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SANDERS THEATRE . . CAMBRIDGE HARVARD UNIVERSITY

Thirty-fifth Season, 1915-1916

Dr. KARL MUCK, Conductor

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

THURSDAY EVENING, OCTOBER 21

AT 8.00

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Violins.

Witek, A. Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H.

Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A.

Griinberg, M. Pinfield, C. Gerardi, A. Kurth, R. Gunderson, R. Gewirtz, J.

Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos.

Warnke, H. Keller, J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R. Nast, L. Folgmann, E. Warnke, J.

Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R.

Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H. Vannini, A. Fuhrmann, M. Battles, A.

English Horn. Bass Clarinet. Contra-Bassoon.

Mueller, F. Stumpf, K. Mosbach, J.

Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. Alloo, M. Lorbeer, H. Miersch, E. Mann, J. Belgiorno, S. Hain, F. Hess, M. Nappi, G. Mausebach, A. Resch, A. Hubner, E. Kloepfel, L. Kenfield, L.

Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Gardner, C Cella, T. Kandler, F. Burkhardt, H.

Organ. Librarian. Assistant Librarian.

Marshall, J. P. Sauerquell, J. Rogers, L. J. 3 , 1 sB«gg*+Kg J majjiuitnt: MSB nearfia centiffy CHICREMNi PIANOFO

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, } SANDERS THEATRE .... CAMBRIDGE HARVARD UNIVERSITY

Of »iri 5jiMpmmjU Thirty-fifth Season, 1915-1916 Dr. KARL Mu6k, Conductor

FIRST CONCERT

THURSDAY EVENING, OCTOBER 21

AT 8.00

PROGRAMME

Beethoven Symphony in C minor, No. 5, Op. 67

I. Allegro con brio. II. Andante con mo to. in. Allegro: Trio. IV. Allegro.

Brahms "Tragic" Overture, Op. 81

Chopin . Concerto in E minor, for Pianoforte and Orchestra, Op. 11

Wagner . Prelude to "Die Meistersinger von Nurnberg'

SOLOIST OSSIP GABRILOWITSCH

MASON & HAMLIN PIANO

There will be an intermission of ten minutes after the symphony 5 wmmmmmmmmmmmmmmm— —

Symphony No. 5, in C minor, Op. 67 . . Ltjdwig van Beethoven

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

Beethoven sketched motives of the allegro, andante, and scherzo of this symphony as early as 1800 and 1801. We know from sketches that while he was at work on "Fidelio" and the pianoforte concerto in G major,— 1804-06,—he was also busied with this symphony, which he put aside to compose the fourth symphony, in B-flat. The symphony in C minor was finished in the neighborhood of Hei- ligenstadt in 1807. Dedicated to the Prince von Lobkowitz and the Count Rasumoffsky, it was published in April, 1809. It was first performed at the Theater an der Wien, Vienna, Decem- ber 22, 1808. All the pieces were by Beethoven; the symphony de- scribed on the programme as "A symphony entitled 'Recollections of Life in the Country,' in F major, No. 5" (sic); an Aria, "Ah, perfido," sung by Josephine Kilitzky; Hymn with Latin text written in church style, with chorus and solos; Piano Concerto in G major, played by Beethoven; Grand Symphony in C minor, No. 6 (sic); Sanctus, with Latin text written in church style (from the Mass in C major), with chorus and solos; Fantasia for pianoforte solo; Fantasia for pianoforte "into which the full orchestra enters little by little, and at the end the chorus joins in the Finale." Beethoven played the pianoforte part. The concert began at half-past six. We know nothing about the pecuniary result.

The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings; and in the last movement piccolo, double-bassoon, and three trombones are added. Instead of inquiring curiously into the legend invented by Schindler, —"and for this reason a statement to be doubted," as Biilow said, that Beethoven remarked of the first theme, "So knocks Fate on the door!"* instead of investigating the statement that the rhythm of this theme was suggested by the note of a bird,—oriole or goldfinch,—heard during a walk; instead of a long analysis, which is vexation and con- fusion without the themes and their variants in notation,—let us read and ponder what Hector Berlioz wrote:

"The most celebrated of them all, beyond doubt and peradventure,

is also the first, I think, in which Beethoven gave the reins to his vast imagination, without taking for guide or aid a foreign thought. In the

first, second, and fourth, he more or less enlarged forms already known, and poetized them with all the brilliant and passionate inspirations

of his vigorous youth. In the third, the 'Eroica,' there is a tendency,

it is true, to enlarge the form, and the thought is raised to a mighty

height; but it is impossible to ignore the influence of one of the divine

*It is said that Ferdinand Ries was the author of this explanation, and that Beethoven was grimly sarcastic when Ries, his pupil, made it known to him. poets to whom for a long time the great artist had raised a temple in his heart. Beethoven, faithful to the Horatian precept, ' Nocturna vers ate manu, versate diuma,' read Homer constantly, and in his magnificent musical epopee, which, they say, I know not whether it be true or false, was inspired by a modern hero, the recollections of the ancient

Iliad play a part that is as evident as admirably beautiful. "The symphony in C minor, on the other hand, seems to us to come directly and solely from the genius of Beethoven; he develops in it his own intimate thought ; his secret sorrows, his concentrated rage, his reveries charged with a dejection, oh, so sad, his visions at night, his bursts of enthusiasm—these furnish him the subject; and the forms of melody, harmony, rhythm, and orchestration are displayed as essentially individual and new as they are powerful and noble.

"The first movement is devoted to the painting of disordered senti- ments which overthrow a great soul, a prey to despair : not the concentrated, calm despair that borrows the shape of resignation: not the dark and voiceless sorrow of Romeo who learns the death of Juliet; but the terrible rage of Othello when he receives from Iago's mouth the poisonous slanders which persuade him of Desdemona's guilt. Now it is a frenetic delirium which explodes in frightful cries; and now it is the prostration that has only accents of regret and profound self-pity. Hear these hiccups of the orchestra, these dialogues in chords between wind instruments and strings, which come and go, always weaker and fainter, like unto the painful breathing of a dying man, and then give way to a phrase full of violence, in which the orchestra seems to rise to its feet, revived by a flash of fury : see this shuddering mass hesitate a moment and then rush headlong, divided in two burning unisons as two streams of lava; and then say if this passionate style is not beyond and above everything that had been produced hitherto in instrumental music. . . . — "The adagio"*—andante con moto "has characteristics in common with the allegretto in A minor of the seventh symphony and the slow movement of the fourth. It partakes alike of the melancholy soberness of the former and the touching grace of the latter. The theme, at first announced by the united 'cellos and violas, with a simple accompaniment of the double-basses pizzicato, is followed by a phrase for wind instruments, which returns constantly, and in the same tonality throughout the movement, whatever be the successive changes of the first theme. This persistence of the same phrase, represented always in a profoundly sad simplicity, produces little by little on the hearer's soul an indescribable impression. . . .

"The Scherzo is a strange composition. Its first measures, which are not terrible in themselves, provoke that inexplicable emotion which

* Such indifference of Berlioz to exact terminology is not infrequent in his essays. you feel when the magnetic gaze of certain persons is fastened on you. Here everything is sombre, mysterious: the orchestration, more or less sinister, springs apparently from the state of mind that created the famous scene of the Blocksberg in Goethe's 'Faust.' Nuances of piano and mezzoforte dominate. The trio is a double-bass figure, executed with the full force of the bow; its savage roughness shakes the orchestral stands, and reminds one of the gambols of a frolicsome elephant. But the monster retires, and little by little the noise of his mad course dies away. The theme of the scherzo reappears in pizzicato. Silence is al- most established, for you hear only some violin tones lightly plucked and strange little duckings of bassoons. ... At last the strings give gently with the bow the chord of A-flat and doze on it. Only the drums preserve the rhythm; light blows struck by sponge-headed drumsticks mark the dull rhythm amid the general stagnation of the orchestra. These drum-notes are C's; the tonality of the movement is C minor; but the chord of A-flat sustained for a long time by the other instruments seems to introduce a different tonality, while the isolated hammering the C on the drums tends to preserve the feeling of the foundation tonality. The ear hesitates,—but will this mystery of harmony end?—and now the dull pulsations of the drums, growing louder and louder, reach with the violins, which now take part in the movement and with a change of harmony, to the chord of the domi- nant seventh, G, B, D, F, while the drums roll obstinately their tonic

C : the whole orchestra, assisted by the trombones which have not yet been heard, bursts in the major into the theme of a triumphal march, and the Finale begins. . . . "Criticism has tried, however, to diminish the composer's glory by stating that he employed ordinary means, the brilliance of the major mode pompously following the darkness of a pianissimo in minor; that the triumphal march is without originality, and that the interest wanes even to the end, whereas it should increase. I reply to this: Did it require less genius to create a work like this because the passage from piano to forte and that from minor to major were means already understood? Many composers have wished to take advantage of the same means; and what result did they obtain comparable to this gigantic chant of victory in which the soul of the poet-musician, henceforth free from earthly shackles, terrestrial sufferings, seems to mount radiantly toward heaven? The first four measures of the theme, it is true, are not highly original; but the forms of a fanfare are inherently restricted, and I do not think it possible to find new forms without departing utterly from the simple, grand, pompous character which is becoming. Beethoven wished only an entrance of the fanfare for the beginning of his finale, and he quickly found in the rest of the movement and even in the conclusion of the chief theme that loftiness and originality of style which never forsook him. And this may be said in answer to the reproach of not having increased the interest to the very end: music, in the state known at least to us, would not know how to produce a more violent effect than that of this transition from scherzo to triumphal march; it was then impossible to enlarge the effect afterward. "To sustain one's self at such a height is of itself a prodigious effort; yet in spite of the breadth of the developments to which he committed himself, Beethoven was able to do it. But this equality from beginning to end is enough to make the charge of diminished interest plausible, on account of the terrible shock which the ears receive at the beginning; a shock that, by exciting nervous emotion to its most violent paroxysm, makes the succeeding instant the more difficult. In a long row of columns of equal height, an optical illusion makes the most remote to appear the smallest. Perhaps our weak organization would accommo- date itself to a more laconic peroration, as that of Gluck's 'Notre general vous rappelle.' Then the audience would not have to grow cold, and the symphony would end before weariness had made impossible further following in the steps of the composer. This remark bears only on the mise en scene of the work; it does not do away with the fact that this finale in itself is rich and magnificent; very few movements can draw near without being crushed by it." This symphony was performed in Boston at an Academy Concert as early as November 27, 1841.

"Tragic" Overture, Op. 81 Johannes Brahms

(Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.)

Although the "Tragic" Overture is Op. 81, and the "Academic" Op. 80, the "Tragic" was composed and performed before the "Aca- demic"; it was performed for the first time at the fourth Philhar- monic concert at Vienna in 1880; * it was published in 1881. The first performance in Boston was by the Symphony Orchestra, October 29, 1881. The overture has been characterized as "a tragedy not of actual happenings, but of soul life." No hero, no event, suggested programme music or any specific musical portrayal, although Hanslick, sworn

partisan of Brahms, says that, if it be necessary to associate the over-

ture with any particular tragedy, that tragedy is "Hamlet." The secondary theme in F is associated by some with Ophelia, and the episode in B-flat major with Fortinbras. Others remember that Dingel-

* Yet some German commentators give January 4, 1881, and Breslau, as the date and the place of the first performance of both the "Tragic'' and the "Academic." —

stedt in 1876 wished to organize a "Faust" Festival, and Brahms, asked whether he would write the music, expressed his willingness. To them this overture is a "Faust" overture.* The "Tragic" Overture may be said to be a musical characterization of the principles of tragedy as laid down by Aristotle or Lessing; it mir- rors, as Reimann puts it, the grandeur, the loftiness, the deep earnest- ness, of tragic character; "calamities which an inexorable fate has imposed on him leave the hero guilty; the tragic downfall atones for the guilt; this downfall, which by purifying the passions and awakening fear and pity works on the race at large, brings expiation and redemp- tion to the hero himself." Or as Dr. Deiters puts it: "In this work we see a strong hero battling with an iron and relentless fate; passing hopes of victory cannot alter an impending destiny. We do not care to inquire whether the composer had a special tragedy in his mind, or if so, which one; those who remain musically unconvinced by the unsurpassably powerful theme, would not be assisted by a particular suggestion."

The overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, strings. The work begins Allegro ma non troppo, D minor, 2-2. After two introductory fortissimo chords the first theme is announced against

a drum-roll by strings. The first portion of the theme is repeated by wood-wind, violas, 'cellos, double-basses, supported at times by brass. A subsidiary theme appears in violins and violas. Wind instruments sing an expressive syncopated passage; the first section of the chief

theme is intoned by wood-wind and strings in unison; second trombone and bass tuba have a descending and pianissimo motive. The

second theme, a song in F major, is given to violins, accompanied by strings, clarinets, bassoons. Two episodes with fresh material follow. In the development the first theme and the trombone tuba theme are especially used. The second and song theme is soon crowded out by the chief theme, which is augmented and still more passionate.

The first section of the overture is so much developed that it often seems the true free fantasia; but the fantasia is comparatively short,

comparatively, for the working-out is elaborate, but the enormous

length of the first section makes the fantasia seem short. The third

section contains the conclusion-period of the first, with some deviations from the original plan; it leads to a short coda.

* See Kalbeck's "Johannes Brahms," vol. iii., Part L, pp. 257-259 (Berlin, 1910).

10 Concerto in E minor, for Pianoforte and Orchestra, Op. hi Frederick Chopin

(Born at Zelazowa-Wola, near Warsaw, March i, 1809; died at Paris, October 17, 1849.)

In March, 1830, Chopin wrote from Warsaw: "I hope yet to finish before the holidays the first Allegro of my second concerto" {i.e., the one in E minor). The concerto in F minor was composed and played before the one in E minor, but it was published later (1836). He wrote on May 15 of the same year: "The Rondo for my concerto is not yet finished, because the right inspired mood has always been wanting. If I have only the Allegro and the Adagio completely finished, I shall be without anxiety about the Finale. The Adagio is in E major, and of a romantic, calm, and partly melancholy character. It is intended to convey the impression which one receives when the eye rests on a beloved landscape which calls up in one's soul beautiful memories,—for instance, on a fine moonlit spring night. I have written violins with mutes as an accompaniment to it. I wonder if that will have a good effect? Well, time will show." In August the Finale was ready, and in September the concerto was rehearsed with a quartet. Chopin wrote: "Those who were present say that the Finale is the most successful movement (probably because it is easily intelligible)." The musical world of Warsaw—Poles, Czechs, Germans, Italians—were invited to the rehearsal with full orchestra, except trumpets and drums, September 22, 1830. "Then I have also to provide the desks and mutes, which I had yesterday totally forgotten: without the latter the Adagio would be wholly insignificant and its success doubtful. The Rondo is effective, the first Allegro vigorous. Cursed self-love! And, if it is any one's fault that I am conceited, it is yours, egoist: he who associates with such a person becomes like him." The concert was given in the theatre at Warsaw on October 11, 1830, and was most successful. The theatre was full. Chopin, who had been exceedingly nervous, played at his ease on one of Streicher's pianos. Soliva conducted. "The first Allegro of the concerto went very smoothly, and the audience rewarded him with thundering applause. Of the reception of the Adagio and Rondo we learn nothing except that in the pause between the first and second parts the connoisseurs and amateurs came on the stage, and complimented him in the most flattering terms on his playing. The great success, however, of the evening was his performance of the Fantasia on Polish airs. 'This time I understood myself, the orchestra understood me, and the audience understood us." Soliva was obliged to make many corrections in the score. Carl Mikuli, who copied many of Chopin's manuscripts, says that "they were full of

11 slips of the pen, such as wrong notes and signatures, omissions of acci- dentals, dots, and intervals of chords, and incorrect markings of slurs and octaves." Chopin played the concerto at Breslau (November, 1830), Vienna

(1831), Munich (1831), Paris (February 26, 1832, and April 5, 1835), Rouen (1838). This concerto has been changed by some pianists for the sake of fuller orchestration and their own glory. The most famous of these versions is the one by Tausig. Chopin dedicated this concerto to Friedrich Kalkbrenner, whose playing he greatly admired. The work was published in 1833. *

The concerto was scored originally for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, bass trombone, a set of three kettledrums, strings, and solo pianoforte. Allegro, maestoso, B minor, 3-4. There are three chief themes, and they are exposed—the first two in E minor, the third in E major —by the first violins in the orchestral introduction. After the third theme fragments of the first are heard, and they prepare the first entrance of the pianoforte. The themes are used again in similar fashion, and the tonalities are those of the introduction, but the themes are broadened and lead to a virtuoso use of the pianoforte. In the second orchestral tutti there is employment of the first motive, and there is a modulation to C major with the second theme given to the solo instrument. Brilliant pianoforte passages follow, while the orchestra makes use of the first motive. There is then a tutti with the first motive in E minor, followed by the pianoforte with the second motive in E minor and at last the third in G major. The close is in E minor with the initial motive in the orchestra. Romanze: Larghetto, E major, 4-4. The strings play a short introduction. The first phrase is used later in various ways. The important motives are given out in succession by the pianoforte and varied. Later a theme in C-sharp minor is introduced which has only passing significance and gives way to the second motive, which is now in G-sharp minor. The strings sing the first theme with orna- mentation in the pianoforte. Rondo: Vivace, E major, 2-4. After a few measures of orchestral introduction the first chief theme is given to the pianoforte. The most noticeable of the other themes are an energetic tutti motive and a delicate melody given to the pianoforte.

12 Prelude to "The Mastersingers of Nuremberg." Richard Wagner

(Bora at Leipsic, May 22, 1813; died at Venice, February 13, 1883.)

The Vorspiel to "Die Meistersinger von Niirnberg" was performed for the first time at Leipsic, November 1, 1862. The opera was first performed at Munich, June 21, 1868.* The idea of the opera occurred to Wagner at Marienbad in 1845, and he then sketched a scenario, which differed widely from the one finally adopted. It is possible that certain scenes were written while he was composing "Lohengrin," and there is a legend that the quintet was finished in 1845. Some add to the quintet the different songs of Sachs and Walther. Wagner wrote a friend, March 12, 1862: "To-morrow

I at least hope to begin the composition of ' Die Meistersinger.' " The libretto was completed at Paris in 1861. He worked at Biebrich in 1862 on the music. The Prelude was sketched in February of that year, and the instrumentation completed in the following June. In the fall of that year he wished the public to hear fragments of his new works, as yet not performed nor published,—fragments of "Siegfried," "Tris- tan," "Die Walkure," and he himself added to these the overture to "Die Meistersinger," the entrance of the mastersingers, and Pogner's address, from the same opera.

His friend, Wendelin Weissheimer, opera conductor at Wurzburg and Mainz, composer, teacher, essayist, organized a concert at Leipsic for the production of certain works. Hans von Biilow was interested in the scheme, and the concert was given in the hall of the Gewandhaus,

November 1, 1862, as stated above. The programme also included the overture to "Tannhauser," Liszt's pianoforte concerto in A major, played by Biilow, and five compositions of Weissheimer. Wagner conducted the two overtures. The hall was nearly empty, and the concert was given at a pecuniary loss. This was naturally a sore disappointment to Wagner, who had written to Weissheimer,

October 12, 1862: "Good! 'Tannhauser' overture, then! That's all

1 right for me. For what I now have in mind is to make an out-and-

•The chief sinerers at this first performance at the Royal Court Theatre, Munich, were Betz, Hans Sachs; Bausewein, Poamer; Holzel, Beckmesser; Schlosser, David; Nachbaur, Walther von Stolzing; Miss Mal- linger, Eva; Mrae. Diez, Magdalene. The first performance in the United States was at the Metropolitan Opera House, New York, January 4, 1886; Emil Fischer, Sachs; Joseph Staudigl, Pogner; Otto Kemlitz, Beckmesser; Kramer, David; Albert Stritt, Walther von Stolzing; Auguste Krauss (Mrs. Anton Seidl), Eva; Marianne Brandt, Magdalene. The first performance in Boston was at the Boston Theatre, April 8, 1889, with Fischer, Sachs; Beck, Pogner; Modlinger, Beckmesser; Sedlmayer, David, Alvary, Walther von Stolzing; Kaschoska, Eva; Reil, Magdalene. Singers from the Orpheus Club of Boston assisted in the choruses of the third act. Anton Seidl conducted.

13 "

out sensation, so as to make money." Wagner had proposed to add the prelude and finale of "Tristan" to the prelude to "Die Meister- singer"; but his friends in Leipsic advised the substitution of the overture to "Tannhauser." There was not the faintest applause when Wagner appeared to conduct. Yet the prelude to "Die Meistersinger was received then with such favor that it was immediately played a second time. One critic wrote: "The overture, a long movement in moderate march tempo with predominating brass, without any distinguishing chief thoughts and without noticeable and recurring points of rest, went along and soon awakened a feeling of monotony." The critic of the Mitteldeutsche Volkszeitung wrote in terms of enthusiasm. The critic of the Signale was in bitter opposition. He wrote at length, and finally characterized the overture as "a chaos, a 'tohu-wabohu,' and nothing more." For an entertaining account of the early adventures of this overture see "Krlebnisse mit Richard Wagner, Franz Liszt, und vielen anderen Zeitgenossen, nebst deren Briefen," by W. Weiss- heimer (Stuttgart and Leipsic, 1898), pp. 163-209. The overture was next played at Leipsic, in the Gedwanhaus (Novem- ber 24, 1862), at a concert for the orchestral Pension Fund led by Karl Reinecke; at Vienna, December 26, 1862 (the dates of Wagner's three concerts were December 26, 1862, January 4, 11, 1863), Weimar (Janu- ary 1, 1863), at a court concert led by Eduard Lassen, Prague (February

8, 1863), Petrograd (February 19, March 6, 8, 10, 1863), and Moscow, Budapest, Prague again, and Breslau, that same year. I give in condensed and paraphrased form Mr. Maurice Kufferath's analysis of this overture.*

This Vorspiel, or prelude, is in reality a broadly developed overture in the classic form. It may be divided into four distinct parts, which are closely knit together.

1. An initial period, moderato, in the form of a march built on four chief themes, combined in various ways. The tonality of C major is well maintained. 2. A second period, in E major, of frankly lyrical character, fully developed, and in a way the centre of the composition.

3. An intermediate episode after the fashion of a scherzo, developed from the initial theme, treated in diminution and in fugued style.

4. A revival of the lyric theme, combined this time simultaneously with the two chief themes of the first period, which leads to a coda wherein the initial phrase is introduced in the manner of a stretto. The opening energetic march theme serves throughout the work to characterize the mastersingers. As Wagner said, "The German is angular and awkward when he wishes to show his good manners, but

•See "Les Maltres Chanteurs de Nuremberg," by Maurice Kufferath (Paris and Brussels, 1808), pp. 200-210.

14 —

he is noble and superior to all when he takes fire." The theme might characterize the German bourgeoisie. (Compare Elgar's theme of "London Citizenship," in "Cockaigne.") Secondary figures are formed from disintegrated portions of this theme, and there is a peculiarly appropriate scholastic pedantic polyphony. Note also how from the beginning a cunning use of the ritardando contributes to the archaic color of the work. The exposition of the initial theme, with the first developments, leads to a second theme of wholly different character. It is essentially lyrical, and, given at first to the flute, hints at the growing love of

Walther for Eva. Oboe, clarinet, and horn are associated " with the flute, and alternate with it in the development. A Weberish flourish of violins leads to a third theme, intoned by the brass, sustained by harp. It is a kind of fanfare. The theme seems to have been borrowed by Wagner from the "Crowned Tone" of Heinrich Mugling.* This pompous theme may be called the fanfare of the corporation, the theme of the guild, or the theme of the banner, the emblem of the corporation. It is soon combined with the theme of the mastersingers, and at the conclusion the whole orchestra is used. There is in this brilliant passage an interesting chromatic walk of trumpets and trombones, supported by violas and 'cellos. A short and nervous episode of eight measures introduces a series of modulations, which lead to a sweet yet broadly extended melody, the theme that characterizes in general the love of Walther and Eva. And here begins the second part of the overture. The love theme after development is combined with a more passionate figure, which is used in the opera in many ways,—as when Sachs sings of the spring; as when it is used as an expression of Walther's ardor in the accompaniment to his trial song in the first act.

The tonality of the first period is C major, that of the love music is E major. And now there is an allegretto. The oboe, in staccato notes, traces in double diminution the theme of the initial march; while the clarinet and the bassoon supply ironical counterpoint. The theme of

youthful ardor enters in contention ; but irony triumphs, and there is a parody (in E-flat) of the solemn March of the Mastersingers, with a new subject in counterpoint in the basses. The counter-theme in the 'cellos is the theme which goes from mouth to mouth— in the crowd when Beckmesser appears and begins his Prize Song, "What? He? Does he dare? Scheint mir nicht der Rechtel" " He's not the fellow to do it."

And this mocking theme has importance in the overture ; for it changes position with the subject, and takes in turn the lead.

After a return to the short and nervous episode there is a thunderous explosion. The theme of the mastersingers is sounded by the brass

* See "Der Meistergesang in Geschichte und Kunst," by Curt Mey iCarlsruhe, 1892;, pp. 56, 57.

15 .

with hurried violin figures, at first alone, then combined simultaneously with the love thsme, and with the fanfare of the corporation played scherzando by the second violins, violas, and a portion of the wood- wind. This is the culmination of the overture. The melodious phrase is developed with superb breadth. It is now and then traversed by the ironical theme of the flouted Beckmesser, while the basses give a martial rhythm until again breaks forth from the brass the theme of the corporation. The fanfare leads to a last and sonorous affirmation of the mastersinger theme, which serves at last as a song of apotheosis. *

The score and orchestral parts were published in February, 1866. The Prelude is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, triangle, cymbals, harp, and the usual strings. Theodore Thomas's Orchestra played the Prelude in Boston on

December 4, 1871.

Hoarseness, coughs, inflammation of the throat, bronchial and asthmatic troubles are relieved promptly CAMPHORATED SAPONACEOUS

in good condition. Leaves a Sixty years' reputation as a reliable remedy for throat will keep the teeth and gums clean feeling in the mouth. troubles caused by cold or use of the voice. particularly and pleasant druggists dealers in toilet articles, or Entirely free from opiates in any form. For sale by and sent on receipt of price, 25c Sample sent free on request. Sold everywhere in boxes—never in bulk Prices, 25c, 50c, and $ 1 .00. Sample sent free on request Manf'd by JOHN I. BROWN & SON, Boston

JOHN I. BROWN & SON, BOSTON, MASS Curtis & Brown Mfg. Co., Ltd., New York, N.Y

TAXI-SERVICE CO. BACK BAY TOURING CARS LIMOUSINES Charge Accounts solicited with Responsible Parties GIVE YOUR ORDER TO THE USHER

BOUND COPIES of the Utaafnn j^gmpijottg (§xcty&tm'8 SOLO TROMBONE PROGRAMME BOOKS Boston Symphony Orchestra Containing Mr. Philip Hale's analytical and descriptive notes on all works performed during the Private Lessons to Advanced Players season ("musically speaking, the greatest art an- nual of to-day."—W. J. Henderson, New York Sun), may be obtained by addressing 18 Huntington Avenue - - BOSTON C A ELLIS Telephone, Back Bay 3414-R PRICE. $3 .50 SYMPHONY HALL

16 SYMPHONY HALL

SATURDAY AFTERNOON, OCTOBER 30, 1915 AT 2.30 4LD1N 3 kKRAf

(Direction C. A. Ellis, Symphony Hall, Boston)

ADA SASSOLI, Harp REINALD WERRENRATH, Baritone RICHARD EPSTEIN, Piano PROGRAMME 1. Aria, Vision Fugitive, from "Herodiade" ------Massenet Mr. Werrenrath 2. SOLI FOR HARP - (a) Gavotte ------_ - . - - - Rameau (b) Menuet ------Massenet (c) Impromptu ....----.-- Pierne Miss Sassoli 3. SONGS

(a) Stille Sicherheit { % rranz (b) Ach! wenn ich doch ein Immchen war' f (c) Stille Liebe ) e , ' Schumann (d) Volksliedchen ] (e) Erstes Begegnen { -, . " " ". Gneg (f) EinTraum J Miss Ferrar 4 SONGS (a) Zur Run,' Zur Ruh'! Wolf (b) Sonntag ...... Brahms (c) Liebesgliick Wolf Mr. Werrenrath 5. SOLI FOR HARP (a) Vieille Chanson ------Clement Marot (b) Le Rouet ------_-_ Zabel (c) Marionettes ------Tedeschi Miss Sassoli 6. SONGS (a) Phillis (after an 18th Century Manuscript) -----. Deodat de Severac (b) Serenade .-....----- Gounod (cj Souvenir ------Bemberg (d) Ou vas-tu ...... Tschaikowsky . Miss Farrar 7. SONGS (a) After --._..;..-- Edward Elgar (bj To a Messenger -.--.-.--- Frank La Forge (c) Witch-woman - - .'------Deems Taylor (d) To you, dear heart .._------F. Morris Class Mr. Werrenrath 8. SOLI FOR HARP

(a) Priere ) (b) Gnomes > ...... -- Hasselmans (c) Gitana ) Miss Sassoli 9. SONGS (a) Sternlein ------Moussorgsky (b) In meinem Herzchen ---....--- Arensky (c) Liebe - - - . - . . - - -- Bleichmann (d) Der crste Kuss ------Sibelius (e) Schneeglockchen ------.-.- Gretschaninow Miss Farrar

Tickets, $2.50, $2, $1.50, $1. At Box Office

Mail orders with remittances addressed to L. H. Mudgett, Symphony Hall, Boston, will be filled promptly.

Steinway Piano

17 ™

is now the household watchword

The recall from mountain shore and country has sounded—and hundreds of homes are being prepared to meet the demands of changing seasons

To renew the life brightness and freshness of DRAPERIES CURTAINS PORTIERES RUGS HANGINGS FURNISHINGS

of all kinds

the experienced housewife immediately enlists our services

Now is the time also to look into the condition of your wardrobe MENS WOMENS and CHILDRENS CLOTHING

of all kinds carefully cleansed or dyed

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17 TEMPLE PLACE 284 BOYLSTON STREET 248 HUNTINGTON AVENUE

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Telephones in all shops Parcels called tor and delivered

18 SANDERS THEATRE :: CAMBRIDGE

Thursday Evening, November 1 1,1915 AT EIGHT

Dr. KARL MUCK, Conductor

TICKETS, $1 EACH

ON SALE AT KENT'S UNIVERSITY BOOKSTORE HARVARD SQUARE, CAMBRIDGE

19 ^^^™

L. H. MUDGETT, Manager

FLORENCE HINKLE, Soprano October 24 PERCY GRAINGER, Piano tt 31 JOHN McCORMACK November 7 NEW YORK PHILHARMONIC ORCHESTRA and HAROLD BAUER it 14 GERALDINE FARRAR «« 21 FRITZ KREISLER << 28 CLARISSE COUDERT December 5 MISCHA ELMAN tt 12 BOSTON SYMPHONY ORCHESTRA PENSION FUND CONCERT n 19 PADEREWSKI a 26 HANDEL & HAYDN SOCIETY January 2 FRITZ KREISLER tt 9 EMMY DESTINN a 16 HAROLD BAUER and PABLO CASALS tt 23 MADAME GADSKI tt 30 FRITZ KREISLER February 6 MADAME SEMBRICH tt 20 JOHN McCORMACK tt 27 HANDEL & HAYDN SOCIETY March 5 BOSTON SYMPHONY ORCHESTRA PENSION FUND CONCERT 19 MADAME SCHUMANN-HEINK

Orders for seats for any or all of these concerts may be addressed to L. H. Mudgett, Symphony Hall, Boston, Mass.

20 87

An Unprecedented Event in the Musical Annals of America SIX HISTORICAL RECITALS BY OSS IP

(Direction. LOUDON CHARLTON) REPRESENTING The development of Piano Music from the early days of the Clavichord and Harpsichord to the present time PROGRAMME

First Recital: (English, French, Italian and German clavier-composers of the XVI., XVII., and XVIII. centuries) Byrde, Purcell, Couperin, Daquin, Rameau, Rossi,

Scarlatti, Muffat, Mathesson, J. S. Bach, Handel, Ph. E. Bach, Haydn and Mozart.

Second Recital Beethoven.

Third Recital: (The Romantic composers) Schubert, Weber, Mendelssohn and Schumann.

Fourth Recital: Chopin.

Fifth Recital: Liszt and Brahms.

Sixth Recital: (Modern composers) Franck, Grieg, MacDowell, Rubinstein, Tschaikowsky, Rachmaninoff, Scriabine Richard Strauss, Reger, Schoenberg, Debussy, Ravel and others.

JORDAN HALL

1 Saturday Afternoon . October 23 Saturday Afternoon, December

Friday Afternoon . November 5 Saturday Afternoon, February 26

Saturday Afternoon, November 27 Friday Afternoon . March 1

At 3 o'clock

Subscription for six concerts Single Tickets Now on

$10.00, $7.50, $5.00, $3.50, $2.50 $2.00, $1.50, $1.00, 75c, 50c.

Special subscription rates for Music Teachers and Students

For particulars write to L. H. MUDGETT, Symphony Hall

MASON & HAMLIN PIANO USED

21 Valuable Guide for Symphony Patrons A Course of Study on the Development of Symphonic Music By T. W. SURETTE. 1.25 The Boston Music Co. A 26& 2 8 WEST ST. A

MANY OF THE

VOGUE AND KEITH Former Assistant to M. Jaques-Dalcroze Instructor in Model School, Bryn Mawr FASHION SHOW Assisted by Miss Sylvia P. Knowlton HATS Announces Courses in the Jaques-Dalcroze Method in NOW ON (a) EURHYTHMICS (b) EAR-TRAINING Exhibition and Sale (c) IMPROVISATION ON PIANO

AT to be held in the studio of Miss MARIE WARE LAUGHTON Room 418 Pierce Building 480 BOYLSTON STREET - Block of Hotel Brunswick Copley Square Boston BOSTON, MASS. Tel., B.B. 341 4-M

For further information address $5.00 DEPARTMENT $6.60 Miss S. P. KNOWLTON. 418 Pierce Building

Commonwealth Avenue, near Massachusetts Avenue Surface Lines and Subway Station

A high-class hotel with moderate rates Some globe trotters have been good enough to say that the Puritan is one of the most attractive and home-like hotels in the world. The illustrated booklet of the Hotel will be mailed on request. S. M. Costello, Manager

jglPiliiiB

22 In this cycle of four songs the composer has aimed primarily to produce music that is melodious and singable; and he has attained his y object without sacrificing the opportunities for color that the Oriental a poems suggested. Piquant rhythms and pungent harmonies evoke the Eastern background, against which are displayed the vivid moods of fiery exultation or languorous passion. J Q SSOJaaSBaBOSTONc!^

TEACHER OF SINGING

610-611 PIERCE BUILDING, COPLEY SQUARE MUSICAL INSTRUCTION

TEACHER OF SINGING

602 Pierce Building

Copley Square, BOSTON

RECITALS A SPECIALTY

Instruction in Organ, Harmony, and Piano

(Fellow of The American Guild of Organists) Address, 140 Boylston Street, Boston, or 92 Corey Road, Brookline Organist and Choirmaster, Park Street Church Telephone, 2717-M Brookline HARMONY

The History and Appreciation of Music

Lectures on various musical subjects

23 Tmnrtiu MUSICAL INSTRUCTION

HARPIST 236 BAY STATE ROAD Telephone

Pianist and Teacher STUDIO, 92 MARLBOROUGH STREET TELEPHONE B. B. 3625-W Mason & Hamlin Piano Used

PIANIST—INSTRUCTION LESCHETIZKY TECHNIQUE

Has returned from Munich and Vienna and is now at her Boston Studio, 64 CHARLESGATE, EAST 'Phone, Back Bay 8030

PIANIST INSTRUCTION

Pupil of Mrs. Thomas Tapper . Exponent of the Leschetizky School Franklin Cannon, New York - - - Marie Prentner Studio HOTEL HEMENWAY Theodor Leschetizky, Vienna For appointments, 'Phone Back Bay 3180

INSTRUCTION IN PIANO ORGAN, HARMONY, INTERPRETATION

Organist and Choirmaster Second Universalist Church, Boston.

417 Huntington Chambers, BOSTON, MASS.

TEACHER of SINGING

372 BOYLSTON STREET

THE ART OF SINGING BARITONE

President of National Association of RECITALS of FOLK SONGS A SPECIALTY Teachers of Singing 14 West 72d Street - - - New York City

SINGING Teacher of Piano and Harmony Diction and Interpretation in Italian, English, German and French Song. Opera and Oratorio Especially adapted Studies for young voices The ILKLEY Boston Studio, 543 Boylston Street, The Cluny Ave. and Cumberland St., Boston Worcester Studio, Levana Club Rooms Huntington entrance) 393 Main Street (Wednesdays) (Cumberland Street 24