THE LYRIC, BALTIMORE.
BostonSmnptiony Orchestra
WILHELM GERICKE, Conductor.
Twenty-fifth Season, 1905-1906.
PROGRAMME
OF THE
Fifth and Last Concert
WEDNESDAY EVENING, MARCH 14,
AT 8. J 5 PRECISELY.
by Philip Hale. With Historical and Descriptive Notes
Published by C. A. ELLIS, Manager.
1 THE
fcjm& Ifamlin PIANO
During the musical season of 1 905-1 906 is being played in prin- cipal cities from Boston to San Francisco, in Recital, before Musi- cal Clubs, leading musical organizations, with the great orchestras, and by the greatest pianists, among whom may be named the
following :
(Boston Symphony Orchestra, Wilhelm Gericke, Conductor. Pittsburgh Orchestra, Emil Paur, Conductor. HAROLD BAUER (Indianapolis Orchestra, Hans Schneider, Con- ductor. Kneisel Quartet.
Chicago Orchestra, Frederick Stock, Conductor. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. RUDOLPH GANZ New York Philharmonic Orchestra, Felix Wein- gartner, Conductor. Philadelphia Orchestra, Fritz Scheel, Conductor. Kneisel Quartet.
Boston Symphony Orchestra, Wilhelm Gericke, Conductor. New Haven Orchestra, Horatio W. Parker, Con- ANTOINETTE SZUMOWSKA ductor. Chicago Orchestra, Frederick Stock, Conductor. Adamowski Trio.
EMIL PAUR . . : Pittsburgh Orchestra.
Boston Symphony Orchestra, Wilhelm Gericke,
HEINRICH GEBHARD . Conductor. Kneisel Quartet.
( Kneisel Quartet. VINCENT D'INDY .1 . . J Longy Club.
( Boston Orchestral Club, Georges Longy, Con-
ALFRED De VOTO . . < ductor.
( Longy Club.
Baltimore Representatives R. LERTZ & SON
14 West Saratoga Street Boston Symphony Orchestra. PERSONNEL.
Twenty-fifth Season, 1905-1906.
WILHELM GERICKE, Conductor.
First Violins Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. Kuntz, D. Hoffmann, J. Fiedler, E Mullaly, J. C. Moldauer, A. Strube, G. Rissland, K.
Second Viouns. Barleben, C. Schuchmann, F. E. Kurth, R. Kuntz, A. Akeroyd, J. Tischer-Zeitz, H. Goldstein, S. Fiedler, B. Fiumara, P. Marble, E. B. Berger, H. Traupe, W. Swornsbourne, W. W. Eichler, J. Edw
Violas. Zach, M. Sauer, G. F. Hoyer, H. Krauss, O. H. Ferir, E. Kolster, A. Kluge, M. Gietzen, A. Heindl, H. Zahn, F.
Violoncellos. Warnke, H. Loeffler, E. Barth, C. Hadley, A. Nast, Keller, J. Nagel, R. Heindl, A. L. Adamowski, J. Heberlein, H. Basses Keller, K. Bareither, G. Butler, H. Schurig, R. Kunze, M. Seydel, T. Gerhardt, G. Elkind, S.
Flutes. Oboes. Maquarre, A. Brooke, A Longy, G. Sautet, G. Fox, Paul Maquarre, D. Lenom, C.
English Horn. Clarinets. Bass Clarinet. Mailer F. Grisez, G. Mimart, P. Vannini, A. Fritzsche, O.
Bassoons. Contra-bassoon A. Sadoni, P. Regestein, E- Debuchy, Helleberg, J. Horns Hackebarth, A. Lorbeer, H. Hain, F. Schumann, C. Hess, M. Phair, J.
Trumpets. Trombones. Hampe, C. Mausebach, A. Kloepfel, L. Mann, J. F. Kenfield, L. S. Brenton, H. E. Merrill, C. Drums. Harp. Tuba. Tympani. Rettberg, A. Ludwig, C. R. Schuecker, H. Dworak, J. F. Librarian. Cymbals. Triangle, etc. Bass Drum. Castanets. Ludwig, C. F. Sauerquell, Senia, T. Burkhardt, H. Bower, H. J - us!a. PIANO that has been manufactured continuously for over Eighty-two years, which has been honored and distin- guished by States and Sovereigns, by learned societies and World's Expositions, by the greatest contemporaneous mu- sicians who have bestowed upon it the highest testimonials, awards, and decorations, embracing every known method of publicly recog- nizing distinguished merit. The public honors alone include 129 First Medals and Awards. A vast experience is thus exemplified in the Chickering Piano of to-day. CHICKERING & SONS Established 1823 791 TREMONT STREET -- Re fcsentcd in n _. n P Baltimore by The KRANZ-SMITH PIANO CO. G. FRED KRANZ, President N. W. corner Charles and FayettelStreets 4 Boston The Lyric, ^ - f Mount Royal and bymphOnV i£ Maryland Avenues, T Baltimore. Twenty-fifth Season, 1905- Clt*CflC^f"l*^lV^l WUWOll €X J906. Twenty-first Season in Baltimore. WILHELM GERICKE, Conductor. FIFTH AND LAST CONCERT, WEDNESDAY EVENING, MARCH 14, AT 8.15 PRECISELY. PROGRAMME. Goldmark " Overture to Sakuntala," Op. 13 Jaques-Dalcroze . . Concerto in C minor, for Violin and Orchestra, Op. 50. First time here I. Allegro con ritmo. II. Largo. III. Finale quasi fantasia (Allegro appassionato). " Debussy . . . Prelude to Stdphane Mallarmd's Eclogue, The " Afternoon of a Faun Symphony in major, Schubert ...... C No. 7 I. Andante ; Allegro ma non troppo. II. Andante con moto. III. Scherzo : Allegro vivace. Trio. IV. Finale : Allegro vivace. SOLOIST: Mr. HENRI MARTEAIL There will be an intermission of ten minutes before the symphony. 5 HAROMAN PIANO THE genius employed for the past sixty- four years in the manufacture of these instruments has produced a piano with a pure musical tone. Besides possessing this tone they have a peculiar feature in that they actually improve with use. Established in 1842. Booklets of information. Hardman, Peck & Co., Makers Fi^th Avenue and 19th Street, New York Represented in Baltimore by COHEN & HUGHES 304 North Howard Street — Overture to ''Sakuntala," in F major, Op. 13 . Carl Goldmark (Born at Keszthely, in Hungary, May 18, 1830;* now living at Vienna.) This overture, the first of Goldmark's important works in order composition, and the work that made him world-famous, was played for the first time at a Philharmonic Concert, Vienna, December 26, 1865. The first performance in Boston was at a concert of the- Harvard Musical Association, December 6, 1877. The following preface is printed in the full score : For the benefit of those who may not be acquainted with Kalidasa's famous work, "Sakuntala," we here briefly condense its contents. Sakuntala, the daughter of a nymph, is brought up in a pentitentiary grove by the chief of a sacred caste of priests as his adopted daughter. The great king Dushianta enters the sacred grove while out hunting; he sees Sakuntala, and is immediately inflamed with love for her. A charming love-scene follows, which closes with the union (according to Grund- harveri, the marriage) of both. The king gives Sakuntala, who is to follow him later to his capital city, a ring by which she shall be recognized as his wife. A powerful priest, to whom Sakuntala has forgotten to show due hospitality, in the intoxication of her love, revenges himself upon her by depriving the king of his memory and of all recollection of her. Sakuntala loses the ring while washing clothes in the sacred river. When Sakuntala is presented to the king, by her companions, as his wife, he does not recognize her, and he repudiates her. Her companions refuse to admit her, as the wife of another, back into her home, and she is left alone in grief and despair; then the nymph, her mother, has pity on her, and takes her to herself. Now the ring is found by some fishermen and brought back to the king. On his seeing it, his recollection of Sakuntala returns. He is seized with remorse for his terrible deed; the profoundest grief and unbounded yearning for her who has disappeared leave him no more. On a warlike campaign against some evil demons, whom he vanishes, he finds Sakuntala again, and now there is no end to their happiness. The introduction operas, Andante assai in F major, 3-4, with rich and sombre harmonies in violas, 'cellos (largely divided), and bas- soons. Mr. Apthorp fancies that the low trills "may bear some ref- * Yet the latest biographer of Goldmark—Otto Keller, of Vienna—gives the erroneous date, 1832, still found in some recent biographical dictionaries of musicians. See Keller's "Carl Goldmark" (Leipsic, s. d., in the "Moderne Musiker" series). the Hem^ oi PIANOFORTE TECHNIC r^rr By RALPH H. BELLAIR5, Mus. Doc. Oxon. This work approaches the study of the pianoforte from an entirely new point of view. The simultaneous development of the rhythmical with the mechanical side of pianoforte playing constitutes its subject. accepted as tke It has received endorsement in the highest 'quarters, . and may be latest utterance in connection with scientific pianoforte technique. The section devoted to scale-playing alone will illustrate this fact. have In framing this work, the eminent labours of Tausig, Pischna, and von Bulow received the greatest appreciation. Thus, from the earliest stage transposition has been well as of key has been sedulously eschewed, freely adopted ; but monotony of rhythm as and herein lies the novelty of treatment. — The points of immediate import which have been consistently kept in view are: The normal musical sentence, as most commonly found in instrumental music. The rhythmic or metrical figure. The transposition of keys (varied tonality). major will be The old-fashioned five-finger exercise in semiquavers in the key of C vainly sought for within these pages. 4 BOOSEY & COflPANY, 9 EAST 17TH STREET, NEW YORK : SECOND EDITION ELSON'S Music Dictionary By LOUIS C. ELSON Professor of Theory of Music at the New England Conservatory of Music Ever since Tinctor, about 1475, wrote the first music dictionary, there has been an endless succession of books dealing with musical defini- tions. This is but natural and proper, since the musical art is constantly changing. A music dictionary, unless frequently revised, easily drops behind the times. There are no obsolete terms in Elson's Music Dictionary, but every necessary word is included, with its pronunciation. By pronuncia- tion is meant a phonetic spelling in the English language, not merely accent marks. This ap- plies as well to composers' names ; for instance, Rachmaninoff = Rachh-#za>£7z-nee-noff. In addition to 289 pages containing the defi- nitions and pronunciations of all the terms and signs that are used in modern music, are the following Rules for pronouncing Italian, German, and French. A list of popular errors and doubtful terms in music. A list of prominent foreign composers, artists, etc., with their chief works, the pronunciation of their names, and the date of their birth and death. A short vocabulary of English musical terms with their Italian equivalents. The rules for pronunciation will enable the student to pronounce not only the musical terms, but every word in either of the three languages. Such terms as " Pitch," " Sonata," " Tempera- ment,'.' " Turn," " Scale," " Organ," " Notation," " Form," " Key," etc., are explained at length. In some cases from three to four pages are devoted to a single word. On important subjects full biblio- graphical references are given. The book comprises 306 pages, and is bound in serviceable cloth covers. PRICE, POSTPAID, $1.00. COPIES SENT FOR EXAMINATION OLIVER DITSON COMPANY, Boston CHARLES H. DITSON & CO., New York J. E. DITSON & CO., Philadelphia LYON & HEALY, Chicago Order of your home dealer or the above houses. 8 erence to the gurgling of a spring—indicative of Sakuntala's parent- age." The tempo changes to Moderate assai, F major (3-4 or 9-8 time). clarinet and A two 'cellos in unison sing the chief theme over soft harmonies in the strings and bassoons. This yearning and sensu- ous theme is named " by some commentators the I/>ve-theme " but Dr. Walter Rabl suggests that with the second chief theme it may picture Sakuntala in the sacred grove. Thus do ingenious glossarista disagree. This second theme is introduced by first violins and ol and against it second violins and violas sing the first melody as a counter- theme. The figuration has soon a more lively rhythmic character, and a short crescendo leads up to a modulation to A minor, poco piu' mosso, in which the brass instruments give out a third theme, a hunt- ing tune. This theme is developed; it is used in turn by brass, wood-wind, and strings. After a fortissimo of full orchestra there is a long development of a new theme (Andante assai in E major), sung by oboe and English horn against harp chords and triplet arpeggios in strings. This theme had a certain melodic resemblance to the second chief theme. The sombre theme of the introduction is heard in the basses. The pace grows livelier (piu mosso, quasi Allegro), and the music of the hunt is heard. The climax of the crescendo is reached in F minor, and a cadenza for wind instruments and strings, broken by loud chords, leads to a repetition of the introduction. The first chief theme appears, and is soon followed by the second. The coda begins with a crescendo climax on figures from the hunting theme, which leads to a full orchestral outburst on the two chief themes in conjunction,—first theme in wood-wind and violins, second theme in horns in unison. A free climax, which begins with the hunting theme, which is now naturally in F major, brings the brilliantly jubilant close. The overture is scored for two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, a set of three kettledrums, harp (if possible, two harps), and strings. It is dedicated to Ludwig Lakenbacher. Schubert thought in 1820 of writing an opera based on the story of Sakuntala. The libretto was by P.. H. Neumann, and the opera was to be in three acts. Schubert sketched two acts, and the manu- "OLD VIOLINS" The Ernest Tonks Piano C. H. Hildebrandt (& Son 321 N. HOWARD STREET Established 1838 New England CONSERVATORY OF MUSIC Founded 1853 Huntington Avenue, Boston, Mass. GEORGE W. CMADWICK, Director There are privileges and advantages connected with the student life at the New England Conservatory of Music that mark it an institution of unusual efficiency. The remarkable equipment and strong organization for musical education have resulted from a growth of more than fifty years. The material increase is significant, but of greater importance is the experience that has come with these fifty years of progress. To-day no school in America can contribute as much and none in Europe offer more toward a musical education than the New England Conservatory of Music. Every branch of a musical education has a special master. The student's capacity sets the only limitation to his progress. Owing to the practical training of students in our Normal Department, graduates are eagerly sought as teachers. Practical Pianoforte Tuning Course in one year. The imposing Conservatory building and its splendid equipment, the new Residence buildings, the detailed descriptions of Courses, are best told about in the year book, which will be sent on request. Pupils may enter at any time during the school year Address RALPH L. FLANDERS, Manager. 10 script some years ago was in Mr. Dumba's possession. Tomaczek's opera was not finished. Von Perfall's opera in three acts, i Teichert (Tischbein), was produced at Munich, April 10, i8.s\; \Y gartner's in three acts, text by the composer, at Weimar, March 1884. A ballet, "Sacountala," by L. E. E. de Reyer (scenario by Theophile Gautier), was produced at Paris, July 20, 1858. Sigismund Bachrich's ballet, "Sakuntala," was produced at Vienna, October 4, Felix 1884. von Woyrsch wrote an overture and entr'actes for a dramatic performance, and there are symphonic poems by C. Friedrich and Philipp Scharwenka. The one by Scharwenka, for solo voi< chorus, orchestra, and was performed at Berlin, March 9, 1885. Pierre de Breville wrote incidental music for A. F. Herold's adap- tation, "I/Anneau de Cakuntala (Theatre de l'CEuvre, Paris, Decem- ber 16, 1895), when the part of the heroine was taken by Miss Mery. The drama of Kalidasa was played for the first time in English in the Conservatory, Botanic Gardens, Regent's Park, London, July 3, 1899. An adaptation in German, by Marx Moeller, May 1, 1903, was produced at the Royal Theatre, Berlin. "Sakuntala" was produced by the Progressive Stage Society at the Madison Square Garden concert hall, June 18, 1905. Jones's metrical translation was used.. Miss Eda Bruna took the part of Sakuntala, Mr. Edmund Russell that of the "Emperor Dushyanta," and Mr. Nathan Aronson that of the "King's charioteer." The New York Sun said it was "mounted with many pretty costumes and effects, of which Mr. Russell, with his four changes of costume, his thumb rings, and his elegant set of turquoises, was by far the prettiest. The play, inter- preted by various undergraduates and late graduates of dramatic schools, assisted by Mr. Russell and two or three real actors, was pre- sented on a bare stage. At the rear ran a balcony arrangement, and a potted palm represented the forest of a terrestrial paradise in which the first act is supposed to take place. Real live East Indians from Mr. Russell's retinue acted as ushers and peddled programmes." MERIT MEANS SUCCESS STIEFF PIANOS USED IN NEW ENGLAND CONSERVATORY, Boston, Mass. SMITH COLLECE, Northampton, Mass. and many other prominent schools ONCE USED, ALWAYS WANTED WRITE FOR CATALOGUE STIEFF - 9 IM. Liberty Street ii Henri Ma^TEau, violinist and conductor, was born at Rhe'ms, man of wealth and an ama- France on Mar h 31, 1874. His father, a of the Philharmonic Society of the town; t ur violinist, was president a pianist, a pupil of Clara Schu- his mother, o" German extraction, was of >1 que. mann. The bov's first teacher was Bunzi, a pupil M He of that fterward studied w th Leonard, and after the death master he entered the Paris Conservatory, and in 1892, as a pupil of Garcin, appearance in public was at Rheims in won a first' prize. His first or April, 1884, when he played with orchestra. In 1885 1886 he appeared at Kroll's, Berlin; in December, 1887, he played in Vienna; in in 1888 he played in London and throughout France; 1890-91 he gave concerts. in Berlin and Dresden, and it was in April, 1891, at Angers, that he produced Brahms's Concerto for the first time in France. He first visited the United States in the season of 1892-93. He was also here in 1893-94 and in 1898. His last visit was in 1900, and in that year he was invited to take charge of the violin depart- ment of the Conservatory of Geneva, which is now his dwelling-place. He is known as a virtuoso throughout Europe, and he has made the public acquainted with many violin works of young and unknown composers. He has composed "La Voix de Jeanne d'Arc," a scene for soprano, chorus, and orchestra; two string quartets; a 'cello concerto, Op. 7, etc. pULHO Is the recognized Art Product appealing to the cultured musical taste. Its purity of tone and thoroughness of construction under the most advanced scientific principles place it in the very highest rank among the few artistic instruments. Local Representatives THE KRA/MZ-SMITH PIANO COMPANY G. FRED KRANZ, President N. W. CORNER CHARLES A/MD FAYETTE STREETS 12 Concerto in C minor, for Vioun and Orchestra, Op. 50. Emile Jaques-Daixroze (Born at Vienna, July 6, 1865; now living at Geneva ) h^comic opera, "La Soubrette," ' was performed in ,88 Tat of that a the;' city In 1884 he went to Paris to pursue his studies and t c composed the operetta, "Riquet a la HoupPe." He S aye & and wrote there a \ piecfin one'act •xSer^I Ecoher. ^^He studied ^?r?'in Vienna with Robert Fuchs and Anton Bruckner and wrote a one-act piece, "Par les Bois," which was per- formed at Geneva. Again he went to Paris and studied orchestra- tion with Dehbes. In 1892 he became professor of harmony and com- £STABUSHED Bryant and Strattox Business College IS NOW ENTERING UPON ITS 42nd YEAR. THAT ITS REC- ord has been successful is best attested by the thousands of young men and women who who have gone forth from: its halls to fill positions of hon- or and trust in all parts of the land. some of the leading business men, bankers and Manufacturers of Maryland and the South owe their success to the thorough training received at this institution. Course of Studies BOOKKEEPING, OFFICE PRACTICE, PENMANSHIP, CORRESPONDENCE, COMMERCIAL LAW, RAPID CALCULATION COMMERCIAL ARITH- METIC, SPELLING, SHORTHAND, TYPEWRITING AND ENGLISH. Day Sessions now open Night Sessions commence September 25th. TERMS: Day Sessions SIO. per Month Founded 1864. Incorporated 1895 Night Sessions $4 per Month For Announcement, Terms, Etc., Address SADLER'S BRYANT «& STRATTON BUSINESS COLLEGE 13T0 2T FAYETTE STREET, WEST, BALTIMORE, MD, 13 and in that city, January, 1893, nosition at the Geneva Conservatory, Veillee," was performed, also a three-act opera, his concert cantata, "U comedy m three acts Jame, book <«Le Violon Maudit." His lyric March 1894. Other works are bv Godet was performed at Geneva, 13, ode written for the Geneva exhibition of 1896; a strine quartet ; a concert book by Yve-Plessis, "Sancho " a musical comedy in four acts, subject of the opera is the episode Geneva, December 3, 1897 (the the Cervantes's "Don Quixote ; music of the island Barataria in Wagnerian style); "Festival Vaudois," for solo is in purely later " ; ' romandes et enfantmes ' Chansons voice chorus, and orchestra ( 1 903) for flute and string quartet; "Senti- (1898); two characteristic pieces string quartet; mental Landscape," symphonic poem for soprano and prayer, ballad of cradle song for string quartet; "Alpine Poem," weavers and book-stickers— spirits, song of the boatman, chorus of rondes; lyric Hymn to Liberty; CEuvres enfantines: chansons et pianoforte; Chez Nous: piece, "La-bas," for soprano, 'cello, and pianoforte pieces. nouvelles chansons romandes ; This concerto was played for the first time at the second Swiss Music Festival at Geneva, June 23, 1901, by Mr. Marteau. The chief theme of the first movement is announced by the orchestra. This theme and the second are utilized throughout the work. The first in the first it last, movement is worked out in a fugue ; and the soto violin takes at in a greatly augmented form, with other voices, in counterpoint. The second movement is of a pastoral nature. The first theme, broad and finely harmonized, is opposed to a second, which reminds one of the plain-song of the "Dies Irae." "A light tremolo of the tam-tam, after the manner of bells, gives to the second theme at the beginning a singular and mystical color." The third movement, with shifting rhythms and curious development of themes, is of a grotesquely gay nature. The score, dedicated to Mr. Marteau, was published in 1903. The concerto is scored for piccolo, two flutes, two oboes (one interchangeable with English horn) two clarinets, two bassoons, four horns, two trum- pets, three trombones, one bass tuba, kettledrums, snare-drum, bass drum, cymbals, triangle, tam-tam, glockenspiel, harp, strings, and solo violin. JUST PUBLISHED BY 6. SCHIRMER, 35 UNION SQUARE, NEW YORK QUARTET IN A MINOR Op. 18 (Dedicated to the Kneisel Quartet) For Two Violins, Viola, and Violoncello By F. S. CONVERSE Score, $2.50 net Parts, $5.00 net 14 In almost every line of manufacture there is some one article that mzed as the standard,-** is recoo that is made a basis for comparison by ali competing articles. Among' Piano-players the Standard the world over is S/fre Pianola INTO what corner JO of the globe you will, the name and fame of the Pianola will be found to have preceded you. In Berlin the Piano-player which has the next largest sale to the Pianola is- not even known by name to New Yorkers. And so a Piano-player which may have succeeded in building up a local reputation in certain sections of the United States is totally unheard of in Paris or St. Petersburg. The interest that such a fact has for the intending purchaser of a Piano-player is just this : It stands to reason that the article which can enter the markets of the entire world, taking the pre-emine?it position in every instance, must be possessed of unusual and remarkable merits. The Pianola has to-day a greater sale and popularity than that of all other Piano-players together. The two counts that have given the Pianola its lead throughout the world have its been musical and its mechanical superiority. There is no other Piano-player that costs 50 much to build, that controls such important patents, that plays with such delicacy and affords such perfect control over all the elements that go to constitute artistic piano playing. The testimony of the musical world on these points is overwhelming. " Rosenthal says : Nothing has more closely approached hand-playing than the Pianola." " Paderewski says : The Pianola is perfection." " Josef Hofmann says : The Pianola is beyond all competitors." " Kubelik says : I have seen all the different piano attachments, but the Pianola is the only one which could be considered seriously, for it is the only one which is musical or artistic." Chaminade says : "The Pianola is the only instrument that allows the player to interpret the feeling and the emotion that the work which he interprets inspires." The Pianola is purchasable as a cabinet to be attached to any piano or in the form of the Pianola Piano. THE AEOLIAN COMPANY AEOLIAN HALL, 362 Fifth Avenue, near 34th Street, New York Representatives for Baltimore The Sanders & Stayman Company Southeast corner Charles and Fayette Streets is Prelude to ''The Afternoon of a Faun (after the Eclogue of ST&PHANE MaLLARMS)" CLAUDE DEBUSSY living at Paris.) (Born at St. Germain (Seine and Oise), August 22, 1862; now "Prelude a l'Apres-Midi d'un Faune (figlogue de S. Mallarm6) " was played for the first time at a concert of the National Society of Music, Paris, December 23, 1894. The conductor was Gustave Doret. The second performance was at a Colonne Concert, Paris, October 20, 1895. The first performance in Boston—it was also the first in the United States—was at a concert of the Boston Orchestral Club, Mr. Longy conductor, April 1, 1902. The second was at a Chickering Production Concert, February 24, 1904, when Mr. Lang conducted. The Prelude was performed here at a concert of the Boston Symphony Orchestra, December 31, 1904. It was performed at a concert of the Cincinnati Symphony Orchestra, Mr. Van der Stucken conductor, January 2, 1904, and at a concert of the New York Symphony Orchestra, Mr. Walter Damrosch conductor, November 12, 1905. The New York Symphony Orchestra, Mr. Damrosch conductor, played the Prelude in Boston, January 18, 1906. Stephane Mallarme formulated his revolutionary ideas concerning style about 1875, when the Pamasse Contemporain rejected his first poem of true importance, "L'Apres-Midi d'un Faune." The poem was published in 1876 as a quarto pamphlet, illustrated by Manet. IVOSej'iANos Have been established 54 Years and are receiving more [favorable comments to-day 7/1 [from an artistic standpoint if [than all other makes combined. We challenge Comparisons. The Secret of the popularity enjoyed by the Vose Plane is revealed when a critical comparison of piano tone is maa fcVOiSe (SL SONS PIANO CO. 160 Boy is ton Street, Boston, flass. Represented by R. LERTZ & SON, Number 7 North Charles Street, Baltimore, ALd. 16 : The eclogue is to the vast ma ority cryptic. The poets aim. as Mr. Edmund Gosse expresses it, was "to use words in such harmoni combinations as will suggest to the reader a mood or a condition which is not mentioned in the text, but is nevertheless paramount in the poet's mind at the moment of composition." Mallarme, in a letter to Mr. Gosse, accepted with delight this understanding of his purp "I make music, and do not call by this name that which is drawn from the euphonic putting together of words,—this first requirement taken for granted; but that which is beyond, on the other side, and produced magically by certain dispositions of speech and langu is then only a means of material communication with the reader, as are the keys of the pianoforte to a hearer." Let us read Mr. Gosse 's explanation of the poem that suggested music to Debussy: "It appears in the florilege which he has just pub- lished, and I have now read it again, as I have often read it before. To say that I understand it bit by bit, phrase by phrase, would be excessive. But, if I am asked whether this famous miracle of unin- telligibility gives me pleasure, I answer, cordially, Yes. I even fancy that I obtain from it as definite and as solid an impression as M. Mal- larme desires to produce. This is what I read in it: A faun—a simple, sensuous, passionate being—wakens in the forest at daybreak and tries to recall his experience of the previous afternoon. Was he the fortunate recipient of an actual visit from nymphs, white and golden goddesses, divinely tender and indulgent? Or is the memory he seems to retain nothing but the shadow of a vision, no more substantial than the 'arid rain' of notes from his own flute? He cannot tell. Yet surely Hotel Rennert Within one block of the shopping rutins, •*?. district. The standard hotel of the South. The cuisine of this hotel has made Maryland cooking famous. The only hotel in the world where the Chesapeake Bay products — Fish, Oysters, Terrapin, and Canvasback Duck — are prepared in their per- fection. Baltimore, Md. IT whiteness among the brown reeds there was surely there is, an animal yonder? Were they, are they, swaxis? of the lake that shines out and vaguer grows the No' But Naiads plunging? Perhaps! Vaguer resign his woodland impression of this delicious experience. He would golden-headed, white-stalked, godship to retain it. A garden of lilies, is too great for his poor behind the trellis of red roses? Ah! the effort garth of lilies, one benign brain Perhaps if he selects one lily from the and beneficent yielder of her cup to thirsty lips, the memory, the ever- receding memory, may be forced back. So, when he has glutted upon a bunch of grapes, he is wont to toss the empty skins into the air and blow them out in a visionary greediness. But no, the delicious hour grows vaguer; experience or dream, he will never know which it was. curls himself again, The sun is warm, the grasses yielding; and he up after worshipping the efficacious star of wine, that he may pursue the dubious ecstasy into the more hopeful boskages of sleep. "This, then, is what I read in the so excessively obscure and un- intelligible 'L'Apres-Midi d'un Faune'; and, accompanied as it is with a perfect suavity of language and melody of rhythm, I know not what more a poem of eight pages could be expected to give. It sup- plies a simple and direct impression of physical beauty, of harmony, of color; it is exceedingly mellifluous, when once the ear understands that the poet, instead of being the slave of the Alexandrine, weaves his variations round it, like a musical composer." * * "The Afternoon of a Faun" is scored for three flutes, two oboes, one English horn, two clarinets, two bassoons, four horns, two harps, small antique cymbals,* strings. It is dedicated to Raymond Bonheur. * Small cymbals, as well as the large cymbals, were used habitually in the bands of the janizaries from the time of organization in the seventeenth century. The ancient ones found at Pompeii were of bronze, con- nected by a bronze chain of twenty-four rings. Mahillon says that the sound is pitched approximately to the first E above the treble staff. [F. A. Lampe thought it worth while to write a book of 429 pages, "De Cym- balis Veterum" (1703). Berlioz speaks of them in his Treatise on Instrumentation: "I have seen some in the Pompeian Museum at Naples, which were no larger than a dollar. The sound of these is so high and so weak that it could hardly be distinguished without a complete silence of the other instruments. These cym- bals served in ancient times to mark the rhythm of certain dances, as our modern castanets, doubtless. In the ' fairy-like scherzo of my Romeo and Juliet ' symphony, I have employed two pairs of the dimension of the largest of the Pompeian cymbals; that is to say, rather less than the size of the hand, and tuned a fifth one with the other." (They were tuned to B-flat and F above the treble staff.) "To make them vibrate well, the player should, instead of striking the cymbals full one against the other, strike them merely by one of their edges. They should be of at least three lines and a half in thickness." Chausson introduced antique cym- bals in his symphonic poem "Viviane." HOTEL JOYCE EUROPEAN PLAIN Nos. 312 and 314 Camden Street, BALTIHORE, HD. Opposite Camden Station, Main Depot, B. & O. R.R. Restaurant open from 6 a*m. to \ 2 p.m* JEROME H, JOYCE, Proprietor 18 The chief theme is announced by the flute, tres moch'n' V maior 9-8. Louis Laloy gives the reins to his fancy: "One is immediate^ transported into a better world; all that is leering and in the snub-nosed face of the faun disappears; desire still bu1 tl is a veil of tenderness and melancholy. The chord of the wood wind the distant call of the horns, the limpid flood of harp tun. Mlll - ate this impression. The call is louder, more urgent, but 'it almost immediately dies away, to let the flute sing again its son- \nd now the theme is developed: the oboe enters in, the clarinet has its say a lively dialogue follows, and a clarinet phrase leads to a new theme' which speaks of desire satisfied; or it expresses the rapture of mutual emotion rather than the ferocity of victory. The first theme returns more languorous, and the croaking of muted horns darkens the horizon! The theme comes and goes, fresh chords unfold themselves; at last a solo 'cello joins itself to the flute; and then everything vanishes, as a mist that rises in the air and scatters itself in flakes." * Achille Claude Debussy, the "tres exceptionnel, tres curieux, tres solitaire M. Claude Debussy," as Alfred Bruneau characterizes him, entered the Paris Conservatory when he was very young. He studied the pianoforte with Marmontel,—Edward MacDowell of New York was in the same class,—harmony with Lavignac, and composition with Guiraud.^ He was awarded the first medal for solfege in 1876, the second pianoforte prize in 1877, and in 1884 the first grand prix de Rome by twenty-two out of twenty-eight votes. The cantata with which he took the prix de Rome was "U Enfant Prodigue," an ortho- dox, academic work. The singers at the competition were Mme. Rose Caron, Messrs. Van Dyck and Taskin. His competitors were Rend, Missa, Kaiser, Leroux. "It was the unanimous opinion of the jury that Debussy's score was one of the most interesting that had been heard at the Institut for many years." The composer did not take the honor so seriously. He said of such prizes: "That solves the prob- lem of knowing whether one has or has not talent." /Debussy sent from Rome, as proofs of his industry, "La Demoiselle Elue," a lyric work based on Rossetti's "Blessed Damozel"; "Prin- temps," a suite for orchestra and chorus, which was published early in 1904 in an arrangement for two pianofortes, the only form in which the suite has been published. The composer after his return did his military service, and it is said that while at Evreux he took a lively pleasure in the blend of sonorities produced by the call for the putting ON the Monday evening preceding each performance of the BOSTON SYMPHONY ORCHESTRA the Symphony to be given will be analyzed and played by Miss DUNCAN, assisted by Miss STEVENSON, AT THE VIRGIL CLAVIER PIANO SCHOOL OF BALTIMORE, 118 W. NORTH AVENUE Those who attend these concerts are cordially invited. 19 vibrations of the bells of a neigh- out of lights and the long-continued deeply interested in the problem boring convent, for he even then was radically into his present peculiar of using harmonics, which enter so system of harmony. . solitary. Knowing poverty, he was His life has been remote and befriended by the publisher Hartmann. Debussy's "Pelleas* et Meli- sande" made him famous, but his simple manner of life remains un- changed. He has appeared from time to time in chamber concerts critic for as a pianist, and he has written articles as music journals and reviews, especially for the Revue Blanche. It is said that the suc- cess of "Pelleas et Melisande" did not benefit him pecuniarily; that Hartmann was glad in earlier years to give him money, and, to save his pride, took "10 IPs"; Hartmann died, and his successor, when the opera (of which, by the way, he was not the publisher) was crowd- ing the Opera-Comique, presented these tokens of indebtedness, and insisted on payment. * * Debussy himself has described his purpose. In 1901 he wrote: "I make music to serve music as best I can and without other preoccu- pations. My music, then, logically runs the risk of displeasing those who like 'une musique' and remain jealously faithful to it in spite of its paint and wrinkles." Poverty compelled him to write for some " yet their years pieces which he calls "compositions de circonstance ; physiognomy is not vulgar. "Artists," says his correct and phan- tasmal M. Croche, "struggle long enough to win their place in the market; once the sale of their productions is assured, they quickly go backward." It is a pity that Debussy's opinions on music, scattered through reviews and journals, have not been collected. He is fond of frighten- ing the bourgeois, he deals occasionally in paradox, but even his most extravagant articles are stimulating and full of suggestion. Here are examples: "The primitives, Palestrina, Vittoria, Orlando di Lasso, em- ployed the divine 'arabesque.'" By this he means the principle of * In the earlier editions of Maeterlinck's "Pelleas et Me'lisande" the two e's in "Pelleas" had the acute accent. In the later editions the first e is without accent. Debussy's opera has " Pelleas." IF YOU LIKE TO WEAR YOUR GLOVES LONG, WEAR FOWNES GLOVES. THEY WEAR LONGER. 20 Holds America's Highest Prize BAKERS I Cocoa and Chocolate Absolutely pure, with a most delicious flavor, made by a scientific blending of the best cocoa beans grown in differ- ent parts of the world. It is backed by 126 years of suc- cessful manufacture and by H^ 46 highest awards in Europe and America,— an unparal- leled record of achievement. Registered U. S. Patent Office Be sure that you get the genuine, with the trade=mark on the package. hundred dainty Directions for preparing more than one sent free on request. dishes in our Choice Recipe Book, Walter Baker & Co., Ltd. flASS. Established 1780 DORCHESTER, SI — of all fashions in art, * 'ornamentation" which is the foundation not "ornamentation" with the meaning given in music lexicons. "They they propped frail found the principle in the Gregorian chant, and the the interfacings with resisting counterpoint. Bach made arabesque more supple, more flowing, and, in spite of the severe discipline to which with the free fancy, this great master subjected Beauty, she can move always new, that still astonishes our epoch. In the music of Bach it the melody that moves one; more is the curve, not the character of lines frequently it is the parallel movement of several whose meeting, either accidental or inevitable, compels emotion." Of Beethoven's Ninth Symphony he said: "Beethoven was not liter- ary for two sous,—at least not in the sense that one now gives to the word. He loved music with an enormous pride; it was to him the passionate joy of which his own life was cruelly barren. Perhaps one should see in the Symphony with chorus only a gesture of extravagant musical pride, and only that." In answer to a question propounded by Paul Landormy on "the actual condition of French music" (April, 1904) Debussy answered: "French music is clearness, elegance, simple and natural declamation; French music wishes, first of all, to give pleasure. Couperin, Rameau there are true Frenchmen! That animal Gluck spoiled it all. How boresome he was ! How pedantic, how bombastic ! His success seems to me inconceivable. And he has been chosen for a model ! One has wished to imitate him! What an aberration! The man is never amiable. I know only one other composer as insupportable as he, and that is Wagner. Yes,—this Wagner who has inflicted on us Wotan, the majestic, vacuous, insipid Wotan! After Couperin and Rameau, who do you think are the great French musicians? What do you think, for instance, of Berlioz? He is an exception, a monster. He is not at all a musician; he gives one the illusion of music with his methods borrowed from literature and painting. Furthermore, I do not see much in him that is peculiarly French. The musical genius of France is something like fancy in sensibility. And Cesar Franck? He is a Belgian, not a Frenchman. Yes; there is a Belgian school; after Franck, Lekeu is one of the most remarkable representatives, THE STAFFORD WASHINGTON PLACE BALTIMORE EUROPEAN PLAN ABSOLUTELY PIRE=PROOF I Special attention to after-the-concert parties Restaurant open until I a.m. R. S. DOWNS, Manager standardX /quality OF ) ( VS. QUALITY/ y _ VQUAMTITY CANDIES, COCOA AND CHOCOLATES. ONE REASON WK^Waufttf PRODUCTS MAINTAIN THEIR POPULARITY WTTHTHOSE WHO DEMANDTHE BEST GOODS IS THAT & STANDARD OF QUALITY IS NEVER LOWERED IN ORDER TO JOIN THE RACE FOR QUANTITY 23 * I know who has been influenced by this Lekeu the only musician on French composers was Beethoven.' The influence of Cesar Franck of composition, but their inspira- slieht- he taught them certain ways I am very fond of Massenet, tion and his have nothing in common. be cleared who understands the true role of musical art. Music should should seek humbly to give pleasure; of all scientific apparatus. Music limits. Extreme complexity is. great beauty is possible within these perceptible; it should give us the contrary of art. Beauty should be insinuate itself, with- immediate joy; it should impose itself on us, or Vinci, out any effort on our part to grasp it. Look at Leonardo da Mozart! There are great artists." Is Debussy here an ironist or a his of mere jumistef He is always entertaining. At times method rejoinder reminds one of Mr. George Bernard Shaw, who lately answered ' follows 'It is the people an editorial article in the Pall Mall Gazette as : who write and talk like that whom I would bury in the back garden. They might produce posthumous mignonette of passable quality; they will certainly never produce intelligent sociology or practicable legislation." Symphony in C major, No. 7 Fran : Schubert (Born at Lichtenthal, Vienna, January 31, 1797 ; died at Vienna, November 19, 1828.) The manuscript of this symphony, numbered 7 in the Breitkopf & Hartel list and sometimes known as No. 10, bears the date March, 1828. It is said that Schubert gave the work to the Musikverein of Vienna for performance; that the parts were distributed; that it was even tried in rehearsal ; that its length and difficulty were against it, and it was with- drawn on Schubert's own advice in favor of his earlier Symphony in C, No. 6 (written in 181 7). All this has been doubted; but the sym- phony is entered in the catalogue of the society under the year 1828, and the statements just quoted have been fully substantiated. Schu- bert said, when he gave the work to the Musikverein, that he was through with songs, and should henceforth confine himself to opera and sym- phony. * Guillaume Lekeu, born at Heusy, January 20, 1870, died at Angers, January 21, 1894. He was a pupil of Cesar Franck. ^ His violin sonata and unfinished piano quartet have been played in Boston. His orchestral pieces, "Hamlet," "Faust," "Fantaisie sur Airs populaires angevins," smaller pieces and songs, are as yet un- known to the Boston public. Do you Know about "Masters in Art"? This is a monthly publication devoted to the great painters and sculptors of the world. The Transcript said of it: " No better artistic publication exists anywhere. It appeals to an intelligent constit- uency, and it comes as near being indispensable as any monthly publication devoted to art that is known to us." A request will bring full information by mail. No canvassers. BATES (EL GUILD CO., Publishers 42 A Chauncy Street, Boston, Mass. 24 A Cbe new musical Education FOR PIANOLA OWNERS Endorsed by Harvard University and fifty other Leading Institutions. What has made Germany the most musical of nations ? MUSIC IN THE HOME. The possession of a PIANOLA enables you to review the Standard Repertory of the Boston Symphony Orchestra IN YOUR O WN HOME. As a preparation for symphony concerts it is an indispensable aid. The masterworks of music become as familiar to young and old as household words. SPECIAL POPULAR COURSE FOR YOUNG PEOPLE. Music of the Great Composers. Characteristic examples of Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Chopin, and Wagner, accompa- nied by scores of each work, easy lesson papers by Thomas Whitney Surette, and authoritative music rolls edited by Paul Morgan. Courses in Musical Appreciation, from $35 to $100. Summary of Prices. 1 2 Scores ) * . ( 62 Rolls, IUUnn COURSE, 12 Lessons . . . BEETHOVEN | i 2 Lesson Papers f* ( 42 Rolls, 10 Scores ) *-- WAGNER COURSE, 10 Lessons .... j papers I0 Lesson ] ( 16 Rolls, 4 Scores) *,- "RING" COURSE, 4 Lessons . . j Papers / W WAGNER'S 4 Lesson ( 20 Rolls, 20 Scores ) $4 * w COURSE, 5 Lessons .... son Papers \ POPULAR j 5 LeS Single Lessons, $10 each. Suitable for HOME STUDY (especially for young people). PRIVATE CLASS WORK. CLUB WORK IN SMALL TOWNS. SCHOOLS AND COLLEGES of all grades. Further information cheerfully given by Carroll Brent Chilton, Librarian, LOVERS* LIBRARY, MUSIC CITY Aeolian Hall, 362 FiftK Aveime, NEW YORK Representatives for Baltimore The Sanders & Stayman Company, Streets Southeast corner Charles and Fayette 25 of the symphony was at id that the first performance himself never This statement is not true. Schubert a concert of the Gesellschaft but it was performed at i and repeated March 12, freunde, Vienna. December 4 , 1828, Vienna in then foi^ottcn, until Schumann visited 1838, the possession of Schu- led over the mass of manuscripts then in rdinand. Schumann sent a transcript of the symphony v.lui lor the Gewandhaus concerts, Leipsic. It was produced direction, cert of March 21, 1839, under Mendelssohn's and following season, December 12, , d three times during the — 1839, 1840. Mendelssohn made some cuts in the work M.mh 1 2 and April 3, performances. The score and parts were published in Jan- uary, 1850.* The first performance in Boston was at a concert, October 6, 1852, when the small orchestra was led by Mr. Suck. We are told that on this occasion the first violins were increased to four, two extra 'cellos k the place of the bassoons, and a second oboe was added. The Germania Orchestra played the symphony in 1853 and l8 54> and the first performance at a Philharmonic Concert was on March 14, 1857. Hanslick says in "Geschichte des Concertwesens inWien" (Vienna, 1869) that the sixth, not the ninth, symphony was performed at the concert in Vienna, December 14, 1828; that the ninth was first heard in Vienna Vn only the first and second movements were played, and separated by an aria of Donizetti; that the iir^t complete performance at Vienna was in 1850. Grove makes the same statement. But see Richard Heuberger'a "Franz Schubert" (Berlin, 1902). p. 87. To Boston Symphony Orchestra Subscribers In order that you may more fully appreciate the two important numbers to be played at the concert March 14, namely, Schubert's Seventh Symphony and Goldmark's " Sakuntala" Overture, we cordially invite you to attend a series of recitals of these beauti- ful compositions, to be given on the PIANOLA and OR- CHESTRELLE at our new warerooms, March 12, 13, and 14, at four o'clock in the afternoon. Respectfully, SANDERS & STAYMAN CO., Southeast corner Charles and Fayette Streets. WEBER PIANO WAREROOMS 26 Washington College of Music WASHINGTON, D.C. Mr. SYDNEY LLOYD WRIGHTSON, President and Direct* CORNELIUS RUBNER, Dean Vhe College of TTfusic of the South It offers a thorough musical education. The Leading Teachers of America comprise its faculty. SOME OF THE FACULTY Piano Department. Cornelius Riibner, S. M. Fabian, John Porter Lawrence, Lotta Mills Hough, George Paul McCoy, S. Fred- erick Smith, and Mrs. Hope Hopkins Burroughs. Vocal Department. Sydney Lloyd Wrightson, Mme. Genevra Johnstone-Bishop, Miss Clara Drew, Mrs. Henry Hunt McKee. Pipe Organ. John Porter Lawrence and S. Frederick Smith. Violin. Herman C. Rakemann. Flute. Henry C. Jaeger. Elocution and Dramatic Art. Charlemagne Koehler. (Five years with Booth and Barrett.) Two plays by students presented each year in costume. Mandolin, Banjo, and Guitar. Walter T. Holt. Operatic Department. Wilberfoss G. Owst. Two operas by students presented each year in costume. All languages and every instrument taught. Seventeen Weekly Lectures by prominent musical authorities, free to students, commencing Friday, January 5, at 4.30 o'clock, at the Carroll Institute Hall, and continuing for every Friday until April 27. Course for Teachers, three years. Course for Artists, four years. Pupils received at any time Further information and catalogues may be obtained by addressing W. W. DELANO, Business Manager Washington College of Music 121 8-1220 F Street, Northwest, WASHINGTON, D.C. 37 — n, 1851, by the in New York was on January The first performance this symphony alterations are chime™* corrections in his score. In Only the Finale seems to have satisfied found at the very beginning. and this Finale is written as though at l\im as originally conceived, he flutes, two oboes, two clarinets, two The° symphony is scored for two three trombones kettledrums, bassoons, two horns, two trumpets, Schubert was afraid he had made too strings There is a story that the advice of Franz Lachner. free use of trombones, and asked decidedly Slav-Hun- The second theme of the first movement has a other portions of the sym- garian character, and this character colors both in melody and general mood. pony « *. « *-%-. Schubert as early The rhythm of the scherzo theme had been used by B-flat. It may also be remarked that the as 1 8 14 in his quartet in form, and that there is more scherzo is not based on the old menuet thematic development than was customary in such movements at that period. . ... , , is better There is a curious tradition—a foolish invention perhaps the phrase—that the Finale illustrates the story of Phaeton and his cele- brated experience as driver of Apollo's chariot. Others find in the Finale a reminiscence of the terrible approach of the Stone-man toward the supper-table of Don Giovanni. Schumann, after a performance of the symphony at Leipsic, wrote a rhapsody which may well take the place of an analysis : "Often, when looking on Vienna from the mountain heights, I thought how many times the restless eye of Beethoven may have scanned that distant Alpine range, how dreamily Mozart may have watched the course of the Danube which seems to thread its way through every grove and forest, and how often Father Haydn looked at the spire of St. Stephen and felt unsteady whilst gazing at such a dizzy height. Range in one compact frame the several pictures of the Danube, the cathedral towers, and the distant Alpine range, and steep all these images in the holy Music teaches most exquisitely the art of development.— B' Israeli. MUSIC EDUCATION Mothers! For All Students and Teachers of Mothers!! Music CALVIN BRAINERD CADY Mothers!!! VILLA WHITNEY WHITE HELEN HOWARD WHITING Mrs. Winslow's Soothing Syrup ELIZABETH FYFFE LINDA EKMAN hat been used for over SIXTY YEARS by MILL- IONS of MOTHERS for their CHILDREN while TEETHING, with SEND FOR ANNOUNCEriENT PERFECT SUCCESS. to It SOOTHES the CHILD, SOFTENS the GUMS, CALVIN B. CADY ALLAYS all PAIN, and u the beat remedy. Sold Suites by Druggists in every part of the world. Be sure 3«-3i4, Pierce Building, opposite and ask for " Mrs. Winslow'i Soothing Syrup," and the Public Library, BOSTON, MASS. take no other kind. Twenty-five cents a bottle. 18 INDEPENDENT WELSBACH LAMP THE LIGHT $ 1.25 for your HOME DELIVERED and and CONNECTED orncE to any THE CO. GAS FIXTURE GAS NOLLEY Everything about our works is abso- lutely clean and sanitary DOES NOT THAT MEAN MUCH TO FASTIDIOUS PERSONS PRINCIPAL OFFICES 557 FIFTH AVENUE NEW YOBK LEWANDOSand 17 TEMPLE PLACE BOSTON Americas Greatest Cleansers Dyers Launderers Delivery System New York Philadelphia Newport Baltimore Washington Providence Worcester Hartford New Haven Lynn Watertown Cambridge 30 List of Works performed at these Concerts during the Season of 1905-1906. Dalcroze . ... n , „. ,. Concerto for Violin Mr. Henri Marteau Debussy, Prelude to Mallarm6's Eclogue, "The Afternoon of a Faun" Dukas . "I/Apprenti . Sorcier," d'apres une Ballade de Goethe ^LGAR ' * Concert • • • • • Overture, "In the South" (First time at these concerts.) Faur ^ .... Suite, "Pellets etMelisande,"de Maeterlinck Goldmark Overture, "Sakuntala" D'Indy Symphony on a Mountain Air, for Orchestra and Pianoforte. (First time at these concerts.) Pianist, Mr. Heinrich Gebhard Deuxieme Symphonie (in B-flat). "Saugefleurie," Legende d'apres un Conte de Robert de Bon- nieres. Mahler Adagietto from Symphony No. 5 Mendelssohn Concerto for Violin Miss Marie Hall Schubert Symphony No. 7 Schumann Symphony No. 1 Strauss . . . . . "Till Eulenspiegel's Merry Pranks" Tschaikowsky, "Francesca da Rimini," Orchestral Fantasia after Dante Wagner March of Homage. Bacchanale and Duet from "Tannhauser" (Paris Version). Prize Song from "The Mastersingers of Nuremberg." Siegfried's Parting from Briinnhilde, Siegfried's Death and Funeral March, Closing Scene, from "The Dusk of the Gods." Mme. Johanna Gadski, Mr. Ellison Van Hoose minor, for Pianoforte and Orchestra WebER . Concert Piece in F Mr. Alfred Reisenauer 31 * THE LYRIC * Monday Evening, March. 19 Tuesday Evening, March 20 Wednesday Matinee, March 21 Wednesday Evening, March 21 GRAND OPERA IN BALTIMORE BY THE ENTIRE COMPANY from the METROPOLITAN OPERA HOUSE, NEW YORK UNDER THE DIRECTION OF rir. HEINRICH CONRIED SECOND TRANSCONTINENTAL TOUR SPRING,9 1906 32 ! — incense of Catholicism, and you have an ideal of Vienna herself- the exquisite landscape stands out in bold relief before us, and Fancy will sweep those strings which, but for her, would never have found an echo in our souls. "In Schubert's symphony, in the transparent, glowing, romantic life therein reflected, I see the city more clearly mirrored than ever and understand more perfectly than before why such works are native to the scene around me. I will not try to extol and interpret the sym- phony; men in the different stages of life take such different views of the impressions they derive from artistic fancies, and the youth of eighteen often discovers in a symphony the echo of some world-wide event, where the mature man sees but a local matter, whereas the musi- cian has never thought of either the one or the other, and has merely poured forth from his heart the very best music he could give. But only grant that we believe that this outer world, to-day fair, to-morrow dark, may appeal deeply to the inmost heart of the poet and musician, and that more than merely lovely melody, something above and beyond sorrow and joy, as these emotions have been portrayed a hundred times in music, lies concealed in this symphony—nay, more, that we are by the music transported to a region where we can never remember to have been before—to experience all this we must listen to symphonies such as this. 1 ' Here we have, besides masterly power over the musical technicalities of composition, life in all its phases, color in exquisite gradations, the minutest accuracy and fitness of expression, and, permeating the whole work, a spirit of romance such as we recognize in other works of Franz Schubert. And this heavenly, long-drawn-out symphony is like some thick romance of Jean Paul's in four volumes, which can never end and, indeed, for the very best reasons, in order that it may draw along the reader with it up to the last moment. How refreshing this feeling of satisfaction of being deceived by the large wealth of melody, whereas with other composers one always fears the end, and feels often saddened by the impotent conclusion "Schubert's easy and brilliant mastery over the resources of an or- chestra would be unintelligible, if one did not know that six other symphonies had preceded his last effort, and that he wrote it in the full maturity of his powers. Those gifts must be pronounced extraor- dinary in a man who, having during his lifetime heard so little of his own instrumental works, succeeded in so masterly a handling of the general bodv of instruments which converse with one another like human voices and chorus. Except in numbers of Beethoven's works, I have Founded by THE NATIONAL Mrs. Jeannette M. Thurber. Incorporated in 1885 and CONSERVATORY chartered in 1891 by OF MUSIC OF special act of Congress. ' 25th street AMPDIfA 47 49 West » A IVI L K I L./\ NEW YORK. ARTISTIC FACULTY. Rafael Joseffy, Adele Margulies, Leopold Lich- tenberg, Eugene Dufriche, Leo Schulz, Henry T. Finck, Max Spicker, Charles Heinroth, and others. Admission daily. Address Secretary. 33 ^nion Charles and Fayette Capital, $1,000,000 Surplus and Undivided Profits, $347,819.14 Loans money on approved collateral. Acts as Trustee, Guardian, etc. Authorized depos- itory under the law for all accounts of Trustee and Court Funds. Negotiable Time Certificates of Deposit issued at special rates. 3 Per Cent. Paid on Check Accounts • 34 Per Cent. Paid on Saving Accounts Safe Deposit Boxes, $3 a Year and upward GEORGE BLAKIST0NE, President 34 nowhere found such an extraordinary and striking resemblance to the organs of the human voice as in Schubert's; 4t is the very reverse of Meyerbeer's method of treating the human voice. The complete independence in which the symphony stands in respect of Beethoven's is another sign of its masculine originality. Let any one observe how wisely and correctly Schubert's genius develops itself. In the con- sciousness of more modest powers, he avoids all imitation of the gro- tesque forms, the bold contrasts, we meet with in Beethoven's later works, and gives us a work in the loveliest form, full of the novel in- tricacies of modern treatment, but never deviating too far from the centre point and always returning to it. This must be patent to any one who often considers this particular symphony. "At the outset, the brilliancy, the novelty, of the instrumentation, the width and breadth of form, the exquisite interchange of vivid emotion^ the entire new world in which we are landed,—all this is as bewildering as any unusual thing we look upon for the first time in our lives there ever ; but remains that delicious feeling which we get from some lovely legend or fairy story; we feel, above all, that the composer was master of his subject, and that the mysteries of his music will be made clear to us in time. We derive this impression of certainty from the showy romantic character of the introduction, although all is still wrapped in the deepest mystery. The transition from this to the Allegro is entirely new; the tempo does not seem to vary; we are landed, we know not how. The analysis of the movements piece by piece is neither a grateful task to ourselves nor others ; one would neces- sarily have to transcribe the entire symphony to give the faintest notion of its intense originality throughout. I cannot, however, pass from the second movement, which addresses us in such exquisitely moving strains, without a single word. There is one passage in it, that where the horn is calling as though from a distance, that seems to come to us from another sphere. Here everything else listens, as though some heavenly messenger were hovering around the orchestra. The symphony, then, has had an influence on us such as none since Beethoven's have ever exercised. Artists and amateurs joined in ex- tolling its merits, and I heard some words spoken by the master who had studied the work most elaborately, so as to ensure a grand per- formance and interpretation of so gorgeous a work—words which I should like to have been able to convey to Schubert, as perhaps convey- ing to him a message which would have given him the sincerest pleasure. Years perhaps will pass before the work becomes naturalized in Ger- many; I have no fear of its ever being forgotten or overlooked; it bears within its bosom the seeds of immortal growth." If Mozart had written an autobiography, it would be in your library. " and the Artist, as A veritable autobiography is Mozart : The Man Revealed in his own Words," which H. E. Krehbiel has edited. The people, books, and music which influenced Mozart, his loves and hates, are here set forth. Price, $1.00 net, postage 10 cents. A descriptive circular on application to the publisher, B. W. HUEBSCH, New York. 35 MUSICAL INSTRUCTION. The "Faelten System" of Piano- forte Instruction. CHARLES H. BOCHAD, Sight Reading, Keyboard Harmony, and Transposition. STUDIOS, For terms, etc., address Baltimore and Washington, 2016 Calvert Street, North, BALTiriORE. C. & P. 'Phonk. VIOLIN, HARHONY, AND PIANO INSTRUCTION. Studio in Baltimore and Washington. FRANZ C. BORNSCBEIN, For terms address BALTIMORE. 1528 Ashland Avenue Baltimore. C. & P. Thone. Barytone Soloist and STEPHEN TOWNSEND, Teacher of Singing. 6 NEWBURY STREET, BOSTON. PIANIST. Miss LAURA HAWKINS, No. 6 NEWBURY STREET, Boston. TENOR SOLOIST WILLIAM KITTRED6E, And Teacher of Singing. 160 Boylston Street, Boston. TEACHER OF SINGING. COACHING. Mrs. J. E. TIPPETT, STUDIO, PIERCE BUILDINO, COPLEY SQUARE, BOSTON. Tel., Back Bay 1576-6. Wednesdays in Pokiland, Maine. Clarence B. Shirley, GUSTAV L. BECKER, Tenor Soloist and PIANIST and TEACHER. Teacher. Preparation for public performance CONCERT AND ORATORIO. and Teachers' Course. Studio, Monthly lecture-musicales. Huntington Chambers, Bogton. 1 West 1 04th Street, New York City. 36