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Boston Music Hall, Boston.

Symphony FOURTEENTH SEASON, sj Orchestra 1894-95. EMIL PAUR, Conductor.

PROGRAMME

OF THE \6TH REHEARSAL AND CONCERT

WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP.

Friday Afternoon, December 21, At 2.30 o'clock.

Saturday Evening, December 22, At 8 o'clock.

PUBLISHED BY C. A. ELLIS, MANAGER. (321) lliason&I nal A JUST VERDICT. New York Musical Courier, October 31, 1894. SUCCESS OF THE STRINGER. "One of the most delightful treats we have given ourselves lately has been to p'ay the latest specimen of the Mason & Hamlin Upright, with the patented screw-stringer with which that house has now so many years been identified. We can unhesitatingly say, and say with pleasure, that this Upright is a marvellous piano; and it is the first unequivocal tribute we have ever paid to the Mason & Hamlin stringer, simply because we are now prepared to back our opinion with the piano itself. It is a matter of many years now, this discussion between Mason & Hamlin and the Musical Courier regarding the stringer ; and although that renowned firm has been a patron of our advertising space, as has been observed by our readers, we were not prepared to agree with it on this one debatable point. " But indefatigable work, experiment, and devotion to an idea and to a principle in which these people had confidence have finally brought forth a perfected line of these Uprights; and, as they prove to be most musical, attractive, artistic, and sympathetic Upright instruments of the highest order, there is nothing better the Mu- skal Courier can do than, metaphorically speaking, take off its hat and bow in recognition of the result at- tained. We heartily congratulate the Mason & Hamlin Company on its success, a success to which it is fully entitled after demonstrating that it had the power, the determination, and the inflexible courage of its own con- victions. No greater battle has ever been fought in the piano industry, nay, in any other industry ; and, now thatIllason&3 the company has gained it, the path ahead is sure to be oneamlin of glory." M. A. B. 146 BOYLSTON STREET (opposite Common), BOSTON. L. P. HOLLANDER & CO. BARCAINS IN XMAS PRESENTS! INNUMERABLE CHOICE ARTICLES from 75 cents to $3.00, In Dresden China and Porcelains, Paris Jewelry and Fans, New Leather Goods. GREAT REDUCTION IN PRICES. Also SOFA CUSHIONS, $3 to $5, formerly $4.50 to $8.00. MEN'S NECKWEAR, Beautiful line English Goods, just opened, 75 cents.

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Ninth Rehearsal and Concert.

Friday Afternoon, December 21, at 2.30.

Saturday Evening, December 22, at 8.00.

PROGRAMME.

Philipp Emanuel Bach — — — — Symphony in D major I. Allegro di molto (D major) - 4-4 II. Largo (E-flat major) - - - 3-4 III. Presto (D major) 3-8

George Frideric Handel Sceua : " Sweet bird, that shun'st the noise of folly," from " L' Allegro, it Penseroso ed it Moderato " Flute Obligato, Mr. MOLD.

Johann Sebastian Bach Sinfonia (Shepherds' Music) from the "Christ- mas Oratorio " Andante con moto (G major) - 12-8

Josef Haydn — Symphony in G major (Breitkopf & Bartel, No. 13 ; Peters, No. 8) I. Adagio (G major) - 3-4 Allegro (G major) - - - - 2-4 II. Largo (D major) - - 3-4 III. Menuetto: Allegretto (G major) - - - 3-4 Trio (G major) - - - - - 3-4 IV. Finale : Allegro con spirito (G major) 2-4

Hermann Goetz — — Scena : " My strength is spent," from " The Taming of the Shrew"

Ludwig van Beethoven — Overture to " Fidelio," in E major, Op. 72

Soloist, Miss GERTRUDE FRANKLIN. (323)

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OLIVER DITSON COMPANY, Sole Ag'ts,453-463 Washington St., Boston. E. W. TYLER, Manager. (324) THE BACH FAMILY has long been noted as the most remarkable instance of hereditary genius on record ; no genealogical tree is so interesting in this repect as that of the Bachs. It would be well worth giving here, could any known typography bring it within the compass of a page of this book ; but, as this is not possible, we must be content with a few summary statistics gathered from it. In six consecutive generations (from about 158o to 1846) the Bach family counts fifty professional musicians. Here is the list, arranged alphabeti- cally : * — Born. Died. Carl Philipp Emanuel Bath (6) t Composer and pianist; the " Hamburg." and " Berlin- Bach " .74-1788 Christoph Bach (a) Musician 1613-1661 Georg Christoph Bath Composer; Cantor in Themar and Schweinfurt . 160-1667

Georg Michael Bach Teacher in gymnasium in Halle 1703 - 5771 Gottlieb Friedrich Bach Court organist in Meiningen 1 7 14-1 785 Hans Bath (5) Musician 1580 (?)-5626 Heinrich Bach Organist and composer in Arnstadt r615-1692 Jakob Bach Musician; Cantor in Steinach and Ruhla 1655-5718 Johann Bach Musician; organist in Erfurt 1604- 5673 Johann Bach Oboe player - Johann Aegidius Bach Music director and organist in Erfurt 1645-1717 Johann A mbrosius Bath (3) Violinist and composer 1645- 1695 Johann Andreas Bach Organist in Ohrdruff 1753- ? Johann Bernhard Back . Composer; organist in Erfurt 1676-5749 Johann Bernhard Bach Organist in Ohrdruff 1700- ? Johann Christian Bach Music director in Erfurt 5640-1682 Johann Christian Bath (8) Opera composer, organist, and pianist; the " Milanese " and " English Bach" 1735-1782 Johann Christian Bach Music teacher in Halle; the " Clavier-Bach " 1743-1814 Johann Christoph Bath . . Composer; organist in Eisenach .1642-sm Johann Christoph Bach . . Violinist; court musician in Arnstadt 3645-1663 The names of the more noteworthy members of the family are printed in Italics. 1 Figures in parenthesis refer to the extract from the family tree on page 328. A Tonic FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Horsford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion ; and, where the system has become debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. Cornell Easten, Philadelphia, Pa., says, "I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility and exhaustion." Descriptive pamphlet free. Rumford Chemical Works, . Providence, R.I. Beware of Substitutes and Imitations. (325) ANNUAL CLEARING SALE Of the Season's Model Garments.

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Johann Christoph Bach . . . . Organist and composer 1671-1721 Johann ChristOph Bach . . . . Cantor and organist in Unter-Zimmern and Gehren . . 1673-1727 Johann Christoph Bach Pianoforte teacher 1674- ? Johann Christoph Bach . . . . Music director x685- ? Johann Christoph Bach . . . . Organist in Keula (?) 1689-1736 Johann Christoph Bach . . . . Cantor in Ohrdruff 1702- Johann Christoph Friedrich Bach (7) Composer and Kapellmeister; the " Blickeburg-Bach " 1732-1795 Johann Elias Bach Cantor in Schweinfurt 1 705-1 755 Johann Ernst Bach Organist in Miihlhausen 1683-1739 Johann Ernst Bach Composer and organist P 1722-1777 Johann Friedrich Bach Organist in Millilhausen 1674-78'1 73 0 Johann Giinther Bach Organist 1653- ? Johann Gunther Bach Tenor singer in Erfurt 1703- ? Johann Heinrich Bach Cantor in Oehringen 1707 - ? Johann Jacob Bach " Kunstpfeifer" ; court musician in Stockholm 1682 -1722 Johann Jakob Bach Musician in Erfurt and Eisenach 1668-1692 Johann Lorenz Bach Composer; organist in Lahan 1695-1773 Johann Ludwig Bach Court Cantor and music director in Meiningen . . . . 1677-1 74 1 Johann Michael Bach Composer, organist, and instrument builder in Gehren . . 1648-1694 Johann Michael Bach Composer, organist, and instrument builder in Gehren 168o-9o- ? Johann Niklaus Bach Viola da gamba player 1653-1682 Johann Niklaus Bach Composer; city and university organist in Jena . . . 1669-1 753 Johann Philipp Bach Court organist in Meiningen x751-1846 Tohann Sebastian Bach (4) Composer, organist, and violinist ; Cantor in Leipzig i685-1750 Johann Valentin Bach Town musician in Schweinfurt 1669-1720 Nicolaus Ephraim Bach Court musician in Gandersheim ? Samuel Anton Bach Court organist in Meiningen x713-1781 Tobias Friedrich Bach Cantor in Uttstadt 1695- ? Wilhelm Friedemann Bach (5). . Composer and organist ; the " Halle-Bach" ,710-1784 Wilhelm Friedrich Ernst Bach (9) Composer, pianist, and violinist '7 59-1 846 Add to this that Veit Bach (1550-6o-1619, Hans Bach's father) was, although not a musician by profession, a skilful amateur on the cythara, and the musical heredity is carried back one generation farther. The first known member of the family was this Veit Bach's father, old Hans Bach "of Wechmar," born about 152o, and one of the trustees of the parish of Wechmar (a little town near Gotha) in 1651. The average lifetime of the thirty-eight musicians in the above list, whose ages are known, was sixty years (disregarding fractions) ; one lived to the age of ninety-five, and the youngest died at the age of twenty-six. The flew England Conservatoru of Music (FOUNDED IN 1863 BY DR. EBEN TOURJEE.)

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The department of English and American Literature will be under Mr. Eben Charlton Black, late of Edinburgh University. Public lectures every alternate Tuesday evening, beginning September x z. (327) following extract from the family tree shows the direct descent of Johann Sebastian Bach and his professionally musical sons and grandson : —

HANS BACH, of Vechmar. z 52o (?)-?

VEIT BACH• 1550-60-1619.

(I) HANS BACH. 1580 (11-1626.

(2) CHRISTOPH BACH. 1613-1661.

(3) JOHANN AMBROSICS BACH. 1645-1695.

(4) JOHANN SEBASTIAN BACH.

1 685- 1750.

1 1 (5) (6) (7) (8) WILH. FRIRDEMANN BACH. C. PH. EM. BACH. JOH. CUR. FRIEDRICH BACH. JOH. CHRISTIAN BACH. 1710-1784. 1714-1788. 1732-1795. 1 735-1 782.

(9) WILHELM FRIEDRICH ERNST BACH. 1759-1846. There were two (perhaps three) main branches of the family, descended from Veit Bach. It is not known how many sons Veit had. A Lips Bach (died on Oct. to, 162o) is mentioned in the genealogy, and three of his sons are said to have been sent to Italy by the reigning count of Schwarz- burg-Arnstadt, to study music. But that this Lips was Veit Bach's son is merely conjectural. Certain it is, however, that Veit had at least two sons : one was Hans Bach (i), known as the "Spielmann," and the name of the other has been lost; possibly, but not probably, it may have been Lips. But the best authorities conjecture that, if Lips was Veil Bach's son, he DIAMONDS AND Precious Stones.

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(328) was the head of a third branch of the family, of which all record:has been lost. The two known main branches come respectively from Hans Bach, the " Sfiielmattn," and his brother whose name is not known. It is espe- cially noteworthy, considering the musical supremacy of Italy at the time, that all of the fifty musicians belonging to these two main branches of the family studied music exclusively in Germany. In course of time Arnstadt, Erfurt, Steinach, and Meiningen became, so to speak, the headquarters of the family. Of the two branches, that headed by Hans Bach, the " Spiel- mertm," was by far the largest and the richest in musicians; Hans had three sons : Johann, Christoph (2), and Heinrich, who were professional musicians; and each of these had likewise three sons who adopted their father's profession. Hans's brother, head of the younger main branch, had at least one son, Wendel Bach, who was a farmer ; but Wendel's son Jakob Bach took up the family profession of music, and the rest of the branch comes from him. The greatest geniuses of the family were Johann Sebastian Bach, and his second cousin Johann Christoph, of Eisenach (eldest son of Heinrich Bach). But many others of the family rose to high eminence in their pro- fession ; indeed, the majority of them ranked decidedly above the average of musicians, and were noteworthy in their day. Of Johann Sebastian's sons, Wilhelm Friedemann was his father's favorite, and had the most genius; but he was of a dissipated turn, and frittered away his extraordi- nary talents; it was Philipp Emanuel, naturally the least gifted of the four, who by hard work and great general culture became the most famous of them, and exerted the strongest influence upon the subsequent develop- ment of his art. But he used to say that Wilhelm Friedemann was the only one of the family who could in any way have replaced their mighty father. The last two musicians of the family died in 1846 : Wilhelm Friedrich Ernst, Johann Sebastian's grandson, and Johann Philipp, great-grandson of Jakob Bach. A female direct descendant of Johann Sebastian lived still later.

CARL PHILIPP EMANUEL BACH, third son of Johann Sebastian Bach, was born at Weimar on March 14, 1714, and died at Hamburg on Sep- tember (December ?) x4, 1788. His father sent him to the Thomas-Schule

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(329) in Leipzig to study philosophy ; he afterwards studied law at the Univer- sities of Leipzig and Frankfort-on-the-Oder. But his love for music was so strong that, although not intended for that profession by his parents, he studied it with great thoroughness ; indeed, when he went to Frankfort, he was already a highly cultivated musician and a brilliant clavecinist. In Frankfort he conducted a singing society, and at last gave up the law to make music his profession. In 1746 he went to Berlin, where he was appointed Kammermusikus and clavecinist to Frederick the Great. This position he had, however, to give up in 1757 at the first violent outbreak of the Seven Years' War. He next went to Hamburg, where he was made music director in a church, and in 1767 succeeded Telemann in a similar position in the principal church in the city. This post he continued to hold until his death. It is a curious sign of old Sebastian Bach's fineness of musical instinct that he did not intend his son Philipp Emanuel to follow the art as a pro- fession ; for, of all four of Sebastian's musical sons, Philipp Emanuel was the least gifted by nature in a musical way. Yet the father's musical in- stinct seems in this case to have been somewhat finer than his judgment of character ; for, unlike his elder brother Wilhelm Friedemann, the most talented of all the elder Bach's sons, but a sad scapegrace outside of music, Philipp Emanuel inherited much of his father's nobility, earnestness, and steadiness of character; he made hard and honest work supply as well as it might what was lacking in genius, and of all his generation of Bachs he left the deepest and most indelible impression upon the history and develop- ment of his art. It was principally through him that Sebastian Bach's art principles and the great Bach traditions in general were handed down to the next generation or two after him, to the Haydns, Mozarts, and Beet- hovens. He was one of the most cultivated musicians in the whole history of the art, a composer of sterling merit, if not of distinguished genius, a brilliant performer, learned essayist, and admirable teacher. In fact, no other man of his generation exerted so fine and far-reaching an influence upon the future of the art of music as he. He is often known as the " Berlin " or " Hamburg" Bach. LOUNGING or BLANKET WRAP For the Sick-room, for the Nursery, For the Bath, for Steamer Travelling, For Railway Carriage, and for Yachting, For Men, Women, Children, and the Baby, $2.75 to $35, With Hood and Girdle complete. For Railway Car or Steamer Travelling they are a positive Luxury and Comfort Samples and full instructions sent on application. Silk and Wool Pajamas "L For Men and Boys, and Long Flannel NIGHT - SHIRTS, for the home or Travelling; they are _ — a safeguard from colds. the sick-room, the bath, or dressing-room, for men, women, and Blanket Slippers children,hildren, at $t.00 per pair, at Washington and Summer Sts., NOYES BROTHERS ) BOSTON, MASS., U.S.A. (330) Philipp Emanuel Bach belonged unquestionably to a transition period. He had seen the higher polyphonic forms of the oratorio and church music, the dance-forms of clavecin music, organ-music, and the older opera reach their apogee under his father and Handel. He anticipated many of the developments of orchestral and instrumental chamber-music which his Austrian successors, Haydn, Mozart, and Beethoven, brought to such wonderful completion. In the history of pianoforte playing he is one of the most important figures. His great theoretical work, Versuch fiber die wahre Art das Clavier au spielen (An Essay on the True Manner of Playing the Clavier), is an admirable explanation and development of his father's principles, and one of the best standard works on the subject. It is a strong link in the chain from the elder Bach to Clementi and Cramer,— a chain which has been continued through Czerny, Liszt, and Chopin, down to our own day.

SYMPHONY IN D MAJOR PHILIPP EMANUEL BACH. The first movement, Allegro di molto in D major (4-4 time), is especially interesting as showing the sonata-form as, so to speak, in the process of crystallization. The fully developed form is not there, but tentative hints at it meet one on every hand. The first theme is announced and developed by the strings, then by the strings and wind together, in a succession of sharply defined periods, the irregular number of measures in most of which — seven and nine measures to a period — produces less rhythmic confusion than a careless glance at the score would lead one to expect. The de- velopment is freely contrapuntal, but upon the whole simple, and ends on the dominant of the key. Then the oboes and bassoon present a piece of contrapuntal passage-work, answered by a lighter phrase in the flutes over a bass in the violins, which is plainly meant to do duty for a second theme. This whole passage, which is only fourteen measures long, represents what afterwards became the second theme in symphonic movements. It is fol- lowed by a return to the first theme, which is now further developed and at last worked out, with occasional returns of figures from the second theme. This part of the movement represents_the free fantasia. Then comes a

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(331) return of the first theme in the tonic, as at the beginning of the movement, and the first part is quite regularly repeated, leading to a short Coda, which modulates to the key of E-flat major, the key of the next movement. This first movement does not, upon the whole, furnish quite so fully developed an example of the sonata-form in its infancy as is to be found in some of the works of the composer's father, in the Italian concerto, for instance. It certainly marks no advance in the development of the form, and the en- tirely, contrapuntal character of all its thematic material gives it an air of somewhat greater antiquity of artistic point of view than characterizes many a movement by the great elder Bach. The second movement, Largo in E-flat major (3-4 time), opens with a graceful two-part melody, played two octaves apart by the flutes and the violas and 'celli over a simple bass in the double-basses, the violins com- ing in with little pizzicato ascending arpeggj between the phrases. The whole movement consists in nothing but this, and is only twenty-seven measures long. Like the first movement, it does not end in the tonic, but closes with a half-cadence on the dominant of the key of D major, in which key the next movement begins. The third movement, Presto in D major (3-8 time), is almost as simple in form as the foregoing one. As the first movement might be called an "infant " sonata movement, so might this one be called an "infant" rondo. A brisk, lively theme is presented by the full orchestra, and then concisely developed in regular rhythmic periods, fortissimo alternating with pianis- simo. It closes on the chord of E major (dominant of the dominant). Then follow two chromatic phrases in A minor (in the strings in unison and octaves) which do duty for a second theme. Next come some further developments on'figures taken from the first theme, as a concluding period, bringing the first part of the movement to a close in the dominant, A major. This part is then repeated. It is followed by an almost precisely similar part, beginning in E minor, the second theme coming in D minor, and ending in the tonic, D major. This, too, is repeated. These two re- peats make the first theme appear the regulation four times,— one of the older rules of the rondo-form. A few measures of Coda end the move- ment. This symphony is scored for 2 flutes, 2 oboes, r bassoon, 2 horns, 2 trum- pets (ad libitum), r pair kettle-drums (also ad lib.), and the usual strings. THE MOST SUCCESSFUL SONGS of the LONDON SEASON.

WILDFLOWER. By F. Leoni . Sung by Mlle. TREBELLI SPRING. By G. Henschel . Sung by Miss EVAN. FLORENCE BUTTERFLIES. By F. Corbett} BENDERMEER'S STREAM Sung by Miss MARIE BREMA PROMISE OF LIFE HEAVENLY WAY Sung by Miss CLARA BUTT MIGHTY RIVER ADIEU, MARIE. By } S. Adams Sung by Mr. EDWARD LLOYD HOLY CITY. 0 LOVERS' LULLABY. By F Leoni . Sung by Mr. BEN DAVIES OLD NAVY. By C. V. Stanford . . Sung by Mr. PLUNKET GREENE I WANDER ALONE. By F. Aylward . . . Sung by Signor Fou To be obtained from all leading dealers or the publishers. BOOSEY & CO., g East 17th Street, NEW YORK. (332) GEORGE FRIDERIC HANDEL was born at Halle on February 23, t68s, and died in London on April 14, 1759. The name was variously spelt by different branches of the family : Handel, Hendel, Handeler, Hendtler ; it was first spelt Hendel in England, but afterwards Handel; the great com- poser himself is and always has been known in Germany as Georg Friedrich Handel ; he changed his signature to George Frideric after settling in England ; in France he has generally been known as Handel or (until quite recently at least) Hcendel. His father was a surgeon, and had no taste whatever for art ; being sixty-five when his son was born, he had such fixed ideas on the subject of education that; although the boy showed a marked talent for music; he did all in his power to prevent his studying it. Handel's early boyhood was an unremitting struggle with parental authority until the Duke of Saxe-Weimar intervened in his favor, and the stern father reluctantly allowed him to follow his bent. In 1692, being then seven years old, he began to study counterpoint, canon, fugue under Friedrich Wilhelm Zachau, and also to practise on the organ, harpsichord, and oboe. In 1695 he was sent to Berlin, where he met Ariosti and Buononcini ; the Elector wished to send him to Italy to study, and then attach him to his court ; but the plan came to nothing, and Handel was ordered back to Zachau in Halle. On his father's death he went to Ham- burg, where he joined the orchestra of the German opera under Reinhart Keiser's direction ; he was at first only violin di ripieno, but soon rose to the harpsichord, and was permanently engaged as clavecinist and conduc- tor. In Hamburg his intimacy with Telemann and Mattheson began. His first opera, Almira, was brought out 'in 1705. In 17.26 he went to Italy, where he produced both operas and sacred works with unvarying success in Florence, Venice, Rome, and Naples. In 1709 he accepted the post of Kapellmeister to the Elector of Hannover (afterwards George I. of Eng- land) on the condition of being allowed to visit England, whither he went in 171o. Here his Rinaldo, written in a fortnight and brought out at the R. H. STEARNS & CO. FEATHER BOAS

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(333) King's Theatre, Haymarket, in February, 181i, made a great hit. After an absence of six months he returned to Hannover ; but London had made so favorable an impression upon him that he went back there without leave in 1812, and it subsequently took no little intervention on the part of noble friends to effect a reconciliation between him and the king. But he did at last obtain his pardon, with an annuity of .4‘200. In 1716 he followed the king back to Hannover, returning to London again in 1718, when he suc- ceeded Dr. Pepusch as chapel-master to the Duke of Chandos, which post he held for three years. In 172o he assumed the direction of the Italian Opera for the Royal Academy of Music, engaging a company of Italian singers, with Senesino and Durastanti among them, and bringing out his Radamisto with great success. From this time dates his famous rivalry with Buononcini. Of the two rivals Buononcini seemed to gain ground most rapidly with the nobility ; then Handel quarrelled with Senesino, who went over to the Italian, and matters looked darker than ever for Handel. But Buononcini unluckily tried to pass off a madrigal of Antonio Lotti's as his own, and was found out in it; such a scandal ensued that Buononcini had to leave England. The Buononcini party, however, rallied round Senesino, and a new rivalry began, not ari artistic one, this time, but a business one, between Handel at Covent Garden and Senesino (with Porpora as composer and conductor) at Lincoln's Inn Fields. Neither enterprise throve ; Sene- sino left England in 1735, and Handel became bankrupt two years later. His health was seriously impaired, and an attack of paralysis sent him to Aix-la-Chapelle ; neither was his health much improved when he came back to England in 1737, and the operas he brought out were failures. At last, after Deidamia (1741), he gave up opera entirely, and devoted himself al- most wholly to oratorio. While writing Jephtha, his last oratorio (in 1752), he was attacked by a disease which terminated in total blindness ; he was twice cupped for cataract, but unsuccessfully. He still kept up his profes- sional life, however, conducting concerts and playing the organ in public. His unpopularity with the aristocratic party diminished considerably toward the end of his life. His last public appearance was at a performance of the Messiah on April 6, 1759. He was buried in the South transept of Westminster Abbey, and a monument by Roubiliac erected over his tomb in 1762. 275,000 ESTEY ORGANS Have been made and sold. This record is incontestable and incomparable. OUR STUDENT ORGAN, with two manuals and full pedal register, is the organ for practice. THE ESTEY PIANO Occupies a distinct position in the musical world. It is celebrated for its Tone, Touch, and Durability.

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JOHANN SEBASTIAN BACH was born at Eisenach, probably on March 21 (he was baptized on March 23), x685, and died at Leipzig on July 28, x75o. He was the fifth son and eighth child of Johann Ambrosius Bach (x645- 1695). His first musical instruction was from his father on the violin ; after his father's death, his musical education was taken charge of by his elder brother, Johann Christoph, who was a pupil of Pachelbel, and at that time organist at the Stadt-Kirche at Ohrdruff. Johann Christoph was Sebastian's first teacher on the clavichord, and probably also on the organ. Beautiful Afghans

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Tickets on Sale at all Railroad Offices. Boston Office, 211 Washington Street. (336) The boy had a fine voice, which, combined with his early and thorough musical education, enabled him to get a position in the choir of the Michaelis-Kirche at Luneburg in 1700 ; he was then fifteen years old. The church had a fine musical library, rich in scores by the old masters, and it was principally from his study of these that Bach completed by him- self the musical education so well begun by his father and brother. Georg Bohm, organist of the Johannis-Kirche at Luneburg, became interested in him, and doubtless gave him no little sound musical advice ; Hamburg, then a great musical centre, was near, and Bach made several trips thither on foot to hear the famous organists Reinken and Vincenz Lubeck. He also made frequent visits to Celle, where French music was cultivated at court, and there became acquainted with much of the best instrumental music of noted French composers. About Easter in 1703 he went to Wei- mar as violinist to Johann Ernst, brother of the reigning duke, and was elected organist at the new church at Arnstadt in the following summer. In the fall of 1703 he went to Lubeck to make the acquaintance of Dietrich Buxtehude, the greatest organist and organ composer of the day in Ger- many. Here he found his intercourse with Buxtehude of so much benefit to him that he did not return to his duties at Arnstadt till February, 1706. Next year he accepted the position of organist at Miihlhausen, where he married his cousin, Maria Barbara, daughter of Johann Michael Bach. In 1708 he returned to Weimar, where, besides being chamber-musician, he was appointed court-organist and afterwards Conzertmeister. Here he devoted himself mainly to composition for the organ and church-music ; it was about this time, too, that his fame as an organist began to be some- thing more than local. He would travel during his autumn vacations, visiting Halle in 1713 and 1756, Cassel (before 5754), Leipzig in 5714, and Dresden in 1757. In Dresden he met the famous French organist Mar- chand, then at the height of his reputation ; Bach was induced by his friends to challenge him to a musical contest (of improvisation and sight-

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For Sale by all Music Dealers. (337) reading), which challenge was accepted ; but, when the appointed time for the trial came, Marchand was nowhere to be found, and Bach had a walk- over. In November, 1717, he was called to Cothen by Prince Leopold of Anhalt, as Kapellmeister and director of the prince's chamber-music. At Cothen he devoted himself mainly to instrumental composition, and made but few journeys : some to Carlsbad with the Prince, one to Leipzig in 1717, and to Halle in 1719, hoping to meet Handel there ; but he found that that great man had left for England on the very morning of his arrival. It is somewhat curious, upon the whole, that Bach never succeeded in meeting Handel, hard as he tried to do so ; the two great masters were in correspondence at times, but Handel seems to have been by no means anxious to meet his fellow-giant face to face. In July, 172o, his wife died suddenly while he was returning from Carlsbad; and in the fall he went to Hamburg to compete for the position of organist at the Jakobi-Kirche, but he failed to get the appointment. In December, 1721, he married Anna Magdalena Wilken, and in May, 1723, accepted a call to Leipzig as Cantor at the Thomas-Kirche. This position involved also that of organist at the Nicolai-Kirche. On May 3o, 1723, he performed his first church service in Leipzig. He soon received honorary appointments as Kapellmeister to the duke of Weissenfels ; and in 1736, on his own special wish, of court-composer to the King of Poland and Elector of Saxony. In Leipzig he devoted himself principally to church composition, writing a fresh can- tata for soli, chorus, orchestra, and organ for every Sunday and Church Holy-day in the year ; of the enormous number of such cantatas that he wrote (over 30o in all) only 226 are now known of. It is a curious fact, and one strongly indicative of the small executive resources he had at command at the Thomas-Kirche, that no duplicate chorus or orchestral parts to any of these cantatas have ever been discovered in a single in- stance ; the voice-parts of recitatives and arias were copied into the respec- tive chorus-parts. He made frequent visits to Dresden, where Wilhelm Friedemann (the most talented and also dissolute of his sons) was organist at the Sophien-Kirche, and whither he was also tempted to go ALBERT E. PARSONS LADIES' TAILOR AND DRESSMAKER . . . .

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348 & 350 BOYLSTON STREET (338) by the Italian Opera, then in a most flourishing condition under Johann Adolph Hasse's management, with the great Faustina in the company. His son, Philipp Emanuel, was made chamber-musician and clavecinist to Frederick the Great in Berlin in 1846. The king was so interested by the son's accounts of his great father that Philipp Emanuel induced the latter to make a visit to Potsdam, in company with Wilhelm Friedemann, in 1747. Sebastian was received by the king with the greatest courtesy, played before him, improvised on themes given him, and tried all the new Vienna pianofortes, in the palace, which seem, however, not to have pleased him overmuch, for he persisted to the end in preferring the harpsi- chord and clavichord. On his return to Leipzig he worked up one of the themes Frederick had given him to improvise on in Potsdam into an extended instrumental composition in many movements, and dedicated it to the king under the title of Musikalisehes Opfer, in some of the move- ments of which, however, the "tema reale (Royal Theme) " does not make its appearance to any particularly flattering extent. He had for some time been suffering with his eyes, and an operation performed on them resulted in total blindness. Six months later he suddenly recovered his sight, but died ten days afterwards. He had twenty children : seven by his first wife, and thirteen by his second ; of these, five sons and four daughters survived him. He was one of the most prolific of composers ; the com- plete edition of his works published in Leipzig by the German Bach Society reached its thirty-fourth volume in 1884, and is by no means finished yet.

SINFONIA (SHEPHERDS' MUSIC) FROM THE " CHRISTMAS ORATORIO." JOHANN SEBASTIAN BACH. Bach's Weinaehts-Oratorium was written in 1734. It is a series of six church cantatas for soli, chorus, orchestra, and organ, for the three Christ- mas holy-days, New Year's Day, the Sunday after New Year, and Epiphany. Each cantata is complete in itself, and all six together form one Oratorio. The orchestral movement played at this concert is the In- troduction to Part II. It is commonly known in Germany as the "Hirten- New Songs New Songs E. A. MacDowell. Pierre Douillet. Two Old Songs (med. voice), Op. g . . . . $0.50 Ave Maria (Latin words; med. voice) . . . $0.25 Album of Eight Songs (med. voice), OP. 47 I cannot forget thee med. voice) .40 Cradle Hymn (Ten. or Sop.) .3o Why wilt thou not love me (med. voice) . .40 Idyll (Ten. or Sop.) Autumn Song (med. voice) .25 Hermann Carri. Alex. von Fielitz. The Language of Flowers (med. voice) • • • $0•50 Eliland, a cycle of Ten Songs $.•75 Thou lov'st no more (med. voice) .50 Louis Koemmenich. The Young Indian Maid (med. voice) . . • .40 Vagrant's Song (Barit.) $0.40 Then first from love (med. voice) • 50 The Queen of Spring (Ten. or Sop ) .5o ACCOUNTS OPENED. MAIL ORDERS PROMPTLY ATTENDED TO. BREITKOPF & HARTEL, 39 East 19th St., NEW YORK. Peolishers and Importers of Music, Music Books, Music Paper. Makers and Importers of High-grade String Instruments. SEND FOR LATEST CATALOGUES, ETC. (339) musik," or " Shepherds' Music." It is Andantino con mote in G major (12-8 time), and consists in the free contrapuntal development of a single theme in Siciliano rhythm. The original score is very full for Bach, but contains nevetheless many bare places in which the continuo has to be filled out. Bach's original parts are for 2 flutes, 2 oboi d' amore, 2 oboi da caccia, and the usual strings complete, with figured continuo. In working out the accompaniment, Robert Franz has added parts for 2 oboes, 2 bas- soons, and 2 horns. For the obsolete oboi d' amore and oboi da caccia, he has substituted 2 clarinets and z English-horns respectively.

FRANZ JOSEF HAYDN was born at Rohrau, Lower Austria, on March 31 (April x), 173z, and died at Vienna on May 31, 1809. He was the second child of Matthias Haydn, a wheelwright, and Maria (born Koller), daughter of Count Harrach's cook and Marktrichter, or steward. The family came originally from Hainburg, a town four leagues from Rohrau, near the Danube. Both Josef's parents were musical ; he got his first musical instruction from his step-grandfather, Johann Mathias Frankh, a schoolmaster in Hainburg, whose school he attended when six years old. His mother would have had him educated for the priesthood ; but his father seems to have thought otherwise, for he was brought up from the first as a musician. While the boy was with Frankh, Georg Reutter (not then von Reutter), court-composer and Kapellmeister at the Stephans- Kirche in Vienna, happened to be passing through Hainburg, and was so much struck with young Haydn's voice and talent that he offered him a position as chorister at the Stephans-Kirche. The parents consented, and Haydn left Hainburg for Vienna in 174o. In Vienna he studied Latin, religion, writing, and arithmetic ; also the violin, the clavichord, and singing (probably under Gegenbauer and Finsterbusch). But von Reutter (who was ennobled soon after his return to Vienna) looked upon him

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(340) merely in the light of a boy singer, and nothing was done about his theoret- ical instruction in music; even when it was found that the boy had been trying to compose on his own account, von Reutter gave him neither encouragement nor advice. In 1745 his brother Michael joined him at the Cantorei ; and, as his voice was beginning to change, the new-comer soon supplanted him in the favor of von Reutter and Marta Theresa, who had much admired his voice at first. Haydn was now about fifteen ; a practical joke he played on one of his fellow-choristers was found out, and he was dismissed from the institution with a sound thrashing. He was thus thrown upon his own resources ; but one Spangler, chorister at the Michaelis-Kirche, and a friend who lent him rso florins, helped him, and he got a few pupils, young as he was. He hired a little room in the old Michaelerhaus in the Kohlmarkt, and began studying composition by him- self from the works of Philipp Emanuel Bach. In 1752 he wrote a musical farce, Der neue krumme Teufel, which was given with much success at the Stadttheater and brought him in no little money. Metastasio intro- duced him to the de Martines, a Spanish family living in Vienna, and he was engaged to give music lessons to the eldest daughter ; here he met the great Porpora, who engaged him as accompanist. Porpora gave him the only regular theoretical instruction he ever had, in return for his services as accompanist, and in other more menial capacities ; but Haydn mastered all the most important musical literature of the day, especially Fux's Gradus ad Parnassum, by himself. In 1755 he wrote his first string quartet for Karl Joseph, Edler von Fiirnberg, who recommended him in 1759 to Count Ferdinand Maximilian von Morzin, who engaged him as music director and Kammercompositor at his country-seat at Lukavec, near Pilsen. His salary was zoo florins with board and lodging; here he wrote his first symphony. On November 26, 1760, he married Anna Maria Keller, a woman three years his senior and a perfect Xantippe in temper, who did all in her power to make him miserable. Soon after this Count Morzin gave up his band, and Haydn entered the service of Prince Paul Anton Eszterhazy at Eisenstadt, as second Kapellmeister under Werner. After

Present appearances promise two sets of SYMPHONY CONCERTS in Boston this winter. There are the Music Hall Concerts with their fourscore musicians and dearly prized seats and matinee girls. That's one set. Then there is the SYMPHONY SELF-PLAYING ORCHESTRA, which is nothing more than an orchestra in an organ case. But its sweet music is attracting crowds of visitors every day. It is the greatest musical luxury, the greatest musical educator, the greatest musical invention of the age. Have you heard it? Concerts daily, 10 to 5, and you select the programme. OLIVER DITSON COMPANY, - 453-463 Washington Street, Boston. (Take Elevator.) 3,411 Werner's death he was made first Kapellmeister under Prince Nicolaus Eszterhazy, both at Eisenstadt and at Eszterhaz, the Prince's new summer residence near Siittor, on the Neusiedler-See. Here he composed most of his operas. When his patron died, in 179o, he retained his title of Kapell- meister with an annual pension of 1,000 florins, under his successor Prince Anton ; but, as the greater part of the band was dismissed, he moved to Vienna. The news of Prince Nicolaus's death induced Salomon, of Lon- don, to come to Vienna in the hope of engaging Haydn for the English capital; Haydn accepted, and the two arrived in London in January, 1791. His success in England was enormous, and Oxford gave him the degree of Mus. Doc. in July. He wrote his twelve, so-called, "great" symphonies for Salomon's concerts. He returned to Vienna in 1792, stopping at Bonn, where he met the young Beethoven, and passed favorable judgment on a cantata of his. In December of the same year Beethoven came to Vienna to study under him. In 1794 Haydn made a second, equally successful visit to London, returning home in August, 1795. In January, 1797, he left his house in Vienna for one he bought in the Mariahilf suburb (Wind- miihle, 73 Kleine Steingasse — now 19 Haydngasse), and went to Eisen- stadt only for the summer and fall of every year. The great works of the last ten years of his life were the Creation and the Seasons. His health was considerably enfeebled, but he kept on composing to the end. He died during the siege of Vienna by the French. To Haydn we owe the firm establishment of the so-called cyclical forms of instrumental composi- tion, the sonata and its cognate forms ; he left the sonata, symphony, and the corresponding forms of chamber-music in the condition in which they needed but the further extension, applied to them by Beethoven and others, to be what they are at the present day. Whether it was he or the Italian, Boccherini, who first applied the sonata-form to the string quartet and quintet, does not seem to be settled beyond all doubt ; but the glory of it has generally been attributed to Haydn.

SYMPHONY IN G MAJOR JOSEF HAYDN. This symphony, which was written for Paris in 1786, is designated as " Letter V " in the catalogue of the London Philharmonic Society, and is No. 13 in the edition of Breitkopf & Hartel, and No. 8 in that of Peters. The first movement opens with a short slow introduction, Adagio in G major (3-4 time), consisting for the most part of strong staccato chords, alternating with softer passages. The main body of the movement, Allegro in G major (2-4 time), begins with the dainty first theme, given out piano by the strings (without double-basses) and repeated forte, with a new coun- ter-figure in the bass, by the full orchestra. This is followed by some strong passage-work which soon develops into a subsidiary theme of more chromatic character, the intimate relation of which to the first is, however, not to be overlooked. This passage ends in the key of the dominant, D major. Then follows a short piano and pianissimo passage which seems to be intended to do duty for a second theme (it is in the dominant), but is really little more than a melodic variation of the first. Some more passage- work leads to an equally short conclusion-theme,— first in the oboes and bassoon, then in the strings,— which is also but a variation of the first theme, and some more fortissimo passage-work brings the first part of the (342) COPLEY Confectionery SQUARE Department STORE Cor. Huntington Ave. and Dartmouth St.

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movement to a close with a sudden modulation back to the tonic. This first part is then repeated. The free fantasia is long, for Haydn, and quite elaborate contrapuntally. The third part of the movement is entirely regular, the second and conclusion themes now appearing in the tonic ; it is extended at some points by more development than was to be found in the first part ; the first theme, too, is presented with a more elaborate juxtaposition of counter-figures than at first. There is also a short coda, on the first theme. The form, albeit already fully established, reminds one— in the want of marked individuality in the second and conclusion themes, both of which are derived from the first, and but little developed — a little of the estate of the Symphony during the pre-Haydnite transition period. The second movement, Largo in D major (3-4 time), opens with a beauti- ful, serious melody, sung in octaves by the oboe and 'celli, to an accom- paniment in the violas, double-basses, bassoon, and horn, each period being followed by a modulating passage in all the strings. This theme is then repeated, still in the oboe and 'celli, with a richer accompaniment, the first violins pitting a light, airy counter-figure against it. Some sterner fortis- simo harmonies in the full orchestra lead to a transitional passage, first in the higher wood-wind, then in the strings, after which the theme is repeated again by the full orchestra (without trumpets or drums, however), with the melody at first in the first violins and flute, then in the oboe and 'celli, the accompaniment growing more and more elaborate. The development of the rest of the movement is carried on on the same lines, the melodious theme returning twice more,—the first time in F major, with the melody in the first, violins and 'celli in unison, the second time in D major, the melody being now in the first violins and Oboe in unison, over a waving arpeggio accompaniment in the second violins. A very brief Coda closes the movement. The third movement, Menuetto : Allegretto in G major (3-4 time), is in the regular form of Minuet and Trio, in its simplest estate. The Trio is in the tonic. The fourth movement, Allegro con spirit° in G major (2.4 time), is a brilliant rondo on a single theme, with some subsidiary passage-work and not a little contrapuntal working-out here and there. Its form, although

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Op. 18. Three French Songs, . .50 No. t. L'Agonie (Anguish). Houses in Massachu- " a. Soupy (A Sigh). " 3. Peu de Chose (Our life is vain). setts. Op. t . Three English Songs, . . .5o No. r. The End of the Day. CHAS. POLLOCK, 2. Come, little blossom. " 3. When May was young 10 Hamilton Place At Parting, 2 keys, 50 (844 extremely simple, is very fully developed ; it is one of the prime favorites among Haydn's symphonic rondos, and brings the symphony to the most brilliant and vivacious conclusion. The theme, that of a peasant contra- dance, is a model in its way. The symphony is scored for r flute, 2 oboes, 2 bassoons, 2 horns, trumpets, r pair of kettle-drums, and the usual strings, the full orchestra being employed in all four movements.

HERMANN GOETZ was born at Konigsberg on December 17, 1840, and died at Hottingen (Canton of Zurich), Switzerland, on December 3, 1876. His first musical instruction was from Louis Kohler on the pianoforte ; after finishing his studies at the University of K8nigsberg in 1858, he went to Berlin, where he entered Stern's school, studying the pianoforte under Hans von Billow, and composition under Hugo Ulrich. In 1863 he suc- ceeded Theodor Kirchner as organist at Winterthur, in Switzerland ; here he also gave lessons, founded a singing society, and conducted an amateur orchestra. In 1867 he moved to Zurich, but kept up his engagements in Winterthur nevertheless ; two years of over-exertion, working hard in both towns and continually travelling between the two, undermined his health. In 187o he moved to Hottingen ; but he never recovered his health, and died there six years after his arrival. Goetz, like Norbert Burgrmiller, probably died before the full development of his powers as a composer, at the early age of thirty-six. He was among the most noteworthy and legiti- mate followers of Mendelssohn and Schumann, and the general bent of his genius was in the classic, rather than in the "future," direction ; still he could not wholly escape the artistic influence of his day, and, had he lived longer, his classicism might well have been more and more modified, espe- cially as he had won his most notable success in writing for the stage, and fully meant to pursue that career still farther. His best known works are his symphony in F major and, above all, his opera, Der Widerspertsligen OLD VIOLINS ECM.ALE MACKINTOSHES rol Gape AND Violas, 'Cellos, Italian Strings, Hood - Fine Bows, Elegant Cases. FINEST QUALITY JOSEPH GUARNERIUS DEL JESO VIOLIN, 1st Epoch CASHM ERE. SiLKN f_13, Price, $2,000. Fine Repairing. Bows Haired. pcPe*Iiiitr RUBBER CO. F. A. OLIVER, 25 Winter St., BOSTON, MASS. ..zI9 SUMMER ST. ...'CLEVE BOSTON. Dealer and Expert. Established x885. 11101111 Mr. Oliver has returned from his Eighth Annual European Trip. (345) Ziihmung (Taming of the Shrew), which was brought out at Mannheim on October 11, 1874, and afterwards given with great success (in an English version by the Rev. J. Troutbeck) in London on January 20, 1880. The following personal reminiscences of Goetz, kindly furnished me by Dr. Louis Kelterborn of this city, will be read with interest. " It was about thirty years ago that Goetz appeared at one of our sym- phony concerts" (in Basel) "as composer, conductor, and pianist. I was then about twelve years old, and one of the few alto boys who were allowed to join the select special choir (a portion of the Oratorio Society) which had to sing in smaller choral works at symphony concerts; to take part, for instance, in a complete performance of Berlioz's Romeo and Juliet symphony (a work which was abominably criticised on that occasion, but made such an overwhelming impression upon me that I sat almost crying on the floor). " Goetz conducted his Friihlings-Ouvertiire, and I still remember his untiring efforts at the last rehearsal to make the string players bring out some difficult passages in all clearness, beauty, vividness, and perfection of ensemble. He was tall and very lively in his gestures, pale as wax, with red lips, and eyeglasses, being already a very sick man ; his voice was thin and hoarse, so he was compelled to whisper his remarks to the orchestra, rather than utter them clearly. His playing (of a Mozart concerto, if I am not mistaken) was— as far as a boy of my age could understand and feel — almost angelic. After his conducting and playing, he was given a seat in the balcony, very near where I sat. So exhausted was he by his work that he seemed to fall asleep. During the symphony he sat there, pale as a ghost, with his mouth half open, his eyes closed, and his handkerchief in his hand. After the last chord he had to be waked, and at once began to cough frightfully; I heard him say : 'Nun kommt das abscheuliche Blut- speien wkder (Now comes that abominable blood-spitting again !)' "The whole scene made an indelible impression upon my boyish imagi- nation, and often have I recalled it later on, when his operatic triumph came, when his works were given,— among them a very interesting, though

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(346) hardly very successful, violin concerto,— chamber-works, –cantatas, etc. On a tour through the Canton Glarus, in 1879, I visitedvhis;last_summer residence in Reichisau, in a very high, pure, and grand Alpine; atmosphere. There was a grove of majestic trees, in the midst of which was a sort of natural writing-desk, formed of branches, on which he wrote his Francesca da Rimini; and the landlord showed me an autograph song which Goetz had written in his album of famous visitors to the place."

SCENA, " MY STRENGTH IS SPENT," FROM " THE TAMING OF THE SHREW." HERMANN GOETZ. Der Widerspensti gen Ziihmung (Taming of the Shrew), comic opera in four acts, the text freely arranged from Shakspere's comedy by Joseph Vik- tor Widmann, the music by Hermann Goetz, was first brought out at Mann- heim on October r r, 1874. The scene sung at this concert —Adagio in E-flat minor (4-4 time) and Allegro moderato in G-flat major (4-4 time) — is Act IV., Scene 3. The situation is where Katharine, overcome by Petru- chio's violence in the scene where he finds fault with every dish served up to him, soliloquizes about her love for him and her intention to change her previous shrewish demeanor. The text, in the original German and the current English version, is as follows : — Die Kraft versagt, des Kampfes bin ich miide. Und wie ein Schiff im Seesturm untergeht, So stirbt des kiihnen Muthes Ietzter Schimmer In dem Orkane seines Zorns dahin. Sind Weibes Waffen doch Strohhalmen gleich! Wo ist mein Stolz ? Wie bin ich jetzt so welch! Und hass' ich ihn ? 0 nein! Welch' Wort, ihn hassen ! Mein Leben wollt' fiir ihn ich lassen. 0 konne ich ihn versohnt and milde seh'n ! Sonst muss in seinem Ziirnen ich vergeh'n. Es schweige die Klage ! In Dehmuth es trage, Was noch so Schweres er dir beschliesst ! In freundlichem Schein Winkt dir nur eine, Nur eine Hoffnung, die dies versiisst :

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(8ff) MARGARET R. LANG JOSHUA PHIPPEN Petit Roman. Songs and Pianoforte Compositions. Others in press. Complete Catalogue of A. P. SCHMIDT, containing favorite compositions: Mrs. Beach, Messrs. Chadwick, Foote, Johns, Lynes, MacDowell, etc. - — N.B.—All music performed at these Concerts constantly in stock, generally In the well-known "cheap editions." JOHN W. MAC COY, Foreign and American Music 26 WEST STREET, BOSTON. The Most Fashionable Gloves and Veilings

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OVERTURE TO " FIDELIO," IN E MAJOR, OP. 72, LUDWIG VAN BEETHOVEN. Fidelio, oder die eheliche Liebe (Fidelio, or Conjugal Love) was the final title of Beethoven's only opera. The original libretto was an adaptation by Joseph Sonnleithner of Jean-Nicolas Bouilly's Lionore, ou Pamour conju- gal, which had been twice set to music : by Pierre Gaveaux, as Lionore, ou l'amour conjugal (Paris, Opera-Comique, February 19, 1798), and by Fer- nando Paer, as Leonora, ossia l'amore conjugale (Dresden, October 3, 18o4). LADIES'

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HENRY H. TUTTLE & CO. 435 WASHINGTON STREET CORNER WINTER STREET (849) Beethoven wished the title to be Leonore, and this was the title on the MS. scores of the first two versions of the opera ; but it was never given, except as Fidelio. The first version, in three acts, was brought out at the Theater an der Wien, in Vienna, on November 20, 1803, and had only three performances. It was for this production that Beethoven wrote the overture known as Leonore No. 2. The libretto was then reduced to two acts by Stephen Breuning, and the score revised by the composer. In this second version the opera was brought out at the Imperial Private Theatre on March 29, 1806, and had but two performances. For this production Beethoven wrote the overture known as Leonore No. 3. In 1807 there was some talk of bringing the opera out in Prag, and for this intended perform- ance (which never came off) Beethoven wrote the overture known as Leonore No. r, Op. r38. In 1814 the libretto was again revised by drich Treitschke, and the score once more remodelled by Beethoven ; this third version was brought out at the Karnthnerthor Theater on May 23, 1814. For this production Beethoven wrote the overture known as Fidelio, the one given at this concert. The overture begins, Allegro in E major (2-2 time), with four measures in a strongly marked rhythm, for full orchestra. Then follow eight meas- ures of Adagio (still in 2-2 time),— soft, sweet-toned calls on the horns, answered by the clarinets. The sharp, brilliant opening measures are then repeated in the subdominant, A major, and then the Adagio sets in again, the soft horn-call theme being briefly treated in the wind instruments, and followed by some serious, thoughtful harmonies in the wind, over a tremu- lous accompaniment in the strings ; the soft calls return, in the wood-wind, then in the horns, against a gentle running figure in triplets in the violins and violas, leading to the main body of the overture, Allegro in E major (2-2 time). After a crescendo chord in the wind, the second horn outlines the first theme,— its rhythm and melody are taken in part from the strong first four

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Tenth Rehearsal and Concert.

Friday Afternoon, December 28, at 2.30.

Saturday Evening, December 29,'at 8.00.

PROGRAMME.

Tschaikowsky - - - - - Symphony No. 6

Henry Holden Huss - - - - Concerto for Pianoforte (First Time.)

Rubinstein - - - Ballet Music, "Die Rebe "

Berlioz - - - - - Overture, "Benvenuto Cellini "

Soloist, Mr. HENRY HOLDEN HUSS.

363) ANDEL AND Eightieth Season. AYDN Boston Music gOCIETY. Hall. THE TlE5511111.

TWO PERFORMANCES.

Sunday Evening, December 23, at 7.30. MRS. ELENE EATON, Soprano. Miss MARY LOUISE CLARY, Alto. MR. CHARLES A. KNORR, Tenor. MR. WATKIN MILLS, Bass.

Tuesday Evening, December 25, at 7.30. MRS. KILESKI BRADBURY, Soprano. MRS. ADA MAY BENZING, Alto. MR. FREDERICK A. MANDEVILLE, Tenor. MR. WATKIN MILLS, Bass.

Mr. ZERRAHN, Conductor. Mr. LANG, Organist.

The Creat Chorus of the Society. A Complete Orchestra.

Sale of tickets for the first concert opens December 17 ; sale for the second concert opens December i8. $2, $1.50, $1, according to location. Season tickets for the course of five oratorios also on sale.

(354) 54th SEASON. BOSTON MUSEUM Mr. R. M. FIELD, Manager. On Monday, December 31st,

A NEW COMIC OPERA, Words by Mr. RICHARD D. WARE I Music by - Mr. BENJ, E. WOOLF

ENTITLED WESTWARD, HO ! to be produced with every possible attention to detail as regards cast, scenery, costumes, and appointments.

Time—loth CENTURY. Place—STATE OF WYOMING. Theme— " THE NEW WOMAN."

ENLARGED ORCHESTRA, . . Mr. JOHN J. BRAHAM, Conductor.

The sale will open December zo for the entire first week. Orders by mail will be filled as received, and tickets so secured held until to A.M., December 26.

MUSIC HALL. TSATE, Saturday Afternoon, Jan. 12, At 2.30.

CHICKERING HALL. Wednesday Evening, Dec. 26, at 8. THE 4bf111OW5K1 QUARTET Assisted by Mr. ARTHUR WHITING. 1SUITE for Violin and Piano EDWARD SCHUTT TWO NOVELTIES I QUARTET in A minor . VILLIERS STANFORD QUARTET in G major . . HAYDN Tickets at Box Office, Music Hall.

UNION HALL, 48 Boylston St., Monday Evening, Dec. 31, at 8. THE KNEISEL QUARTET Assisting Artist, Mr. ARTHUR WHITING. PROGRAMME: QUARTET, A minor, Op. 132, BF.P.THOVEN; SONATA for Piano and 'Cello, Op. (new), PFITZNER QUARTET, G major, HAYDN. Tickets at Box Office, Music Hall. ,355) BOWDOIN SQUARE THEATRE,

CHARLES F. ATKINSON, Manager. Monday Evening, Dec. 24,1894

FIRST PRODUCTION IN AMERICA. THE SUCCESS OF THE ENGLISH STAGE. HUMANITY BY SUTTON VANE, author of the Cotton King. A Wonderful Production.

20 200 HORSES. PEOPLE.

10 GREAT SCENES 10

SOME OF - THE ARTISTS : JOSEPH R. GRISMER. DORE DAVIDSON. PHCEBE DAVIES. BEBE VINING. ANNIE CLARKE. SCOTT COOPER. FRAZIER COULTER. TRELLA FOLTZ—TOLAN. CLARENCE FERGUSON. JAMES E. SULLIVAN. ROSS O'NEAL. AGNES LANE. C. W. COULDOCK. FRANK MURTHA.

Sale of seats opens Monday, December 17. 5c,, Chandler W. Smith, Wholesale and Retail Representative

FOR THE 6/00IM' ter & fgro-.q.er AND THE Smith & Nixon PIANOS. NEW WAREROOMS, 160 Boylston Street, Opposite the Common, BOSTON. rEir Pianos sold on easy payments if desired.

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(357)

MUSICAL INSTRUCTION. 3 PARK STREET. Miss CHARLOTTE W. HAWES, Private and class lessons in Piano, MUSICAL LECTURE-RECITALS. Har- mony, and Musical Literature.

SPECIAL OBJECT, The Training of Teachers of Rusin, Training School of Music Thorough courses in Vocal and Instrumental Music, Boston Harmony, Theory, and Composition. tINCORPORATED). CENTRAL LOCATION. CATALOGUE FREE. GEO. H. HOWARD, A.M., Director,

26 Music Hall Building , BOSTON.

Germania Band and Orchestra, Concerts, Oratorios, 120 TREMONT ST., Receptions, Musicales, BOSTON. Weddings, Balls, etc. GEO. W. STEWART, Manager. TEACHER OF Mr. F. F. MARSHALL Pianoforte Playing and Harmony (Leipzig Conservatory), 657 BOYLSTON STREET, BOSTON, MASS. Instruction in Singing. Mr. NORMAN McLEOD, ROOM 21, Music Hall Building, Boston. Teacher of the Harp. A LARGE NUMBER OF NEW AND HEINRICH SCHUECKER, SECOND-HAND ERARD HARPS FOR SALE AND TO LET. 10 GREENWICH PARK, BOSTON. VOICE CULTURE. Miss EMMA S. HOWE Pupil of Sig. Achille Errani. Vocal Instructor at Wellesley College and Wheaton Seminary. Residence and Studio for Private Pupils, 4 Rockland St., ROXBURY, MASS. HAVE RESUMED Mr. & Mrs. MAX HEINRICH VOCAL INSTRUCTION. Studio, Room 6St, Steinert TREMONT and BOYLSTON STREETS. VOCAL INSTRUCTION. Miss GERTRUDE EDMANDS, 16o Boylston Street. ROOM 7. (358)

VOCAL TEACHER. Miss HARRIET S. WHITTIER 26 Regent Street, Boston Highlands. , 62 Boylston Street, Room 563, Tuesday and Friday mornings. VOICE CULTURE. LEADING EXPONENT of THE LAMPERTI MARTIN ROEDER, METHOD IN AMERICA. 178 A Tremont Street. APPLICATIONS DAILY, FROM 52 to x. Teacher of Violin, Theory and Composition Mr, GUSTAV STRUBE Highest references as Violin Soloist (Member of Boston Symphony Orchestra), and Ensemble Player. 2 CENTRE STREET, ROXBURY. TEACHES SINGING Mr. CLARENCE E. HAY AT 149 A Tremont Street.

STEINERT BUILDING FRED, FIELD BULLARD 62 BOYLSTON ST.

VOCAL INSTRUCTION. Mr. JAMES H. RICKETSON, Address, MILTON.

TEACHER OF THE ZITHER.

A number of new and second-hand JOHANNES ABLOESCHER, • Anton Kiendi's Zithers to sell. 3o Hancock Street, . . . BOSTON. VOICE MASTER. (Old Italian Method.) Mrs, Avonia Bonney Lichfield TERMS: Half-hnosuir. Lcelassssoenss:r pe quarter Residence, 38o Newbury Street. (Madame Adelina Patti recommends Mrs. Lichfield as a teacher of singing.) Harp Soloist and Teacher. New and Second-hand Harps VAN YEACHTON ROGERS. for sale and hire. 43 West St., • • . . Boston. (359) CULTIVATION of VOICE, Mrs, CORA A, FROTHINGHAM, 179 A Tremont Street. Monday P.M., Tuesday, and Friday.

SOPRANO SOLOIST Miss GERTRUDE FRANKLIN, VOCAL INSTRUCTION

149 A TREMONT STREET.

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SUGGESTIONS FOR CHRISTMAS GIFTS.

An Accurate Watch for men, in gold case, for $75 and $100. Ladies' Chatelaine Watches, in silver, steel finish, and gold cases, from $7 to $25. Ladies' Watches in regular sizes, 14 and 18 karat gold cases, from $20 to $150. A special stock of Diamond and Fancy Stone Rings, mounted as solitaires, clusters, three and five stones Circlets and Marquis Rings, from $15 to $500. All watches and gems are fully guaranteed. In view of the advance of the tariff rates on precious stones, we purchased a large stock in the early part of the year at old prices; and no advance has been made by us in prjce. A. STOWELL & CO., 24 WINTER STREET. STEINWAY & SONS PIAcA(0 c7l4ANUFACTURENS BY APPOINTMENT TO

HIS MAJESTY EMPEROR WILLIAM 11. OF GERMANY,

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THEIR ROYAL HIGHNESSES THE PRINCE AND PRINCESS OF WALES. THE DUKE OF EDINBURGH.

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HER MAJESTY THE QUEEN OF SPAIN. ITALY. SPAIN. HIS MAJESTY EMPEROR WILLIAM II. OF GERMANY, On June x3th„ 5893. also bestowed to Our Mr. WILLIAM ST..NWAY the order of THE RED EAGLE, III. Class, the highest ever granted to an Industrial.

Tun ROYAL ACADEMY OF ST. CECILIA at Rome. Italy, founded by the celebrated composer Palestrina, in 1584, has elected Mr. William Steinway an honorary member of that institution. The Wowing: is the translation of his Diploma : THE ROYAL ACADEMY OF ST. CECILIA have, On aCCOunt Of his eminent merit in the domain of music, and In conformity to their Statutes, Article 12, solemnly decreed to receive William Steinway into the number of their honorary members. Given at Rome, April 25. x894, and in the three hundred and tenth year from the founding of the Society. E. DI SAN MARTINO, President.t. ALEX. PANSOTTI, Secretary.

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