Progrsnae Heinrich Gebhard PIANIST, COMPOSER, TEACHER

Home , Ave Maria (Bruckner), D minor, Friedrich Klose, Germanenzug, Horsching, Locus iste (Bruckner)

PRoGRSnAE Heinrich Gebhard PIANIST, COMPOSER, TEACHER

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S Ticket Office, 1492 ) _, TelephonesT»i»^T,^„^o Back, Bay„ ] Administration Offices, 3200 f TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

prngramm? of tijp Eighteenth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, MARCH 12 AT 2.30 O'CLOCK

SATURDAY EVENING, MARCH 13 AT 8.00 O'CLOCK

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Eighteenth Rehearsal and Concert*

FRIDAY AFTERNOON, MARCH 12, at 2.30 o'clock.

. SATURDAY EVENING, MARCH 13, at 8 o'clock.

PROGRAMME.

Bruckner . " , . . . . Symphony, No. 8, C minor First time in America I. Allegro moderate.

II. Scherzo : (Allegro moderato — Andante — Allegro moderato) III. Adagio. IV. Solemnly (not fast).

Gradener Concerto for Violoncello, Op. 45 First time in Boston

Beethoven . . . Overture to a heroic, allegorical ballet, " The Creatures of Prometheus," Op. 43

SOLOIST, Mr. HEINRICH WARNKE.

There will be an intermission of ten minutes after the symphoily."

The doors of the hall will he closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval between the numbers.

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1414 Symphony in C minor, No. 8 Anton Bruckner

(Bom at Ansfelden, in Upper Austria, September 4, 1825; died at Vienna, October 11, 1896.)

This symphony, begun in 1885, was completed in 1890. It was performed for the first time in Vienna, December 18, 1892, at a Phil- harmonic concert led by Hans Richter. Even Hanslick admitted in his bitter review * of the symphony that the concert was a triumph for the composer. "How was the new symphony received? Boister- ous rejoicing, tvaving of handkerchiefs from those standing, innu- merable recalls, laurel wreaths," etc.

The symphony is dedicated to the composer's "imperial and royal

apostolic Majesty Francis Joseph I., Emperor of Austria and apostolic

King of Hungary." It is scored for three flutes, three oboes, three clarinets, three bassoons (one interchangeable with double-bassoon), eight horns (horns 5-8 interchangeable with tenor and bass tubas),

three trumpets, three trombones, contra-bass tuba, kettledrums, tri- angle, cymbals, three harps, and the usual strings. It appears that, when the symphony was first performed, there was an explanatory programme written by some devout disciple. This programme stated that the first theme of the first movement was "the form of the ^Eschylean Prometheus"; and a portion of this movement was entitled "the greatest loneliness and silence." The Scherzo was supposed to typify "The German Michael." "Der deutsche Michel" may be translated "the plain, honest, much endur- ing (but slow) German," and "Michel" in a figurative sense means yokel, boor, clodhopper. Hanslick wrote: "If a critic had spoken this blasphemy, he would probably have been stoned to death by

* This article, which first appeared in the Neue Freie Presse of December 23, 1892, was reprinted in Hanslick's "Fiinf Jahre Musik," pp. 190-3 (Berlin, 1896). A translation of the article was published in Tht Musical Herald of February, 1893, P. 104 (Chicago and Boston). The translator was Mr. Benjamin Cutter. NEW CYCLES OF SONG

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Bruckner's disciples; but the composer himself gave this name, the German Michael to the Scherzo, as may be read in black and white in the programme." Now, the pubhshed score bears no motto. The

' programme-maker found in the Scherzo ' the deeds and sufiferings of Prometheus reduced in the way of parody to the smallest propor- tions." And in the Adagio was disclosed "the all-loving Father of mankind in his measureless wealth of mercy." The Finale was characterized by him as "heroism in the service of the Divine," and the trumpet-calls in the Finale were explained as "the announcers of eternal salvation, heralds of the idea of divinity." On the other hand, it is said that the beginning of the Finale was suggested to Bruckner by the meeting of the three emperors In the published score there is nothing to give the idea that the music has any programme, any argument. Yet Mr. Johannes Reichert in his analysis * of the symphony, referring to Josef Schalk's vision of "Prometheus Bound" in the first movement, finds something of Prometheus or of Faust in the music.

* . * *

I. Allegro moderato, C minor, 2-2. The first and chief motive is given to violas, violoncellos, and double basses. It is announced pianissimo; it is decisively rhythmed, and its rhythm and its upward leap of a sixth are important factors in the development. After a short crescendo, the strings are about to return to a pianissimo when the theme is proclaimed with the full force of the orchestra. The first violins have the expressive and questioning second theme. Wood-wind instruments answer the question. The rhythm of the second theme, a rhythm that is characteristically Brucknerian, is used in counterpoint to a new cantilena sung by horns and first violins.

• Programme Book of the Symphony Concert of the Royal Orchestra of Dresden, December 13, 1907.

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J 47 Trcmont Street, Boston* 1418 There is a modulation to the dominant of the chief tonality. The second theme now assumes an obstinate, arrogant character. Wood- wind instruments conduct over pianissimo and sustained chords of tubas, with the use of the first measures of the chief motive, to the second subsidiary section. In spite of the interrupting springs of the seventh there is a return to a quiet mood. Then comes a chromatic and mighty crescendo for full orchestra, which reaches a climax with trumpet fanfares. The chief motive returns, and is given out thrice pianissimo. The first horn has the chief motive in augmentation, and there is a double echo of it: from first oboe; from tenor tuba. The "working-out" section begins with the indication "very quietly." Oboes and tubas introduce constituent parts of the chief motive in augmentation; then the motive itself appears in inversion and as in a stretto. This form of elaboration is long continued. And now the second theme appears inverted, and gives with its compelling rhythm the impetus to a great crescendo which reaches its climax with the encounter of the two themes ///. This shock occurs three times without a decisive result. The orchestra seems to lose its force. There are wandering fragments of the two motives, while the trumpet keeps up monotonously the rhythm of the chief theme. A fragment of the first theme leads to the repetition section. The repetition is at first free, whereas as a rule in Bruckner's symphonies it is literal. The first theme, now a lamentation, is given to the first oboe. The clarinet answers in another tonality. After bold modulations the second theme is repeated. The prevailing mood of unrest ends with a long held fermata. The second subsidiary section is repeated quietly, and, as in the first chief section of the movement, it is used in a crescendo ; but here the climax is built on a coda-motive of a bitterly complaining character, while horns and trumpets repeat

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1410 incessantly the chief theme. Grief itself soon loses its voice. The violins sigh the chief motive thrice pianissimo. Only the last portion of the theme is then heard, and it dies away in the violas. II. Scherzo, Allegro moderato, C minor, 3-4. The chief theme (violas and violoncellos) has a rough humor, while violins have a con- trasting figure of a whispering and mysterious nature. This figure brings in a great crescendo in which the theme is blown by horns, later by trumpets, and at last by the contra-bass tuba. At the end of the section a rhythm appears (K-flat major, bassoons, drums, basses) that is slightly reminiscent of a^rhythm in Beethoven's Symphony No. 8. The whispering figure is inverted. The first section is repeated. The trio begins, Langsam ("slow"), 2-4, softly and delicately (first violins). The horn enters. There are pleasant harmonies in E major. "The whole episode breathes smiling happiness." The harp is used here and in the Adagio, the only instances of the use of this instrument in a symphony by Bruckner. A second subject brings the return to A-flat major. The beginning of the trio is repeated with changes in tonality, and the whole first part of the Scherzo is repeated with an ending in C major. III. The Adagio is said to be probably the longest symphonic adagio movement in existence, and there are some that put it at the head of all adagios by reason of its solemnity, nobility, and elevated

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14S1 thought. Jt begins, "solemn, slow, but not dragging," D-flat major, 4-4. The first violins sing (on the G string) a long and intimate song to the accompaniment of the second violins and lower strings. "This theme contains three moments of mood. For the first four measures the violins complain softly; then sighing clarinets and bassoons enter in gasps; the four last measures are only an extension to strengthen the mood." A strange organ-point puts an end to the mood of doubt and brings in triumphant certainty. The violins, playing with greater breadth, lead to a calm close in F. There is a repetition of what has gone before, with the exception of a few measures of the chief theme.

The second theme is sung by the violoncellos, and they lead to the serenely quiet song of the tubas. Some measures based on fragments of the second theme bring in the "working-out" section. The chief theme appears. Portions of the long cantilena are combined, and there is fresh and melodic counterpoint. There is at the same time a crescendo. After the climax the second theme becomes prominent, with interruptions by the tubas. The first theme appears with lively figuration at the beginning of

the second section of development. A portion of this theme is used in augmentation. 1 "Then appears suddenly and in a decided manner the rhythm for horns "of the 'Siegfried' motive in 'The Ring.'" The

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1423 accompaniment for strings grows livelier; the chief theme is more and more impressive in the brass. The second theme enters, and there are tranquillizing episodes, but there is no checking the course of the crescendo or the acceleration in pace. "A tempo (though in a lively movement)." The third section of the chief theme is now in powerful augmentation. There is a return to the prevailing tempo. The mood is milder. The violins '-'intimately and softly" remember once more the second theme. The coda brings in a peaceful close. In the third and fourth measures before the end the tubas indicate pianissimo the chief rhythm of the Finale that follows. IV. Finale, C minor, "solemnly, not fast," 2-2. The heavily rhythmed chief theme contains three important motives. It first appears in F sharpy as the enharmonically changed sub-dominant of the preceding tonality, D-fiat major (or as the dominant of the dominant of C minor). Joyful fanfares sound in D-fiat. The whole is repeated, and there is a modulation from A-flat to E-flat. Then appears sonorously the conclusion of the whole theme in the prevailing tonality, C minor. Out of the counterpoint arises a lamenting strain for oboes.

There is a pause. The melodious and religious second tfi.eme is sung in slower tempo. The accompanying voices for horn and violas might well be reckoned as thematic. The third theme, wood-wind and strings, is practically a double theme, and the lower voice has much importance later. The concluding section of this theme is developed in choral fashion, and it is then combined with the lower voice. After a pause comes the working-out section. As the introduction indicated, it gives the impression of a mighty struggle. A blend of the two just preceding themes leads to a new melody for violins. There is a powerful crescendo for full orchestra. The rhythm

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We have made low prices for comparison, and invite it. of the chief theme of the first movement is heard. The first measures of the finale are now played softly by the horns, then by the flutes. Preceding themes are again combined. The repetition section opens powerfully. The decisive rhythm of the chief theme spurs the fuU

orchestra. The coda begins quietly, but it soons becomes intense. In the triumphant ending in C major, chief themes of the four movements are heard exulting. I am indebted in a measure for the preceding sketch of the contents of this symphony to the analysis by Werner Wolff, published in the

programme-book of the Philharmonic Orchestra, Berlin, October 29, 1906; and to the analysis of Johannes Reichert which has already been mentioned. They that wish to study the symphony may consult with profit the analysis by Willibald Kahler (Musikfiihrer No. 262). These analysists are by no means unanimous in their designation of the chief themes. I have followed chiefly in the footsteps of Mr. Wolff. * * A biography of Anton Bruckner written by Rudolf Louis* was published by Georg Miiller in 1905. The volume is an octavo of two hundred and thirty-four pages, illustrated with portraits, silhouette caricatures of the composer, facsimiles of manuscripts, and two or three

views of places. Soon after Bruckner's death it was announced that August Gollerich, of Linz, would write the life of his master, who before his last sickness had requested him to do this. Gollerich's biography,

which will be in two stout volumes, is said to be nearing completion.

* Dr. Rudolf Louis was born at Schwetzinjren on January 30, 1870. He studied at Geneva and Vienna, and in the latter city he received the degree Dr. Phil. He studied music with Friedrich Klose and Felix Mottl, and then conducted in the opera houses of Landshut and Liibeck. Since 1897 he has lived at Munich. After the death of Heinrich Forges (November 17, 1900) he was chosen music critic of the Munich Neueste Nach- richten. His symphonic fantasia "Proteus" awakened interest at the meeting of the German Music Society at Basle in 1903. His chief literary works are "Der Widerspruch in der Musik" (1893), "Die Weltanschauung Richard Wagners" (1898), "Franz Liszt" (1900), "Hector Berlioz" (1904), "Anton Bruckner" (1905). He edited Hausegger's "Unsere deutschen Meister" (1903). G. SCHIRMER MUfc. WEST STREET

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Dr. Louis in the preface to his work disclaimed any intention of com- peting in any way with GoUerich or of anticipating him. He therefore used chiefly material that was already at hand; only when there was absolute necessity, as in ascertaining facts about the early life of Bruckner, did he make personal inquiry and research. His aim was to paint a character portrait of a singular personality, in whose life there was no romance,—and to many in Vienna the composer was to the day of his death merely an unsympathetic peasant. * * * Bruckner's early years were years of quiet work and uncomplaining poverty. His father and his grandfather were country school-teachers his mother was the daughter of a tavern-keeper. There were twelve children. Anton was the oldest, and two survived him. In villages of Catholic Austria the school-teacher, on account of the service of the

church, is expected to be a musician. Anton took his first music lessons from his father, who, as soon as he recognized the talent of the boy, put him at the age of twelve years into the hands of a re- took his first lation, J. B. Weiss, a teacher at Horsching, and Bruckner organ lessons of this man. ' The father of Bruckner died in 1837, and the widow moved to Kbels- berg, not far from St. Florian, and in the old and famous abbey of St. Florian Anton was received as a choir boy. The abbey had a

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1428 CARUSOMr. ENRICO has selected

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1429 celebrated library of seventy thousand volumes and a still more celebrated organ of four manuals and about eighty speaking stops, and this organ was more important than the library in Bruckner's eyes. At St. Florian he studied harmony with Michael Bogner, organ and pianoforte with Kattinger, singing and violin playing with Gruber, who should not be confounded with Bruckner's pupil, Josef Gruber, from 1878 to 1904 the chief organist at St. Florian. This teacher Gruber was a pupil of Schuppanzigh, the violinist associated with Beethoven. Bruckner also attended the school classes; for he was expected, to follow the famil)?^ tradition and be a school-teacher. The course included religious instruction, grammar, penmanship, arithmetic, geometry, drawing, singing, organ playing, and some lessons in landscape gardening. Geography, history, —^with the exception of some Biblical history,—natural history, were not taught. The first experience of Bruckner as a school-teacher was as a sub- ordinate at Windhag, a village of four hundred inhabitants, and he was extremely uncomfortable. His salary was two florins (seventy- five cents) a month. He was obliged to play the organ, lead the choir, perform the duties of sexton, and teach school. He was more than half starved. To gain a little money, he played for weddings and fiddled for dances. With no opportunity of playing good music with others, he nevertheless kept alive his musical ambition, and constantly made riotes for compositions, to be worked out at some future time. (His first manuscript, "Abendklange," for pianoforte and some other instrument, was written when he was thirteen years old.) Pro- foundly unhappy, he was not understood by the villagers, but was looked on as a sort of crazy person. In 1843 he was. sent by way of punishment to Kronstorf, where there: were only one hundred and

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1431 fifty inhabitants, but he was fortunately sooti transferred to Steyf, | and here there was a fairly good organ and considerable attention was paid to church music. Bruckner had a pleasant recollection of this village, and in after years, when he would make excursions from Vienna, he would go either to Steyr or to St. Florian. Toward his end he prayed that, if he could not be buried under the great organ at St. Florian, he might rest in the churchyard at Steyr. In 1845 Bruckner was appointed a teacher at St. Florian. He was happy there, and he was in a somewhat better pecuniary condition. As a teacher he received thirty-six florins a year, and as an organist eight florins and free living. He said that he used to practise at that time ten hours a day on the pianoforte and three on the organ. He was undeniably industrious. In 1853 he visited Vienna to prove his ability before three then celebrated musicians, Simon Sechter, Ignaz Assmayer, Gottfried Preyer. He showed them his prowess as an organist and made a brilliant showing. At St. Florian Bruckner studied physics and Latin, and long afterward regretted that he had not studied more earnestly and with a broader view ; for at last famous in Vienna as a musician and as an eccentric, he had little or no com- prehension of anything in science, art, literature, politics. He was a musician and only a musician. * * * Bruckner in 1856 was appointed organist of the old cathedral at Linz. Bishop Rudiger of that city took a warm interest in him and gave him the time to take lessons in Vienna. Simon Sechter (i 788-1867) was one of the most famous of all theorists and pedagogues. Bruckner chose him for his master. The pupil was then thirty-two years old, already an organist, improviser, ecclesi- astical composer of some reputation, but he felt the need of a more

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1483 thorough technical training. Sechter was a teacher of the technic of composition. His own works, masses and other music for the church, preludes, fugues and other pieces for the organ, two string quartets, variations for pianoforte, and, mirahile dictu! a burlesque opera, "AH Hitsch-hatsch" (1844), were as dismally dry as his treatise on composition in three volumes. He had no imagination, no poetry in his soul, but he could be humorous at the expense of his pupils. He was incredibly fussy about detail in a composition; he would spend hours in' the elaboration of a petty contrapuntal device and forget the importance of the general structure. So enamoured was he of brush- wood that he did not see the imposing forest. He prized Sebastian Bach, thought well of Mozart and Haydn, accepted the earlier works of Beethoven; but of the more modem composers the only one whom he tolerated was Mendelssohn. From 1856 to i860 Bruckner went to Vienna to take lessons of this man. One of the most interesting discussions in Dr. Louis' biography is the discussion of the question whether Sechter was the proper teacher for Bruckner, whether Sechter did not do him harm. Did not Bruckner need a master who would insist on the value of proportion, moderate his volubility, repress his desire to over-elaborate an idea? Further- more, were not Bruckner's habits of thought too deeply rooted at the time he sought Sechter's tuition? Bruckner's contrapuntal skill,

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14S« as displayed in improvisations on the organ, has passed into a tradition, but there is comparatively little of it revealed in the greater number of his symphonies. Dr. Louis insists that certain brave features of Bruckner's art, as his pure harmonic writing and the euphony of passages for the brass choir when the progressions are in the manner of a choral, are due not so much to any skill in orchestration as to Sechter's indefatigable training. On the other hand, a grand and noble effect in any one of the symphonies may be followed by fatiguing and apparently interminable pages of sheer pedantry. For neither Sechter nor Bruckner seemed to have the slightest idea of the necessity of a practical knowledge of architectonics in music. The reproach made against pages in Bruckner's symphonies—that they are formless, illogical, fragmentary, episodic — is not always without foundation. The zeal of Sechter exaggerated the inherent faults of the pupil. Yet Bruckner profited in a way by Sechter's training, so that he astonished his master, Hellmesberger, Herbeck, Dessoff, and Becker, when he submitted himself to them for an examination in counterpoint. Herbeck, who had even then some idea of Bruckner's skill, proposed that, if the applicant were able to develop in fugued style, on pianoforte or organ, a theme then given, the result should be considered as proof of his ability more than any display of knowledge by word of mouth. Bruckner accepted the olffer, and they all went to a church. Sechter gave a theme of four measures. Herbeck asked

Dessoff to add four more ; and, when Dessojff refused, Herbeck length- ened the theme by eight measures, at which Dessoff exclaimed, "O you monster!" Bruckner studied the theme for some time, and he seemed anxious, so that the examiners were merrily disposed. At last he began his introduction, which was followed by a master fugue, then

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i486 by an improvisation. All wondered, and Herbeck said: "He should examine us." * * * When Bruckner was thirty-seven years old, he studied theory and instrumentation with Otto Kitzler (born in 1834 at Dresden; he retired into private life in 1898), then opera conductor at Linz. Kitzler was a modern of the moderns, and from him Bruckner learned much about the music of Wagner, whom he worshipped with a childlike- devotion. Whether this worship were favorable to the development of Bruckner's

own individuality is a question that may be argued by those who have no regular waste-pipe for intellect. Bruckner met Wagner for the first time at the performance of "Tristan and Isolde" at Munich, in 1865. It was Bruckner's ambition to carry out Wagner's theories about opera in absolute music, to utilize his theories for orchestral advantage. Bruckner's fame began to grow as a composer. The Mass in D minor (1864), the Symphony in C minor of 1865-66, a cantata, and the "Ger- manenzug" for male voices with brass instruments gave him local and provincial reputation, but later in the sixties his name began to appear in the Viennese journals, and in the fall of 1868 he moved to Vienna. Johann Herbeck, conductor and composer, did not lose sight of Bruckner after the memorable examination. As a conductor, Herbeck had done much for composers of the modem and romantic school of his period by producing their works. He was the first in Vienna to appreciate the talent or genius of Bruckner, though he was not a blind enthusiast. In 1867 he produced Bruckner's Mass in D minor, and when Sechter died Herbeck at once thought of the organist in Linz as the legitimate successor to the chair of organ and counterpoint in the Vienna Conser\^atory of Music.

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C. C.HARVEY CO. 144 BOYLSTON STREET 1438 Bruckner was not persuaded easily to leave lyinz. He appreciated the honor of the invitation, but what had he in common with Vieniiese life ? He consented finally, and was enrolled as teacher of harmony, counterpoint, and organ. Three years later he was made a professor, and after a ser\ ice of twenty-three years he retired in the course of the season 1891-92. In 1878 he was appointed organist of the Royal Orchestra, and three years before this he was appointed lecturer on musical theory at the University of Vienna, in spite of the active opposition of Eduard Hanslick, his sworn foe. At last he was honored. At last he was comparatively free from pecuniary embarrassment, for his manner of life was simple Friends of Bruckner have deplored for his own sake his departure from Linz. They have said that, as a composer, in that town he would have written more spontaneous, richer, and more individual music. This question is discussed by Dr. Louis at length, although he admits the futility in general of reasoning on the premise, "What might have happened if — ?" Bruckner heard more music at Vienna, that of his own and that of other composers. The performance of his First Symphony at Linz was eminently unsatisfactory. In Vienna there was the brilliant orchestra, there were well-trained choruses.

No doubt in his private life he would have been happier at Linz.

The Viennese public is musically a peculiar one. Dr. Louis' char- acterization of it is elaborate and at the same time sharp. It has been commonly reported that this public was antagonistic to the music of Bruckner; that it would not listen to it; that it yawned or left the hall. Dr. Louis asserts that the report is without foundation; that the attitude of this public was warm and sympathetic from the very beginning; that there was also a "Bruckner public," which grew in size and influence year by year.*

This statement concerning Bruckner's laxge public is directly at variance with'statements'made by.Decsey and others.

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Whether this public is truly musical is another question, and it is discussed by Dr. Louis. Furthermore, Bruckner's cause was maintained by the partisans of Wagner, who put the former in opposition to Brahms. The opposition was unnecessary; it embittered Hanslick against Bruckner, but it was of much consequence to the latter, whose peculiar, almost clownish appearance and manners would easily have prejudiced many against him. Hanslick wielded a great influence. Other critics followed him in opinion and aped his style. Only a few espoused Bruckner's cause, and of these Hugo Wolf* and Theodor Helm were the most conspicuous of the comparatively uninfluential. It has been said that Brahms himself had no prejudice against Bruckner, at whose funeral he was a sincere mourner, f

* For Wolf's admiration as musician and critic for Bruckner see Dr. Ernst Decsey's "Hugo Wolf," v»I. i. pp. 97-99 (Leipsic and Berlin, 1903). t It is a singular fact that Miss Florence May, in her voluminous life of Brahms (London, 1905), mentions Bruckner only once. In describing the musical life of Vienna in 1862, she says: "Anton Brueckner [sic] wai favorably esteemed by sonie of the first resident musicians, though he had not yet been called there" (vol. ii. p. 4).

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There are allusions in the " Herzogenberg Correspondence"* to

Brahms' disposition toward Bruckner, the composer, but there is no direct, frank statement. KHsabet von Herzogenberg wrote to Brahms, apropos of a performance of Bruckner's seventh symphony conducted by Mr. Nikisch from manuscript at Leipsic, December 30, 1884: "Our friend Hildebrand will have . . . told you of the Bruckner excitement here, and how we rebelled against having him thrust upon us—like compulsory vaccination. We had to endure much stinging criticism insinuations as to our inability to detect power under an imperfect exterior, or admit a talent which, though not perhaps fully developed, still exists, and has a claim to interest and recognition. We are not to consider artistic results everything, but to admire the hidden driving power, whether it succeeds in expressing itself satisfactorily or no. That is all very well in theory, but in practice it all depends on the value of this driving power. . . . We wished we had you to back us up, and could hear your sound views, which are based on superabundant experience, and are therefore worth more than all the theories of the wise, all the mere instincts of the simple. And, who knows? You may agree with us, the simple." She wrote again: "Breathe one word about Bruckner. You are not afraid of our leading you on, and then proclaiming abroad: Brahms says we are right! We will lie quite low about anything you say, but a word we do crave for our own peace of mind." Brahms at last answered: "Your delightful letter" — ' —the first from which I have quoted ' expresses most lucidly all that can be said—all that one has said oneself or would like to have said so nicely. You will not mind when I tell you that Hanslick shares your opinion, and read your letter with pious joy! But one sym-

*" Johannes Brahms: The Herzogenberg Correspondence," edited by Max Kalbeck, translated by Hannah Bryant (New York, 1909).

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Address THE REGISTSAO, 301 Pierce Building, Office hour, 3-4, daily. COPLEY SQUADE, BOSTON 1442 phony* and one quintet of Bruckner's have been printed." (This was written January 12, 1885.) "I advise you to get them to look at, with a ^ iew to steeling your mind and 3'our judgment. You will not want me!" A row of asterisks follows t! e last sentence. Did Brahms speak more plainly in t'!e omitted passage against' Bruckner's music? It would seem so; for Mrs. von Herzogenberg answered two days afterward: "It has done us a world of good, inducing a state of sud- den placidity which enables us to listen to the most extravagant non- sense about poor Bruckner, so strengthened are we by the approval of one on whom we 'invincibly depend,' as Holderlein (whom I am reading) says of Schiller. But although we can arm ourselves with placidity at a pinch, no one can console us for the fact that, in this world of so-called culture, there are so many, many people ready to be imposed upon by any inflated windbag, if its appearance is made with due pomp. One or two not quite impossible motifs, like grease- spots swimming on the top of weak soup, and there we have 'Meister' Bruckner's whole stock-in-trade, while those who do not make immediate obeisance are stamped as unbelieving Thomases, who want signs and wonders to convince them. I should just like to know who started the Bruckner crusade, how it came about, and whether there is not a sort of freemasonry among the Wagnerians. It certainly

* This was the third symphony in D minor, the one dedicated to Richard Wagner. is rather like a game of taroc, or rather that form of whist, in which, when 'misery' is declared, the lowest card takes the trick." In 1886 she wrote to Brahms: "It always makes me furious to hear facts so grossly misrepresented, just as it does to watch the growing Bruckner craze, and I admire you for keeping a cool head." From this it will be seen that in all probability Brahms did not conceal his dislike for Bruckner's music; that Elisabet, daughter of Freiherr Bodo Albrecht von Stockhausen and wife of Heinrich Picot de Peccaduc, Freiherr von Herzogenberg, was a woman of prejudices and a good hater. * * Bruckner made short journeys in Austria and pilgrimages to Bay- reuth. He visited Leipsic, Munich, and Berlin, to hear performances of his works. In 1869 he went to Nancy to compete with other organ- ists at the dedication of a new organ in the Church of St. Epore. Dr. Louis has much to say about his then driving his competitors from the field, but whom did Bruckner have as rivals? Rigaun, Renaud de Vilbac, Stern, Girod, Oberhoffer, and others whose very names are almost forgotten. He visited Paris, and made the acquaintance of Auber and Gounod. In 1871 he gave an organ recital, or two or three recitals, in Albert Hall, but it was then said that he was awk- ward in handling the mechanical devices of the instrument, and that

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1445 he showed an imperfect knowledge of the art of registration. Dr. Louis does not mention this adverse criticism, but any one acquainted with organs in Austria and Germany at that time would easily believe the criticism to be well founded. As a teacher at the Conservatory, Bruckner was a singular appari- tion, yet his classes were crowded by those who respected his ability and character while they wondered at his ways. There was a clique against Wagner in the Conservatory. Bruckner was known as a Wagnerite, and the young romanticists among the students gathered around him, and so Felix Mottl, Arthur Nikisch, Gustav Mahler, Emil Paur, Josef Schalk, Ferdinand IvOwe, were not only his pupils, they were his long and tried friends. Bruckner saw nothing, remembered nothing, learned nothing from travel or by his life in Vienna. Nothing broadened his horizon. He passed in Vienna as an "original." He was without manners or graces of any kind. His personal appearance and his dress provoked the smiles of those who did not know him, but the sterling worth of the man within won all hearts, save that of Hanslick. As Dr. Louis says: "A man of fine feelings might smile at Bruckner's appearance; he would not laugh at it." With Bruckner's simplicity was mingled "peasant shrewdness." He was extravagant in his expressions of

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1446 " gratitude; he was distressingly grateful, so surprised did he appear to be when any one showed him a slight kindness. It has been said that Brahms was a born bachelor. Bruckner should have married, but poverty forbade him a wife until it was too late for him to think of it, nor was he ever drawn toward light o' loves. He was a man of a singularly modest and pure nature, and what is related of Sir Isaac Newton may truly be said of Bruckner: his life was absolutely without the pleasure or the torment of love in any one of its forms or disguises. He liked good cheer in moderation, and one of his petty passions was the enjoyment of Pilsener beer, which he gave up with extreme unwillingness when the physician ordered a rigorous diet for his dropsy. "But," says Louis, "in this he was not given to excess, although, a true German, he could carry a large amount." He was dependent on his salary, for his compositions brought him

' scarcely anything. He received one hundred florins for his ' Te Deum, but his first six symphonies were published at his own expense and at that of some of his friends. A few years before his death he was honored in a manner that con- soled him for many disappointments. Brahms had been given by the University of Breslau an honorary degree, and Bruckner desired a like recognition. In 1891 the University of Vienna gave to him

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COURSE TICKETS. $5, S4, $3 1447 the honorary degree of Doctor, and the rector professor, Dr. Exnef, paid in the presence of the pubHc a glorious tribute to him, ending with these words: "I, the rector magnificus of the University of Vienna, bow myself before the former assistant teacher of Windhag." Nor were these words merely an official compliment, for Exner, a man of fine musical taste, was^an ardent^admirer of Bruckner's talent, Bruckner's health was robust until about 1890, when symptoms of dropsy were unmistakable. He had begun his Ninth Symphony in 1890, and he hoped earnestly to complete it, for he dreaded the rebuke given to the unfaithful servant. That he died before the finale was written is to Dr. Louis symbolical of the tragedy of the composer's career. To sum up this career. Dr. Louis quotes a Latin sentence that Bruckner, with his slight knowledge of Latin, could have put into German. It is one of the most consoling sentences in the New Testa- ment, and Bruckner had the faith that brings the blessing: "Beati pauperes spiritu, quoniam ipsorum est regnum coelorum." * * It is not the purpose of these programme books to speak concerning

the technical or aesthetic worth of pieces performed at the concerts ; yet

it may help to a better understanding of the music itself, if light be thrown on the personal nature and prejudices not only of the composer, but of his contemporaneous partisans and foes. This simple man, who had known the crudest poverty and distress, and in Vienna lived the life of an ascetic, made enemies by the very writing of music.

Bruckner was unfortunate in this : he was regarded, justly or unjustly, as a musician pitted by the extreme Wagnerites against Brahms, the symphonist. The friends, or rather the idolaters, of Brahms, claimed that the Wagnerites had no symphonist among them; that, disturbed

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1448 by the prominence of Brahms in the realm of absolute music, they hit upon Bruckner as the one to put Brahms and his followers to confusion. As though there could be rivalry between an opera-maker and a sym-

phonist ! But the critic Eduard Hanslick was a power in Vienna. For some reason or other—unworthy motives were ascribed to him by the Wagnerites—Hanslick fought Wagner bitterly, and some said that his. constant and passionate praise of Brahms was inspired by his hatred of the man of Bayreuth. Bruckner was an intense admirer of Wagner; his own symphonies were certainly no ordinary works ; therefore he was attacked bitterly in the journals and in society by Hanslick and his friends. There appeared in Vienna in 1901 a little pamphlet entitled "Meine Erinnerung an Anton Bruckner." The writer was Carl Hruby, a pupil of Bruckner. The pamphlet is violent, malignant. In its rage there is at times the ridiculous fury of an excited child. There are pages that provoke laughter and then pity yet there is much of interest about the ; composer himself, who now, away from strife and contention, is still unfortunate in his friends. We shall pass over Hruby's ideas on music and the universe, nor are we inclined to dispute his proposition (p. 7) that Shakespeare, Goethe, Beethoven, Wagner, were truer heroes and supporters of civilization than Alexander, Caesar, Napoleon, who, nevertheless, were, like Hannibal, very pretty fellows in those days. When

Hruby begins to talk about Bruckner and his ways, then it is time to prick up ears. As a teacher, Bruckner was amiable, patient, kind, but easily vexed by frolicsome pupils who did not know his sensitive nature. He gave each pupil a nickname, and his favorite phrase of contentment and disapproval was "Viechkerl!" —"You stupid beast!" There was a young fellow whose name began "Sachsen"; but Bruckner could never

» The Hotel Lenox, at Boylston and Exeter Streets, is only a short walk from Sym- phony Hall. It is under new management —that of the Ainslie & Grahow Co. The cuisine has especial attention. Afternoon Tea is served in the charming **Rose Garden" (new) from 4.00 to 3.30. The management hopes to make the Lenox restaurants the most popular rendezvous of particular people, and bespeaks their patronage. 1449 remember the rest of it, so lie would go through the list of German princes, "Sachsen" , "Sachsen" , "Sachsen-Coburg-Gotha, Sachsen - Meiningen, Sachsen - Hildburgshausen, Sachsen - Teschen, Sachsen " and at last the name would come. Another pupil, who now is a harp virtuoso, was known to his teacher only as "Old Harp." Bruckner had a rough, at the same time sly, peasant humor. One of his pupils came into the class with bleached and jaded face. Bruckner " asked what ailed him. The answer was : I was at the Tumverein till two o'clock." "Yes," said Bruckner, "oh, yes, I know the Tumverein that lasts till two a.m." The pupil on whom he built fond hope was Franz Nott, who died young and in the mad-house. When Bruckner was disturbed in his work, he was incredibly and gloriously rude. Bruckner was furious against all writers who discovered "programmes" in his music. He was warmly attached to the ill-fated Hugo Wolf, and was never weary of praising the declamation in his songs: "The fellow does nothing all day but compose, while I must tire myself out by giving lessons"; for at sixty years Bruckner was teaching for three guldens a lesson. Beethoven was his idol, and after a performance of one of the greater symphonies he was as one insane. After a performance of the "Eroica," he said to —Hruby,—would that it were possible to reproduce Bruckner's dialect, "I think that if Beethoven were alive, and I should go to him with my Seventh Symphony and

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"The debutante, Miss Charlotte Grosvenor, made clear the fact that it was not a rash undertaking for her to attempt the Juliette that has so often tested the powers of many great singers. She is young, and that is anything but a crime; she has beauty, and that in itself is no small ad-

vantage ; she wore handsome gowns, and in the eyes of the feminine portion of the audience that was not the least of her attractions. Best of all, however, she can sing.

"She has studied here in Boston and not gone abroad for her training; thus she shows the public that the American-made prima donna has excellences that will compare favorably with the much-vaunted superiority of the European trained singer. All in all, Miss Grosvenor is the most promising grand opera debutante that we have heard for many a day, and it will certainly surprise us very much if the beginning she has made as Juliette is not the precursor of a great career." 1461 say, 'Here, Mr. Van Beethoven, this is not so'^'bad, this Seventh, as certain gentlemen would make out,' ... I think he would take me by the hand and say, 'My dear Bruckner, never mind, I had no better

luck ; and the same men who hold me up against you even now do not understand my last quartets, although they act as if they understood them.' Then I'd say to him, 'Excuse me, Mr. Van Beethoven, that I have gone beyond you in freedom of form, but I think a true artist should make his own forms for his own works, and stick by them.'" He once said of Hanslick: "I guess Hanslick understands as little about Brahms as about Wagner, me, and others. And the Doctor Hanslick knows as much about counterpoint as a chimney-sweep about astronomy." Hanslick was to Bruckner as a pursuing demon. (We are giving Hruby's statement, and Hanslick surely showed a strange perseverance and an unaccountable ferocity in criticism that was abuse.) Hruby likens this critic to the Phylloxera vastatrix in the vineyard. He really believes that Hanslick sat up at night to plot Bruckner's destruction. He affirms that Hanslick tried to undermine him in the Conservatory and the Imperial Chapel, that he tried to influence conductors against the performance of his works. And he goes so far as to say that Hans Richter, thus influenced, has never performed a symphony by Bruckner in England. As a matter of fact, Richter produced Bruckner's Seventh in London, May 23, 1887. He was never mean or hostile toward Brahms, as some would have had him. He once said that Brahms was not an enemy of Wagner, as the Brahmsites insisted; that down in his heart he had a warm admiration for Wagner, as was shown by the praise he had bestowed on "Die Meistersinger." Just before his death Bruckner's thoughts were on his Ninth Sym-

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' phony : "I undertook a stiff task, " lie said. ' I should not have done it

at my age and in my weak condition. If I never finish it, then my 'Te Deum' may be used as a Finale. I have nearly finisi ed three mo-" e- ments. This work belongs to my Lord God." Although he had the religion of a child, he had read the famous book of David Strauss, and he could talk about it reasonably. Some one asked him about the future life and prayer. "I'll tell you," he replied.

"If the story is true, so much the better for me. If it is not true, praying cannot hurt me." * * Performances of Bruckner's symphonies at these concerts in Boston

1887, February 5, No. 7, in E major. 1899, February 11, No. 4, in E-flat major, "Romantic."

1 90 1, March 9, No. 3, in D minor.

1901, December 28, No. 5, in B-fiat major.

1904, April 2, No. 9, in D minor (unfinished).

1906, December i, No. 7, E major.

1907, November 2, No. 9, D minor (unfinished). The "Te Deum" was performed in Boston by the Cecilia Society, December 12, 1905. The Adagio from the String Quintet was played at a Kneisel Quar- tet concert, November 23, 1886. * * I/isT OP Bruckner's Works.

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1456 work, uninspired, and that he did not praise Bruckner for it at the time. The manuscript was either lost or destroyed. The following dates of first performances are given, subject to correction. There is as yet no biography of Bruckner that is authori- tative in matters of detail, and in the books and pamphlets about Bruckner that are already published there are some contradictory statements.

Symphony in C minor, No. i Composed in 1865-66 at Linz.

First performed in Lihz, May 9, 1868. The orchestra made a sad mess of its task. First performance in Vienna at a Philharmonic

concert, December 13, 1891. Bruckner completed the Scherzo, May 25, 1865, while he was sojourning in Munich to see the first performance of "Tristan und Isolde." In 1890-91 he revised thoroughly the

symphony and dedicated it to the Uni^ersity of Vienna in gratitude for the bestowal of the degree upon him: " Universiiati Vindobonensi primam suam symphoniam d. d. venerabundus Antonius Bruckner, doctor honorarius." At Vienna from February to September, 1869, he worked on a symphony in D minor. This was never performed or published, and

the composer expressly annulled it.

Symphony in C minor, No. 2. Composed in 1871-72 and dedicated to Franz Liszt. First performed under the direction of the composer in Vienna, October 26, 1873. Herbeck conducted it in Vienna in 1876, and it was performed at a Philharmonic concert in that city in 1894. Herbeck said to Bruckner after the rehearsal: "I have not yet paid

you any compliment, but I tell you that, if Brahms were able to write such a symphony, the hall would be demolished by the applause."

Symphony in D minor, No. 3. Bruckner composed it in 1873,

asked for Wagner's judgment on it, and dedicated it to " Master Richard

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HENRY F. MILLER & SONS PIANO CO, Warerooms: 395 Boylston Street, Boston 1457 Wagner in deepest reverence." The first performance was at Vienna under Bruckner's direction, December i6, 1877. There were performances of it in Vienna in 1891 and 1892, as there have been since 1892. Bruckner re\ised this symphony twice, in 1876-77 (this score was published in quarto) and in 1888-89 (new score in octavo).

Symphony in K-flat major, No. 4. The "Romantic," composed in 1874, revised in 1878, and the. Finale rewritten in 1879-80. It is dedicated to the Prince Constantin Fiirsten zu Hohenlohe-Schillings- furst, the I^ord Marshal to the Emperor of Austria and the husband of the daughter of Liszt's friend, the Princess Caroline Wittgenstein.

"The first performance was in Vienna, February 20, 1881." Yet Franz Brunner says the first performance in Vienna was at a Philharmonic concert led by Richter in 1886. There have been many performances of this symphony.

Symphony in B-flat major, No. 5. Composed in 1875-78, it was dedicated to Karl von Stremayr, who as Minister of Public Instruction had been influential in the appointment of Bruckner as a lecturer to the University of Vienna. The score was published after Bruckner's death and the dedication was then omitted. The first performance was led by Franz Schalk at Graz, April 8, 1894. The symphony was performed at Budapest, December 1 8, 1 895. Symphony in A major. No. 6. Composed in 1879-81, it bears no dedication. It is said that Bruckner intended to dedicate it to R. von Oelzelt, his landlord. The Adagio and Scherzo were first performed in Vienna, February 11, 1893, under the leadership of Wilhelm Jahn; The whole symphony was performed in Vienna in 1 899 under the leadership of Gustav Mahler. Symphony in E major, No. 7. Composed in 1881-83 and dedicated to Ludwig II., King of Bavaria, it was published in 1885. The state-

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death of the Master) , think of our Ideal ! . . . Kindly do not forget the

/// at the end of the Dirge." The first performance of the symphony was at Leipsic, December 30, 1884, when Mr. Nikisch conducted the work at a theatre concert in aid of a Wagner Monument Fund, as some say, though the Neue Zeitschrijt fur Musik (1885, p. 17), reviewing the performance, said nothing about any purpose for which the concert was given. The composer was present. The symphony was performed at Munich, March 10, 1885, with Levi as conductor. Dr. Muck conducted the symphony at Graz, March 14, 1886, and this was the first

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performance in Austria. Bruckner was present, and also at the performance led by Dr. Muck in Berlin, January 6, 1894. Hans Richter brought out the symphony at a Philharmonic concert, Vienna, March 21, 1886, and at London, May 23, 1887. The first performance in the United States was at Chicago by Theodore Thomas's orchestra, July 29, 1886.

Symphony in C minor, No. 8. Composed in 1885-90 and dedicated to the Emperor of Austria. First performance in Vienna, December 18, 1892.

Symphony in D minor, No. 9. The first movement was composed in 1891-93, the Scherzo in 1893-94, and the Adagio was completed November 30, 1894, but according to some on October 31 of that year. There are only sketches for the finale, and Bruckner, feeling his strength waning, suggested that his "Te Deum" might be used as the finale in performances of the symphony. There is a tradition that Bruckner purposed to dedicate the work "to the dear Lord." The first performance was by the Vienna Academic Wagner Society and the Vienna Concert Society at Vienna, February 11, 1903. Ferdinand Lowe conducted, and the "Te Deum" was added as the finale. *

Bruckner also composed : "Tantum ergo." Four settings for four mixed voices and one for five-voiced mixed chorus with organ accompaniment were written in 1846. A Requiem Mass was composed in 1849, performed at. St. Florian, and never published. "Ave Maria," for four voices and organ accompaniment, was composed in 1856. In 1 861 he turned the work into a seven-voiced a cappella chorus, and it was performed at Linz as an offertory, May 12, of that year.

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1460 Mass in E minor. Eight-voiced chorus with brass instruments, 1868, performed at Linz, September 30, 1869. Mass in F minor, performed at Vienna in 1872.

"Te Deum," for solo voices, chorus, orchestra, and organ ad lib., first performed at Vienna with accompaniment of two pianofortes in 1885. Performed in 1886 at Vienna for the first time with orchestra. "150th Psalm," for solo voices, chorus, and orchestra, composed expressly for concert use and for a festival of the German Music Societies. First performed at Vienna in 1892 and led by Mr. Wilhelm Gericke. "Pange lingua" and "Tantum ergo" (1868), now known as "Tantum ergo"; antiphon, "Tota pulchra es," for mixed chorus and organ; "Ave Maria," for soprano, two altos, two tenors,— and two basses; Graduale (1879) ; four graduales, for four voices, "Christus factus est," "Locus iste," "Os justi meditabitur" (1879), and "Virga -Jesse floruit" (1885); "Ave Maria," for alto with organ accompaniment (1882). "Helgoland," for male chorus and orchestra, first performed at

Vienna, October 8, 1893. "Germanenzug," for male chorus and orchestra. This took the prize at the Upper Austria Sangerbundesfest in 1865. "Das hohe Lied," for two tenors, a solo baritone, four- and afterward eight-voiced male chorus (with bouche fermee), and orchestra, composed in December, 1876. The work was revised, and the "Brummchor," on account of its difiiculty, was replaced by strings. The original score is lost. "Um Mittemacht," male chorus with humming accompaniment; "Traumen und Wachen," male chorus with tenor solo, performed in Vienna, January 15, 1891; "O konnt' ich dich begliicken!" tenor and baritone solos with male chorus; "Der Abendhimmel," tenor solo male chorus, and pianoforte accompaniment. String Quintet in F major, performed by the Hellmesberger Quartet, January 8, 1885.

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"Erinnerung," for pianoforte, published after the composer's death. The singer Rosa Papier once asked Bruckner why he did not write songs like those of "Doktor Brahms." "He answered, 'I konnt's schon, " wenn i wollt', aber i will nit' (I could do it if I wanted to, but I won't). The few songs of Bruckner that are known and published are almost puerile,—"Amaranths Waldeslieder" and "Im April." * * * Mr. Felix Weingartner says of Bruckner, in his "Symphony since Beethoven" (Englished by Miss Maude B. Button, Boston, 1904): "What elicits our sympathy for Bruckner both as man and artist, and also what had a great deal to do with his future reputation, was his large idealism, a characteristic altogether too rare in our day. Think of this schoolmaster and organist, risen from the poorest sur- roundings and totally lacking in education, but steadfastly composing symphonies of dimensions hitherto unheard of, crowded with difficulties and solecisms of all kinds, which were the horror of conductors, perforrners, listeners and critics, because they interfered sadly with their comfort. Think of him thus going unswervingly along his way toward the goal he had set himself, in the most absolute certainty of not being noticed and of attaining nothing but failure—and then compare him with our fashionable composers, borne on by daily success and advertisement, who puzzle out their trifles with the utmost raj- finerie; and then bow in homage to this man, great and pathetic in his naivete and his honesty. I confess that scarcely anything in the new symphonic music can weave itself about me with such wonderful magic as can a single theme or a few measures of Bruckner. . . . In the strife between the Brahms and Bruckner factions in Vienna I was once asked my opinion of the two men. I replied that I wished that nature had given us one master in whom the characteristics of both composers were united—the monstrous imagination of Bruckner with the eminent possibilities of Brahms. That would have given once more a great artist."

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Sole Ma.na.gemeni of LOUDON CHARLTON - CARNEGIE HALL, NEW YORK 1402 Mr. Heinrich Warnke was born at Wesselbiiren, a few miles from the German Ocean, on August 30, 1871. His father was a violinist and all his sons are musicians. Mr. Warnke began to study the pianoforte when he was six years old, and when he was ten his father began to give him violoncello lessons. Two years later the boy was sent to the Conservatory of Music in Hamburg, where he studied with

Gowa, and it was there that he first played in public. He afterward studied at Leipsic with Julius Klengel, and made his debut at the Gewandhaus. He has been associated with orchestras in Baden- Baden and Frankfurt-on-the-Main. About ten years ago Felix Wein- gartner invited him to be the first violoncellist of the Kaim Orchestra at Munich, and he left that orchestra in 1905, to take the like position in the Boston Symphony Orchestra, as successor to Mr. Rudolf Krasselt, whom he taught. In Munich he was associated with Messrs. Rettich and Weingartner in a trio club, and he was also a member of a quartet. He first played in the United States as a soloist at a concert of the Boston Symphony Orchestra in Boston, October 28, 1905 (Dvorak's

Concerto in B minor for violoncello). On January 5, 1907, he played at a Symphony concert in Boston Volkmann's Concerto in A minor, Op- 33; on February 29, 1908, Dohndnyi's Concert Piece in D major for orchestra, with violoncello obbligato. Op. 12 (first time in Boston).

Concerto for Violoncello, Op. 45 Hermann Gradener

(Born at Kiel, May 8, 1844; now living in Vienna.)

This is not the first time that the name of Hermann Gradener has appeared on the programme of a Boston Symphony Orchestra concert. His "Lustspiel" overture was played in Boston at a concert given on

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February i8, 1888, and his "Capriccio" for orchestra was played on

March 9, 1889. Hermann is the son of Karl G. P. Gradener (1812-83), composer conductor, pedagogue. Hermann studied music with his father and

at the Vienna Conservatory. In 1 862 he was organist at Gumpendorf in 1864 he was a violinist in the Vienna Court Orchestra; in 1873 he taught harmony at Hordk's Piano School, and since 1877 he has taught at the Conservatory of Friends of Music. He has been director of the Orchestral Society for Classical Music. In 1899 he was appointed lecturer on harmony d,nd counterpoint at the University. He has composed in addition to this concerto for violoncello and the orchestral pieces named above: Sinfonietta for orchestra; a violin concerto played in 1898 by Franz Ondricek; Variations for organ, strings, and trumpet (1898); octet for strings, quintet for pianoforte and strings, trio, and other chamber music; sonata for two pianofortes, pianoforte pieces, songs, etc. * * *

This concerto, which has just been published, was played this season from manuscript in Berlin by Jacques van Lier,* to whom it is dedicated. It is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, a set of three kettledrums, solo violoncello, and the usual strings. Allegro moderato, B minor, 4-4. After a few measures of introduction the solo instrument announces the chief theme, which is re-

* Van Lier was born at the Hague, April 24, 1875. He studied the violoncello with Hartag, Joseph Giese, and Eberle. In 1891 he was first violoncellist of the Amsterdam Palace Orchestra. He afterward lived at Basle (1892-95), made long concert trips with the Philharmonic Orchestra of Berlin, and in 1899 became a teacher at the Klindworth-Scharwenka Conservatory in Berlin. He was 'cellist of the "Dutch Trio" (with ' Joseph van Been and Conrad von Bos) and of the ' Dutch String Quartet " (with van Been, Feltzer. and Ruinen Van Lier has written treatises for the violoncello: as " Violoncell-Bogentechnik," "Moderne Violoncell-Tech- nik der linken und der rechten Hand.",^He has brought _out several_new works for violoncello at^his.concerts this season in Berlin.

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1464 peated by the orchestra. ^The second theme, G major, is also given first to the solo violoncello. These themes are developed. A florid cadenza leads to the second section of the concerto, which is short; Adagio molto, C major, 3-8. The final section begins Allegro moderate, 2-2. The first graceful and flowing theme is repeated by the wood- wind. The violoncello has figuration against harmonies for wind instruments and strings. Allegro, 2-4. At the end there is a short section in tarantella fashion, 6-8. The close is in E major, 2-4.

ENTR'ACTE. AN ANCIENT ORACLE.

(From The Daily Telegraph, London, January 23, 1909.)

It is a pretty old story that times are changed. All who are young enough to remember their Latin grammar will call to mind the saw about times changing, and we with them. But this, if true at all, can surely refer only to individual atoms, and not to the big things composed of these atoms. If for things we substitute opinions, the result is the same, and we come round to another wise saw which has reference to history repeating itself.

History certainly does repeat itself, whether it be musical history or other. Since music began the "new," that is, the progressive composer has been worried to death, metaphorically speaking, by the critics, and his work has been torn to pieces and, as it were, thrown to the dogs. Nevertheless, it goes on living, in spite of its rending, in spite of the critics. For, with all due deference to the august body

IT WILL PAY TOC IF Bureau of Social lOD WANT A Requirements FineViolin 601-3 Boylston Street, to send for our latest Boston, Mass. catalog and special TELEPHONE, 409 list of this year's purchases. Our BACK BAY collection is the only one of Governesses, Managing and Working importance in America and Housekeepers, Companions, Matrons, comprises well-conditioned and Nureery Governesses, Kindergarteners, authenticated specimens of Stra- Private and Social Secretaries, Chap- divarius, Guarnerius and other erons, Accountants, Seamstresses, and famous masters. Expert Tnmk Packers. Household ac- LYON & HEALY counts, Shopping or Marketing. The dismantling or opening of residences io No. 1, ADAMS ST.. - CHICAGO the city or country.

1466 whose business it is to sit in judgment, it is Time, and not they, which decides the fate of musical and other art works. In this respect Time has never changed. Somewhere about the reign of George IV. there hved a versatile M.D.,. a graduate of Glasgow, but an old Etonian, named William Kitchiner, among whose literary remains are two volumes, respectively entitled "The Cook's Oracle: The Art of Invigorating I^ife," and "The Trav- eller's Oracle; or, Maxims for Locomotion." It is of the latter I would write, though it does not look a promising subject for an article on a musical theme. But whatever Kitchiner's knowledge of medicine, to say nothing of coal, from which he derived his income, he certainly was a musician. For intermingled with his hints to travellers for preserving their health, his estimates of the expenses of travelling on foot, on horseback, in stages, in post-chaises, and in private carriages, are a number of songs composed with some skill, but not much original- ity, by the worthy M.D., whose motto was, "Mirth and motion pro- long life." And a very good motto, too. One portion of "The Traveller's Oracle" may be regarded almost as a foreshadowing of Berlioz's delicious "Soirees de I'Orchestre," a book far too little read in these days, the more's the pity. The doctor pitches the tale of one Sandy McSiller, who on arrival at a Border inn demanded bed and board. The former was promised him by the innkeeper, but, alas! the whole of the food in the inn had been com- mandered by a certain Major Sharp and a friend. These latter gentlemen, however, received McSiller with all the politeness possible at their own table, and opened their meal with the toast "Here's a health to all those that we love." The evening sped merrily along its appointed way, songs from the different members of the party being abundant^ and, as time passed —

and the generous wine flowed freely, quoth the Major: "Come, waiter, come, bring some Welcome glasses, none of your Acorn glasses: bring us some manly. Old English half-pint bumpers, and let us have a Mag- num of Warm Heart." (On this there follows an elaborate receipt for preparing this "delicious drink," which seems to have been a patent concoction of the Doctor's invention. It is too long to reproduce, but the beverage certainly was not of the temperance order.) Before McSiller had arrived at the pitch of jollification requisite for the performance of the songs demanded of him by the company, there arose a wordy discussion on music in general. In this the Major's friend, a nameless captain, laid it down as an argument that "a Plain Ballad was not only the delight of his ear, but was also the chef d'oeuvre of singing." He proceeded then to explain that "from its simplicity it is apparently easy enough, however, to warble a ballad with graceful expression, as we hear it from Braham or Sinclair, requires quite as much judgment and as attentive consideration of every Note and every Syllable, as it does to execute the most intricate Bravura. The former is an appeal to the heart, the latter merely plays about the ear, and seldom excites any sensation beyond.

" I like the plain Song without vain repetitions, Soft Cadences, Graces, or running divisions; I love 'Auld Lang Syne' and sweet 'Gra Machree Molly,' So strike up the Jorum to chase Melancholy."

Now, are the Captain's sentiments and his thesis very different from those which are in vogue to-day. Has time changed in this respect ? Up rose the Major and spoke in a manner that showed even more convincingly that Time changes little, and we even less, if we examine ourselves truly. "My dear Captain," said he, "People are prone to adiriire most what they understand least. It is one of the most unrea- sonable affectations that Mr. John Bull's arbiters of fashion have ever insisted upon that worthy person's submitting to. However, arbi- trary fashion, from whose imperative decree there is no appeal, has pronounced -it to be extremely genteel to sing Italian songs, and to be seen at the Italian Opera!" (Has Time changed?) "But

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Mrs. Mabel Mann JordaB, Pupil of SiLVKSTRi, Naples, Italy. TEACHER OF MANDOLIN, GUITAR, and BANJO,

n Irvington Street, Suite ),

486 Boylston Street, BOSTON I BOSTON. In Block «f Brantwick Hotel | 1467 !

"To be sure I'm not a connoisseur, Arrah, will you now be aisy? I don't the Uproar know at all, And then I have not heard them squall, From Mingotti to Marchesi, pretty well have sucked the pence, " Who

. And sold the English Sound for Sense, The soft John Bull to take by the Ears, To whom this Babel proves the music of the Spheres.

Astonish'd, John cries. Bravo ! Encore And swears all English Music's a vile bore."

To'^this the Captain replied vigorously that "the furious admiration with which would-be-thought polite people pretend to listen to foreign music is a piece of silly affectation —^yet Vanity seems to prevail even over the very sense of Pleasure, and the Italian Opera is more frequented by people of fashion than any other public diversion, who, to avoid the imputation of want of taste, submit to some hours of painful attendance on it every week. But the most outrageous Fanatico per la Musica will not venture to impeach his understanding by pretending that his ears have ever been half so filled with pleasure by any Oltramontani Queen of Quavers, as they have by our mellifluous native Warblers, Crouch, Jordan, Billington, Bland, Stephens, Carew, Povey, etc., or our matchless Champion of Song, Mr. Braham.

"Italian music, sweet because 'tis dear; Their Vanity is tickl'd, not their ear; Their tastes would lessen if the prices fell, And Shakespeare's wretched stuff do quite as well."

Miss FRANCES L THOMAS

.. Corsetiete ..

BERKELEY BUILDING - BOSTON, MASS.

1468 As a final utterance the gallant Captain clinched matters in this wise: "Of the late importation of the unaccountable assemblage of unconcatenated Discords and Hobgoblin Dramas from Germany, while we have such universally esteemed musicians as The Father of English

Harmony, our Orpheus Anglicus, William Shield, T. Cook, J. Braham, &c. —to use the gentlest terms, I must say, I wish to see it as unpop- ular as it is unpatriotic. Let it not be again said that our Excellent English Musicians, who are ornaments to our country, are less patron- ized, and that double and treble price is paid to Foreign Artists of Inferior Talents." Again, Has Time changed? Let us hope it is at least changing, and that some portions of our musical history will refrain from repeating themselves.

Overture to a Heroic and Allegorical Ballet, "The Creatures OF Prometheus," Op. 43 Ludwig van Beethoven

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

The music to this ballet—an overture, an "Introduction," and six- teen other numbers—was composed in 1 800. The scenario was arranged and written by Salvatore Vigano, dancer and arranger of ballets, who was born at Naples, March 29, 1769. He began his career at Rome by taking female parts, for women in that city were not then allowed to appear on the stage. He afterwards went to Madrid, where he married Maria Medina, a celebrated Spanish dancer. He appeared later at Bordeaux, London, and Venice. In Venice be composed his "Raoul, Sire de Crequice," for the San Samuel theatre, and wrote the music as well as the scenario (1791). He and his wife then went to Vienna. They first appeared there as dancers, May 13, 1793, and his ballet "Raoul" was performed on Jiine 25 at the Karnthnerthorthe- ater. After active service for two years, he danced at Prague, Dresden,

Mme.J.C. Rondelle MISS GAFFNEY Hygienic Treatment of Head» de Paris Facet and Neck ROBES ET MANTEAUX Removing and preventing wrinkles and improving the complexion by restoring Original Designs muscular tone and tissue building, WITH- SPECIALTIES IN OUT THE USE OF COSMETICS OR STEAMING. Head treated for conges- EVENING, RECEPTION, AND tion, falling hair, and baldness. Will visit AFTERNOON GOWNS ladies at their homes. FANCY TAILORING AND Manicuring and Shampooing LINGERIE GOWNS Also MISSES' DRESSES Address, 486 BOYLSTON STREET Testimonials from distinguished men gi5 Boylston Street and women of Bonton TELEPHONE. BACK BAY 387«-l 1469 Berlin, Hamburg, Venice, and in 1799 returned to Vienna. He died at Milan, August 10, 1821. Vigano wished in Vienna to do honor to Maria Theresa, the second wife of the Emperor Francis, for she was a woman— of fine artistic tastes. Possibly the success of Haydn's "Schopfung" "the Creation"—gave him the idea of title and subject, "Die Geschopfe des Prometheus," and, as Beethoven had dedicated his Septet to her (1800), Vigano was perhaps thus influenced in his choice of a composer. Vigano, however, was not an ordinary man. He had decided ideas concerning the ballet, and he had the talent and the courage to carry them out. The ballet was first performed, according to general belief, on March

28, 1 80 1, at the Imperial Royal Court Theatre and for the benefit of Miss Cassentini, the leading dancer of the ballet corps. The belief

is founded on a programme that bears this date and announces the performance as the first. Nottebohm speaks of a programme in the ar- chives of the Society of Friends of Music in Vienna that bears the date "March 21, 1801." Was the performance postponed until the 28th? The programme of the 28th informs us that "Der Dorfbarbier," a singspiel, was first performed. Then came "Die Geschopfe des Pro- metheus: ein heroisches, allegorisches Ballet." The cast was as follows: Prometheus, Mr. Cesari; Children, Miss Casentini {sic), Mr. Sal- vatore Vigano ; Bacchus, Mr. Ferdinand Gioja; Pan, Aichinger; Terp- sichore, Mad. Brendi; Thalia, Mad. Cesari; Melpomene, Mad. Reuth. The impersonators of "Apollo, Amfinone, Arione," and Orpheus, were not

1470 :

named. This argument was on the programme: "The foundation of

this allegorical ballet is the fable of Prometheus. The philosophers of Greece, by whom he was known, declare the allusion to be as follows they picture him as a lofty soul who drove the people of his time from ignorance, refined them by means of science and the arts, and gave them manners, customs, morals. "As a result of this conception two statues that have been brought to life are introduced in this ballet, who through the might of harmony are made sensitive to all the passions of human life. Prometheus leads them to Parnassus, that Apollo, the god of the fine arts, may in- struct them. Apollo gives to them as instructors Amphion, Arion, and Orpheus to teach them music, Melpomene for tragedy, Thalia for comedy, Terpsichore and Pan for the latest invented shepherd dance, and Bacchus for the heroic dance of which he was the inventor." The performance began at 6.30 p.m. The number of performances in 1801 was 16; in 1802, 13. The title on the programme and on a copy of the manuscript score is "Die Geschopfe des Prometheus." The pianoforte arrangement advertised in 1801 gave the title "Gli Uomini di Prometeo," and in London there soon afterward appeared: "The Men of Prometheus, a grand ballet for the pianoforte." "Geschopfe," however, means more than "men." There is a story that Beethoven met Haydn, who said to him: "I heard your ballet yesterday and liked it very much." To this Beethoven answered: "You are very kind, dear Papa, but it is by no means a 'Creation'" ("Schopfung"). Haydn, somewhat dazed, and rather vexed, replied: "That is true, it is not a creation, and I doubt extremely that it will ever equal it." According to Henri Beyle, when Vigano reproduced the work in

Jacob Thoma& Son ROUND THE WORLD Violin Mal(ers and Importers IN Repairers to the Boston Symphony Orchestra

TWELVE MONTHS Agents for the SILVESTRE & MAU- COTEL Tested Violin Strings Remarkable THE (Extra and Tricolore) Itinerary; Agents for the C. F. ALBERT Pat. Departure August OLLVER Triple-covered, wound Vlollh, 5th. $4.SS0 TOURS Viola, and 'Cello Strings Seven Months Large Assortments of Tour In October, cOMPANY VIOLINS, 'CELLOS, AND BOWS S2.750 (The Best In Travel) SILK PLUSH VIOLIN CASES, Rosin, Strings, and Sundries Write for details and booklet. Early application necessary. 47 Winter Street, BOSTON, MASS. 420 Boylston Street, Boston.

Telephone I i93^ Oxford

1471 —

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NEW SONGS. Foreign Books Foreign Periodicals THE FIDDLER OF DOONEY. Bass or

Baritone . . . . $0.50 Tauchnitz's British Autiiors Words by W. B. Yeats. Music by Arthur M. Curry.

DRINKING SONG. Low Voice. S. L. Studley .60 SCHOENHOF BOOK CO. 128 Tremont St., 2d door north of Winter Street THE PLAIDIE (Scotch Song). S. L. Studley .50 over Wood's Jewelry Store. (Tel., Oxford 1099-2.

O LOVE DIVINE. Sacred Song. J. C. Bartlett WELCOME HAPPY MORNING! B.W. Art Needlework Loveland; (Easter Song) Beads SONG OF THE LEAVES (Mezzo) . R. G. Harvey. EMMA A. SYLVESTER 3 Winter Street Room 32 G. W. THOMPSON & GO. Elevator A and B PARK STREET BOSTON

Mrs. J. M. MORRISON CORvSETvS LINGERIE AND FRENCH NECKWEAR Exclusive agency for the WADE CORSET

307 BOYLSTON STREET TelepHono* 3142-5 BacR Bay H72 Milan (La Scala, May 22, 1813), he interpolated the representation of Chaos from Haydn's "Creation." The text-book of this ballet disappeared; and, when in 1891 there was talk of a revival of the ballet in Vienna, a- poet named Taubert was asked to furnish a new one. The autograph score of the music also disappeared; but there is an MS. copy with Beethoven's cor- rections in the Vienna Court Library. In the finale there are two themes which Beethoven used elsewhere afterwards. One of them, in E-fiat major, in a "Contretanz" (No. 7 of the set of 12), as the theme of XV Variations and Fugue in E-fiat major for pianoforte. Op. 35, written in 1802; and as the chief theme of the Finale of the "Eroica" Symphony, written in 1804. The other theme, G major, appears as Contretanz No. 11 in the set already mentioned. It is not known when the contra-dances were composed.

They were published probably in 1802. There is doubt whether the E-flat major theme was written originally for "Prometheus." The original opus number of the overture was 24. The overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings. It begins with an Introduction, Adagio, C major, 3-4, opening with staccato cords for full orchestra. There is a short development of a theme, pianissimo in the strings and wind. The Allegro molto con brio, C major, 2-2, begins at once with a lively first theme in staccato eighth notes. This theme is more a figure than a motive, but its symmetrical form gives it consistency. The theme is first given out by first violins over staccato chords for other strings, and it is repeated fortissimo by the full orchestra, and developed to a full cadence, G major. The second theme is given to flutes and oboes, and is developed with contrapuntal imitation. There is a conclusion theme in G minor. The fantasia, or working-out section, is short and free. The first theme is worked, but there is a new thematic figure toward the end. The third section is a reproduction of the first, except that the new figure of the free fantasia appears. There is a long and brilliant coda. The overture has not been performed in Boston at these concerts since February 13, 1897.

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

1473 "Thinds Done Well and with a Care" — the kejmote of success which has raised our establishment from the level of a commercial enterprise to the dignity of an institution supported by a public who know they can rely on LEWANDOS Americas Greatest Cleansers and Dyers Cleansing and Dyeing OF FINE GOWNS AND FROCKS WRAPS AND GARMENTS and All Kinds of Clothing Portieres Draperies Blankets Lace Curtains Rugs Silks Satins Woolens Gloves Ostrich Feathers and Real Laces Boston Shops 284 Boylston Street (S* 17 Temple Place

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1474 "

Fifth orchestral trip next week. There will be no public rehearsal and concert on Friday afternoon and Saturday evening, March nineteenth and twentieth.

Nineteenth Rehearsal and Concetti

FRIDAY AFTERNOON, MARCH 26, at 2.30 o^clocfc.

SATURDAY EVENING, MARCH 27, at 8 o'clock.

PROGRAMME.

Schubert ...... Unfinished Symphony

Brahms ...... Variations on a Theme of Haydn

Liszt ..... Concerto for Pianoforte in E-flat major

" Andrd Maquarre . . . . . Overture, Sur les Falaises

SOLOIST,

Miss GERMAINE SCHNITZER.

14/5 .

s T :ei X i

ON ACCOUNT OF ILLNESS, the v. SO/NG RECITAL By EDITH ALIDA BULLARD, Mr. EARL CARTWRIGHT. and Miss JESSIE DAVIS, assisting has been POSTPONED to TUESDAY AFTERNOON, MARCH 23, at 3 o'clock.

Miss Bullard will sing songs by Beethoven, Veracini, Franz, Dresel, Grieg, Debussy, Wallace, Hopekirk, Scott, Arensky, Paderewski, and Rachmaninoff. Mr. Cartwright will sing a group of songs by^ Reger, R. Strauss, and Wolf. A duet, "Now thou art mine own," by Hildach, will open, and Arthur Foote's " Sing, Maiden, sing," will close the program.

Tickets issued for March 10 will be ^ood for March 23. ' PIANOFORTE RECITAL By LELAND HALL THURSDAY AFTERNOON, MARCH 25, at 3 PROGRAM

- SONATA, Op. 31, No. 2 ...... Beethoven

'. '. ETUDE in A major . T" . . . Poldini

SONG WITHOUT WORDS, No. 21 . . . . Mendelssohn ^ NOCTURNE, E major ) r... • • "^i^opm ' ' SCHERZO, C-sharp minor J

PRil&LUDE, Aria et Final . . . C6sar Franck BALLADE in D major ;

INTERMEZZO in B minor } From Op. 10 . . . . Brahms BALLADE in B major ) L'ISLE JOYEUSE Debussy TICKETS, $1.00, NOW ON SALE AT THE HALI THE STEINWAY PIANO USED

FRIDAY EVENING, MARCH 26, at 8.15 Violin and Piano Recital by KARL BARLEBEN and MAT BELLE HAGENOW-FURBUSH PROGRAM

Sonata in C minor, for Piano and Violin . Grieg

Violin; Concerto Op. 47 . Sibelius First movement Piano; Impromptu in F-sharp major Prelude in F major ...... Chopin Etude Op. 25, No. 9 Violin; Chaconne Bach

Faust Fantasie . - Gounod-Sarasate MASON & HAMLIN PIANO

TICKETS. 50 cents. 7S cents, and $1.00. On Sale at the Hall 1476 THE CECILIA SOCIETY WALLACE GOODRICH, Conductor

JORDAN HALL

Thursday Evening, March 25, at 8.15

THE FIRST PERFORMANCE IN BOSTON

OF LA VITA NUGVA (THE NEW LIFE)

BY ERMANNO WOLF-FERRARI

A Cantata for chorus, soli, boy choir, orchestra, organ

and pianoforte.

SOLOISTS

Mrs. FRANCES DUNTON WOOD, Soprano

Mr. EARL R. CARTWRIGHT, Baritone

Seats at $2.00, $1 .50 and $1 .00, on sale at Symphony

Hall Box Office

1477 CONCERT ANNOUNCEMENTS

Symphony Hall, tomorrow, Saturday Aftemoon^March

Mme. NORDICA °'"'^u'ilfi^'"=^ Mr. HASTINGS, Baritone. Assisting

Tickets, $2.50, $2.00, $1.50, and $1.00. Now on sale

Symphony Hall, March i6, Evening; March 17, After- noon and Evening; March 21, Evening From the Orient to Washington — 13,000 Miles The Philippine Constabulary Band From Manila, Philippine Islands CAPTAIN WILLIAM LOVING, Director 86— FILIPINO MUSICIANS— 86 Largest Traveling Band in the world, brought from Manila to Washington for the inauguration on the invitation of President TAFT. EXCELLENT PROGRAMS Prices, $1.00, 75c., and 50c. Now on Sale

Chickering Hall, Thursday Evening, March 1 8, at 8.15 THIRD AND LAST CONCERT OF THE SEASON THE FLONZALEY QUARTET The Famous String Organization

Tickets, $1.50, $1.00, and 50c. At Symphony Hall

Jordan Hall, Friday Afternoon, March 19, at 3 Miss Ethel Altemus and Mr. Glenn Hall Pianist Tenor IN JOINT RECITAL

Tickets, $1.50, $1.00, and 50c. At Symphony Hall

Symphony Hall, S^^turday Afternoon, March 20, at 2.30 MISCHA ELMAN ^ViolS:' THIRD VIOLIN RECITAL

Tickets, $2.00, $1.50, and $1.00. Now on Sale

MAIL ORDERS, accompanied by check made payable to L. H. Mudgett, Symphony Hall, will be filled in the order received.

1478 :

THE KNEISEL QUARTET FRANZ KNEISEL, TirttVielm LOUIS SVECENSKI, rfol, JULIUS ROENTGEN, SiandVhUn WILLEM VILLEKE, yutmuBt TWENTY-FOURTH SEASON. I90&-I909 FENWAY COURT

FIVE CONCERTS TUESDAY EVENINGS

at 8.15 o'clock

November lo . . . . 1908

December 8 ... 1 908 January 5 .... 1 909

February 16 . . . . 1909 March 16 .... 1909

ASSISTING ARTISTS: Mme. KATHARINE GOODSON Mr. OSSIP QABRILOWITSCH Mr. ERNEST CONSOLO Mr. COURTLANDT PALMER Mr. ARTHUR FOOTE

The Programme for the fifth and last Concert of this Season will be as follows

Mozart Quartet in G major Brahms Quartet in G minor for Piano and Strings, Op. 25 Hugo Wolf Italienische Serenade ASSISTING ARTIST Mme. KATHARINE GOODSON.

Mason and Hamlin Piano

Admission tickets, at $f .00, entitling to a seat, for aale at

THE BOSTON MUSIC CO. (Q. Schirmer) 36 and 38 WEST STREET

1479 CHICKERING HALL The Hess - Schroeder Quartet

PROF. WILLY HESS, First Violin

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

FOURTH CONCERT Friday, March 26, 1909, at 8.13 o'clock,

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

MAX REGER . . . Four movements from Suite, Op. 103 a, for Violin and Pianoforte, (new).

BEETHOVEN . . Trio for Pianoforte, Violin, and Violoncello, in B-flat major. Op. J 97.

ASSISTING ARTIST Mr. tlEINRICM GEBMARD

THE MASON & HAMLIN PIANO

Last Concert of the Season, Tuesday Evening, April 13, 1909.

Tickets, $1.50, $1.00, and 50c,, at Box Qfl&ce, Symphony Hall

1480 : PADEREWSKI FUND FOR AMERICAN COMPOSERS COMPETITION OF 1909

The following prizes are offered for the current year for the best compositions submitted by American composers

1. One thousand dollars for a Symphony or Symphonic Poem

for full Orchestra.

2. Five hundred dollars for a Concert Piece for Chorus and Orchestra, with or without solo voice parts.

3. P'ive hundred dollars for a String Quartet, or for a Quintet or Sextet for any combination of instruments.

The term "American Composers" is restricted to those born in the United States of America.

The compositions offered for prizes are to be submitted on or before September i, 1909, and will be passed upon by the Judges appointed by the Trustees, namely: — Messrs. B. J. Lang, G. W. Chadwick and Horatio Parker.

The decision of a majority of the Board of Judges is to be bind- ing on all parties concerned.

The compositions are to be sent anonymously, and the name of the composer is to be contained in a sealed envelope, forwarded with the composition. Illegible manuscripts will not be considered.

No composition shall be eligible for a prize which has been published, or which has been performed in public or private.

The compositions sent will remain the property of the composers, and will be returned to them at the end of the competition, if so requested by them.

All communications in reference to the competition should be addressed to

JOHN A. LOUD, Secretary. 6 Newbury Street, Boston, Mass.

1481 THE STUDIO GIFT SHOP AND TEA ROOM 394 BOYLSTON STREET Miss ANNE ABBOTT

UNIQUE DINING CARDS and BRIDGE PRIZES Summer Address IDEAS FOR COUNTRY HOUSES LIBRARY BUILDING PICTURE PUZZLE CIRCULATING LIBRARY MAGNOLIA, MASS.

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HOTEL RENNERT BALTIMORE, MD.

Within one square of the shopping dis-

trict. The standard hotel of the South. The cuisine of this hotel has made Maryland cooking famous. The only hotel in the world where the Chesapeake Bay products, Fish, Oysters, Terrapin, and Canvas-back Duck, are prepared in their perfection.

MODERN IN EVERY DEPARTMENT EUROPEAN PLAN Rooms, $1.50 per day and upwards Fire-proof building 1482 WHITNEY HALL - - - SYMPHONY CHAMBERS TWO PUBLIC TALKS WITH MUSICAL ILLUSTRATIONS H. L. GIDEON, A.M., (Harvard)

Monday Evening, March 22 . . . "LOUISE," by Charpentier Wednesday Evening, March 24, " PELLEAS ET MELISANDE," by Debussy

Seats, at ^r.oo each, for sale at Kent's University Book Store, Harvard Square, Cambridge; Whitney School of Music, 246 Huntington Avenue; Homeyer's Music Store, 332 Hoylston Street; Boston Music Company, 26 West Street.

There will be no sale of tickets at the door

The Boston Symphony Orchestra Programme

For the twenty-four Boston Concerts, with Historical and

Descriptive Notes by Philip Hale. Bound copies of the

Programme for the entire season can be had at $2.00

by applying before the last concert. Address all com-

munications to F. R. COriEE, Symphony Hall, Boston.

SANDERS THEATRE, Cambridge

Boston SymphonyOrchestra MAX FIEDLER, Conductor

NEXT CONCERT

THURSDAY EVENING, APRIL 1, at 8 o^clock

Tickets at Kent's University Bookstore, Harvard Square 1483

MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and 50PRAN0 SOLOIST. ^f"'". Hu„ti„gto„ Miss HARRIET S. WBITTIER, ^^6 Ave„„e Exponent of the method of the late Charles R. Adams. Portsmoath, New Hampshire, Mondays.

Classes in Sight Reading Hiss GAROUNEM, SOUTHARD, (EIGHT HANDS). Advanced pupils follow the Ss^nphony programmes TEACHER OF THE PIANOFORTE. as far as practicable. 165 Huntington Avenue - Boston

TEACHER OF SINGING.

Miss CLARA E. MONGER, New Century Building, 177 Huntington Avenue, Boston.

Concert and Oratorio.

Miss GERTRUDE EDMAHDS, Vocal Instruction,

The Copley, ISHantington Avenue.

Pianist and TeacHer. Miss ELEANOR 6RI6HAM, Trinity Court.

PIANIST and TEACHER Miss JOSEPfflNE COLLIER, LANG STUDIOS, 6 NEWBURY STREET. RHYTHM Applied to Physical and Personal De- Mrs. LDCIA GALE BARBER, velopment. MUSIC — Interpretation. LECTURES and INSTRUCTION. THE LUDLOW, COPLEY SQ., BOSTON.

l^.<5 PIANISTEand TEACHER.

Hemenway Chambers, Mrs. CAROLYN KING HUNT, BOSTON.

TENOR" BARITONE. Pupil of Professor Jachman-Wagner, Berlin, and Professor Galiiera, Milan, Italy. Training and Finishing of Voice. KARL DOERING, School for Grand Opera and Oratorio. STE INERT HALL, ROOM 27. Open Monday, October 12. Send for new Prospectus

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

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

TEACHER OF PIANO,

Miss MM I. BISBEE, LANG STUDIOS, 6 NEWBURY STREET.

PIANOFORTE INSTRUCTION. LDCY FRANCES GERRISH, GERRISH STUDIO,

140 Boylston Street . . . Boston.

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

Piano, Voice, Violin (and all orchestral The Gnckenberger School of instruments). Theory, Musical Analysis, Analytical Harmony, Composition, Score Music. Reading, Chorus and Orchestral Con- ducting. B. GUCKENBERGER, Director. 30 Huntington Avenue Boston 1486 PIANIST.

RICHARD PLATT, 23 Steinert Hall . . Boston. Mason & Hamlin Piano.

Pierce Building, Copley Square, Room 3J3. INSTRUCTION IN THE SAM L. STUDLEY, ART OF SINGING. OPERA, ORATORIO, AND SONG.

TEACHER OF SINGING. 602 Pierce Building, Miss PRISCILLA WHITE, Copley Square, BOSTON. Tuesdays and Fridays at Lasell Seminary.

BARITO/NE. EARL CARTWRIGHT, TEACHER OF SINGING. Lang Studios, 6 Newbury Street.

Pianist and Teacher,

Miss MARY INGRAHAM, Lan^ Studios, 6 NEWBURY STREET.

ARTHUR THAYER. Miss Rose Stewart, TEACHER OF SINGING. Vocal Instruction. 200 Huntington Avenue 246 Huntington Avenue.

HELEN ALLE/N HUNT. BOSTON MUSICAL BUREAU. Established 1899. SOLOIST. Supplies Schools, Colleges, and Conservatories CONTRALTO with Teachers of Music, etc.; also Churcb«s witK Teacher of Singing. Orsanists, Directors and Singers. Address HENRY C. LAHEE, No. 514 Pierce Building . Boston. 'Phone, 475-1 Oxford. 2i8Tremont St., Boston.

Miss iy\EZ DAY, Miss PAULA MUELLER. Teacher of Piano PIANIST and TEACHER. and German Language. STUDIOS, LANQ STUDIOS, 28 Central Avenue, Boom 30, Steinert Hail MEDFORD. BOSTON. 6 NEWBURY STREET. RECITALS. 1487 MLLE. LEA MASSE, CAROLINE W00D5-H0WELL TEACHER OF SINGING 165 Tremont Street, Room 31, BOSTON. French conversation taught in six JEAN DERESZKE METHOD months, reading, diction. 514 Pierce Building Lessons at home or residence, in classes or privately. Day or evening. Interviews by appointment only

MR. ROBT. N. Mme. de BERQ-LOFGREN, MRS. ROBT. N. LISTER, Teacher of Singing, TEACHER OF SINGING. Soprano Soloist. " Sjrmpfaonjr Chambers, opposite Sympliony Hall, The "GARCIA Method. BOSTON. Studio. 12 Westland Avenue. BOSTON, MASS. TIPPETT '''"' Mrs. H. CARLETON SLACK, VOCAL INSTRUpTION. ^"•*'-'"^'* PAULL Lyric Soprano. Concerts and Recitals. Lessons at residence, 128 Hemenway Street. STUDIOS VOICE VIOLET IRENE WELLINGTON, Assistant, GRACE R. HORNE Humorous and Dramatic Reader. Also Taaeher of Voice, Elocution, Phyaieal Culture. 312 PIERCE BUILDING 59 Westland Avenue. COPLEY SQUARE Telephone, 3439-1 Back Bay.

Miss JANET DUFF. Miss MARIE WARE LAUGHTON, (7 years pupil of Francis Korbay) Contralto, Concerts, Oratorios, and Song Recitals. Lecturer and Reader of Shakspera. Teacher of Voice Production and Singing. Instructor of the VOICE IN SPEECH. Studio, 402 Hunting^ton Chambers. Monday, Wednesday, Thursday and Saturday morn- Courses of Study for Personal Culture and Pro- ings fessional Training. Management, W. S. Bigelow, Jr., Boston 418 PIERCE BUILDING, COPLEY SQUARB EDITH MAY I.ANG, Mrs. OlNThANK, PIANIST and TEACHER. SOPRANO. Lang Studios, 6 Newbury Street, Boston, Teacher of Singing. Mondays and Thursdays at Moses Brown School, Providence, R.I. Lang Studios - 6 Newbury Street.

Mr. P. nUMARA Mrs. Alice Wentworth MacGregor, Will furnish a Small Orchestra of mem- TEACHER OF SINQINQ. bers of the Boston Symphony Orchestra for Musicales, Dinners, Receptions, etc. Residence Studio, 780 Beacon Street. Address, Symphony Hall. Taeadaya and Fridays at Abbot Academy.

Mrs. W. S. LELAND Clarence B. Shirley, Pianist and Teacher Tenor Soloist and Teacher. Lan^ Studios CONCERT AND ORATORIO. 6 Newbury Street - Boston Studio, Huntington Chambers, Boston.

Concert Oratorio CDWIIN N, C. BARNES, SOPRANO Basso Cantante and L.,^^... GOODBAR, SOL0I5T. Teacher of Singing. TEACHER OF SINQINQ. Thorough p>reparation for Concert and Charch. Symphony Chambers . . . Boston. Studio . . Steinert Hall. Opposite Symphony Hall. 'Pkoae, Oxford ijfo. Mondajt and Tknndays 1488 TENSION RESONATOR (PATENTED IN THE UNITED STATES AND IN EUROPE)

Used exclusively in the

PIANOS

The Three Kpoch-making Discoveries

IN THE MANUFACTURE OF GRAND PIANOS ARE

First, The French Repeating Action, 1821 Second, The Full Iron Frame and Over-strung Scale, 1859 Third, The Mason & Hamlin Tension Resonator, igoo,— the most important of the three, as it pertains to tone production

£ ^" ^ piano is dependent upon the crown, or arch, QIjU TonoOn

TKe Mason & tlamlin Tension Resonator

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

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

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

In Concert Halls =" "f %-''»'' 8-'«t pUnim use the bteinway when at the

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

In Private Homes •i;«s.«"wayPianoi.Aechoic. or the cognoscenti the world

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

necessary essential of the refined home. Its very possession puts

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

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

*' *' In Royal Palaces ^™ " "^ •' No other piano house has^r"°-been

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

STEINWAY

Subway Express Station at the Door

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