TWENTY-THIRD REHEARSAL and CONCERT

Boston Symphony Orchestra*

SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES.

(Telephone. J492 Bade Bay.)

TWENTY FIFTH SEASON, t905-J906.

WILHELM GERICKE, CONDUCTOR.

proGramme

OF THE TWENTY-THIRD REHEARSAL and CONCERT

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE.

FRIDAY AFTERNOON, APRIL 20, AT 2.30 O'CLOCK.

SATURDAY EVENING, APRIL 21,

AT 8.00 O'CLOCK.

Published by C. A. ELLIS, Manager.

1661 FRITZ STEINBACH The great Orchestral Conductor, Conductor of the Symphony Orchestra of Cologne, Germany, Director of the Cologne Conservatory of Music, himself a distinguished Pianist, who came to America at the invitation of the Philharmonic Society of New York to conduct its last two Concerts,

writes as follows of the

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"Respectfully yours,

(Signed) "FRITZ STEINBACH."

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492 Boylston Street BOSTON (^Opposite Institute of Technology)

1662 Boston Symphony Orchestra, PERSONNEL.

Twenty-fifth Season. 1905-1906.

WILHELM GERICKE, Conductor.

First Violins. Hess, Willy, Concertmeister. Adaniowski, T. Roth, O. Kuntz, D. Moldauer, A. -^t(M

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TWENTY-FIFTH SEASON, 1905-1906.

Twenty-third Rehearsal and Concert*

FRIDAY AFTERNOON, APRIL 20, at 2.30 o'clock.

SATURDAY EVENING, APRIL 2 J, at 8.00 o'clock.

PROGRAMME.

Mendelssohn .... Symphony in A major, " Italian," Op. 90 I. Allegro vivace. II. Andante con moto. III. Con moto moderato. IV. Saltarello: Presto.

Grieg . . . . Concerto in A minor, for Pianoforte, Op. 1 6

I. Allegro molto moderato. II. Adagio. III. Allegro moderato molto 6 marcato.

" Richard Strauss . Tone-poem, Death and Transfiguration," Op. 24

" Weber Overture to the Opera " Euryanthe

SOLOIST Mme. OLGA SAMAROFF.

The pianoforte is a Steinway.

There will be an internaission of ten minutes after the concerto.

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

Olty of Boston, Revised Regulation of Auffust 5, 1898.— Chapter 3, relating to the coverlngr of the head In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a corering which obstructs the view of the exhibition or performance in such place of anv person seated in any seat therein ppTovidcd for spectators, it being understood that a low head covering without projection, which does not obstruct such vi«w, t>c may worn. Attest: J. M. GALVIN, City Owk. 1665 L P. Hollander & Co. FUR STORAGE

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XS?KE 52 SUMMER ST. Symphony in A major, No. 4, "Italian," Op. 90. Heux Mkndelssohn-Bartholdy.

(Horn at Hamburg, P>bruary 3, 1809; died at T.eipsic, November 4, 1847.)

Mendelssohn wrote from Rome in December, 1830: "As for my work, I am fully occtipied. The 'Hebrides' is done al last, and is a

curious thing. . . . For Christmas I projjosc to write Luther's choral, 'Vom Himmel hoch.' This I shall have to do all alone,—a pretty serious piece of business, as, indeed, will be the anniversary of the silver wedding, on which I shall light up a lot of candles for myself, plav the 'Vaudeville,' and look at my English baton. After that I shall take hold again of my instrumental music, write some more things for the pianoforte, and perhaps another and second symphony; for there are two rattling around in my head." It will be remembered that Mendelssohn wrote ten measures of the Andante of the "Scotch" symphony, July 30, 1829, at Edinburgh, and that he worked rather

fitfully on the symphony in 1830 at Rome, but did not finish it until early in 1842 at Berlin. " In Febniary, 1 83 1 , he wrote again from Rome : I am making great progress with the Italian Symphony. It will be the most mature thing

I have ever done, especially the last movement, Presto agitato. I

have not yet found exactly the right thing for the Adagio, and I think

I must ptit it off for Naples." He wrote a few days later: "If I could

do one of my two symphonies here ! The Italian one I must and will

put off till I have seen Naples, which must play a part in it."

He wrote from Naples on April 27, 1831 : "The bad weather which we have been having for some days was good for my w^orking, and I plunged with all zeal into the 'Walpurgis Night.' The thing grows

more and more interesting to me, and I spend on it every free moment.

It will be done in a few days, I think, and it will be a jolly piece. If

ThcH«ncn.s«t PIANOFORTE TECHNIC Z'Ztz:,: 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. It has received endorsement in the highest quarters, and may be accepted as the latest utterance in connection with scientific pianoforte technique. The section devoted to scale-playing alone will illustrate this fact. In framing this work, the eminent labours of Tausig, Pischna, and von Billow have received the greatest appreciation. Thus, from the earliest stage transposition has been

freely adopted ; but monotony of rhythm as well as of key has been sedulously eschewed, 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). The old-fashioned five-finger exercise in semiquavers in the key of C major will be vainly sought for within these pages. ^ BOOSEY & COnPANY, 9 EAST 17TH STREET, NEW YORK

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I remain in the present Innnor. I shall finish my Italian Symphony,

and then I shall have something to show for my winter's work." But the symphony was not finished when Mendelssohn left Naples.

He wrote from Paris (jamiary 21, iH,:^2) to his sister: "Do you ask

why I do not compose the Italian A maj(jr symphony? Because I am

composing the A minor overture with which I am going to introduce the 'VValpurgis Night.'" At the general meeting of the Philharnujuic vSociety, London, No-

vember 5, 1S32. the following resolution was unanimously passed:

That Mr. Mcndclssohn-Bartholdy be rec(uestcd to compose a symphony, an overture, and a vocal piece for the Society, for which he be offered the sum of one hundred jjuineas. That the copyright of the above compositions shall revert to the author after the expiration of two years, the Society reserving to itself the power of performing them at all times, it being understood that Mr. Mendelssohn have the privilege of pub- lishing any arrangement of them as 5?bon as he may think fit after their first performance at the Philharmonic concerts.

Mendelssohn wrote a letter of acceptance, in which he expressed his "sincerest acknowledgments" and "warmest thanks." "I need not say how happy I shall be in thinking that I write for the Philharmonic Society." He made his third visit to London in April, 1833, and was again happy in "that smoky nest." He lodged in Great Portland Street, stood godfather to Felix Moscheles, who, as a painter, visited this country, and wrote to the secretary of the Philharmonic vSociety "I beg you will inform the Directors of the Philharmonic Society that the scores of my new symphony and overture are at their disposal, and that I shall be able to offer them a vocal composition in a short time hence, which will complete the three works they have done me the honor to desire me to write for the Society. But, as I have finished two new overtures since last year, I beg to leave the choice to the Directors as to which they would prefer for their concerts; and, in case

EIGHT-HAND ARRANGEMENTS New Part-songs for CDMU/ND PARLOW Women's Voices

BOHM, C. Op. 357, No. 4. Rosetta. FOOTE. ARTHUR. Lygeia (Cantata) $0.50 Fantasie-Mazurka $1.25 FOOTE. ARTHUR. The Green of Spring FINK, W. Op. 3SS. Sounds from the Ebro. Bolero 1.25 HERHAN. REINHOLD L. A Roundelay (Trie.) GURLITT. CORN. Op. 178, No. 19. .16 Viennese Waltz ..... 1.25 HERHAN. REINHOLD L. The German HACKH, OTTO. Op. 336, No. i. Sevil- Parade lana. Morceau de genre 1.25 GABRIEL. MARIE-HOUSELEY. Spring ORTH, L. E. Op. J9, No. 5. In Uniform 1.25 Song (.Ancient Dance) .... .16 SARTORIO, A. Op 174, No. 5. The Victor's Return. March 1.25 GILLET-HOUSELEY. Twihght Dreams .15

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16C9 —

they^should think both of them convenient for performance. I beg to offer them this fourth composition as a sign of my gratitude for the pleasure and honor they have again ccmferred upon me."

The "Itahan" symphony was performed for the first time and under the direction of the composer at the sixth concert of the Philharmonic

Society that season, May 13, 1833. "The concerts of the Society were this year, and onward, given in the Hanover vSquarc Rooms, which had just been remodelled. The symphony made a great impression, and Felix electrified the audience by his wonderful performance of Mozart's Concerto in D minor, his cadenzas being marv^els in design and execution. His new overture in C was produced at the last concert of the season." After this performance Mendelssohn laid the symphony aside. He

did not produce it at Leipsic during his direction of the Gewandhaus

Concerts, and it was. not published until after his death.

The first performance in Boston was probably on November 15, 1851, in Tremont Temple at a concert of the Musical Fund Society,

Mr. G. J. Webb conductor. The programme was as follows:

PART I. ,

1. Grand Symphony No. 4 (posthumous works of Mendelssohn). 2. Rondo from "Lucia di Lammermoor" Donizetti Signora Biscaccianti.

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1671 PART II.

1. Overture, "Zauberflote" Mozart

2. Introduction et Variations sur un Theme Original. Full orchestral accompaniment. Composed and performed by Mr. F. Suck.

3. Song, "The Skylark" J . L. Hatton Signora Biscaccianti.

4. Adagio from Quintette, Op. 20 Beethoven Mendelssohn Quintette Club.

5. Terzetto. Finale from second act, "Lucrezia Borgia" . . .Donizetti Arranged by G. Schnapp. Germania Serenade Band. 6. Rondo from " La Sonnambula. " (By request) Bellini Signora Biscaccianti.

7. Grand Overture, Op. 14 Niels W. Gade

* * As Sir George Grove well remarked of this work: "The music itself is better than any commentary. Let that be marked, learned, and inwardly digested." Reismann found the first movement. Allegro vivace, A major, 6-8, to be a paraphrase of the so-called Hunting Song in the first group of Songs without Words. It is true that the tonality is the same, and this is often enough to fire the imagination of a commentator. The second movement, Andante con moto, D minor, 4-4, sometimes

' called the Pilgrims' March, but without any authority, is said ' to have

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1672 (~ \ S. COLERIDGE=TAYLOR

Twcnty=four Negro Melodies

Transcribed for the Piano

^ What Brahms has done for the Hungarian folk-music, Dvorak for the Bohemian, and Grieg for the Norwegian, Coleridge-Taylor has

done in as masterly a way for these Negro

melodies. Negro music is essentially spon-

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war dance, at funerals, and at the marriage

festivals. Upon this African foundation were built the plantation songs of the South. ^ In treating these melodies Mr. Coleridge-Taylor has been careful to preserve their distinctive traits and individuality. He has given them form and structure, however, through consistent the- matic development, entitling them to a high place in piano literature.

^ The volume is one of the Musicians' Library, and contains a portrait of the composer and an explanatory foreword, also an introduction by Booker T. Washington, giving the biography of the author and the history of Negro folk-music.

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1673 been a processional hymn, which probably gave the name of 'Italian Symphony' to the whole "(!) Lampadius remarks in connection with this: "I cannot discover that the piece bears any mark of a decided

Catholic character, for, if I recollect rightly, I once heard Moscheles say that Mendelssohn had in his mind as 'the source of this second move- " ment an old Bohemian folk-song. The third movement is marked simply "Con mo to moderato" (A major, 3-4). "There is a tradition (said to originate with Mendels- sohn's brother-in-law, Hensel, but still of uncertain authority) that it was transferred to its present place from some earlier composition.

It is not, however, to be found in either of the twelve unpublished juvenile symphonies; and in the first rough draft of this symphony there is no sign of its having been interpolated. In style the movement is, no doubt, earlier than the rest of the work."

The finale is a saltarello, presto, 4-4, and it was undoubtedly inspired by the Carnival at Rome, of which Mendelssohn gave a description in his letter of February 8, 1831. "On Saturday all the world went to the Capitol, to witness the form of the Jews' supplications to be suf- fered to remain in the Sacred City for another year, a request which is refused at the foot of the hill, but, after repeated entreaties, granted on the summit, and the Ghetto is assigned to them. It was a tiresome affair; we waited two hours, and, after all, understood the oration of the Jews as little as the answer of the Christians. I came down again in very bad humor, and thought that the Carnival had begun rather unpropitiously. So I arrived in the Corso and was driving along, thinking no evil, when I was suddenly assailed by a shower of sugar comfits. I looked up; they had been flung by some young ladies whom I had seen occasionally at balls, but scarcely knew, and, when in my embarrassment I took off my hat to bow to them, the pelting

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1675 began in right earnest. Their carriage drove on, and in the next was

Miss T , a deHcate young EngHshwoman. I tried to bow to her, but she pehed me, too; so I became quite desperate, and, clutching the confetti, I flung them back bravely. There were swarms of my acquaintances, and my blue coat was soon as white as that of a miller.

The B 's were standing on a balcony, flinging confetti like hail at my head; and thus pelting and pelted, amid a thousand jests and jeers and the most extravagant masks, the day ended with races." The saltarello was a dance in 6-8 or 6-4 time, of the fifteenth and sixteenth centuries, at Rome and in the neighborhood of that city. Walther thus described it in his " Musikalisches Lexicon" (1732):

"Saltarella or Saltarello (Ital.) is a kind of movement which all along goes into leaping, and is almost always in triple time. The first beat of each measure is marked. And one says 'in Saltarello' when three quarter notes are against a half note ; or three eighth notes against a quarter, as in 6-8, especially if the first note of each beat is accented sharply. And such also were the Forlanes of Venice, the Siciliennes, the English' jigs, and other gay dances, whose tunes hop and leap." This definition was taken by Walther from Brossard's "Dictionaire de Musique" (Paris, 1703). Walther adds: "The name is also given

' to a short dance known to us Germans as the Nach-Tantz ' because it is generally or must be de jure shorter than the ' Vor-Tantz.' " Modem descriptions of the dance vary. An English writer in "Dancing" (Badminton Library, London, 1895) says it is in 2-4 time, and is a duet dance of a skipping nature. "The woman always holds her apron, and performs graceful evolutions in the style of the Tarantella. The

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1677 couple move in a semi-circle, and the dance becomes faster and faster as it progresses, accompanied by many beautiful motions of the arms. This is a very ancient dance, and has quite a unique character: we find that it is especially performed by gardeners and vintners." Desrat, the most trustworthy writer on dances ("Dictionnaire de la Danse," Paris, 1895), says of it: "The movements of both dance and music are of exceptionally original character. There is a real struggle in agility between the dancers. The man plays the guitar and his partner strikes a tambourine while they are dancing. The saltarello is a fa- vorite with the vintners, who excel in it. There is no limit to the number of tlie couples, and the steps are close together and hurried, now on one foot, now on the other." The dance was never in fashion among noble dames; for the speech of Julian de Medicis, in Castig- lione's "II Cortegiano" (printed at Venice in 1528), mirrors the opinion of the period. We quote from the brave version of Sir Thomas Hoby: "Since I may fashion this woman after my mind, I will not only have her not to practise these manly exercises so sturdy and boisterous, but also even those that are meet for a woman, I will have her to do them with heedfulness and with the soft mildness that wa have said is comely for her. And therefore in dancing I would not see her use too swift and violent tricks, nor yet in singing or playing upon instruments those hard and often divisions that declare more cunning than sweetness. Likewise the instruments of music which she useth (in mine opinion) ought to be fit for this purpose. Imagine with yourself what an unsightly matter it were to see a woman play upon a tabor or drum, or blow in a flute or trumpet, or any like instrument:

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1679 and this because the boisterousness of them doth both cover and take away that sweet mildness which setteth so forth every deed that a woman doeth. Therefore when she cometh to dance, or to show any kind of music, she ought to be brought to it with suffering herself somewhat to be prayed, and with a certain bashfulness, that may declare the noble shamefastness that is contrary to headiness." Some other examples of the saltarello in music are those by Berlioz in "Benvenuto Cellini" and the overture, "Roman Carnival," Gou- nod's Saltarello for orcliestra (Concert Populaire, Paris, December 2, 1877), piano pieces by Alkan, Heller, Raff. It is a singular reflection on "local color" in music that Schumann mistook the "Scotch" symphony for the "Italian," and wrote of the former: "It can, like the Italian scenes in 'Titan,' cause you for a moment to forget the sorrow of not having seen that heavenly country." The best explanation of this Symphony No. 4, if there be need of any explanation, is found in the letters of Mendelssohn from Italy. Nor are the remarks of Ambros without pertinence. "And just that Italian clearness of outline, that cheerful ingenuous enjoyment of abounding life without dream-like reflection, is a fundamental feature of the A major symphony. If it were not too hazardous, one might say, just as frotp Beethoven's Pastoral Symphony, the local tone of the charm- ing environs of Nussdorf, Heiligenstadt, Grinzing, etc. (near Vienna), sounds forth, only because the master accidentally felt and conceived these tones there, there sounds in Mendelssohn's symphony, not indeed the impression of Rome,—the urhs ceterna, where, according to Jean Paul's expression, the spirits of heroes, artists, and saints gaze on man, seriously admonishing him,—but rather the local tone of the environs of Monte Cavo in the adjacent Albanian chain of mountains. Indeed, we may readily imagine the youth Mendelssohn looking out, let us say, from Nemi or Genzano across the rounded mirror of the sea upon the splendid foliage of the wooded cliffs of the coast, and how the motive of the first movement, loudly exulting in the full joy of life, passes through his soul, so that he has to sing it aloud. "The Andante has been thought by some to be in the church style. 'The cowl,' according to an old proverb, 'does not make the monk,'

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Huntington Avenue, Boston, IVIass. 1681 — — — and just as little does a continuous contrapuntal bass make a piece of music into a contrapuntally conceived one. We might perhaps say more appropriately that the Andante tells a romance of the olden time, as it were, in the style of Chronicles,—only the poet's eye occasionally betrays itself, sadly smiling. Being once in the Albanian mountains, with our fancy, perhaps we now recall the picturesque castle-embattle- ments of Grotta Ferrata, and the old devotional stations with the .solemn mosaic pictures of saints upon a gold ground. "In the Minuet the person of the tone-poet advances more into the foreground : it is the purest feeling of well-being, of calm, happy enjoyment, that emanates from the gentle movement of this melody, as if reciting to itself Riickert's glorious words :

"'Die Erd' ist schon genug den Himmel zu erwarten, ^ Den Himmel zu vergessen nicht schon genug ihr Garten.'

(The earth is fair enough to make us hope for heaven, Her garden not so fair that heaven is lost to mind.)

And these horns in the Trio, are they not as if, in the midst of the Italian paradise, a truly German yearning comes over him for the dear light green of the woods of his home? "But the Finale, the Saltarello, draws us into the midst of the gay swirl of southern life; and the almost melancholy ritardando toward the close, does it not remind us, like a sigh of the tone-poet, that amid all the magnificence he is, after all, but, a stranger, a wanderer that comes and goes? Like Berlioz's 'Harold,' this symphony is therefore a souvenir of Italian travel, a piece of Italy that the tone-poet brought away with him." From "Die Grenzen der Poesie und Musik" {first published in 1856), Englished by J. H. Cornell (New York, 1893). * * *

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

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Mme. Olga Samaroff was born at San Antonio, Texas, August 8, 1880. Her maiden name was Hickenlooper, and she was of German Russian parentage. Her girlhood was spent in a convent at Paris, and she took pianoforte lessons of Marmontel. In 1895 she entered the Paris Conservatory, and studied five years in the class of Delaborde. She afterward went to Berlin to take lessons of Jedliczka. Her first public appearance was at New York, with orchestra, in Carnegie Hall, January 18, 1905. Her first appearance in Boston was at a concert of the Boston Symphony Quartet, April 10, 1905, when she played with Mr. Krasselt Saint-Saens's 'Cello Sonata in C minor. She gave concerts in London in the following May and June. She has given recitals here this'season in Steinert Hall (November 23, 1905, January 20, 1906) and in Chicker- ing Hall (February 18, 1906).

Concerto in A minor, for Pianoforte, Op. 16. Edward Hagerup Grieg

(Born at Bergen, Norway, June 15, 1843; still living, now at Christiania, now at Bergen.)

It has been said that Grieg wrote this concerto in 1868 and dedicated

it to Rikard Nordraak, a Norwegian composer, whom he met at Co- penhagen. It has also been said that Nordraak turned him from following in the footsteps of Gade, who in turn followed piously in those

of Mendelssohn ; that he disclosed to him the treasure-house of folk-song, and persuaded him it was his duty to express in music the true national

spirit and life. But Nordraak died in 1865, and the second edition of the concerto at least is dedicated to Edmund Neupert, a pianist, who was born at Christiania in 1842, and died at New York in 1888. YOUR FURS STORED

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1634 It is true, however, that the concerto was''composed during Grieg's vacation in the summer of 1868 in the Danish village of Sollerod. He

had married Nina Hagerup on June 1 1 , 1867, and had given subscription concerts with her at Christiania, where he conducted the Philharmonic Society and was busied as a teacher. The concerto was played at Leipsic in the Gewandhaus, at a concert for the benefit of the Orchestra Pension Fund, February 22, 1872. It was announced as "new" and "in manuscript." The pianist was Miss Erika Lie.* Was this the first performance? The music excited hos- tility. It was described as patchwork, as scraps of Schumann and Chopin "Scandinavianized." The first performance in England was at the Crystal Palace, with Edward Dannreuther as pianist, in 1874. Louis Brassin played the work at Leipsic in 1876. The concerto was played in Boston by Mr. Boskovitz at a Thomas concert, October 28, 1874. When the work was then played, the orchestration was considered radical and tumultuous. Mr. Dwight, for instance, said: "Richly, in parts overpoweringly, accompanied by the modem, almost Wagnerian, orchestration." P>en to-day there are various opinions concerning this concerto.

* Erika Lie (Mrs. Nissen"). born at Kongsvinger, near Christiania, in 1845, was a pupil of Kjerulf and Theodor KuUak. She taught in Kullak's Akademie der Topkunst at Berlin, and gave concerts in Germany, Denmark, and Sweden. She antagonized in some manner the music critics of Berlin, so that they all agreed 10 ignore her concerts. She married in 1874, made her home at Christiania, where she taught the rest of her life, and died on- October 27, igo3.

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Ernest Closson, who wrote a biographical sketch of Orieg (1S92), reckons it among his most important works. "Although conceived under the

visible influence of Schumann, it remains exceedingly individual. . . . Each figure, each phrase, surrounded with complicated and accom- pan\ang figures, is in its proper place. There is an absence of the passages of sheer 'virtuosity' with which pieces of this kind are usually loaded." On the other hand, Henry Maubel (Maurice Belval), in his most appreciative "Preface a la Musique de Grieg" (1889), finds only the elegiac Adagio interesting. Josephin Peladan, the fantastical Sar of dark corners, who in 1892 considered Grieg to be "the greatest living- " " composer," and therefore invited him to a soiree of the Rose j- Croix "as one wholly worthy," accepted Grieg in bulk, as Victor Hugo accepted Shakespeare. But Maubel finds in Grieg's music c*hiefly these moods: black, deep sadness, as in "The Death of Aase"; tender- ness passionately extended to a person or a thing, as in elegiac melodies and occasionally serenity, smiling or already tainted with melancholy see "Morning" in the first suite from "Peer Gynt," and in the melody, "The Princess." And Maubel finds these moods most fully depicted in the songs for the voice and in the orchestral music, "the instruments which are most freely expressive." A letter from Liszt, late in 1868, in praise of Grieg's first violin sonata (Op. 8), induced the Norwegian government to give Grieg a

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1686 sum of money, so that he was able to go to Rome the next year to meet Liszt. Grieg left Christiania in October, 1869, and his first meeting with Liszt was at the mf)nastery near the F<:

Lisztite whose name I do not know, but who gi)es so far in the aping of

his idol that he even wears the gown of an abbe ; add to these a Chevalier de Concilium and some young ladies of the kind that would like to eat

Liszt, skin, hair, and all, their adulation is simply comical. . . . Winding

and I were very anxious to see if he would really play my concerto

at sight. I, for my part, considered it impossible; not so Liszt. 'Will you plav?' he asked, and I made haste to reply: 'No, I cannot' (you

know I have never practised it) . Then Liszt took the manuscript, went to the piano, and said to the assembled guests, with his characteristic smile, 'Very well, then, I will show you that I also cannot.' W'ith

that he began. I admit- that he took the first part of the concerto too fast, and the beginning consequently sounded helter-skelter; but later on, when I had a chance to indicate the tempo, he played as only he can play. It is significant that he played the cadenza, the most difficult part, best of all. His demeanor is worth any price to see. Not content with playing, he at the same time converses and makes comments, addressing a bright remark now to one, now to another of the assembled guests, nodding significant^ to the right or left, particularly when

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something pleases him. In the adagio, and still more in the finale, he reached a cHmax both as to his playing and the praise he had to bestow. "A really divine episode I must not forget.- Toward the end of the finale the second theme is, as you may remember, repeated in a mighty fortissimo. In the very last measures, when in the first triplets the first tone is changed in the orchestra from G-sharp to G, while the pianoforte, in a mighty scale passage, rushes wildly through the whole reach of the keyboard, he suddenly stopped, rose up to his full height, left the piano, and, with big theatric strides and arms uplifted, walked across the large cloister hall, at the same time literally roaring the theme. When he got to the G in question, he stretched out his arms imperiously and exclaimed: 'G, G, not G-sharp! Splendid! That is the real Swedish Banko!' to which he added very softly, as in a parenthesis: 'Smetana sent me a sample the other, day' * He went back to the piano, repeated the whole strophe, and finished. In conclusion, he handed me the manuscript, and said, in a peculiarly cordial tone: 'Fahren Sie fort; ich sage Ihnen, Sie haben das Zeug dazu, und—lassen Sie sich nicht

! abschrecken ' ('Keep steadily on; I tell you, you have the capability, and—do not let them intimidate you!') "This final admonition was of tremendous importance to me; there was something in it that seemed to give it an air of sanctification. At times when disappointment and bitterness are in store for me, I shall recall his words, and the remembrance of that hour will have a wonderful power to uphold me in days of adversity." Mr. Frank van der Stucken, of Cincinnati, who met Grieg at Leipsic in 1878, wrote interesting reminiscences for Mr. Finck's book. We quote

' a passage about the concerto : ' Grieg's piano concerto in A minor proved to be the means to gain Liszt's protection. While Liszt admired the

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LIBERTY (SL COMPANY. I^ondon. 1688 originality of the music, he suggested several alterations in the in- strumentation. The composer, who at that time was rather doubtful about' his orchestral kn'>wledgc, accepted these suggestions, and the score was jiublished accordingly. But (.m this occasion Liszt had made the mistake of following his own fiery temperament instead of con- sidering Grieg's more idyllic nature, and so the scoring turned out to be t

had remained in the hands of Carl Rcinecke ; for Grieg wanted to know his former teacher's opinion of his work. After waiting in vain f jr a note on the subject, he called on Reinecke to get the score, and was received most cordially. The conversation touched all possible topics, but the concerto was never mentioned. So the Norwegian walked home with the score under his arm and some fierce motive in his raging soul. Grieg, like Wagner, was very sensitive to adverse criticism, and I remember his highly-colored expressions about some musical jour- nalists of the day." The orchestral part of the concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, one bass tuba, kettledrums, and strings. ivosej'iANos

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The first movement, Allegro molto moderato, A minor, 4-4, opens with a sustained pianissimo A in the brass, with a roll on the drums and a pizzicato note for the strings. The pianoforte has a short in- troductory passage. The first theme, in the nature of a march, is given out by wood-wind and horns; each phrase is answered by the strings. The second period of the theme, of a more song-like character, appears first in the wood-wind, then in the wood-wind and violins. The intro- ductory orchestral ritornello is short. The pianoforte then develops fully the theme. Subsidiary themes follow, and are given to the pianoforte. The second of these, in C major, given out by the pianoforte and imitated canonically by flute and clarinet in octaves, might be mistaken for the second theme, but this comes later, also in C maj'.r, tempo lento, piii tranquillo, first played by the trumpet over sustained harmonies in, horns, trombones, and tuba; it is then taken up by the pianoforte and developed at length with gradually quicker pace. A fortissimo orchestral tutti ends the first part. There is no repetition and the free fantasia is short. The third part begins with a return of the first theme in the tonic, played by the pianoforte with answers from the strings. This third part is followed by a long cadenza for the pianoforte. A short coda, poco piii allegro, brings the close. II. Adagio, D-flat major, 3-8. The theme is developed by the muted strings, and later wood-wind instruments and horns take part. The pianoforte has episodic and florid work, which is accompanied by sustained harmonies (strings). The theme returns, fortissimo, for pianoforte and orchestra, and is developed to the close of the movement, which is connected immediately with the next. III. A rondo on five themes, A minor. Allegro moderato molto e marcato, 2-4. There is preluding by clarinets and bassoons. The' pianoforte follows, takes up the first theme of Scandinavian character, and develops it. A tutti passage follows. The second theme, also in the tonic, is brilliant passage-work for the pianoforte, but it closes with more cantabile phrases. The third, in lively march rhythm, is in C major; it is played first by the pianoforte with orchestral accompaniment, and developed by the orchestra against piano arpeggios. There is then a fortissimo tutti in the rhythm of the first theme. Another theme is given out by pianoforte and orchestra, and there is another orchestral tutti. The fifth theme, of a more cantabile character, is played (F major) by flute and clarinet over an accompaniment in the strings, and then developed at length by the pianoforte over a bass in the 'cellos. The second part is very much like the first, but the third theme is now in A major. The coda begins quasi presto (A major, 3-4), and the first theme is used with a rhythmic variation, until the

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ENTR'ACTE. CONCERNING PROGRAMME MUSIC* BY ERNEST NEWMAN.

A httle while ago I attempted, in an article on "The Old Music and the New," in the Contemporary Review, to throw some light on the vexed question of programme music, and to make out a case for this essentially modern form of art. The main argument was that the symphonic poem, poetic music, programme music—call it by whatever title we choose—is a perfectly logical and necessary evolution of certain request.— Ed. * This article, published in the programme book of February 1 1, 1905, is here republishedby

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1891 factors that have been inherent in music from its very birth, although, owing to a variety of circumstances, historical, technical, and social, the opportunity for their proper development has. only come within comparatively recent years. j " What I was chiefly concerned to prove was that certain critics are in error when they say that a piece of programme music, to justify its existence, ought to sound equally well to the man who knows the subject and the man who does not; that if it does not appeal to us as

"pure music," irrespective of its conformity with a programme, it has

at best only a factitious rarson d'etre. I tried to show that this is a

preposterous demand to make; that a knowledge of the programme is absolutely necessary to the understanding of half the points that give the music its vitality; and that the man who wants to appreciate fully a symphonic poem without knowing the subject and the composer's handling of it ought, to be quite consistent, to listen to the "Erl King" without a knowledge of the poem or to the "Ring of the Nibel- ung" without a knowledge of the story.

But my words fell upon stony ground. T can understand the heathen who did not read my article still wallowing in the mire of error; and for these unconscious children of the darkness I have nothing but

tender pity. But that some of those who did read it should yet be unconvinced, that they should go on in their old unanalytic ways as if I had never thrown a flood of light on the subject—this, I confess, has cut me to the heart; I feel much as Galileo nmst have felt when his friends persisted in using phrases that showed a lingering belief

in the geocentric theory. ' Within the last month or two T have had some sad examples of this imperviousness to argument—one afforded by K. A. Baughan, a thoroughly level-headed critic in other respects;

one by J. F. Runciman, who, when he is right, is very right, and when

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1693 he is wrong is infernally wrong, and a third by Mr. Huneker, whose momentary lapse from rectitude was probably due to his being so in- tent on correcting the errors of Mr. Runciman. Curiously enough, it is over Richard Strauss, the most audacious exponent of programme music at the present time, that all these gentlemen have come to grief. Before, however, looking at the symphonic poem in connection with Strauss, let us examine a simple case, say the "Romeo and Juliet" overture of Tschaikowsky. and see whether this particular work could be equally understood and appreciated, as pure music, by the man who knows and the man who does not know the programme.

There is not the slightest doubt that the "Romeo and Juliet" would give intense pleasure to any one who simply walked unpremeditatedly into a concert room, and heard the overture without knowing that it had a poetical basis,—who listened to it, that is, as a piece of music, pure and simple, in sonata form. But I strenuously deny that this hearer would receive as much pleasure from the work as I do, for example, knowing the poetic story to which it is written. He might think the passage for muted strings, for example, extremely beautiful, but he would not get from it such delight as I, who not only feel all the musical loveliness of the melody and the harmonies and the tone color, but see the lovers on the balcony and breathe the very atmos- phere of Shakespeare's scene. I am richer than my fellow by two or three emotions in a case of this kind. My nature is stirred on two or three sides instead of only one. I would go further and say that not only does the auditor I have supposed get less pleasure from the work than I, but he really does not hear Tschaikowsky 's work at all. If the musician writes music to a play and invents phrases to sym- bolize the characters and to picture the events of the play, we are

simply not listening to his work at all if we listen to it in ignorance of

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1696 his poetical scheme. We may hear the music, but it is not the music he meant us to hear, or at all events not heard as he intended us to hear it. If melody, harmony, color and development, are all shaped and directed by certain pictures in the musician's mind, we get no further than the mere outside of the nmsic unless we also are familiar with those pictures. Let us take another example. The reader will probably remember that the overture opens with a church like theme, in the clarinets and bassoons, that is intended to suggest Friar Lau- rence. In the ensuing scenes of conflict between the two opposing factions, this theme appears every now and then in the brass, sometimes in particularly forceful and assertive manner. Arguing with a friend a little time ago on the subject of Strauss, I maintained that the opening theme of "Ein Heldenleben" is not heroic through and through ; it is rather bombastic than heroic ; the kind of hero there depicted is a little too self-conscious, a little too much given to showing his biceps and inviting people to tread on the tail of his coat. To my mind the fine subject on the four horns in "Don Juan" is much more veritably heroic, vigorous, without a trace of a suspicion of "showing off." Now, both Mr. Baughan and myself learn, to our surprise, that Strauss "meant it to represent Don Juan staggering into the ball-room with intoxicated gayety," and Mr. Baughan, aggrieved beyond measure, rushes to the wild conclusion that "here we have the inherent stupidity of programme music."

With all respect I beg to differ: here we have only the inherent stupidity of asking us to listen to descriptive music without giving us the key to the thing described. It is as if Mr. Baughan, having kissed a girl in the dark, and then discovered, when the lights were turned up, that he had got hold of the wrong girl, should petulantly declare that this showed the inherent stupidity of kissing. Of course it shows

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1697 nothing of the kind ; nor does the fact that we make a bhmder here and there in our interpretations of a composer's intentions prove that programme music is a delusion and a snare. Mr. Baughan might as well say that when a man who can understand a Beethoven symphony hears "The Dream of Gerontius" without the slightest knowledge of the words, and wonders what in Hades it is all about, this shows the inherent stupidity of oratorio and opera and the song. The charge of absurdity must be really laid at the door of the composer. The plain truth is that a composer has no right to put before us a symphonic poem without giving us the fullest guide to his literary plans. It would be ridiculous of Wagner or Liszt to think their business was ended when they had given us simply the title of, say, "The

Ring of the Nibelung" or "The Loreley"; it is equally ridiculous of

Strauss to tell us that a work is called "Till Eulenspiegel " or "Don Juan," and leave us to discover the rest for ourselves. If Strauss put that subject for the four horns together with the notes in that particular order not merely because he liked the sequence of sounds, but because they limned the picture of Don Juan which he had in his eye at that moment, it is folly of him to throw it before us as a mere sequence of sounds, and not to tell us what aspect of Don Juan it is meant to represent. As for "the inherent- stupidity of programme music," may I put it to Mr. Baughan that he is never likely to go wrong again over this phrase, and that each time he hears "Don Juan," he will, to this ex- tent, be nearer seeing what the composer meant him to see than he ever was before? And, if he had an equal certainty of the meaning of all the other subjects in "Don Juan," would he not then be able to recreate the whole thing in accordance with Strauss's own ideas? And would not all difficulty then vanish, and the "inherent stupidity"

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1699 seem to be in those who cursed the form because they had not the key to the idea? Let any one hsten to "Till Eulenspiegel " with no more knowledge of the composer's intentions than is given in the title, and I can understand him failing to make head or tail of it. But let him learn by heart the admirable analysis by C. A. Barry, that is sometimes printed in the programme books, and if all does not then become to him as clear as crystal, if then he cannot follow all the gradations of that magical piece of story-telling,—well, he had better confine his musical desires to Haydn's quartets and "The Honeysuckle and the

Bee." He does but write himself down as slow-witted ; the value of the musical form remains unassailed. Now why does not Strauss, or any other composer of programme music, spare himself and us all this trouble by showing us, once for all, the main psychological lines upon which he has built his work ? The composer himself, in fact, is the cause of all the misunderstanding and all the aesthetic confusion. Nothing could be clearer than the symbolism of the music in Strauss's "Don Quixote," when you know the precise intention of each variation ; but the fact that Strauss should give the clew to these in the piano duet, and omit it all from the full score, shows how absurdly lax and inconsistent the practice of these gentlemen is. "Also sprach Zarathustra," again, is quite clear, because indications are given here and there of the precise part of Nietzsche's book with which the musician is dealing; while "Ein Heldenleben" simply worries us by prompting futile conjectures as to the meaning of this or that phrase. Wagner would not have dreamt of throwing a long work before us and simply telling us that the subject of it was "The Ring of the Nibelung." Why, then, should the writer of symphonic poems expect us to fathom all his intentions when he has merely printed the title of his work? If the words of the opera are necessary for me to understand what was in Wagner's mind when he wrote this or that motive, surely words—not accompanying the music, but prefixed to it—are needful to tell me what was in Strauss's mind when he shaped the waltz in "Zarathustra." If it is absurd to play to me a song without giving me a copy of the words, expecting us to understand the music that has been born of a MISS QAFFNEY "The Hair Store" Devoted exclusively to the 384 BOYLSTON STREET

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3 Temple Place fSoXstfe^e^ riANICURlNG AND SHAMPOOING 1700 poetical idea as if it had been wTitten independently of any verbal suggestion, it is equally absurd to put before me, as pure music, an orchestral piece that was never conceived as pure music. If the poem or the picture was necessary to the composer's imagination, it is necessary to mine; if it is not necessary to either of us, he has no right to affix the title of it to his work. Mr. Runciman, curit)usly enough, hits upon the truth by accident in the very act of trving to deny its existence. It was in an article in the Musical Courier, in which Mr. Runciman in one of his most carnivorous moods ("Did He who made the lamb make thee?") was ferociously chewing a sawdust scarecrow which he took to be Richard vStrauss. Mr. Runciman, in the course of much savage treatment of this effigy, tells us that Wagner saw "that the intellectual idea could not be conveyed by nuisic alone ; that together with the color—the nuisic—must go the spoken word to make clear what was meant." vSo far, good. But then he (juarrels with Strauss for trying to make his themes expressive of something more than music pure and simple, and giving us a programme to help us. Why, where in the name of lucidity is the difference between singing to a phrase of music the words that prompted it, and printing these words alongside the phrase or at the beginning of the score ? Does it matter whether the composer writes a love scene and has the actual words sung by a tenor and a soprano, or merely puts the whole thing on an orchestra, and tells us that this is a scene between two lovers, and that their love is of such and such a quality? For the life of me I cannot see whv the one pro- ceeding is right and the other wrong. And, once more, if it is cssen-

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1701 tial that we should not be left in the slightest doubt in the case of the opera as to who the protagonists are and what is the nature of their sentiments, it is equally essential, in the case of -the symphonic poem, that we should not be left in ignorance of any of the points that have gone to make the structure of the music what it is. It is just here that Mr. Pluneker seems to me somewhat half-hearted. "Strauss," he says, "does not endeavor to express ideas, literarv or metaphysical, in his scores. That statement is fudge. But his music suggests ideas, pictures, poems." This last may be the truth, but it is surely not the whole truth. It is quite true that "Zarathustra" "suggests" certain ideas of the cosmos. But why? Simply because it was these very ideas that suggested the music in the iirst place. When vStrauss says, "I did not intend to write philosophical music or to por- tray Nietzsche's great work musically," he himself is indulging in fudge of the worst order. Why has he prefixed to each section of his score an allusion to the particular portion of Nietzsche's book which he is there illustrating? Nietzsche has a chapter "On Science." Strauss gives this title to one part of his tone poem. Does he not mean to convey to us there the musical equivalent of the philosopher's bitter complaint, and, if so, is he not emphatically writing philosophical music? As for literary ideas, with what else does the "Don Quixote" deal? There is not a phrase in it that is not the most lifelike repre- sentation of some character or other, or some phrase of that character; this is precisely the thing that makes it "Don Quixote," and not merely a series of "variations on an original theme." Mr. Huneker's memory has certainly given way for the moment when he tells us that, "dis- carding the Lisztian title, he calls his works 'Tone Poems,' presents no programmes, and only clews in his titles, being content that the world should enjoy or despise his music as absolute music, nothing more." As a matter of fact the "Zarathustra" and the "Don Quixote" scores contain a clew on almost everv other page ; nothing could well be clearer than the programmes Strauss gives us there. And what are the poems prefixed to "Tod vmd Verklarung" and "Don Juan" if not programmes of a kind, though so imperfect in detail as to have been the cause of a cruel shock to Mr. Baughan's emotions? No, there is

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1703 — no compromise possible. If the song and the apera are legitimate blends of literary idea and musical expression, so is the symphonic poem, and, if the literary basis has to be given us in full in the case of the opera, we equally need it in the other case as completely as it can be set before us. The great trouble is that composers like Strauss so often do neither the one thing nor the other: they neither put their work before us as music pure and simple, nor give us suiTicient clew to what the representative music is intended to represent. Hence all this worry and confusion, —the bhghted trust of Mr. Baughan, the murderous fury of Mr. Runciman. arjd the sad spectacle of Mr. Hune- ker, in his charitable attempt to keep the peace between the quarrelling schools, being cast out of the councils of them both. From the Musical Courier, New York. ,

'Death and Transfiguration," Op. 24 Richard Strauss

(Born at Munich, June 11, 1864; now living at Charlottenburg — Berlin.)

This is the third of Richard Strauss's seven tone-poems. It was composed at Weimar in 1889, and in date of composition came between "Don Juan" (1888) and "Till Eulenspiegel's lustige Streiche" (1895). " It was first performed at the Tonkiinstlerversammlung " at Eisen- ach, June 21, 1890. The first performance in Boston was at a Symphony Concert, Feb-

ruary 6, 1897. It was performed again at Symphony Concerts, March

18, 1899, February 7, 1903, October 21, 190,5. The tone-poem was performed in Symphony Hall on March 8, 1904, by the Philadelphia Orchestra, led by the composer.

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The tone-poem is dedicated to Friedrich Rosch* and scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, double-bassoon, four horns, three trumpets, three trombones, tuba, a set of three kettledrums, two harps, gong, strings.

On the fly-leaf of the score is a poem in German :

In der armlich kleinen Kammer Matt vom Lichtstumpf nur erhellt, T.iegt der Kranke auf dem Lager. Eben hat er mit dem Tod Wild verzweifelnd noch gerungeu. Nun sank er erschopft in Schlaf, Und der Wanduhr leises Ticken Nur vernimmst du im Gemach, Dessen grauenvolle Stille Todesnahe ahnen lasst. Um des Krankenbleiche Ziige Spielt ein Lacheln wehmuthvoll. Traumt er an des Lebens Grenze Von der Kindheit goldner Zeit ?

Doch nicht lange gonnt der Tod Seinem Opfer Schlaf und Traunie. Grausam riittelt er ihn auf Und beginnt den Kampf auf's Neue. Lebenstrieb und Todesmacht! Welch' entsetzensvolles Ringen! Keiner tragt den Sieg davon, Und noch einmal wird es stille!

Kampfesmiid' zuriickgesunken, Schlaflos, wie im Fieberwahn, •

* Rosch, bora in 1862 at Memmingen, studied law and music at Munich. A pupil of Rheinbergcr and Wohlmuth, he conducted a singing society, for which he composed humorous pieces, and in 1888 abandoned the law for music. He was busy afterwards in BerUn, St. Petersburg, Munich. In i8g8 he organized with Strauss and Hans Somer the " Genossenschaft deutscher Komponisten." He has written madrigals for male and mixed choruses and songs. Larger works are in manuscript. He has also written an important work, " Musikasthetische Streitfragen " (1898), about von Billow's published letters, programme music, etc.. and a Study of Alexander Ritter (i8g8). HAVE YOU SEEN THE "MAGMUL"?

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Sieht der Kranke nun sein Leben, Tag um Tag und Bild um Bild * Inn' rem Aug' voruberschweben. Erst der Kindheit Morgenrot, Hold in seiner Unschuld leuchtend Dann des Jiinglings keckes Spiel Krafte iibend und erprobend Bis er reift zum Mannerkampf, Der um hochste Lebensgiiter Nun mit heisser Lust entbrennt. Was ihm je verklart erschien Noch verklarter zu gestalten, Dies allein der hohe Drang, Der durch's Leben ihn geleitet. Kalt und hohnend setzt die Welt Schrank' auf Schranke seinem Drangeu. Glaubt er sich dem Ziele nah', Donnert ihm ein "Halt!" entgegen: " Mach' die Schranke dir zur Staffel, Immer hoher nur hinan!" Also drangt er, also klimmt er, Lasst nicht ab vom heil'gen Drang. Was er so von je gesucht Mit des Herzens tiefstem Sehnen, Sucht er noch im Todesschrein, Suchet, ach! und findet's nimmer. Ob er's deuthcher auch fasst, Ob es mahlich ihm auch wachse, Kann er's doch erschopfen nie, Kann es nicht im Geist voUenden. Da erdrohnt der letzte Schlag Von des Todes Eisenhammer,

VLADIMIR DE P A C H MA N N — : —

Bricht den Erdenleib entzvvei, Deckt mit Todesnacht das Auge.

Aber machtig tonet ihm Aus dem Ilimmelsraum entgegen, Was er sehnend hier gesucht Welterlosung, Weltverklarung.

The following literal translation is by Mr. W. F. Apthorp:

In the necessitous little room, dimly lighted by only a candle-end, lies tlie sick man on his bed. But just now he has wrestled des])airingly with Death. Now he has sunk exhausted into sleep, and thou hearest only the soft ticking of the clock on the wall in the room, whose awful silence gives a foreboding of the nearness of death. Over the sick man's pale features jilays a sad smile. Dreams he, on the boundary of life, of the golden time of childhood ? But Death does not long grant sleep and dreams to his victim. Cruelly he shakes him awake, and the fight begins afresh. Will to live and power of Death! What frightful wrestling! Neither bears off the victory and all is silent once more! Sunk back tired of battle, sleepless, as in fever-frenzy the sick man now sees his life pass before his inner eye, trait by trait and scene by scene. First the morning red of childhood, .shining bright in pure innocence! Then the youth's saucier play- exerting and trying his strength till he ripens to the man's fight, and now burns with hot lust after the higher prizes of life. The one high purpose that has led him thnnigh life was to shape all he saw transfigured into a still more transfigured form. Cold and sneering, the world sets barrier upon barrier in the way of his achievement. If he thinks himself near his goal, a " Halt!" tlumders in his ear. " Make the barrier thy stirrup! Ever higher and onward go!" And so he pushes forward, so he climbs, desists not from his sacred purpose. What he has ever sought with his heart's deepest yearning, he still seeks in his death-sweat. Seeks—alas! and finds it never. Whether he comprehends it more clearly or that it grows upon him gradually, he can yet never exhaust it, cannot complete it in his spirit. Then clangs the last stroke of Death's iron hammer, breaks the earthlv bodv in twain, covers the eye with the night of death. H<«*;-^«f Wt«!»fcif! MARTIN BATES and SONS FRANCIS E. WARREN, Proprietor 290 Devonshire Street, Boston ^he FUR vSHOP of Boston and New Eng^land

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But from the heavenly spaces sounds mightily to greet him what he yearningly sought for here: dehverance from the world, transfiguration of the world.

The authorship of this poem in blank verse was for some years un- known, and the prevaiUng impression was that the poem suggested the music. As a matter of fact, Alexander Ritter* wrote the poem after he was well acquainted with vStrauss's score; and, when the score was sent to the publisher, the poem was sent with it for insertion. Ritter influenced Strauss mightily. Strauss said of him in an inter- view published in the Musical Times (London) :

' ' Ritter was exceptionally well read in all the philosophers, ancient and modern, and a man of the highest culture. His influence was in the nature of a storm-wind. He urged me on to the development of the poetic, the expressive, in music, as exemplified in the works of Liszt, Wagner, and Berlioz. My symphonic fantasia, 'Aus Italien,' is the connecting link between the old and the new methods." "Aus Italien" was composed in 1886, and "Macbeth," the first of the tone-poems, was a work of the next year. It may here be remarked that Gustav Brecher, in his "Richard Strauss," characterizes "Death and Transfiguration," as well as the opera "Guntram" (1892-93), as a return of the composer, after his "Don Juan," to the chromatic style of Liszt and Wagner; and he insists it is not a representative work of the modern Strauss. The poem by Ritter is, after all, the most satisfactory explanation of the music to those that seek eagerly a clew and are not content with the title. The analysts have been busy with this tone-poem as well as the others of Strauss. Mr. Wilhelm Mauke has written a pamphlet of twenty pages with twenty-one musical illustrations, and made a delicate distinction between Fever-theme No. i and Fever-theme No. 2. Reimann and Brandes have been more moderate. Strauss him-

* Ritter, violinist and composer, was born June 27, 18,^3, at Narva, Russia. He died at Munich, April 12, 1896. He studied in Dresden and afterward at Leipsic (David and Richter). In 1854 he married Richard Wagner's niece, Franziska. He lived at Stettin as conductor (1S56), in Dresden, again at Stettin, and then at Paris, Chemnitz, Wiirzburg, and in i886 he moved to Munich. He was at one time a member of the Meinin- gen orchestra, and for seven years he was proprietor of a music shop. He was a radical and a warm friend of Wagner, von Billow, Liszt, Cornelius, Bronsart, Raff. His chief works are the operas, "Der faule Hans" (1885), "Wem die Krone?" (1890), which were performed at Munich and Weimar, and the symphonic poems, "Seraphische Phantasie," "Erotische Legende," "Olaf's Hochzeitsreigen," "Charfreitag und Frohnleich- nam," "Sursum Corda," and "Kaiser Rudolphs Ritt zum Grabe." (See the Musikalisches Wochenblalt for 1898 for Rosch's elaborate study of the man and his works.) See also an article on Ritter by Herman Teibler, of Munich, published in Die Musik, 1902, pp. 1744-1755.

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Messrs. M. STEINERT (Si SONS COMPANY 162 Boy-lston Street, Boston 1711 self on more than one occasion has made merry jests at the expense of the grubbing analysts. "Death and Transfiguration" may be divided into sections, closely joined, and for each one a portion of the poem may serve as motto. I. Largo, C minor, D-flat major, 4-4. The chief Death motive is a syncopated figure, pianissimo, given to the second violins and the violas. A sad smile steals over the sick man's face (wood-wind accompanied by horns and harps), and he thinks of his youth (a simple melody, the childhood motive, announced by the oboe). These three motives establish the mood of the introduction. II. Allegro molto agitato, C minor. Death attacks the sick man. There are harsh double blows in quick succession. What Mr. Mauke characterizes as the Fever motive begins in the basses, and wildly dissonant chords shriek at the end of the clifnbing motive. There is a mighty crescendo, the chief Death motive is heard, the struggle begins

(full orchestra, ///). There is a second chromatic and feverish motive, which appears first in sixteenths, which is bound to a contrasting and ascending theme that recalls the motive of the struggle. This second feverish theme goes canonically through the instrumental groups. The sick man sinks exhausted (ritenutos). Trombones, 'cellos, and violas intone even now the beginning of the Transfiguration theme, just as Death is about to triumph. "And again all is still!" The myste- rious Death motive knocks. III. And now the dying man dreams dreams and sees visions (meno

mosso, ma sempre alia breve) . The Childhood motive returns (G major) in freer form. There is again the joy of youth (oboes, harp, and bound to this is the motive of Hope that made him smile before the struggle, the motive now played by solo viola) The fight of manhood with the world's prizes is waged again (B major, full orchestra, fortissimo), waged fiercely. "Halt!" thunders in his ears, and trombones and kettledrums sound the dread and strangely-rhythmed motive of Death (drums beaten with wooden drumsticks). There is contrapuntal elab- oration of the Dife-struggle and Childhood motives. The Transfigu- ration motive is heard in broader form. The chief Death motive and the feverish attack are again dominating features. Storm and fury of FRANCES Foreign Books MARCELLE WAVING, HAIR DRESSING, FACE TREATMENT MANICURE PEDICURE C. A. KOEHLER & CO. HAIR WORK and TOILET ARTICLES A SPECIALTY Tremont Street, 149 A MOLES, WARTS, and SUPERFLUOUS HAIR corner West Street REMOVED elevator Take BOSTON 7 TEMPLE PLACE Telephone, 945-3 Oxford Rooms 32-33 Telephone, 2 J 153 Ozford CASPAR BOLTZ, R U H E N

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orchestra. There is a wild series of ascending fifths. Gong and harp knell the soul's departure. IV. The Transfiguration theme is heard from the horns; strings re- peat the Childhood motive, and a crescendo leads to the full development of the Transfiguration theme (moderato, C major). "World deliverance, world transfiguration."

Overture to "Euryanthe" Carl Maria von Weber

(Born at Eutin, in the grand duchy of Oldenburg, December 1 8, 1 786 died at London, June 5, 1826.)

"Euryanthe," grand heroic-romantic opera in three acts, book founded by Helmina von Chezy on an old French tale of the thirteenth century, "Histoire de Gerard de Nevers et de la belle et vertueuse Euryant de Savoye, sa mie,"—a tale used by Boccaccio ("Decam- eron," second day, ninth novel) and Shakespeare ("Cymbeline"), music by von Weber, was produced at the Karnthnerthor Court opera theatre, October 25, 1823. The cast was as follows: Euryanthe, Therese (born Mueller) Henriette Sontag ; Eglantine, Gruenbaum

Bertha, Miss Teimer ; Adolar, Haizinger; Rudolph, Rauscher; Lysiart, Forti; King Ludwig, Seipelt. The composer conducted. The opera was completed without the overture on August 29, 1823. Weber began to compose the overture on September i, 1823, and he completed it at Vienna on October 19 of that year. He scored the overture at Vienna, October 16-19, 1823.

' Weber wrote to his wife on the day after the first performance : ' My reception, when I appeared in the orchestra, was the most enthusiastic and brilliant that one could imagine. There was no end to it. At last I gave the signal for the beginning. vStillness of death. The over-

BOSTON SYMPHONY ORCHESTRA SEASON 1906-1907 Orders for season tickets placed with us will be executed with care and for a small commis- sion. We acknowledge with sincere thanks your liberal patronage during season about to close. CONNELLY'S V^AU, Adams House 'Phones, Oxford 942, 41330

1714 turc was applauded madly ; there was a demand for a repetition ; but

I went ahead, so that the performance mij^ht not be too long drawn out." The overture begins IC Hat, Allegro marcato, con mollo fuoco, 44, though the half note is the metronomic standard indicated by Weber. After eight measures of an impetuous and brilliant exordium the first theme is announced by wind instruments in full harmony, and it is derived from Adolar's phrase: "Ich bau' auf Gott und meine Eury- anth' " (act i.. No. 4). The original tonality is preserved. This theme is developed brilliantly until, after a crashing chord, Bflat, of full orchestra and vigorous drum -beats, a transitional phrase for 'cellos leads to the second theme, which is of a tender nature. vSung by the first violins over sustained harmony in the other, strings, this theme is associated in the opera with the words, "O vSeligkeit, dich fass' ich kaum!" from Adolar's air, "Wehen mir Liifte Ruh'" (act ii.. No. 12). The measures of the exordium return, there is a strong climax, and then after a long organ-point there is silence. The succeeding short largo, charged with mystery, refers to Eglan- tine's vision of Emma's ghost and to the fatal ring; and hereby hangs a tale. Eglantine has taken refuge in the castle of Nevers and won the affection of Euryanthe, who tells her one day the tragic story of Emma and Udo, her betrothed. For the ghost of Emma, sister of Adolar, had appeared to Euryanthe and told her that Udo had loved her faithfully. He fell in battle, and, as life was to her then worthless, she took poison from a ring, and was thereby separated from Udo; and, wretched ghost, she was doomed to wander by night until the ring of poison should be wet with the tears shed by an innocent maiden in her time of danger and extreme need (act i., No. 6). Eglantine steals the ring from the sepulchre and gives it to Lysiart, who shows it to the court, and swears that Euryanthe gave it to him and is false to Adolar. The music is also heard in part in act iii. (No. 23), where Eglantine, about to marry Lysiart, sees in the madness of sudden remorse the ghost of Emma, and soon after reveals the treachery. THE THE Handicraft Salesroom 367 BOTLSTOK STRXET, BOSTON Antique Shop Four doors from Arlington Street Church (elevator) Wrought Silver and Copper of Antique Furniture, China, Beautiful Design. Dedham Pottery, Vases, " Rabbit" sets, Pewter, Brass, Copper, plates, etc. Fine Book-bind- Bric-a-brac, etc. ing. Fine Lace-making, Pil- low and Point.

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has been used for over SIXTY YEARS by MILL- Instruction private and in class. Sole IONS of MOTHERS for their CHILDREN authorized representative of this method in while TEETHING, with PERFECT SUCCESS. America. ItSOOTHESthe CHILD, SOFTENS the GUMS, ALLAYS all PAIN, and is the best remedy. Sold Miss M. BRUHN, by Druggists in every part of the world. Be sure Pierce Building, Room 610, and ask for " Mrs. Winslow's Soothing Syrup," and COPLEY SQUARE, BOSTON. take no other kind. Twenty-five cents a bottle. Circul&rs sent upon application. 1716 Weber wished the curtain to rise at this episode in the overture, that there might be a "pantomimic prologue": "Stage. The interior of Rmma's tomb; a statue of her kneeHng near her coffin, over which is a canopy in the style of the twelfth century; Euryanthe praying by the coffin ; Kmma's ghost as a supi)liant ghdes by ; lilglantine as an eavesdropper." There was talk also of a scene just before the close of the opera in which the ghosts of the united Rmnia and Udo should appear. But neither the stage-manager nor the eccentric poet, who at the first performance cried out, as the aisles were thronged, "Make !" room, make room for me, I say! I tell you, I am the poet! the poet was willing to introduce such "sensational effects" in a serious opera. Yet the experiment was tried, and it is said with success, at Berlin in the thirties and at Dessau. Jules Benedict declared that the Largo episode was not intended by Weber for the overture; that the overture was originally only a fiery allegro without a contrast in tempo, an overture after the manner of Weber's "Beherrscher dcr Geister," also known as overture "zu Riibezahl" (1811). But the old orchestral parts at Vienna show no such change, neither does the original sketch. For a discussion of the point whether the Largo was inserted just before the dress-rehearsal and only for the sake of the "pantomimic prologue" see F. W. Jahns's "Carl Maria von Weber," pp. 365, 366 (Berlin, 1871). Eight violins, muted, play sustained and unearthly harmonies pianissimo, and violas soon enter beneath them with a subdued tremolo.* 'Cellos and basses, tempo primo, assai moderato, begin softly an inversion of the first theme of the wind instruments in the first part of the overture. This fugato constitutes the free fantasia. There is a return to the exordium, tempo primo, at first in C major, then in E-flat. The second theme reappears fortissimo, and there is a jubilant coda. The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, and strings. The opera is dedicated to His Majesty the Emperor of Austria. "Euryanthe" was performed in New York at the Metropolitan Opera House as late as December 23, 1887. The Liederkranz of New York gave the first act in concert form, December i, 1884.

* Wagner transcribed this passage for brass instruments in the funeral inarch he wrote for the arrival of Weber's body from London at Dresden (performed at Dresden, December 14, 1844). Muffled snare-drums gave the tremolo of the \nolas. The motives of this funeral music were from "Euryanthe," and were scored for eighty wind instruments and twenty drums. The song for male voices. ".At Weber's Grave," words and music by Wagner, was sung December 15, 1844. .\n orchestral transcription of ".\t Weber's Grave." made by Mr. Frederick A, Stock for wind instruments, harp, and kettledrums, was played by the Theodore Thomas Orchestra at Chicago. January 6, 1906, in memory of Theodore Thomas (who died January 4, 1905).

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New York Philadelphia Baltimore Washington Providence Newport Worcester Hartford New Haven Lynn 1718 "

Twenty-fourth Rehearsal and Concert*

FRIDAY AFTERNOON, APRIL 27, at 2.30 o'clock.

SATURDAY EVENING, APRIL 28, at 5.00 o'clock.

PROGRAMME.

Berlioz ...... Overture, ** Roman Carnival

Bach ...... Prelude, Adagio, and Gavotte, for String Orchestra

" Tschaikowsky .... Overture-fantasy, " Romeo and Juliet

Beethoven Symphony No...... 5

1719 5 "

TUESDAY AFTEDNOON, April 24, at 3 o'clock MARYFIRST APPEARANCEDEvSMONDin AMERICA of THE KNGI^ISH CONTRALTO IN A SONG R EC IT AIv Assisted by Hiss HARRIET A. SHAW, Harpist

PROGRAM .. Sea Slumber Song .... Elgar Harp Solos: ti. Prelude No. 2 1 An die Musik Schubert ..... b. La Source . . } Hasselmans c. Petite Valse ) My Turtle-dove . . . . . Lang CoNFUSA SI MiRi l' infida consorte . Handel All Souls' Day Strauss Berceuse Godard Summer Noon ..... Lang With Harp Accompaniment Sabbath Morn at Sea . . . Elgar Mr. ALFRED DE VOTO at the Piano Reserved seats, 75 cents, $1.00, jSi.so. Tickets are for sale at the hall. The Steinway Piano used.

BY THE Carolyn Belcher String Quartet CAROLYN BELCHER, First Violin HELEN REYNOLDS, Viola ANNA EICHHORN, Second Viohn CHARLOTTE WHITE, Violoncello Assisted by Mr. OTTO FRITZ5CHE, Clarinettist

MONDAY EVENING, APRIL 23, at eight oclock

.. PROGRAM .. 1. BRAHMS Quintet in B minor

2. GLAZOUNOW . . . . . Two Novellettes for String Quartet, Op. 15

D'osten-sacken . . Berceuse \ " • • From Les Vendredis Glazounow . . Polka f • ! Liadow ) y 3. BEETHOVEN Quartet in B-liat major, Op. 18, No. 6 Reserved seats, 50c., 7Sc., $1.00 Tickets are now on sale at the hall and at Herrick's Mr. FRANK O'BRIEN WILL GIVE A PIANOFORTE RECITAL

... ON ...

Wednesday Evenings April 25^ at 8* 1

.. PROGRAMME

Concert dans le stj'le italien . . . J. S. Bach Sonata, A major. Op. 120 . . . Schubert

Romance, F-sharp major, Op. 28 . R. Schumann Nocturne, F minor. Op. 55, No. i . Chopin Aufschwung, Op. 12 ... R. Schumann Mazurka, B minor, Op. 33, No. 4 . . Chopin Warum, Op. 12 .... R. Schumann Preludes, Op. 28, Nos. 4, 3, 15, 23, 6, 22,20, Chopin

Grillen, Op. 12 . . . . R. Schumann Rhapsodie Hongroise, No. 12 . . Liszt The Hason & Hamlin Pianoforte

Tickets, 50c., $J.OO, $J.50, on sale at the hall. 1720 " SYMPHONY HALL Tuesday E^vening, April 24

BENEFIT CONCERT

• •• A \J ••• WILHELM GEWCKE

PROGRAMME.

" BEETHOVEN Overture, Leonore," No. 3 • CESAR FRANCK ....>. Symphony in D minor

Aria

GOLDMARK Overture, " Sakuntala

" " WAGNER . . . . Closing scene from Gotterdammerung

SOLOIST, Mme. GADSKI.

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

1721 OHICKERING HALL

EMERSON COLLEGE OF ORATORY SUMMER SCHOOL

BOSTON SESSION

JULY 9 TO AUGUST 3, 1906 ^ CHICKERING HALL

For information concerning the Summer School, address

1 HENRY LAWRENCE SOUTHWICK, Dean

Emerson College of Oratory

Boston, Mass.

1722 J THE FAELTEN SYSTEM OF FUNDAMENTAL PIANOFORTE INSTRUCTION

is the title of an interesting booklet recently published for free distribution by the FAELTKN PIANOFORTE SCHOOL, 30 Huntington Avenue, Boston. This wonderfully ingenious system is being adopted by progressive music teachers everywhere, as its positive artistic results eliminate the competition of older methods altogether.

Analyses of the criticisms appearing in the daily papers of New York on the musical performances given in that city are published every week in THE NEW YORK IVmSIGAL COURIER

which is for sale on the news stands. See Boston, Philadelphia, Baltimore, Washington letters. Published every Wednesday. Musical news from all parts of the world in The flusical Courier, St. James Building, Broadway and 26th Street. Established 1880

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i7'2a SYMPHONY HALL

TWENTY-FIRST SEASON POPS

GRAND ORCHESTRA OF FIFTY

Conductor, Mr. T. ADAMOWSKI

Every Night except Sunday

Opening Night, Tuesday, May first

Admission and Second Balcony, 25 cents. First Balcony, reserved,

50 cents. Table seats, reserved, 75 cents.

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1724 Henry

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; I ) BOSTON'S BIGGEST, ^:;,5 BETTER, BUSIEST ^^;^ ^: STORE. DEKKER'S "OLD FORTINATIS 95

At Tufts College

The English Department of Tufts College announces a series of performances of " The Pleasant Comcdy of Old Forlu- natUS," by Thomas Dekker (1600), to be given Friday evening,

Saturday afternoon, and Monday evening, June 1, 2, and 4,1906.

About seventy-five persons will present the play, probably on the south slope of the Hill. There will be incidental music, vocal and instrumental, taken from scores of the Elizabethan period.

In the absence of a satisfactory edition of the play, it has been printed, in full, at the College Press, in a book of one hundred duodecimo pages. The omissions made for conven- ience in acting are indicated. This edition, available for the public, may be ordered from the College Library or obtained

at the following bookstores : Archway, W. B. Clarke Com- pany, Charles E. Lauriat Company, Litttle, Brown & Com- pany, Old Corner. Price, 2S cents; by mail, 40 cents. Classes or clubs may send remittance at the rate of 35 cents, and pay express charges on delivery.

Orders for tickets for the performances, at one dollar each, may be sent to the address given below. Checks in payment for tickets or for books ordered at the College, as well as requests for information, should be sent to

PHILIP M. HAYDEN,

Tufts College Post-office,

Massachusetts.

1726 NINTH ANNUAL CONCERT

OF THE People s Choral Union Mr. SAMUEL W. COLE, Conductor

MENDELSSOHN'S ELIJAH SYMPHONY HALL

SUNDAY EVENING, APRIL 22, J906, AT 7.30 O'CLOCK

S3LOISTS Tenor Miss LUCY ANNE ALLEN, Soprano Mr. GEORGE DEANE, Miss ELSA HEINDL, Soprano Mr. CHARLES DELMONT, Bass Mrs. bertha CUSHING CHILD, Alto Mr. HERMAN SHEDD, Organist Miss EDITH SNOW, Accompanist Mis.-^ CLARA STAUDENMAYER, Alto

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

PRICES: $1 oo, 75 and 50 cents

1727 1728 AMERICAN MUSIC SOCIETY SPRING CONCERT

POTTER HALL, FRIDAY EVENING, APRIL 27, 7.45 O'CLOCK

ASSISTING ARTISTS: Mr. Heinrich Gebhard, Piano; Mr. Clarence

Wilson, Baritone ; The Hoffmann Quartet ; Mr. Longy, with wood-wind quartet from the Longy Club.

PROGRAM : String Quartet in A minor, F. S. Converse ; Trio for Piano,

VioHn, and 'Cello (first movement), Benj. Lambord ; Wood-wind Quintet in

E-flat, Arne Oldberg ; American Folk-songs, — Negro, Indian, Cowboy, and Spanish-Californian, and other songs by American composers.

Tickets, $1.50, $i.oo, and 75 cents, at Herrick's and Potter Hall the evening of the concert.

Mrs.Avonia Bonney Lichtield's

Grand Opera Rehearsal

(BY HER PUPILS)

Miss CHARLOTTE GROSVENOR Miss HELEN PHILBA Miss SALLIE EATON MOLLIS STREET THEATRE

MONDAY AFTERNOON, APRIL 23, at 2.30

Under the Management of L. H. MUDGETT.

Applicatious for tickets may be addressed to L. H. Mudgett, Symphony Hall, or to Mrs. Lichlield, No. 60 Bay State Road. Boston, and seats will be assigned as near desired location as possible.

Regular Hollis Street Theatre Prices, $1.50, $1.00, 75c., 50c.

lTi9 The Wade Corsets Invaluable to singers and those interested in deep breathing.

Boston RepresentAti'oe

Mrs. J. McLEOD MORRISON, 367 Boylston Street

Mrs. NELLIE EVANS PACKARD, Stndio, 131 TREMONT ST., BOSTON. VOCAL INSTRUCTION.

Mr». Packard is commended by Walker, Randegger (London), Marches!, Bouhy, Trabadelo (Paris), Leoni (Milan), Vannuccini (Florence), Cotogni, Franceschetti(Rome).

The Boston Symphony Orchestra Programme

For the twenty-four Boston Concerts, with Historical and Descriptive Notes by Philip Hale. Bound copies of the Programme for the entire season can be ha(d at $1.50 by applying before the last concert. Address all com- munications to F. R. COHEE, Symphony Hall, Boston. Hotel Rennert

Within one block of the shopping •^.S Hi^Si^ 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 perfection. Baltimore, Md. 1730 MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and

Miss HARRIET S. WHITTIER, .^ Hu„.f„XnTv"„r'"*^ Kxponent of the method of the late Charlen R. Adams Portsmouth, New Hampshire, Mondays. Resumes teaching Tuesday, Octobtr lo. VOCAL INSTRUCTION, Church, Concert, Oratorio, Opera. Mr. CHARLES B. STEVENS, 5tudlo: Suite 14, 5teinert Hall, 162 BoyUton Street, Boston. Telephone, 1331 Oxford. Brockton, Mass., Wednesdays.

Barytone Soloist and STEPHEN TOWNSEND, Teacher of Singing.

6 NEWBURY STREET, BOSTON.

PIA/MIST. Miss LADRA HAWKINS No. 6 NEWBURY STREET.

WILLIAM KITTREDGE, ^"^ t-^»^- °' smg.ng. 160 Boy Is ton Street, Boston.

Classes In Sight Readinjr Miss CAROLINE M. SOUTHARD, (e.qht hands,. A^^anced pupils follow the .Symphony programmei TFlArHPD C%C THE Dl A ivirkC<^DTB • CACntiK OF THE PIANOFORTE. as far as practicable.

22 Huntington Avenue - - Boston

Concert and Oratorio. Miss GERTRUDE EDMANDS, Vocal Instruction. EXETER CHAMBERS.

TEACHER of SINGING. COACHING. Mrs. J. E. TIPPETT. STUDIO. PIERCE BUILDING, COPLEY SQUARE, BOSTON. Tel.. Back Bay 1578-6. Wbdnrsdavs in Portland, Mainb. 1731 Mentals Physical Culture. Poise, Breathing, Relaxation, Mrs. LUGIA GALE BARBER, Concentration, and Rhythm. Class and Individual Instruction. STUDIO, THE LUDLOW, COPLEY SQUARE.

TEACHER OF SINGING and SOPRANO SOLOIST. Mrs. HALL MCALLISTER, 308 Pierce Building . . Copley Square. Monday, Wednesday, and Saturday mornings.

VIOLIN. HARMONY. COnPOSITION. GDSTAV STROBE, COACHING AND ENSEnBLE. 79 Gainsboro Street.

Soprano and

Miss Bertha Wesselhoeft Swift, Teacher of singing.

Trinity Court, DARTHOUTH STREET.

FAY SIMMONS DAVIS, Mr. ALVAH GLOVER SALMON, CONCERT SOLOIST and ACCOMPANIST. Pianoforte Recitals, Teacher of Lectures (Russian Music), Organ, Piano, and Harmony. instruction.

Studio. 1 Frost Terrace, Cambridge, Mass. Huntington Chambers . . Boston.

Mr. Georg llenschel GEORGE DEANE, Has much pleasure in warmly recommend- ing as a Teacher of the Pianoforte, Accom- Tenor Soloist and Teacher. panist, and "Coach" (Lieder, Oratorio, etc.), Oratorio, Concert, and Opera. Mrs. 5. B. FIELD, Street, Boston. Hotel Nottingham, Huntington Avenue. Studio, 149 A Tremont

Miss ANNA MILLER WOOD, Clarence B. Shirley, HEZZO-CONTRALTO SOLOIST Tenor Soloist and Teacher. and TEACHER. CONCERT AND ORATORIO. Studio, Pierce Building, Copley Square, Boston. Studio, Huntington Chambers, Boston.

246 Huntington Avenue. Address, 112 St. Botolph Street, Boston.

1732