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_, , Ticket Office, 1492 / Telephones, I Back^ ^ Bay-d { Administration Offices. 3200 } TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

Programme nf ti|f Twenty-second Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, APRIL 16 AT 2.30 O'CLOCK

SATURDAY EVENING, APRIL 17 AT 8.00 O'CLOCK

PUBLISHED BY C. A. ELLIS, MANAGER

1729 Mme. CECILE CHAMINADE The World's Greatest Woman Composet

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1730 Boston Symphony Orchestra PERSONNEL

Twenty -jeighth Season, 1908-1909

MAX FIEDLER, Conductor ClTtjiciktring

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1732 TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT- AND NINB

Twenty-second Rehearsal and Concert*

FRIDAY AFTERNOON, APRIL 16, at 2.30 o'clock.

SATURDAY EVENING, APRIL 17, at 8 o'clock.

PROGRAMME,

Beethoven Overture to Collin's Tragedy, " Coriolanus," Op. 62

Foote .... Suite in E major, Op. 63, for String Orchestra First performance I. Prelude. II. Pizzicato and Adagietto. III. Fugue.

Dukas . . . Scherzo, "The Sorcerer's Apprentice" (after a Ballad by Goethe)

Dvorak . Symphony No. 5, in E minor, "From the New World," Op. 95 I. Adagio: Allegro molto. II. Largo. III. Scherzo. IV. Allegro con fucco.

There will be an intertmssion of ten minutes before the symphony.

The doors of the hall will be 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 he' tween the numbers.

City of Boston. Revised RetfnlaHoit: of Antfust 5. 1898.— Chapter 3. relating to the coverlnii of the head In places of public amnsement.

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1734 Overture to "Coriolanus," Op. 62 . . Ludwig van Beethoven

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

' The original manuscript of the overture bears this inscription : ' Over- tura (zum Trauerspiel Coriolan) composta da h. v. Beethoven, 1807." The words in parenthesis are crossed out. The overture was pubHshed in 1808: "Ouverture de Coriolan, Tragedie de M. de Collin, etc., com- posee et dediee k Monsieur de Collin, etc." The other compositions of 1807 were the first Mass in C, the overture to "I^eonore-Fidelio,"

No, I, which was published as Op. 138, the Fifth Symphony, the ariette, "In questa tomba," the violin concerto changed into a pianoforte concerto, and probably the 'cello sonata, Op. 69. The tragedy by Heinrich Joseph von Collin was produced November

24, 1802, with entr'actes arranged from Mozart's music to "Idomeneo" by the Abb6 Stadler. It was afterward revived with Lange as the hero and played often until March 3, 1805. From that date to the end of October, 1809, there was only one performance of the tragedy, and that was on April 24, 1807, Thayer concludes that the overture was not written for this performance, because the overture had been played at two concerts in March. These concerts were at the palace of Prince Lobkowitz in Vienna, and only pieces by Beethoven were performed, the first four symphonies, the "Coriolanus" overture, a pianoforte concerto, and airs from "Fidelio." The overture was criticised most favorably in the Journal des Luxus und der Moden and Cotta's Mor- genblatt as a "new work." A correspondent of the Allgemeine Musik NEW CYCLES OF SONG

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' Zeitung wrote : 'According to the inscription, the overture was intended for Collin's 'Coriolanus.'" Thayer adds: "How nobly Beethoven comprehended the character of Coriolanus has long been known; but how wonderfully the overture fits in the play can be judged properly only by those who have read

' Collin's nearly forgotten play," and he says in a footnote : 'The author, from boyhood a reader of Shakespeare's 'Coriolanus,' remembers well the dissatisfaction he experienced when he first heard Beethoven's overture; it did not seem to him to fit the subject. When he read

Collin's play, his discontent turned into wonder." Beethoven knew the Coriolanus presented by Plutarch as well as the Coriolanus of Shakespeare and von Collin. One might say that the character of Coriolanus was in certain ways sympathetic to him; and some may wonder at Thayer's dissatisfaction. Wagner had no thought of von Collin, when he wrote:

"If we recall to mind the impression made upon us by the figure of

Coriolanus in Shakespeare's drama, and from all the details of the complicated plot first single that which lingered with us through its bearing on the principal charater, we shall see one solitary shape loom forth: the defiant Coriolanus in conflict with his inmost voice, that voice which only speaks the more unsilenceably when issuing from his

mother's mouth ; and of the dramatic development there will remain but that voice's victory over pride, the breaking of the stubbornness of a nature strong beyond all bounds. For his drama Beethoven chooses nothing but these two chief motives, which make us feel more

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1738 surely than all abstract exposition the inmost essence of that pair of characters. Then if we devoutly follow the movement developing

^olel}^ from the opposition of these two motives in strict accordance with their musical character, and allow in turn the purely musical detail to work upon us—the lights and shades, the meetings and paftings of these two motives—we shall at like time be following the course of a drama whose own peculiar method of expression embraces all that held our interest, the complex plot and clash of minor characters, in the acted work of the playwright. What gripped us there as an action set immediately before us, almost lived through by ourselves, we here receive as inmost kernel of that action; there set forth by characters with all the might of nature-forces, it is here just as sharply limned by the musician's motives, identical in inmost essence with the motives at work in those characters." (Englished by W. Ashton Ellis.) * * *

The overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings.

It is in one movement, Allegro con brio, in C minor, 4-4 as written, alia breve as played. It begins with a succession of three long-held fortissimo C's in the strings, each one of which is followed by a resound- ing chord in the full orchestra. The agitated first theme in C minor soon gives place to the second lyrically passionate theme in E-flat major. The development of this theme is also short. The free fantasia

is practically passage-work on th conclusion theme. The tendency to

shorten the academic sonata form is seen also in the third part, or recapitulation. The first theme returns in F minor with curtailed

development. The second theme is how in C major. The coda begins

with this theme; passage-work follows; there is a repetition of the

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1739 C's and the chords of the beginning; and the purely dramatic close in C minor may be suggestive of the hero's death. Wagner believed the overture to be a tone picture of the scene in the Volscian camp, before the gates of Rome, between Coriolanus, Volumnia, and Virgilia, ending with the death of the hero. * * *

The overture was played in Boston, April 19, 1851, at a concert given in the Melodeon by C. C, Perkins, and the programme stated that the performance was the first in America. Mr. Perkins's second symphony was played at this concert, and Adelaide Phillipps, Messrs. Kreissmann, August and Wulf Fries, and Mr. Perabeau (sic) were the soloists.

The late Hugo Wolf insisted in one of his contributions to the Vienna press that audiences should applaud only where applause is appro- priate, —"after vociferous endings, after pieces of a lively, festive, warlike, heroic character, but not after such a work as Beethoven's 'Coriolanus.'" He portrays the average hearer during the performance of the overture, who sees with staring eyes, as in a magic look- ing-glass, the mighty shade of Coriolanus pass slowly by him; tears fall from the hearer's eyes, his heart throbs, his breath stops, he is

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1741 as one in a cataleptic trance; but, as soon as the last note is sounded, he is again jovially disposed, and he chatters and criticises and applauds. And Wolf cries out: "You have not looked in the magic glass: you have seen nothing, heard nothing, felt nothing, understood nothing- nothing, nothing, absolutely nothing." (See Ernst Decsey's "Hugo Wolf," vol. i. p. 84. lycipsic and Berlin, 1903.) * * *

CORIOLANUS MUSIC.

Overture and incidental music to Shakespeare's tragedy by Fried- rich Ludwig Seidel, Ogtober 6, 181 1, at the Royal National Theatre, Berlin. This music was not published. Incidental music by Sir A. C. Mackenzie for Sir Henry Irving's revival of the tragedy at the Lyceum, London, in April, 1901. Operas: by Perti (Venice, 1683), Pollarolo (Venice, 1698), Cavalli (Parma, Cattani (Pisa, 1669), about 1700), Caldara (Vienna, 171 7), Ariosti (London, 1723), Treu (Breslau, about 1726), JomelH (Rome, 1744), Pulli (1745), Oraun (Berlin, 1750), Lavigna (Parma, 1806), Niccolini (Milan, 1809), Radicati (about 18 10). Dramatic scene, F. Lux.

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1743 — —

Suite, E major, Op. 63, for String Orchestra . . Arthur Foot^

(Bom at Salem, Massachusetts, March 5, 1853; iio^ living at Dedham, Massachusetts.)

Mr. Foote has kindly furnished the following sketch of his new com- positioin :

"The suite was finished in 1907, but with a different second move-

ment ; the second movement played to-day was written in the summer of 1908.

"The Prelude, E major, 2-2, is brief, and is based throughout on the first phrase of eight notes; it is of a flowing melodic character, with much imitation among the several voices.

"^he. Pizzicato, A minor, 6-8, is continuously so; it is interrupted by an Adagietto, F major, 3-4, which is played with the bow {arco), the instruments being muted.

"The Fugue is in E minor, 4-4, and is pretty thoroughly planned out, with a long pedal point just at the last return of the theme ; there are no inversions or augmentations, etc. The first four notes of the theme are heard often by themselves, and, if those notes are observed by the listener at their first entrances, the fugue will be very clear at first hearing." * * The following compositions of Mr. Foote have been played at the regular concerts of the Boston Symphony Orchestra in Boston :

1887, February 5, overture "In the Mountains," Op. 14 (first time).

1888, April 14, overture "In the Mountains."

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1746 1889, November 23, Suite for strings, D major, No. 2,'^Op. 21 (first time).

1 89 1, January 24, Symphonic Prologue to "Francesca da Rimini," Op. 24 (first time).

1893, February 4, "The Skeleton in Armor," Ballad for chorus, quartet, and orchestra, Op. 28. Singers: Mrs. Marie Barnard Smith,

Miss Lillian Carlsmith, George J. Parker, Clarence E. Hay (first time in Boston).

1895, March 2, Prologue to "Francesca da Rimini."

1896, March 7, Suite in D minor, Op. 36 (first time).

1898, February 26, Songs with piano: Elaine's song, "Sweet is true love"; Irish Folk-song. Mrs. Henschel, soprano. The composer played the pianoforte accompaniments.

1903, March 28, Suite in D minor, Op. 36.

Mr. Foote's Suite for strings. Op. 12, was played in Boston at a

"Popular Concert" of the Boston Symphony Orchestra, May 15, 1886.

"Thk Sorcerer's Apprentice" (after a Bai^lad by Goethe). Paui. Dukas

(Bom at Paris, October i, 1865; now living at Paris.)

"L'Apprenti Sorcier," an orchestral scherzo, was performed for the

first time at a concert of the Societe Nationale, Paris, May 18, 1897. It was played as a transcription for two pianofortes at a concert of the same society early in February, 1898. Messrs. Diemer and Cortot

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were the pianists. It was played as an orchestral piece at a Lamou- reux concert, Paris, February 19, 1899, when Mr. Chevillard led on account of the sickness of Lamoureux. The scherzo was produced at Chicago by the Chicago Orchestra (Mr. Thomas, conductor), January

~~14, 1899. It was performed in Boston at Symphony Concerts, October~~

~~22, 1904 (Mr. Gericke, conductor), on December 2, 1906 (Mr. d'Indy, conductor), and on February 9, 1907 (Dr. Muck, conductor).~~

~~Goethe's ballad, "Der Zauberlehrling," was first mentioned in a letter of Schiller dated July 23, 1797; it was first published in Schiller's~~

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~~1748 CARUSOMr. ENRICO has selected~~

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~~The ballad is a long one, and we must here be content with the pro- saic English version by Bowring:~~

I am now,—^what joy to hear it! Back he then repairs; Of the old magician rid See how swells the tide! And henceforth shall ev'ry spirit How each pail he bears Do whate'er by me is bid Straightway is supplied I have watch' d with rigor All he used to do, Stop, for, lo And will now with vigor All the measure Work my wonders, too. Of thy treasure Now is right! Wander, wander Ah, I see it ! woe, oh, woe ! Onward lightly. I forget the word of might. So that rightly Flow the torrent, * Ah, the word whose sound can straight And with teeming waters yonder Make him what he was before gait! In the bath discharge its current Ah, he runs with nimble Would thou wert a broom once more !. Streams renew'd forever And now come, thou well-worn broom. Quickly bringeth he; And thy wretched form bestir River after river Thou hast ever served as groom, Rusheth on poor me So fulfil my pleasure, sir! On two legs now stand Now no longer With a head on top; Can I bear him; Water pail in hand. I will snare him, Haste and do not stop Knavish sprite! Ah, my terror waxes stronger! Wander, wander What a look ! what fearful sight Onward lightly. So that rightly Oh, thou villain child of hell Flow the torrent. Shall the house through thee be And with teeming waters yonder drown'd ? In the bath discharge its current Floods I see that wildly swell. O'er the threshold gaining ground.

See ! he's running to the shore. Wilt thou not obey, And has now attain'd the pool. O thou broom accurs'd! And with lightning speed once more Be thou still, I pray, Comes here, with his bucket full! As thou wert at first!

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Will enough Servants of my dreaded foe! Never please thee? O ye gods, protection send I will seize thee. Hold thee fast. And they run! and wetter still And thy nimble wood so tough Grow the steps and grows the hall. With my sharp axe split at last. Lord and master, hear me call! Ever seems the flood to fill. See, once more he hastens back Ah, he's coming! see, Now, O Cobold, thou shalt catch it I Great is my dismay! I will rush upon his track ; Spirits raised by me Crashing on him falls my hatchet. Vainly would I lay! Bravely done, indeed! See, he's cleft in twain Now from care I'm freed, "To the side And can breathe again. Of the room Hasten, broom, Woe, oh, woe! As of old! Both the parts. Spirits I have ne'er imtied Quick as darts. Save to act as they are told." Stand on end,

The story of the ballad is an old one. It is found in I^ucian's dia- logue, "The Lie-fancier." Eucrates, a man with a venerable beard, a man of threescore years, addicted to philosophy, told many wonderful stories to Tychiades. Eucrates met on the Nile a person of amaz- ing wisdom, one Pancrates, a tall, lean man, with a pendulous under lip and somewhat spindle-shanked, with a shaven crown; he was dressed wholly in linen, and it was reported of him that he had lived no less than twenty-three years in a cave underground, where during that time he was instructed by Isis in magic. "When I saw him as often as we went on shore, among other surprising feats, ride upon crocodiles, and swim about among these and other aquatic animals, and perceived what respect they had for him by wagging their tails, I concluded that the man must be somewhat extraordinary." Eucrates became his disciple. "When we came to an inn, he would take the wooden bar of the door, or a broom, or the pestle of a wooden mortar.

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1753 put clothes upon it, and speak a couple of magical words to it. Im- mediately the broom, or whatever else it was, was taken by all the people for a man like themselves; he went out, drew water, ordered our victuals, and waited upon us in every respect as handily as the completest domestic. When his attendance was no longer necessary, my companion spoke a couple of other words, and the broom was again a. broom, the pestle again a pestle, as before. This art, with all I could

do, I was never able to learn from him ; it was the only secret he would not impart to me; though in other respects he was the most obliging man in the world. At last, however, I found an opportunity to hide me in an obscure corner, and overheard his charm, which I snapped up immediately, as it consisted of only three syllables. After giving his necessary orders to the pestle without observing me, he went out to the market. The following day, when he was gone out about business,

~~I took the pestle, clothed it, pronounced the three syllables, and bid it fetch me some water. He directly brought me a large pitcher full.~~

~~Good, said I, I want no more water; be again a pestle! He did not,~~

however, mind what I said ; but went on fetching water, and continued bringing it, till at length the room was overflowed. Not knowing what to do, for I was afraid lest Pancrates at his return should be angry (as indeed was the case), and having no alternative, I took an axe and

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1755 split the pestle in two. But this made bad worse; for now each of the halves snatched up a pitcher and fetched water; so that for one water- carrier I now had two. Meantime in came Pancrates; and under-

standing what had happened, turned them into their pristine form : he, however, privily took himself away, and I have never set eyes on him since." * * * *

The scherzo is scored for one piccolo, two flutes, two oboes, two clarinets, one bass clarinet, three bassoons, one double-bassoon, four horns, two trumpets, two cornets- a-pistons, three trombones, a set of three kettledrums, big drum, cymbals, triangle, glockenspiel, harp, strings.

There is a long and mysterious introduction. The first theme is introduced with long-held harmonics of violas and 'cellos and peculiar effects of flutes. The second theme, the most important of all, is given to wood-wind instruments, beginning with the clarinet. These two themes are repeated. The second theme is now given to a muted trumpet and continued by flute and harp. There is the suggestion of the conjuration and of the approaching spirits. At last the second and chief theme appears in another form, played by three bassoons. The first theme is now changed. The scherzo is developed from these two themes, although a new one of some importance is introduced. There is a translation into music of the apprentice's increasing anxiety, until the sorcerer's return is announced by dreadful blasts of brass,

trills on wood-wind instruments, and tremolo of strings. The themes of the introduction are brought in, but without the mysterious harmonics. The broom flies to its corner and is quiet. * * Paul Abraham Dukas entered the Paris Conservatory of Music in

*^' Ludan of Samatosa," Englishied by William Tooke (London, 1820), vol. i. pp. 113-155.

C. SCHIRMER, 35 UNION SQUARE, HEW YORK JUST PUBLISHED me DOLL'S CAIÊNDAR A Cycle of Twelve Songsi: ^ : Words by NORA ARCHIBALD SMITH Music by ISIDORE LUCKSTONE Illustrated Price, $1.25 net CONTENTS January: "Was ever a dolllike my Dolladine?" July: "The poppy glows in the garden bed." February: " February, dark and chilly." August: " It really makes me very sad." " March : " Pussy with the silver fur." September: Do you know of a fairy maiden?" April: "A'rainpool lies just over the way." October: "Autumn's coming o'er the hill." " " his May: May is coming, listen I hark 1 November: "The Indian chieftain smokes June: "Dollie and I in the sweet June weather." pipe." December: "It is the eve of Christmas-day." The daintiest, most spontaneous and" musically fresh and interesting cycle of children's songs. The music has to the highest degree that unaffected simplicity, naive humor and quaint pathos which are the heritage of happy childhood, and this spirit of joyous and care-free unconcern is the keynote ofêachôQthe tw^lveinumbers that constitute the set.

~~1756 ;~~

~~1 882. He was a pupil of Dubois in harmony and of Guiraud in composition. In 1888 he was awarded the second prix de Rome for his~~

' ' cantata, ' Velleda, ' and it was hinted at the time that Camille Erlanger, who took the first prix de Rome that year, took it "under very singular circumstances." Dukas undertook the task of orchestrating the opera "Fredegonde," left by his master, Guiraud,* which was completed by Saint-Saens and produced at the Opera, Paris, December 18, 1895. During his school years Dukas wrote dramatic overtures, "Le Roi Lear," "Goetz de Berlichingen," which were not published. His first work performed in public was the overture "Polyeucte" (Lamoureux concert, Paris, January 24, 1892). His Symphony in C major—in three movements—^was produced at the concerts of the Op^ra, January 3, 10, 1897. He is one of the few Frenchmen that have written a sonata for the pianoforte. His sonata, dedicated to Saint-Saens, a formidable work,—the performance takes forty minutes,—was produced at a concert of the Societe Nationale, Paris, May 11, 1901, when it was played by Edouard Risler. He has also composed a set of variations for pianoforte on a theme of Rameau (1902). His lyric drama, "L'Arbre de Science," and a number of songs, choruses, etc., have not been published. His opera, "Ariane et Barbe Bleue" (Maeterlinck's play), was produced at the Opera-Comique, Paris, May 10, 1907. (Ariane, Mme. Georgette Leblanc; I^a Nourrice, Miss Th^venet; S61ysette, Miss Brohly; Melisande, Miss Demellier; Ygraine, Miss Guionie;

Bellangere, Miss Berg ; Alladine, Miss Badet ; Barbe Bleue, Mr. Vieuille Un vieux Paysan, Mr. Azema; 2e Paysan, Mr. Lucazeau; 3e Paysan, Mr. Tarquini. Mr. Ruhlmann conducted.) Mr. Dukas was for several years music critic of the Revue hebdomadaire and of the Gazette des Beaux-Arts, and he was also the critic of the Chronique des Arts.

Ernest Guiraud, composer and teacher, bom at New Orleans, June 23, 1837, died at Paris, May 6, 1892. He wrote seven or eight operas, an overture, an orchestral suite, a mass, violin pieces, songs, etc.

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~~144 Boylston Street 1768 ENTR'ACTE. BUELOW'S LATEST LETTERS.~~

~~BY PHILIP HAIvE.~~

The seventh volume of Hans von Buelow's letters has been^published by Breitkopf & Haertel. The volumes are in octavo form, and they contain in all, with appendixes and indexes, 3689 pages. The editor, Mrs. Marie von Buelow, the second wife of the pianist and conductor, has contributed many notes and also explanatory or bio- graphical pages.

It is doubtful whether any one will ever read all that is printed in these volumes. Many of the letters are of little consequence, though they contain amusing chaff, remarks to entertain the wife, and show the mercurial nature of the writer. The seven volumes might be cut down to two or three, and they would then have uncommon value, as a revelation of an extraordinary character, as a collection of important documents for the history of music during Buelow's career.

~~The letters in this seventh volume were written from December,~~

~~1885, to November 17, 1893 (Buelow died at Cairo, February 12, 1894). They are often bitter and sometimes malicious. When Buelow was in~~

St. Petersburg, in 1885, Cesar Cui, the soldier composer, critic, said to him: "You are not shaved, but you always have a razor in your mouth"; and there were times when Buelow delighted in running amuck with the weapon. Yet how enthusiastic he could be in praise, as when he extolled the performance of one of Brahms' sonatas by

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1769 Marsick, in St, Petersburg. The Russian musicians and the Russian people did not please the visitor. "They are all false, as false as the German-Bohemians." He denied them any disinterested, objective love of art. He was forced to allow a poor pianist to play at one of the orchestral concerts because she was the sister-in-law of an influential person, and to conduct the "truck" of an amateur because he was one of the nobility and could obtain decorations. Mentioning a symphony by Borodin that he was to conduct, he added, "Humph," and he characterized Naprawnik as an excellent operatic director, but a correct composer without ideas. In St. Petersburg he wrote to an official, praising the talent of the conductor at the French Theatre, and asking for recognition of this talent. "I like to recall the charming overtures of Auber, 'Lestocq,' 'Haydee,' etc., which are to Offenbach, Lecocq & Co., as Mr. Thiers was to Mr. Ferry." Buelow also spoke well of the young Glazounofif, and recommended his symphony in B major, Op. 5, to Richard Strauss. "Glazounofif knows Brahms better than does any one of his countrymen; he is really an earnest composer, capable of serious things." And Buelow loved Tschaikowsky, who brought to him his "Manfred" symphony.

~~Venice, the Place and the People~~

F. MARION CRAWFORD^S WORK ON VENICE Richly Illustrated by Joseph Pennell Two handsome volumes offered at less than half of the lowest net price heretofore quoted. SALVE VENETIA: Gleanings from Venetian History By Francis Marion Crawford. With 225 illustrations — many full-page — by Joseph Pennell. 2 Vols. Small 8vo. Cloth, tastefully stamped in white and gold from original designs, gilt tops (in a box). New York, Macmillan Co., 1909. (Postage, 35c.) $5.00 net tO $2.00 A Companion Work to the same Author's " Ave Roma " in its best edition, and never before offered at less than full price net. These two handsome volumes, at the price here quoted, form one of the most attractive bargains that we have ever offered. The fame of author and illustrator, the world-wide interest of the subject, and the handsome form in which the publishers have produced them, make the books appeal to almost any intelligent person and render them available as a souvenir gift upon almost any occasion. CHARLES E. LAURIAT COMPANY 385 Washington Street, opp. Franklin Street

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"which appears to contain more music than in all the orchestra-operas of Anton Rubinstein. Personally, he is one of the most delightful men whom I have met, and he is so tolerant and generous in praise of his colleagues. When he composes, he buries himself in absolute loneliness."

Learning of the mysterious death of Louis II. of Bavaria, he was overcome. He spoke of "the fifth act of this lofty tragedy." "After all, this is antique, it is sublimely Aeschylean; it is a truly royal ending; there is nothing so touching in Shakespeare—one cannot weep

~~more over the death of Richard II., whose character ofifers certain~~

analogies, superficial ones." The widow has a good deal to say about the ejection of Buelow from the Royal Opera House in Berlin in March, 1887. It should be remembered that Buelow at one of his concerts in Berlin had referred

~~to the opera house as the "Circus Huelsen." Huelsen naturally took~~

~~offence at this remark. Buelow was invited by the composer, Ruefer,~~

~~to hear the first performance of the latter's opera, "Merlin." Leaving the cloak-room, the pianist was talking with friends, when the porter~~

~~of the opera house stepped up to him. "I must beg you to leave the theatre." He then added: "The count makes the request." The~~

~~' porter then took hold of Buelow's arm and said : ' Don't make a fuss~~

~~if you do, I must call a policeman. You can get your money back at~~

~~the box office."~~

~~This action on the part of the intendant made a stir throughout Germany and Austria. Buelow regarded the affair as a colossal joke.~~

~~School of Expression~~

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Address THE DE6ISTDAD, 301 Pierce Building, Office hour, 3-4, daily. COPLEY SQUADE, BOSTON 1762 and he took a humorous revenge in a piano recital by preluding on the theme from "The Marriage of Figaro." "If the count wishes to run the risk of a little dance, he has only to say so, and I'll play the music." He could not understand a saying of the conductor Levi. Buelow praised his leading of Cornelius' "Barber of Bagdad": "You conducted it, Levi, in a wonderful manner." "Yes," answered Levi, "I knew that you were sitting behind me. I can do my best only when I know that there is at least one in the audience who knows how to listen." "That is not my way," said Buelow; "the work of art is always there, and I am there; for us two I do my best." He advised his wife not to read Tolstoi's drama "The Might of Darkness" in spite of the low price asked for it! He found that the censorship of the Russian government had aesthetic reasonableness. He also urged her not to read the novels of Zola, characterizing them as "infamous stuff" notwithstanding the talent of the author, and in the same letter he expressed his delight at rereading after nearly forty years Chateaubriand's "Atala," "Rene," "Le dernier Aben- cerrage." Among the most entertaining letters are those written to Hermann Wolff, his manager. He discussed orchestras, composers, programmes, virtuosos, with appalling frankness. He had nothing against the violinist Heermann, but he preferred Brodsky as a player of Brahms'

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~~1763 concerto. "I hope Mr, Sauret will not play his own manufactures."~~

~~"Davidoff, the 'cellist, is, of course, superlatively welcome, in spite of his own compositions." He praised Mme. Sembrich to the skies.~~

"Mrs. Moran-Olden is also musically sympathetic to me. Even if on the stage she kicks over the traces." "Have the kindness not to engage me to accompany songs." "Lalo's 'Spanish' Symphony (N.B., without amputations) is most agreeable to me." "I accept pieces by Saint-Saens, Lalo, Bizet, with especial pleasure." He wrote to Villiers-Stanford in English from Wiesbaden with reference to a visit: "One thing absolutely impossible for me: Dinners, suppers, 'Schmaeuse' (any big feed, or merry bout). I cannot bear staying longer at a table with glasses and plates than 3-4 hours. As for the programme you suggested, I beg to observe that beginning with Chopin, Op. 44 and 57, would be the same as preluding to a dinner by rhubarb pie. Please alter the succession." How was he disposed toward Hans Richter? "I stand toward him as Heckmann toward the late Hiller. No one entertains an admira- tion more easily and gayly than I, but he reminds me of the old Lach- ner, who was, however, as a musician, a wholly different fellow. Rich- ter 's performance of 'The Damnation of Faust' tortured me; not a tempo was right; the' impression was wholly lacking, the impression made earlier by Halle, who knew the traditions."

~~The Musicians Library Three New Volumes of interest to Music Lovers Edvard Grie^ Larger Compositions. < Edited by Bertha Feiring Tapper~~

This significant volume contains the Sonata Op. 7, the A minor concerto, and other important works sympathetic- ally edited by one who is not only a skilled pianist but a Norwegian as well. Fifty Songs for High Voice and for Low Voice. (Edited by Henry T. Finck.)

Note : Low Voice Volume in press. Contains the very best songs by the beloved Norwegian composer. The editor has shown keen appreciatfon of Grieg's life and work in his interesting essay which prefaces the volume.

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~~1766 Buelow met Mr. Paderewski at Berlin in December, 1890. He praised his playing. "He was much moved by my interest and zeal, and he~~

thanked me in moving terms ; he got up after each movement to press my hand." Paderewski then played his own concerto, and he com- plained that he had been poorly accompanied in Frankfort, Paris, I/ondon. Buelow described him as "an agreeable man of culture, with a great red-haired and natural wig, which frames well his distinguished features." Paderewski dined with Buelow and his wife, who were astonished at his slight appetite. They said he should inform them the next time as to what he liked. Paderewski said: "In the matter of food I like—guests." Buelow then called him a cannibal. Paulus, the famous music hall singer, delighted Buelow. "He is perfection in his own manner; there is a clearness, a precision of rhythm, pronunciation, intonation, good taste, moderation, and dignity in a manner lightly 'canaille' that are extraordinary. I learned much by studying his means of impressing the audience and the results that followed. Any singer, even Mme. Sembrich, could profit in a way by hearing this 'monsieur,' who has great intelligence and has not filched his popularity." How Buelow hated flowers and wreaths sent to a performer on the

~~stage ! It was at Wiesbaden that he refused a laurel wreath with the~~

~~speech in public : "That's a mistake; I am no vegetarian."~~

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~~1766 —~~

~~Buelow visited the United States a second time in 1889. The letters written by him are not so numerous as those of the preceding visit.~~

~~He wrote from New York that he would be in paradise, were it not for the "forwardness, rudeness, Philistinism, heaviness of the people."~~

There were exceptions ; he saw much of Carl Schurz ; he met Edison ; he was often with Coquelin. There was much to like, after all: "Each day in the new world brings its surprise." A week later he wrote: "Fine weather, fine public, fine press, fine piano, and no Philistine." He characterized Theodore Thomas as a "glue-boiler"—that is to say, a slow coach, or a dull proser; "ultra-German." From Boston, April 18, 1889, he wrote: "I have just heard Gold- mark's symphony in the rehearsal." He liked the slow movement the best, but found most of the music dreadful anti-symphonic. " Volk- mann's lack of taste and Rubinstein's lack of self-criticism are here united; here and there is the ghost of a senile Schubert. Once and, I assure you, for the last time. I would not conduct the work at any price." "The orchestra is magnificent, and Gericke understands his business to the fortissimo degree, much better than the so-called Wagnerian conductors." He wrote to Max Alvary, then in New York, how he remembered Wagner singing, in 1857, the music of his characters. "He then had a strong voice, and he sang with a finesse and a spirit that were unfor- gettable."

~~Perhaps the finest example of Buelow's frankness in this volume is~~

a letter he wrote in English to Asgar Hamerik : "As for your protege, I am sorry to say—but my wretched frank- outspokeness (sic) will not be unknown to you—that I overread (sic) many of his 'compositions' (orchestra, chamber music, and piano pieces), and that I feel much too old and antiquated for being able to

ilieberijeim ^cfjool of l^ocal iHufiic Ten miles from Boston, AUBURN DALE, MASS. Five miles from Wellesley, Mrs. Mi\Y 5L£E:P£R RUGGLES. Principal Contralto and Voice Teacher, Boston, Studio 602 Pierce Building, Copley Square Studio Tclepbona, Back Bay 4176-3. Uederbeim Telephone, Newton West 373-4 offers a imique plan for education of LIEDERHEIM SINGERS ; a congenial HOME, and SAFE school for young ladies; limited numbers personal guidance unusual musical ; ; opportunities ; strong Advisory Board of eminent musiciansand educators. Send for PROSPECTUS which defines LIEDERHEIM'S advantages. Write us your desires and arrange for interview. LIEDERHEIM will satisfy you. DAILY LIVING " in ' To take a course the science of domestic economy ' at a college for women is quite an expensive affair. To take a very similar course at home, while having the menu for an entire year provided for the family, as a practical method of taking the course, is a less expensive but very useful method of tuition.."— Boston Daily Advertiser. PRICE. $1.84 nett sent postpaid. $2.00 Published and Sold by H. P. HOOD (SI SONS 494 Rutherford Avenue, Charlestown, Mass. 70 Huntington Avenue, Boston, Mass v4 iso on Sale at Booksttn-es and Neivs Stands. 1767 —

take the least fancy in such ugly, preposterous mock music. 1 don't deny that he might be gifted—that you most (sic) know better than I but I think, before all things, he wants information, and if anybody should take interest in his future as a composer, he ought to send him directly to a musical orthopaedic institution. 'Tis not the extrava- gancy which produces^the 'Berlioz's'; and 'fra dinoi' I think the musical world has quite enough of one Hector. Will you kindly prepare your proteg^ that he would do better to avoid my criticism ?" Buelow was again in the United States in 1890. He practised over four hours daily in addition to his recitals. In some of the New York

' theatres he went to sleep ; but he heard a performance of 'The Grand Duchess" that gave him the highest pleasure. "I was not ripe for this earlier, no more than for Mozart. That heavenly woman whose name is Lillian Russell comes next to Agnes Sorma." In view of the present position of Richard Strauss, the letters written to him and about him by Buelow are of special interest. "Death and Transfiguration" convinced him of Strauss' brilliant future; on the contrary, he called the Burleska for piano and orchestra "hateful" music. In a letter to Moszkowski he quoted gleefully and in English the story, "Please don't shoot the organist, as he is doing his best." Rudorff's second symphony is "by no means so poor a thing as the composer." He wrote to Wolff that he would rather conduct half-amateurish music, as Noskowski's "Meerauge," than "a symphony by Schumann, which tortures me only reading it. By Zeus, I prefer even Rubin- stein's 'Ocean' or 'Dramatic' symphony." Alas, poor Chabrier! Apropos of his delightful "Espana," Buelow wrote: "Chabrier is a practical joker, who belongs to the circus." He

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~~1768 thought Berhoz's "Harold" symphony less anachronistic than the "Fantastic."~~

Strauss' "Macbeth" impressed him greatly. "It is for the most part wild and deafening, but a work of genius 'in summo grado.'" Mrs. von Buelow gives a long account of her husband's strange speech before a performance of Beethoven's "Eroica" symphony in

Berlin, the speech that ended: "We dedicate it to Beethoven's brother, to the Beethoven of German politics, to the Prince Bismarck." In 1893, when Buelow was in miserable physical and mental condition, a telegram from Friedrichsruh, in which Bismarck wished him with all his heart happiness and health for the new year, affected him to tears.

There is a long and painfully minute account of Buelow's last and wretched days. He wrote in English to his wife: "Hell, hell, with blue sky and golden sun, double hell. All by my fault—I know, I know. I try to imagine that all that suffering were not mine affair at all, but that of Dr. Y. who in order to keep his promise wants to be kept in peace. . . . Do you remember the last but two words (lines) of Kent's at the end of 'King Lear'?" "Te Deum Morphinum lauda- mus!" The story of his sufferings, of his painful journey, of the few miserable days in Cairo, is indescribably pathetic.

~~THE LAST CHAPTER.~~

~~BY VERNON BLACKBURN (1903).~~

In the reading of the music of the past, in the appreciation of it, and in the criticism of it, there always enters an element which en- grosses me exceedingly and which may be regarded from a-many points

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. 1769 —

of view. That element has many facets; it may be considered as belonging in a sense to the beginning, to the middle, or to the end of musical transition from one school to another. For with the study of each musical chapter you may note how strange a confusion com- bines together the end of the last and the beginning of the new; that element is the mysterious continuity of thought which is perpetual, but which in its parts is separated by different thought, emotion and rule, into different chapters. The shepherd who watched the stars on the plains of Shinar conceived a rudimentary idea of the rhythm of the firmament which translated itself to his pulses, and which thereby evolved a certain musical conception of the most rudimentary kind musical, nevertheless. But the 'music of the spheres' involved his own personal creation; and one may, in a spirit of gentle reasoning, suppose that his own share in the originality of the combination was united to the thought of the musician who came after, so that, link by half-link, the great message of music has swept its slow way down the arches of Time, each link supported by the half-link that had gone before, until we begin to recognize that any last chapter in music

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~~as Juliette in Gounod's "Romeo et Juliette"~~

Miss Charlotte Grosvenor made her operatic debut yesterday afternoon as Juliette in Gounod's "Romeo et Juliette" here in Boston. The audience was as large as the theatre could hold, every seat and the standing room being taken.

~~Miss Grosvenor is the possessor of a voice of considerable distinction.~~

Yesterday afternoon she made a very pleasing impression and if she had not all the passion of Shakespeare's more or less sophisticated heroine, she had in full measure the girlishness, grace, and charm the part requires.

Her voice is not one of great volume, yet it filled the theatre without being forced, and it may be added that Miss Grosvenor did not make the common mistake of forcing it, even in the ensemble numbers. It is a beautiful voice, of virginal purity, and incisive without becoming sharp. She sang the arias with style and a pure intonation that fell gratefully upon the ear accustomed to many transgressions in that line. In make-up there were one or two points to be improved — a little more color in the cheeks and less about the eyes would suit better her physique, of which the natural delicacy needs no accentuation, but rather for histrionic reasons, such

touches as will offset it. In action Miss Grosvenor for the most part sus- tained the impression made by her singing, for she knows the value of repose, and such slight evidences of nervous intensity as are natural to a

first appearance were few and unobtrusive. For the rest there was no evidence of the sort of nervousness that gets across the footlights, for she sang and acted with apparent confidence and ease. The applause grew heartier as the performance progressed — the best tribute to that performance. 1771 represents part of the past and part of the future. The thought is

~~not without its illuminating quality; for it contains the elemental~~

significance of the effect of the past upon the present and of the effect of the present upon the future. In other ords—and the phrase does not in any way disturb any definite theories upon the value and position of modernity in music—the last chapter in the generation of any great school of music does not call for the Mvord Finis to be written against

it upon the advent of any composer, or upon the really historical completion of any great musical school; that ultimate point comes when, midway in the new prophet's career and teaching, he has finished

~~with the past, when, even as Columbus, he has definitely set his sails~~

~~toward the West, when he is for an artistic El Dorado. But that,~~

~~for the moment, is another story. The time comes then when the modern musician, who has learned so much from a former time, who has interwoven past influences into~~

~~his novel no less than into his future, leaves that past ; and, as always~~

~~happens with creative musicians, he has little enough gratitude for the~~

~~great assistant geniuses who have helped him along towards his re-~~

~~newal of life. The marching progress of music is very much like the~~

~~marching progress of any science, art, or literary chapter. It depends~~

~~so much upon the things that are done ; and yet it is so often persuaded~~

~~completely to deny its ancestry. When a new genius sets forth upon~~

~~his career, he usually, in the pride of youth, intentionally tries to for-~~

~~get his generation, and yet he remembers it for the sake of its accom-~~

~~plishment. He looks forward; yet is he held by the trammels of the~~

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X773 past. And therefore, in some mysterious way, the past, using angel's wings—^wings possibly beating unto exhaustion—spreads its influence over him, and for a time he is restrained and hushed. He is merely in leash. He, in a word, is only among those who desire to complete the last chapter; and his youthful views of the past naturally influence his desire for the future. Then, slowly arising from the things that have gone before, he begins to note a wonderful dream, a dream unthought of, undesired perhaps, but nevertheless most certain of its appearance, rising out of his brain. With pulses of life all quicks ened, with a desire inflamed, the dream, he understands, must be realized in action. The last chapter, so far as the new artist is concerned, has been completed; the new chapter is to commence. Let it not be thought that this is any merely incidental occurrence, any fan- ciful linking of generation with generation. The history of music teaches so much through every succession of family to family. The theory may be tested as a truth from every point of view. Take, for a single instance, the career of Beethoven. He was indeed destined to complete a symphonic chapter, even as Mozart was destined to complete an operatic chapter before him. Yet, upon carefully gauging the matter, you will find that Beethoven had to hark back upon the past before he could begin to complete his chapter. Again this was a case of the link and the half-link; again the new genius, in the act of spreading forth glorious wings toward the future, was compelled to use all the flight already accomplished by the dreadful past ; and, with that, the future genius completes his own chapter,

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before another such arises to overlap his work and to start away upon a new dayspring. We should not, however, forget that the advent of great genius is also the occasion of the spreading of a private school of impostors who, recognising in part this theory of the ' last chapter, are very ready to rise upon such waxen wings as those of Daedalus, upon which the sun has but to shine in order to melt their ambitions and to send them flying to ruin by the simplest of mundane laws. The tragedy of the completion of a final chapter in music rests in the irrevocable struggle of a new greatness striving with a double influence—a struggle so often marked on the one side by human suffering and human pain, on the other by human neglect and human contempt. There are ingenious scientific arrangements—to be, for a moment, frivolous—in any magic-lantern effects, whereby you will find that a new pictorial subject very gradually effaces the old, and that there is a moment when there seems to be almost a struggle between that which is passing and that which is to be novel to the spec- tator. It is at this midway point—if one may at once transfer the simile to the art of music—where the last chapter begins and the old chapter reaches its end. In the mingling of types there is often a terrible confusion; and it is at this point that the cheaper and more popular forms of music step in and, for a moment, in the confusion of things, make an unthinking multitude applaud the effects of cheap- ness. To return, nevertheless, to the more serious point of the subject, one finds that music is so much a matter of period and of interval, in its immediate significance and effect, that the fading out of a past spirit and the beginning of a new thought become so identified that they constitute in themselves the final, the ultimate, the dying thought of a generation. My point may be explained even more definitely. Music is the counterpart, in its progress, of human life. But genera-

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HENRY F. MILLER & SONS PIANO GO. Warerooms: 395 Boylston Street, Boston 1777 tions overlap one another; the old men do not die in their ripeness just because the young men are advancing towards their middle age. The last chapter is not always a definite severance between the past and the future. The summer leaves have half the freshness of spring upon them, even though the spring has died ; the autumn gold is half casketed in the green of the summer. Winter is the chapter that is the last of the aforegone things and the first of the things that are to be. Palestrina had the monastic spirit with him, and his spirit turned to a sort of solemn triviality. The spirit of Mozart and of Gluck languished towards Bellini and Donizetti. Purcell and Han- del spent themselves in Bishop. Thus, link and half-link, the last chapter is completed; but because there is ever a new half-link the continuity of music goes on, just as sun and half-sun make up our summer and our winter.

~~THE MODERN TREATMENT OF THE CHORUS.~~

~~(From the London Times, March 20, 1909.)~~

No two musical works stand further apart in intention and in work manship than Brahms's Triumphlied, which was lately heard at Ox- ford, and the Nocturnes by Debussy, which the composer has re- cently conducted at Queen's Hall. The contrast was emphasized by the performance of the two within a week of one another; and, allow- ing amply for the racial qualities of the composers and the totally opposite outlook upon art which they imply as well as for the difference of subject, it is hard to realize that the two were written within twenty years of one another. They seem to belong, not only to different coun-

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And yet it is here that the works meet, or rather come within meas- urable distance of one another. Brahms puts so much into his choral writing, crowds climax upon climax with such exuberant delight, that, except for a few outstanding features, —the description of the "Rider on the White Horse" and the reiterated "Treu und Wahrhaftig" of the finale, for example,—the actual import of the words is lost in the jubilant expression of the music. Debussy's singers are frankly con-

~~sidered as contributors to a scheme of musical sound ; they are a group~~

~~of instruments who, like the muted trumpets of the "Fetes" (No. 2), have an essential, but not a supreme, part to play in painting the mood~~

~~of the piece. Both practically result in the use of voices for purely~~

~~musical ends, and this is the point at which the old and new join hands.~~

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1779 The history of choral music from Bach onwards has been that of the struggle between words and music ; for in choral writing the words have been more severely handicapped than in solo song by just so many times as there are parts in the chorus. The old contrapuntal choruses buried the words deep in their complex texture; the more modern part-song reduces the musical interest of the parts to a minimum, in order to make the words clear; and between these extremes

~~lie a variety of t5^es, all of which aim at a compromise or, better~~

still, at a reconciliation. Bach himself used a number of methods according to the nature of the subject, in order to preserve the words without sacrificing the musical interest which comes from indepen- dently moving voice parts. "Herr, bin ich's?" and the finale "Wir

setzen uns," both from the Maithdus Passion,- a,re forcible examples of the two main types of dramatic and lyric choruses which sprang from the need for accurate verbal expression in choral singing. The development has gone on until in some cases, notably in the declama- tory style of Parry, the solution of the question seems as complete and

as natural as is Schubert's or that of Brahms himself in the simpler case of solo song. In the ballad form of The Pied Piper of Ham- elin Parry's chorus tells the story in a perfectly succinct manner, and in the latest of his Church cantatas the reflective words, "To everything there is a season, a time to every purpose under heaven," are dwelt upon in a way which emphasizes every subtle change of thought,

while the continuity of the musical outline is uninterrupted. The Schicksalslied and the Deutsches Requiem prove that Brahms understood these methods, but in the motets his tendency to revert to the older style in which the music overrides the expression of individual words is often felt; and in the Triumphlied he pushed the principle

further than did even the old writers from whom it is derived, and produced literally a choral symphony—that is, a work of purely musical interest in which the words indicate the mood to be expressed, but do not control the outline of phrase and stanza. It contains an enormous C^MENTIUM

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But there is one difficulty in using the chorus merely as colour which even Debussy has not solved satisfactorily yet, if the recent Queen's Hall performance may be considered a fair criterion. The human voice has a personality which is stronger than that of any instrument, and wherever it appears it tends to attract attention to itself and to dominate the score. Voices may accompany voices, but it is a much harder thing to make them accompany instruments or even blend with them on equal terms; it can be done only by robbing the voices of most of their emotional force. Probably De- bussy was guiltless of any conscious desire for realism in the nocturne. He meant the female chorus merely to add to the mysterious colouring, not to impersonate the Sirens; but they in fact come to the front of the picture, and the hearer cannot help giving them a realistic significance. A more successful example of this use of the

~~chorus is found in Delius's "Appalachia." It is better because he has given the singers their normal position at one point where they~~

take up the pseudo-negro melody and sing it to characteristic words, so that the places where the voices are solely used picturesquely fall back into comparative unimportance. They are used in a fragmentary way to give additional point to a few cadences in the earlier variations, and at the end, when they sustain a long "Ah" through a quaint

~~series of chords, an expressive sighing effect is produced which could~~

" Music teaches moat exquisitely tiia art of " Miss ANNIE COOUDGE RUSTS 17th Year development. — D' Israbli. SCHOOL OF FROEBEL SCHOOL OF KINDER- MlSIC-EDUCATiON GARTEN NORMAL CLASSES 325 Newbury Street (near Fairfield) Annonncraianti sent en appUcatioa Pierce Building, Copley Square, Boston, Mass. CALVIN B. Regular two-year course. Post-graduate and non- CADY professional course. Every woman should have this Linda Ekman Villa Whitney White tnuning, whether she teaches or not. Elizabeth Tyffe Helen Howard Whiting The Boston Symphony Orchestra PHILADELPHIA Programme - For the twentv-four Boston concerts, with Historical ICE CREAM CO. and Descriptive Notes by Philip Hale. Bound copies of the Programme for the entire season can be had at $3.00 by applying before the last concert. 38 WEST STREET Address all communications to NEAR TItEMONT VTREET F. R. COMEE, BOSTON - Symphony Hall, Boston. TELEPHONE, OXFORD 682 1781 not possibly be got in any other way. This is the true test of the advisability of the instrumental use of the chorus. Such moments are more likely to occur in works in the course of which the chorus takes its own natural place of giving expression to words, either lyrical or dramatic. Its employment for effects of colour is necessarily a subsidiary one, and if used alone it is likely to defeat its own object and to become too prominent. But that it is a genuine means of produc- ing beautiful effects is certain ; and since it is one of the few means left in which composers have made, up to the present, only tentative experiments, its possibilities and its drawbacks should be fully considered.

~~Symphony in E minor. No. 5, "From the New World," Op. 95 Anton Dvorak.~~

~~(Bom at Miihlhausen (Nelahozeves) near Kralup, Bohemia, September 8, 1841; died at Prague, May i, 1904.)~~

~~This symphony was performed for the first time, in manuscript, by the Philharmonic Society of New York on Friday afternoon, December~~

i5> 1893. The first performance in Boston was on December 30 of the same year. The work aroused a controversy in which there was shedding of much ink. The controversy long ago died out, and is probably forgotten even by those who read the polemical articles at the time and expressed their own opinions. The symphony remains. It is now without associations that might prejudice. It is now enjoyed or appreciated, or possibly passed by, as music, and not as an exhibit in a case on trial. ANNOUNCEMENT EXTRAORDINARY

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~~1782 Yet it may be a good thing to recall the circumstances of its origin;~~

~~and, as Mr. Henry E. Krehbiel was deeply interested in the conception~~

and birth of the symphony, it is better to quote his words.*

~~"Last spring the eminent Bohemian composer published his belief~~

~~that there was in the songs of the negroes of America 'a sure founda-~~

~~tion for a new National School of Music,' and that an intelligent cul- tivation of them on the part of American composers might result in~~

the creation of an American School of Composition. His utterances created a deal of comment at the time, the bulk of which was distinguished by flippancy and a misconception of the composer's meaning

~~and purposes. Much of the American criticism, in particular, was based on the notion that by American music Dr. Dvofak meant the~~

~~songs of Stephen C. Foster and other contributors to old-time negro minstrelsy, and that the school of which he dreamed was to devote~~

~~itself to the writing of variations on 'The Old Folks at Home' and~~

tunes of its class. Such a blunder, pardonable enough in the popular mind, was yet scarcely venial on the part of composers and newspaper reviewers who had had opportunities to study the methods of Dr.

Dvorak in his published compositions. Neither is it creditable to them, though perhaps not quite so blameworthy, that they have so long remained indifferent to the treasures of folk-song which America contains. The origin of that folk-song has little to do with the argu-

~~ment, if it shall turn out that in it there are elements which appeal to~~

~~the musical predilections of the American people, and are capable of~~

* From a little pamphlet, " Antonin Dvorak's Quartet in F major, Op. 96" (New York, 1894).

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that which is most characteristic, most beautiful, and most vital in our folk-song has come from the negro slaves of the South, partly because those slaves lived in the period of emotional, intellectual, and social development which produces folk-song,, partly because they lived a life that prompted utterance in song, and partly because as a race the negroes are musical by nature. Being musical and living a life that had in it romantic elements of pleasure as well as suffering, they gave expression to those elements in songs, which reflect their original nature as modified by their American environment. Dr. Dvorak, to whom music is a language, was able quickly to discern the character- istics of the new idiom and to recognize its availability and value.

He recognized, too, what his critics forgot, that that music is entitled to be called characteristic of a people which gives the greatest pleasure to the largest fraction of a people. It was therefore a matter of in- difference to him whether the melodies which make the successful appeal were cause or effect; in either case they were worthy of his attention. .

"He has not said these things in words, but he has proclaimed them in a manner more eloquent and emphatic: he has composed a symphony, a quartet, and a quintet for the purpose of exemplifying his theories. The symphony he wrote in New York, the chamber music in Spillville, la., a village which contains a large Bohemian popula- tion." * * *

~~Lots of people never worry about style, fust buy FOWNE^S GLOVERS and hit it right.~~

~~1784 It was said by some in answer to these statements that, while the~~

~~negro is undoubtedly fond of music, he is not inherently musical ; that~~

this has been observed by all careful observers of the negro in Africa, from Bosman to Sir Richard F. Burton, who wrote in his chapter, "Of the Negro's Place in Nature":* "The negro has never invented an alphabet, a musical scale, or any other element of knowledge. Music and dancing, his passions, are, as arts, still in embryo" ; that the Amer- ican negro, peculiarly mimetic, founded his "folk-songs" on sentimen- tal ballads sung by the white woman of the plantation, or on camp- meeting tunes; that he brought no primitive melodies with him from Africa, and that the "originality" of his "folk-songs" was misunder- standing or perversion of the tunes he imitated ; that, even if the negro brought tunes from Africa, they could hardly, even after long usage, be called "American folk-songs," any more than the tunes of the ab- original Indians or Creole ditties can be called justly ' 'American folk- " songs ; that it would be absurd to characterize a school of music based on such a foundation as an "American school"; that, if "that music is entitled to be called characteristic of a people which gives the greatest pleasure to the largest fraction of a people," then German folk- songs are characteristic of the city of New York, and Irish folk-songs are characteristic of the city of Boston.

* * The subject, duly labelled and dated, now rests on the shelf, and for some time it has not been taken down and dusted. Yet the discussion was no doubt healthful and profitable, for without fierce discussion art is stagnant. Mr. MacDowell's "Indian" suite was sketched

* Chapter xix. of "A Mission to Gdele, King of Dahome."

IT WILL PAY lOD IF Bureau of Social / lOD WANT A Requirements FineViohn 601-3 Boylston Street, to send for our latest Boston, Mast. catalog and special TELEPHONE. list of this year's purchases. Our BACK BAY 409 collection is the only one of Governesses, Managing and Working importance in America and Housekeepers, Companions, Matrons, comprises well-conditioned and Nursery Governesses, Kindergartenen, authenticated specimens of Stra- Private and Social Secretaries, Chap* divarius, Guarnerius and other erons, Accountants, Seamstresses, and famous masters. Expert Trunk Packers. Household ae- LYON & HEALY counts, Shopping or Marketing. The dismantling or opening of residences io No. 1. ADAMS ST., CHICAGO the dty or eountiy. 1785 before Dvorak's symphony was announced; but the controversy led to still more careful investigation, especially into the character of the North American Indians' music. Mr. Krehbiel has studied carefully this music and discussed it in articles of permanent value. Mr. Fill- more, who began like study in 1888, Miss Alice C. Fletcher, Mr. Fred- erick R. Burton, and others have made valuable contributions to this branch of musical inquiry. * * Mr. William Ritter, the author of a life of Smetana (Paris, 1898), contributed letters from Prague to the Mercure Musical, Paris. In the number for May 15, 1907, he discussed this symphony. He wrote to the sons of Dvofdk, to Antonin and Otaker, and he asked them eleven questions, with this preface : "I ask you to reply as soon as possible to the following questions, with the utmost exactness, if not categorically by 'yes' or by 'no.'" The first four questions were concerning the use of negro tunes in the symphony "From the New

World," whether Dvorak had used them at all, or, if he had, whether he had modified them. The other questions were concerning DvoMk's use of chorals of Brittany or Russian folk-song in the symphony, whether he had known and consulted collections of folk-song by Bala- kireff, Rimsky-Korsakoff, Moussorgsky, Bourgault-Ducoudray, and whether he had read Villemarqu6's work on songs of Brittany. Fortunately for the sons this letter was written in February when the air was cool and the nights were long. The sons answered in effect as follows: Dvofak knew nothing about the folk-songs and chorals of Brittany. He knew the Russian composers by name, but he had never studied thoughtfully their compositions. "Any one who knows his [Dvorak's] own works will surely smile at the mere suggestion that there was any necessity of borrowing from

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1786 any one of these masters." Nor did Dvofak know anything about the researches of the two Frenchmen. Now, as regards the negro question. "In America negro airs, which abound in melodic particularities interested our father. He studied them and arranged the scale according to which they are formed. But the passages of the symphony and of other works of this American period which as some pretend, have been taken from negro airs, are absolutely our father's own mental property; they were only influenced by negro melodies. As in his Slav pieces, he never used Slav songs, but, being a Slav, created what his heart dictated, all the works of this American period—the symphony included—respond to Slav origin, and any one who has the least feeling will proclaim this fact. Who will not recognize the homesickness in the L-argo of this symphony ? The secondary phrase of the first movement, the first theme of the scherzo, the beginning of the finale and perhaps also the melody of the Largo which give a certain impression of the groaning negro song, are only influenced by this song and determined by change of land and the influence of a foreign climate." Mr. Ritter was not satisfied with these answers to his questions. He wrote letters to other Bohemians, who knew Dvofak. Mr. Miloslav Rybdk told him that Dvofak would have been much, surprised, had he been charged with reading French authors. "All

he cared for was to compose to lead a country life, and above all to take care of his pigeons. Among the letters known to have been written by him is one from America to a priest, who had invited him to spend the summer in the country. This priest put at his disposal a donkey, and this was the decisive argument: 'What a pleasure this will be for my children and myself!'" Dvofak had no education other than that at the elementary country

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n Irvlncfton Street, Suite ), 486 Boytetofl Street, BOSTON BOSTON. la Bteck «f kvoiwkk H«t»l 1787 school. Mr. Schwerik, a music critic, once met him and asked him what he was doing. "I am improving my mind!" answered Dvofdk, who then drew out of his pocket a Httle pamphlet, poorly printed, a collection of the lives of celebrated persons, Galileo, Copernicus, and others, for boys of fifteen years. "He was not sufficiently educated," says Mr. Rybdk, "to know the books mentioned. Any element that was not Czech—I do not say even Slav—^was repugnant to his musical individuality. He produced so quickly that it was impossible for him to hunt for melodies in books, and there was, certainly, no need of his searching. He heard all the orchestration when he made his first sketches. I have seen the sketch of the 'New World' symphony The symphony is all there, written with one outburst on two pages of paper and sketched on two staves. The orchestration is so well indicated under the chords that, even if the symphony had not been written out, it would almost be possible to complete it from the sketch." All the correspondents of Mr. Ritter insist on the inherently Czech nature of this "American" symphony. "Never has Dvorak shown himself a more genuine Czech." One correspondent writes that it is very difficult for a stranger to distinguish the folk-songs of diverse Slav nations,—Bulgarian, Croatian, Czech, Montenegrin, Pole, Russian, Servian, Wend. Show a Russian the chorus "Gospodinepomiluj ny"

~~Miss FRANCES L THOMAS~~

~~.. Corsetiere ..~~

~~BERKELEY BUILPING - BOSTON, MASS.~~

~~1788 —~~

~~in the last act of "Saint Ludmila," and he would swear the chorus is Russian, yet nothing bears a closer resemblance to the choruses of the Moravian Brethren known to every one in Bohemia.~~

' ' ' In the New World ' symphony you see the Czech peasant confronted with the rush and din of the feverish life in a great city. To understand the psychological foundation of this symphony it is necessary to know something about the Czech people. Here is an analogous fact. You are acquainted with Dvofdk's 'Requiem'; the text |is surely the most international of any text within the world; now the music is excellent Czech music ; it expresses exactly the feelings of a Bohemian peasant during the mass for the dead."

Then there is the question of tempo. It is all important, say the Bohemian musicians and critics, to know the tempi of Dvofak, for the indications in the scores are of little use to any one not versed in Czech rhythms. "Do you remember that Mrs. at X B , who declared that the 'Slav Dances' were boresome beyond endurance? After we had played them together, she said 'they are dififerent things, but a Czech who can put the national sentiment into them should be dis- tributed with each copy.'"

~~The conclusion of the whole matter, according to these Czechs, is as follows :~~

1. The "New World" symphony expresses the state of soul of an uncultured Czech in America, the state of a homesick soul remembering his native land and stupefied by the din and hustle of a new life. 2. The uncultured Czech is a born musician, a master of his trade. He is interested in the only traces of music that he finds in America. Negro airs, not copied, adapted, imitated, tint slightly two or three passages of the symphony without injury to its Czech character.

~~3. The symphony leaped, Miner\^a-like, from the head of this un-~~

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4. The national Czech feeling in this work, quickened by homesickness, is so marked that it is recognized throughout Bohemia, by the learned and by the humblest. These are the conclusions of Mr. Ritter after a painstaking investigation. That Dvofak was most unhappy and pathetically homesick during his sojourn in New York is known to many, though Mr. Ritter does not enter into any long discussion of the composer's mental condition in this country. Yet some will undoubtedly continue to insist that the symphony "From the New World" is based, for the most part, on negro themes, and that the future of American music rests on the use of Congo, North American Indian, Creole, Greaser and cowboy ditties, whinings, yawps and whoopings.

The symphony is scored for two flutes (one of which is interchangeable with piccolo), two oboes (one of which is interchangeable with Eng- lish horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, cymbals, and strings. The first movement opens with a short introduction. Adagio, E minor, 4-8, which, as all admit, is not characterized by "folk-song." The

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1790 strings, pianissimo, are promptly answered by the wood-wind. There is a sudden fortissimo, in which a figure in all the strings is answered by kettledrums. There is development, in which the orchestra grows stronger and stronger.

The first portion of the chief theme of the main body of the first movement. Allegro molto, E minor, 2-4, is given out by two horns in unison; the second, by the wood-wind. This theme is developed at length, and modifications suggest occasionally a new and contrasting subject. Folk-lorists have called attention to the species of syncopa- tion known as the "Scotch snap," that distinguishes this chief theme^ and also pointed out the five-note, or pentatonic, scale, from which the theme is derived. In a subsidiary theme announced by flutes and oboes there is a use of the flat seventh, a use that is common to Ori- ental races as well as the negro of the camp-meeting. The second theme, G major, is given out by the flute, and was, no doubt, derived from the familiar melody, "Swing Low, Sweet Chariot." The violins take up this theme. There is some development, but less than that of the first; and there is the traditional repeat. In the free fantasia the thematic material of the first part is worked out; and then there is a return of the first theme in the tonic at the beginning of the third part, which is in general a regular reproduction of the first, with changes of tonalities. The brilliant coda is built chiefly on the first theme.

In the second movement, Largo, D-flat major, 4-4, Dvorak is said to attempt the suggestion of the mood in the story of Hiawatha's wooing, as told by Longfellow. The chief and romantic theme is sung by the English horn over a soft accompaniment of strings. The development is extended. After the theme is sung by two muted horns there is a change to C-sharp minor, un poco piu mosso, and a short transitional passage on a contrasting theme leads to the second theme in the wood-

Jacob ThomaJc ROUND THE WORLD Son Violin MaJcers and Importers IN Repairers to the TWELVE MONTHS Boston Symphony Orchestra Acentsforthe SILVESTRE ft MAU> COTEL Tested Violin String Remarkable THE (Extra and Tricolore) Itinerary; Agents for the C. F. ALBERT Pat. Departure Auiiust OLLVER Triple-covered, wound Violin, 5th. $4,850 TOURS Viola, and 'Cello Strincs Seven Months Large Assortments of Tour In October. c OMPANY VIOLINS, 'CELLOS, $2,750 AND BOWS (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. Talaphom, litJ-i Oxford 1791 Miss M. F. FISK wind over a bass in counterpoint and pizzicato. There dfe several melodies in this movement ; but, while the sentiments are diverse, there is no abruptness in contrast. There is a return to the first theme in the English horn. The movement ends pianissimo with a chord in the double-basses alone. Third movement, Scherzo: Molto vivace, B minor, 3-4. It opens with a theme, for flutes and oboes, which appears as a rule in imitations. The second theme in E major, poco sostenuto, also for flutes and oboes, is of more song-like character. The trio, C major, opens with a lively theme for wind instruments. This is followed by a second theme for strings. A reminiscence of the opening theme of the first movement is heard just before the trio, and also in the coda. The Finale, Allegro con fuoco, E minor, 4-4, opens with a few intro- ductory measures. The first theme is given out fortissimo by horns and trumpets against staccato chords in the rest of the orchestra. The development is first in the strings, then in the full orchestra. After the development of subsidiary matter the clarinet sings the second! theme. In the development that follows are recollections of the opening theme of the first movement, the English horn melody of the second,, and the opening phrase of the scherzo. There is a tumultuous coda„ based on the union of the chief theme of the first movement with the first theme of the finale. CARD

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1704 Twenty-third Rehearsal and Concert*

~~FRIDAY AFTERNOON, APRIL 23, at 2.30 o'clock.~~

~~SATURDAY EVENING, APRIL 24, at S o'clocfc.~~

~~PROGRAMME.~~

~~Bruckner ...... Symphony No, 8, C minor~~

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

~~(Repeated by Request,)~~

~~Wagner , . . "A Siegfried Idyl"~~

1795 THURSDAY EVENING, APRIL 22, AT EIGHT CHAMBER CONCERT BY The Helen Reynolds Trio HELEN REYNOLDS KATHERINE HALLIDAY MARGARET GORHAM Violin Violoncello Piano ASSISTED BY BERTHA WESSELHOEFT SWIFT, Soprano PROGRAM I. BEETHOVEN ^. Trio in D major, Op. 70, No. 1 II. VICTOR MASS6 Aria, " Nous Marchions cette Nuit." (fronj " Paul et Virginie ") III. EDWARD SCHUTT Walzer-Maxchen, Op. 64 IV. LANDON RONALD Down in the Forest EUGENE HILDACH Es ist Kein Berg so hoch HAMILTON HARTY Lane o' the Thrushes JEAN SIBELIUS : Longing A Maidenidei yonder Sings (X)WEN . Thoughts at Sunrise V. CHRISTIAN SINDING Trio in D major. Op. 23 Reserved Seats #i.oo. Students' Tickets, 50c. Tickets are now on sale at the Hall PIANOFORTE RECITAL BY EDITH WELLS BLY TUESDAY AFTERNOON, APRIL 27, AT 3 PROGRAM

~~GLAZOUNOFF . . . . Theme et Variations CHOPIN ..... Sonata in B minor LISZT ...... Gondoliera CHADWICK 1 In thi Canoe~~

~~SCHULZ-EVLER-STRAUSS . Arabesques on "The Beautiful Blue Danube " THE HUME PIANO USED Reserved Seats, $1.00. Tickets on sale at the Hall~~

FOX - BUONAMICI SCHOOL OF PIANOFORTE PLAYING FELIX FOX CARLO BUONAMICI DIRECTORS RECITAL BY ADVANCED PUPILS MONDAY EVENING, APRIL 26 1796 Debussy's "Pelleas et Melisande" The most extensile appteciation of this epoch-ma.ktng 'work e'ber published is contained in Lawrence Gilman's Aspects of Modern Opera l6mo. Illusirattd. $i.2j net. Postage, lo cents

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~~The Boston Symphony Orchestra Programme~~

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~~Descriptive Notes by Philip Hale. Bound copies of the~~

~~Programme for the entire season can be had at $2.00~~

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~~The Boston SymphonyOrchestra~~

~~MAX FIEDLER, Conductor~~

~~NEXT CONCERT~~

~~THURSDAY EVENING, APRIL 29, at 8~~

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~~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. Five hundred dollars for a String Quartet, or for a Quartet for Piano and Strings, or 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. 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. 1803 1804 MUSICAL INSTRUCTION.~~

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~~Classes in Sight Reading Miss CAROLINE M. SOUTHARD, (EIGHT HANDS). Advanced pupils follow the Symphony programmes TEACHER OF THE PIANOFORTE. as far as practicable. 165 Huntington Avenue - Boston~~

~~TEACHER OF SINGING.~~

~~Miss CLARA £. HUNGER, New Century Building, 177 Huntington Avenue, Boston.~~

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HELEN ALLE/N HUNT. BOSTON MUSICAL BUREAU. ErtaMkbcd 1899. CONTRALTO SOLOIST. Supplies Schools, CoUeccs, and ConiarvatoriM with Teachers of Music, etc.; also CburcbM witk Teacher of Singing. Organists, Directors, and Sinxcrs. Address HENRY C. LAHEE, No. 514 Pierce Building . Boston. 'Phone, 47S-I Oxford. ziSTrhmont St., Boston.

CAROLINE WOODS-HOWELL Miss PAULA MUELLER. TEACHER OF SINGING Teacher of Piano and German Language. JEAN DERESZKE METHOD STUDIOS, 514 Pierce Building 28 Central A-r«QUe, Room 30, Stainert Hall MEDFORD. BOSTON. Interviews by appointment only RECTTAL8. 1807 MR. ROBT. N. 1 I O TT O Mme. de BERG-LOFQREN, MRS. ROBT. N. Li 1 O i Ej IVy

~~Teacher of Singing, TEACHER OF SINGING. Soprano Soloist. The " GARCIA " Method. Symphony Chambers, opposite Symphony Hall, BOSTON. Studio, 12 Westland Avenue. BOSTON, MASS.~~

TIPPETT ''"'' Mrs. H. CARLETON SLACK, VOCAL INSTRUCTION. ^^'^^^^'^ PA II I I 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 Teacher of Voice, Elocution, Phydcai Culture. 312 PIERCE BUILDING COPLEY SQUARE 59 Westland Avenue. Telephone, 3439-1 Back Bay.

Miss JANET DUFF, Miss MARIE WARE LAUGHTON, (7 years pupil of Francis Korbay) C ontralto, Concerts, Oratorios, and Song Recitals. Lecturer and Reader of Shakspere. Teacher of Voice Production and Singing. Instructor of the VOICE IN SPEECH. Studio, 402 Huntington 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 SQUARE

EDITH MAY LANG, Mrs. ONTHANK, 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 Wentwortb MacGregor, fumish a Small Orchestra of mem- Will TEACHER OF SINGING. bers of the Boston Symphony Orchestra for Musicales, Dinners, Receptions, etc. Residence Studio, 780 Beacon Street. Address, Symphony Hall. Tuesdays and Fridays at Abbot Academy.

~~Mrs. W. S. LELAIND 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 EDWIN N. C. BARNES, SOPRANO Basso Cantante and t^r^ GOODBAR, SOLOIST. Teacher of Singing. TEACHER OF SINGING. Thorough preparation for Concert and Church. Symphony Chambers . . . Boston. Studio . . Steinert Hall. Opposite Hall. Symphony 'Phone, Oxford 1330. Mondays and Thursdays 1808 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, 1900,— the most important of the three, as it pertains to tone production

Ql-i. r !/>«/> ^'^ ^ piano is dependent upon the crown, or arch, Udliry^ 01 1 one of its sounding-board. Loss of tone-quality is caused by the flattening of the sounding-board through the action of the atmosphere and the great downward pressure of the strings. The Mason & Hamlin 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 Octobee 11, 1902, CONTAINS THE FOLLOW^ING; "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 Mason & Hamlin of Boston, U.S.A." A copy of the Scientific A/nerican article will be mailed upon application MASON & HAMLIN COMPANY 0pp. Inst, of Technology 492-494 Boylston Street ©6e STEINWAY PIANO

~~'" %«'°'W' p«'«' In Concert Halls »' use the oteinway when p'-'fat 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 modem commercial methods, and prompted only by a desire and a need for the best the world can give them.~~

~~In Private Homes theStemwayPia„o« the choice ot 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 Ste^nway is the chosen Plano. •^ INot other piano house has been~~

~~and is 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 ®. SON5 Stein-wiray Hall 107 and 109 £ast 14tH St., New YorR~~

~~Subway Express Station at the Door~~

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