620; Serenade, 745; Fourth Symphony, 610. Udine, Jean d', Debussy, 264. Valerius Maximus, Anacreon, 526. Verlaine, P., clair de lune, 418. Vidal, F., Lou Tambourin, 852. Vidal, L. A., Baryton, 328. Vieville, Lecerf de, Italian

1494 and French music, i68. Villon, Marguerite of Burgundy, 493; quotations from (Wallace's Villon), 839. Voltaire, solid citizens, 1152. Wagner, R., Beethoven, Third Symphony, 1460. Wallace, W., Threshold of Music, 856. Wallek^ B., Smetana, 1309. Walther, J. G., Siciliana, 980. Ward, Artemus, quoted, 725. Weber, C. M., Clement, 96. Welcker, Sappho, 1369. Wendt, G., Sophocles (tr.), 139. Wharton, H. T., Sappho, 1369. White, R. G., Bordogni, 21; Puck. 1096; "retiring," 298. Whitman, W., Beat, beat, drums! 282; on self-contradiction, 11 12. Widman, Brahms, 922. Widor, C. M., Tambourin de Provence, 848. Wiener Zeitung, Beethoven, First Sym- phony, 809. Wolf, H., Brahms, Third Symphony, 912; Fourth Symphony, 138. Wyzewa, T. de, Mozart and clarinets, 1162; Mozart and Schobert, 799. Yve-Plessis, Fille d'opera, 1182. Zamminer, F., key of E minor, 144.

Composers, Comment on Certain. See:— Alfve;n. Alfven, London Times, Niemann, Pall Mall Gazette. AuBER. Malherbe, Pougin. Balakireff. Balakireff, Harris, Montagu-Nathan. Beethoven. All. Mus. Zeitung, Ambros, Apthorp, Beethoven, Berlioz, Brenet, Billow, Colombani, Courier de I'Europe, Cox, Decade Philosophique, Dwight, Fetis, Gardiner, Griepenkerl, Heermann, Hiller, Hoffmann, Hudson, d'Indy, Kerst, Krehbiel, Kufferath, Leeler, Lumley, Marx, Moser, Ouhbicheff, Poiree, Prod'homme, Reichardt, Reimann, Revue Musicale, Ries, Rubinstein, Schindler, Tablettes de Polymnie, Thayer, Wagner, Wiener Zeitung. Berlioz. Apthorp, Barbey d'Aurevilly, Barbier, Berlioz, Blackburn, Boschot, Chorley, Duprez, Ehlert, Gazette Musicale, Hallays, Heine, Heller, Henley, Hiller, Hippeau, Hoffmann, Janin, Jullien, Legouve, Menestrel, Mercure Musical, Revue du Thedtre, Revue Musicale, Tiersot. Bizet. Saint-Saens. Brahms. Apthorp, Beatty-Kingston, Billroth, Blair, Borowski, Brahms, Deiters, Fridberg, Hanshck, Hedley, Herzogenberg, Kalbeck, Kretzschmar, May, Mus. Wochenblatt, Raff, Reimann, Riemann, Stanford, Widman, Wolf. Bruch. Boston Daily Advertiser, Bruch, Joachim, Musical Courier. Cherubini. Beethoven, Castil-Blaze, Lajarte, Martine, Mendelssohn. Chopin. Chopin, Niecks, Poiree. Debussy. Bruneau, Courrier Musical, Debussy, Laloy, Liebich, Mamold, Udine. Deeius. Chop, Daily Telegraph (London), Dehus, Runciman. DvorAk. Emerson, Krehbiel, Mercure Musical, Ritter. DuKAS. Samazeuilh. GoEDMARK. Apthorp, Bachrich, R. Goldmark, Keller, Littlewood, Rabl. Gre;try. Martine. Grieg. Finck, Grieg.

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1495 HandEI,. Burney, Daily Post (London), Delany, Rolland, Streatfeild. Haydn. Grisenger, Gyrowetz, Haydn, Oracle, The, Pohl. Lalo. Billow, Imbert, Servieres. MacDowELL. Apthorp, Oilman. Mendelssohn. Mendelssohn. Mozart. Apel, Apthorp, Burney, Gerber, Hoffmann, Krehbiel, Mozart, Reimann, Runciman, Saint-Foix, Schultz, Stanford, Wyzewa. Rachmaninoff. Goepp, Montagu-Nathan. • RamEau. Laloy, Laurencie, Lavoix, Jr., Marmontel, Rameau. Ravel. Bruneau, Diaghileff, Ravel, Stoullig. Saint-Saens. Apthorp, Bernsdorf, Biilow, Dwight, Gounod, Hippeau, Imbert, Juvenal, Liszt, Malherbe, Mcnestrel, Neitzel, Revue et Gazette Musicale, Rolland. Schumann. Bottger, Mason, Schumann. ScRiABiN. Hull, Montagu-Nathan. Sibelius. Downes, Evening Post (New York), Henderson, Krehbiel, New- march, New Music Review. Smetana. Ritter, Smetana, Wellek. Strauss. Abell, Finck, Strauss. TsCHAiKOWSKY. Apthorp, Taneieff, Tschaikowsky. Wagner. Kufferath. Wallace. Forsyth, Musical America, Newmann (Entr'acte). Wolf. Bahr, Decsey, Reimann, Wolf.

* * * Miscellaneous References.

Antan, 844; Auvergne dancers, 1166; Bal Musette, 1166; Centum Capita, 1364; eringo, 1364; "Falcon "-singer, 718; fire, the form of, 266; Handel's house, 664; Juba, patting, 1094; kava, 802; militarism, Beethoven's, 1456; Multava, 1300; musette in slang, 11 68; negroes and music, 12 14; Noel, derivation of, 1095; Pifferari, 1394; prix de Rome, Legouve's verses, 1241; programme music, vague early, 790; Scherzerl, 736; iourisme, German, 544; Vehmgericht, 711 et seq.; Zegris, 1152.

Sundry NoT^s. The Orchestra with a chorus of 350 voices trained by Stephen Townsend gave performances of Beethoven's Ninth Symphony, November 20, December 2, 1917.

Solo singers : Florence Hinkle, Margaret Keyes, Arthur Hackett, Arthur Middleton. Dr. Muck conducted. The Orchestra and the same chorus gave performances of Mahler's Symphony in C minor. No. 2 (first performances in Boston), January 22, February 3, 1918. May Peterson, soprano; Merle Alcock, contralto. Dr. Muck conducted. Bach's Passion according to Matthew was performed—the whole of it in two sessions—by the Orchestra, the same chorus, and a boy choir of 80, on March 26, April 2, 1918. Prepared by Dr. Muck, the performances were conducted by Mr. Schmidt. Florence Hinkle, soprano; Merle Alcock, contralto; Lambert Murphy,

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1498 tenor; Reinald Werrenrath, baritone; Herbert Witherspoon, bass. Mr. De Veto was the pianist. Two concerts were given in aid of the Pension Fund of the Orchestra. The programme of the first, on Sunday afternoon, October 28, 191 7, was as follows: Tschaikowsky, Symphony No. 6, "Pathetic "; Wagner, "Dich Theure Halle" from "Tannhauser" (Geraldine Farrar); Wagner, Good Friday Music from "Parsifal"; songs with piano: Franz, Stille Sicherheit; Schumann, Volksliedchen; Moussorg- sky, Sternlein; Grieg, Erstes Begegnen; Gretchaninoff, Schneeglockchen (Mme. Farrar); Wagner, Funeral Music from "Dusk of the Gods"; Wagner, Three songs with orchestra: Im Treibhaus, vSchmerzen, Traume (Mme. Farrar). Richard Epstein was the pianist. Dr. Muck conducted. The second concert was given on Sunday afternoon, April 14, 1918: Berlioz, overture, "Roman Carnival"; Mozart, Concerto in D minor for pianopforte (Ossip Gabrilowitsch, pianist) ; Saint-Saens, "Mon cceur s'ouvre a ta voix" (Sophie Braslau); Saint-Saens, Symphonic Poem No. 3. "Danse Macabre"; Songs with pianoforte: Rachmaninoff, Do not sing, oh, maiden; Moussorgsky, The Classicist; Schalitt, Eili, Eih (Miss Braslau); Weber, Concertstiick for pianoforte, Op. 79 (Mr. Gabrilowitsch); Tschaikowsky, Suite from "The Nutcracker." Mr. Schmidt conducted. Charles A. Baker ac- companied Miss Braslau. Mr. Ernst Schmidt f conducted the nineteenth, twentieth, twenty-first, twenty- second, twenty-third, twenty-fourth concerts. Dr. Muck played the pianoforte in Seiffert's arrangement of Handel's Concerto Grosso in D minor. Op. 6, No. 10, January 4, 1918. Mr. John P. Marshall f was the organist in the performance of Saint-Saens's Symphony in C minor. No. 3, March 22, 1918. Mr. Alfred De Voto played the pianoforte part in the orchestral accompaniment of Zerbinetta's aria from "Ariadne auf Naxos" (Miss Garrison, soprano), November 23, 1917; in the performance of Ravel's "Daphnis et Chloe," December 14, 1917, January 4, 1918, and with Mr. Nagelfthe pianoforte part in Saint-Saens's Sym- phony in C minor. No. 3, March 22, 1918. Placido Fiumara, who had been a violinist of the Orchestra for many years, died suddenly at his home in Boston, November 20, 19 17.

Addenda.

Page 1 129. Additional facts given about first performances of Goldmark's opera "Das Heimchen am Heerd." Page 1 129. Additional facts about performances of Beethoven's "Christ on the Mount of Olives" in Boston.

Errata. was played Title page 709, p. 75 1 . The valse in Tschaikowsky 's Serenade, Op. 48, on January 18, 19, 19 18, although a contrary statement had been made. Page 1044. Second and first lines from the bottom. For "Vienna, March 21, 1900," read "Berlin, June 27, 1896." Page 1 108. For "Dejarire" read "Dejanire." Page 1 1 18. Under "Harvard Musical Association" and in paragraph beginning "Pianoforte Concerto No. 2," erase "1878, February 14 (John A. Preston)," and insert a fresh paragraph: "Pianoforte Concerto No. 4, Op. 44, 1878, February 14 (John A. Preston)." Page 1 178, line 14. For "Cellier" read "Celler."

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MARIE L. EVERETT EARN MORE SINGING Teach adults and children partly Diction and Interpretation in Italian, English. German in classes, one-half hour private lesson, and French Song. Opera and Oratorio Elspecially adapted Studies for young voices one hour class lesson per week. Boston Studio, The Cluny, 543 Boylston Street HELP YOURSELF Resumes lessons October 1 0th Improvise. Play and write 95,220 Modulations from one given tone. Memorize spontaneously without saying letters. Create Keyboard and Written Harmony. Teach with Scientific Pedagogy. Prices, $10.00 to $220.00. Elizabeth Kinney Hull

( New York City - June 10 to 29 ^ Summer Chicago - - - - July 8 to 27 Pianist — Teacher Sessions A.heville, N.C. - August 12 to 31 Pupil of EDWARD NOYES. RUDOLPH GANZ ADDRESS EFFA ELLIS PERFIELD Studio • - 6 Brimmer St. 218 S. Wabash Ave. - - - Chicago, III. NEW YORK City, 109W. 4Sth St., St. James Hotel Telephone, Hay 32165 1507 MUSICAL INSTRUCTION

Miss HELEN GOODRICH CORINNE HARMON PIANIST TEACHER OF SINGING ACCOMPANIST and TEACHER Pupil of Godowsky, GtibrilowiCsch and Pugno HOTEL HEMENWAY Studio, 8 Westland Avenue Tuesdays and Fridays at Lasell Seminary Telephone, Back Bay 3443-J MISS MINNIE HAYDEN LOUISEWOOD FORREST VOICE BUILDING TEACHER of SINGING ACCOMPANIST SONG INTERPRETATION. CONCERT For six years, assistant and accompanist to the RECITAL AND REPERTOIRE WORK late Gertrude Franklin Salisbury Mrs. Salisbury's method taught Steinert Hall - BOSTON ROOM 37 246 HUNTINGTON AVENUE Mme. de BERG-LOFGREN Miss ROSE STEWART TEACHER OF SINGING VOCAL INSTRUCTION The "Garcia" Method Studio, 70 Westland Avenue, Boston, Mass. 250 HUNTINGTON AVENUE Back Bay Tel. 308 B.B. Opposite Symphony Hall HELEN ALLEN HUNT JOSEPHINE KNIGHT SOPRANO SOLOIST CONTRALTO SOLOIST Teacher of Singing Teacher of Singing 4 Haviland Street ------Boston B.B. 1047 No. 509 Pierce Building .... Boston In Worcester, Tuesdays and Wednesdays. 317 Day BIdg. SUZA DOANE Mr. HARRIS S. SHAW PIANO. ORGAN. HARMONY and PIANIST and TEACHER INTERPRETATION 25 ST. STEPHEN STREET Room 417, Huntington Chambers

Telephone, Back Bay 5675.M BOSTON 30 Huntington Avenue, Boston, Mass. Madame Alexander-Marios ALICE BATES RICE (ofiicier de I'lnstruction publique) SOPRANO SOLOIST Vocal Instruction, Breathing.Tone Production. Phonetics, French Diction, Interpretation of TEACHER of SINGING French Songs FENSMERE, 206 MASSACHUSETTS AVE. Lang Studios .... 6 Newbury Street

PAULINE H. CLARK Mme. MARIE DELANO

Boylston Street • - - Boston. 543 Mass. Teacher of Tone Production Teacher of Singing and Manager of THE COPLEY CLUB SINGERS Oratorio, MENTAL DICTION, Opera, etc. Artistic Attractive Successful Monthly Guest Recitals for Pupils Programs for All Occasions Studio Residence Definite Instruction Immediate Results 34 2 Pierce Building State Send for Illustrated Booklet Tel.. Back Bay 994-M 232 Bay Road Gertrude Fogler Sclnool of Languages CLARENCE B. SHIRLEY Grammar, Conversation, History, Literature Tenor Soloist and Teacher Special Courses in ENGLISH and FRENCH WEEKLY LECTURES IN FRENCH Specially authorized instruction in the CONCERT and ORATORIO Yersin Phono-Rhythmic Method of Pronunciation 543 BOYLSTON STREET Studio, Huntington Chambers . . Boston Tel.. Back Bay 55888 1508 MUSICAL INSTRUCTION

Copley Square Conservatory of Music ROSABELLE TEMPLE FRANK M. DAVIS. Director SYNTHETIC PHRASING TEACHER OF SINGING (Complete System of Teaching. Elxprcssion and MUSICAL LECTURES Interpretation) PIANO. VIOLIN. HARMONY, See. Arrangements for Lessons made at Office Author of "Young Singers. What They Should Know" 1 1 TOLMAN PLACE (from 169 Warren St.) ROXBURY DISTRICT BOSTON. MASS. 10 NEWBURY STREET Phone. 4988-W Roxbury DANIEL KUNTZ ETHEL DAMON CLARK KUNTZ ORCHESTRA TEACHER of VIOLIN and ENSEMBLE CONCERT PIANIST Fir»t Violin Boston Symphony Orchestra for thirty-three years STUDIO, 406 HUNTINGTON CHAMBERS 114 Fenway Telephone. B. B. 5845 BOSTON Bertha Cushing Child BISPHAM CONTRALTO INSTRUCTION IN SINGING AND DRAMATIC RECITATION TEACHER OF SINGING OPERA, CONCERTS AND RECITALS New and Beautiful Studio 6 LANG STUDIOS. NEWBURY STREET 44 West 44th Street NEW YORK EDITH BULLARD ALICE SIEVER PULSIFER TEACHER OF PIANO SOPRANO SOLOIST Instruction Given in the Art of Accompanying TEACHER OF SINGING Specializing in Vocal Coaching. Opera, Oratorio and Songs Programmes Coached and Arranged STUDIO . - 609 PIERCE BUILDING 331 Huntington Avenue, Boston, Mass. Telephone, Back Bay 5145-R Telephone. Back Bay 2281 M EUGENE HEFFLEY JANE RUSSELL COLPITT PIANIST AND TEACHER PIANIST and TEACHER 525 HUNTINGTON CHAMBERS, BOSTON CARNEGIE HALL NEW YORK Telephone. Back Bay 8030

Anne Wasgatt Whittredge Miss Mima Belle Montgomery Torrens Method • TEACHER OF SINGING TEACHER OF SINGING Studio: 701 PIERCE BUILDING. BOSTON Residence Telephone Tuesdays and Fridays Wellcsley College 17 STEINERT HALL Jamaica 614-W Loyal Phillips Shawe Miss Miriam A. Cochrane Baritone Soloist and Teacher of Singing CONCERT — RECITAL — ORATORIO PIANIST and TEACHER Providence, R.I. 300 Lauderdale Building, 144 Westminster Street 18 Jackson Hall Trinity Court Boston, Mass. - - Hotel Hemenway EUZABETH SIEDHOFF ROLAND W. HAYES, 1^^ Oratorio. Opera AMERICAN PIANIST and ACCOMPANIST Recitals, -Concerts, "An unusually good voice. The natural quality if CONCERTS, RECITALS, MUSICALES beautiful. It is a luscious, yet manly, voice. Mr. Hayei Pupil of Codowsky, Breithaupt, Schnabel. Authorized sinus freely and with good taste. technic ••presentative of the most modern ideas in piano PHILIP HALE, in the Boiton Herald. Primary. Advanced and Teachers' Courses Boston, Mass. LANG STUDIOS. 6 Newbury Street, Tel., B.B 3529-R Address, 3 Warwick Street, Residence. HOTEL HEMENWAY. Tel.. B. B. 3180 Phone. Roibury 5133 M The musically critical

recognize the

PIANO

as the most beautiful and

sensitive of all pianos

492 BOYLSTON STREET