ARCADIA HALL

Under the Auspices of the Detroit Orchestral Association DIRECTORS EXECUTIVE COMMITTEE H. President WILLIAM MURPHY, NEWTON J. COREY, FREDERICK M. ALGER, Vice-President LEM W. BOWEN Secretary and Manager CHARLES MOORE, Treasurer CHARLES L. FREER EDWIN S. GEORGE JOHN SCOTT, Auditor WILFRED C. LELAND J. HARRINGTON WALKER

Thirty-fifth Season, 1915-1916

Dr. KARL MUCK, Conductor

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

SATURDAY EVENING, JANUARY 29

AT 8.15

COPYRIGHT, 1916, BY C. A. ELLIS

PUBLISHED BY C. A. ELLIS, MANAGER €€ Yes, It's a Steinway'

ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano?

" It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to

you, and thousands of times, as you continue to enjoy through life the com-

panionship of that noble instrument, absolutely without a peer, you will say

to yourself: "How glad I am I paid the few extra dollars and got a Steinway." ST STEINWAY HALL

107-109 East 14th Street, New York

Subway Express Station at the Door

Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor

Violins.

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

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

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

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

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

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

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

English Horn. Bass . Contra-.

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

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

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

Organ. Librarian. Assistant Librarian. Rogers, L. Marshall, J. P. Sauerquell, J. J. 3 From Bowstring to Pianoforte

When the melodious twang of a taut bow- string first tickled the ear of some skin-clad huntsman of the Stone Age, an immortal musical tradition had its ignoble birth.

Through these many thousand years this musical tradition has marvelously developed, from primitive Grecian lyre to the many- stringed harp of the mediaeval minstrels, from clavichord to spinet, from harpsichord to pianoforte, until it finds today its supreme expression in the

^jy<*>

Chickering & Sons, Boston

*9 Division of American Piano Co.

*f/'- For Sale by

The J. L. Hudson Company 172 Woodward Ave., Detroit, Mich.

j£l ARCADIA HALL

Thirty-filth Season, 1915-1916 Dr. KARL MUCK, Conductor

SATURDAY EVENING, JANUARY 29

AT 8.15

PROGRAMME

Brahms . Symphony No. i, in C minor, Op. 68

I. Un poco sostenuto; Allegro. II. Andante sostenuto. III. Un poco allegretto e grazioso. IV. Adagio; Allegro non troppo, ma con brio.

Wagner . Overture to "The Flying Dutchman"

Rachmaninoff "The Island of the Dead," , for ' full Orchestra, to the Picture by A. Bocklin, Op. 29

Romain," Op. Berlioz • • Overture, "Le Carnaval 9

There will be an intermission of ten minutes after the symphony

5 Symphony in C minor, No. i, Op. 68 ... . Johannes Brahms

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

Max Kalbeck, of Vienna, the author of a life of Brahms in 2138 pages, is of the opinion that the beginning, or rather the germ, of the Symphony in C minor is to be dated 1855. In ^54 Brahms heard in Cologne for the first time Beethoven's Ninth Symphony. It impressed him greatly, so that he resolved to write a symphony in the same tonality. That year he was living in Hanover. The madness of Schumann and his at- tempt to commit suicide by throwing himself into the Rhine (February 27, 1854) nad deeply affected him. He wrote to Joachim in January, 1855, from Diisseldorf: "I have been trying my hand at a symphony during the past summer, have even orchestrated the first movement, and have composed the second and third." This symphony was never completed. Tne work as it stood was turned into a sonata for two piano- fortes. The first two movements became later the first and the second of the pianoforte concerto in D minor, and the third is the movement "Behold all flesh" in "A German Requiem." We know that in 1862 Brahms showed his friend Albert Dietrich* an early version of the first movement of the symphony. Brahms was then sojourning at Miinster. He composed in the morning, and the afternoon and evening were spent in excursions or in playing or

* Albert Hermann Dietrich was born August 28, 1829, near Meissen. He studied music in Dresden and at the Leipsic Conservatory. In 185 1 he went to Diisseldorf to complete his studies with JSchumann. He conducted the subscription concerts at Bonn from 1855 till 1861, when he was called to Oldenburg as court conductor. He retired in 1890 and moved to Berlin, where he was made an associate member of the Konigliche Akademie der Kuste and in 1899 a Royal Professor. He composed two operas, a symphony, an overture, choral works, a concerto, a ' concerto, chamber music, songs, piano pieces. He died November 20, 1908.

(One of the most thorough and artistic schools in America)

BORIS L. GANAPOL, Director

23 and 25 ADELAIDE STREET DETROIT, MICHIGAN

THE FACULTY OF FIFTY TEACHERS includes artists and teachers of national and international fame, among whom are Boris L. Ganapol, George Shortland Kempton, Wm. Fishwick, Mrs. Boris L. Ganapol, Miss Hildegard Brandegee, Miss Alma Hoerman, etc.

SUBJECTS TAUGHT ARE:— Singing, Pianoforte, Violin. Violoncello, Organ, Ensemble, Normal Training, Theory, Harmony, Accompanying, Sight Reading, Sight Playing, SCHOOL OF DRAMATIC ART AND EXPRESSION, Oratory, and Languages. SIX BRANCH SCHOOLS.

Many free advantages

J. C. HAPPER, Secretary Tel. Cadillac 5752 Catalog Free hearing music. He left Hamburg in September of that year for his first visit to Vienna, and wrote to Dietrich shortly before his departure that the symphony was not ready, but he had completed a string quintet in F minor. In 1866 Dietrich asked Brahms for a symphony that he might perform it in Oldenburg. Brahms told him in answer, that he could not expect a symphony, but he should like to play to him the "so-called 'German Requiem.'" We know that Dietrich saw the first movement in 1862. It was then without the introduction. Clara Schumann on July 1 of that year wrote to Joachim that Brahms had sent her the movement with a ' ' ' bold ' beginning. She quoted in her letter the first four measures of the Allegro as it now stands. She added that she had finally accustomed herself to them ; that the movement was full of wonderful beauties and the treatment of the thematic material was masterly. Dietrich bore witness that this first movement was greatly changed. The manu- script in the possession of Simrock the publisher is an old copy by some strange hand. It has a white linen envelope on which is daubed with flourishes, "Sinfonie von Johannes Brahms Mus: Doc: Cantab:" etc., etc. Kalbeck makes the delightful error of translating the phrase "Musicae doctor cantabilis." " Cantabilis ! " Did not Kalbeck know the Latin name of the university that gave the degree to Brahms? The manuscripts of the other movements are autographic. The second movement, according to the handwriting, is the youngest. " The third and fourth are on thick music paper. At the end is written J. Brahms Lichtenthal Sept. 76." Kalbeck says that the Finale was con- ceived in the face of the Zurich mountains, in sight of Alps and the lake; and the horn solo with the calling voices that fade into a melancholy echo were undoubtedly suggested by the Alpine* horn; the movement was finished on the Island of Riigen. Theodor Kirchner wrote to Marie Lipsius that Brahms had carried this symphony about with him "many years" before the performance; and Kirchner said that in 1863 or 1864 he had talked about the work

* Alpenhorn, or Alphorn, is an instrument of wood and bark, with a cupped mouthpiece. It is nearly straight, and is from three to eight feet in length. It is used by mountaineers in Switzerland and in other countries for signals and simple melodies. The tones produced are the open harmonies of the tube. The "Ranz des Vaches" is associated with it. The horn, as heard at Grindelwald, inspired Alexis Chauvet (1837- 71) to write a short but effective pianoforte piece, one of his "Cinq Feuiilets d'Album." Orchestrated by Henri Marechal, it was played here at a concert of the Orchestral Club, Mr. Longy conductor, January 7, 1902. The solo for English horn in Rossini's overture to "William Tell" is too often played by an . The state- ment is made in Grove's Dictionary of Music and Musicians (Revised Edition) that this solo was originally intended for a tenoroon and played by it. Mr. Cecil Forsyth, in his "Orchestration," says that this asser- tion is a mistake, "based probably on the fact thatthe part was written in the old Italian notation; that is to say, in the bass clef an octave below its proper pitch." (The tenoroon, now obsolete, was a small bassoon pitched a fifth higher than the standard instrument.)

SEASON 1916-1917 NOW BOOKING

/ Mgr: H. GODFREY TURNER, 1400 , NEW YORK

STEINWAY PIANO with Clara Schumann, who had then showed him portions of it, whereas

"scarcely any one knew about the second symphony before if was com- pleted, which I have reason to believe was after the first was ended; the second, then, was chiefly composed in 1877." In 1875 Dietrich visited Brahms at Zigelhausen, and he saw his new works, but when Dietrich wrote his recollections he could not say positively what these works were. We have quoted from Mme. Schumann's letter to Joachim in 1862. Brahms was working on the Adagio and Scherzo when he went from Hamburg to Baden-Baden in 1876. On September 25 he played to Mme. Schumann the first and last movements, and two weeks later the whole symphony. She noted her disappointment in her diary. To her this symphony was not comparable with the Quintet in F minor, the sextets, the pianoforte quartets. " I miss the melodic flight, however in- tellectual the workmanship may be. I am debating violently whether I should tell him this, but I must first hear the work complete from an orchestra." When she heard the symphony the next year in Leipsic, it made an o'erpowering impression on her, and she was pleased that Brahms had unconsciously changed the character of the Adagio to suit her wishes. Max Bruch in 1870 wished to produce the symphony, but there was only one movement at that time. When the work was completed Brahms wished to hear it before he took it to Vienna. He thought of Otto Dessoff, then conductor at Carlsruhe and wrote to him. For some reason or other, Dessoff did not understand the drift of Brahms's letter, and Brahms was impatient. Offers to produce the symphony had come from conductors in Mannheim, Munich, and Vienna; but, as Brahms wrote again to Dessoff, he preferred to hear "the thing for the first time in the little city that has a good friend, a good conductor and a good orchestra." The symphony was produced at Carlsruhe by the grand duke's orchestra on November 4, 1876. Dessoff conducted. There was a

For three years Leading American Baritone of the Company AVAILABLE FOR CONCERTS. ORATORIO, RECITALS, LECTURES Address personally, HOTEL ASTOR. NEW.YORK CITY Phone. Bryant 2100

Commonwealth Avenue, near Massachusetts Avenue Surface Lines and Subway Station

®!j? iltBttnrttw Itasintt l$tm8?

A high-class hotel with moderate rates Some globe trotters have been good enough to say that the Puritan is one of the most attractive and home-like hotels in the world. The illustrated booklet of the Hotel will be mailed on request. S. M. Costello. Manager performance a few days later at Mannheim where Brahms conducted. Many musicians journeyed to hear the symphony. Simrock came in answer to this letter: "It's too bad you are not a music-director, otherwise you could have a symphony. It's at Carlsruhe on the fourth. I expect from you and other befriended publishers a testi- monial for not bothering you about such things." Simrock paid five thousand thalers for the symphony. He did not publish it till the end of 1877. Brahms conducted the performance at Munich on November 15, 1876.* Levi had been his friend and admirer, but Brahms suspected that his devotion to Wagner had cooled this admiration. Neverthe- less he refused an invitation to stay at Franz Wiillner's house, lest Levi might be offended. "Yet I do not wish to stay with him (Levi), for, to say the least, he plays comedy with his friends, and that I do not like." He did stay with Levi and thought the old friendship secure. Levi wrote that the performance was excellent. "I have again won- dered at Brahms as a conductor, and I learned much from him at the rehearsals." The reception of the symphony was lukewarm, if not cold. When Levi invited Brahms to bring his second symphony to Munich, Brahms wrote: "I think it would be better for you to per- form the one in C minor." Levi did give a performance of the latter the next year, although there were earnest protests on the ground that the

* When Brahms first appeared at a concert of the Musikalische Akademie in Munich. March 13, 1874, as composer, pianist, and conductor, he was warmly received. He conducted his Haydn variations and Three Hungarian Dances, and played the piano concerto in D minor; and the programme included songs sung by Heinrich Vogl. It was said of the Dances that thev were not suited to an Akademie concert. "The reserve of the large audience towards the Hungarian dances was evidence of the sound musical taste of our concertgoers." ^^^^^^^^^^=== nvor lyiUK^m i^onErpgFtHi irS 150 Tremont Street, Boston 8-10-12 East 34th Street, New York 1 t Edited by WILLIAM ARMS FISHER Issued in Two Editions For High Voice For Low Voice E The age-old folk-music of Ireland is regarded by many critics as the richest and most varied in the world. In this volume of The Musicians Library the editor has collected, besides familiar and favorite airs, a large proportion of wordless traditional tunes to which he has successfully wedded suitable lyrics by modern Irish poets—thus presenting the most significant volume of Irish song that has been published. For all these airs the editor has written accompaniments which express, through modern musical resources, their racial and emotional spirit; thus making of them songs that present- E day singers will delight in. Q

Complete list of contents of the 75 volumes issued and Easy Payment Plan Booklet free on request

Each volume in heavy paper, cloth back, $1.50. In full cloth, gilt, $2.50 A set of 5 volumes (in box), paper, $6.00. Cloth, gilt, $10.00 SiaJaaab BOSTON cSmMhN EW YORK cfiaOJSlOcljJi public did not like it. After the first movement there was silence; after the second and third there was fierce hissing. Levi wrote that the opposition was not so much from the Wagnerites as from the so- called classicists, led by the critic of the Augsburg Abendzeilung who was enthusiastic only for Lachner, Rheinberger, Zenger, and Rauche- negger. The performances at Vienna, December 17, 1876; Leipsic, January 18, 1877; and Breslau, January 23, 1877, were conducted by Brahms. In Vienna the symphony was produced at Johann Herbeck's earnest request at a concert of the Gesellschaft der Musikfreunde. The audi- ence was cool, especially after the last movement. Ludwig von Her- beck in the life of his father refers to Hanslick, who "in an unex- plainable manner ranks this symphony as one of the most important symphonic works." Before this concert certain persons were allowed to hear the symphony played as a pianoforte duet by Brahms and Ignaz Brull. On May 18, 1876, Cambridge University offered Brahms an hon- orary degree. The others then named were Joachim, Sir John Goss, and Arthur Sullivan. (Joachim did not receive his degree until the next year.) If Brahms had accepted it, he would have been obliged to go to England, for it is one of the University's statutes that its degrees may not be conferred in absentia. Brahms hesitated about going, although he was not asked to write a work for the occasion. The matter was soon settled for him: the directors of the Crystal Palace inserted an advertisement in the Times to the effect that, if he came, he would be asked to conduct one of their Saturday concerts. Brahms declined the honor of a degree, but he acknowledged the invi- tation by giving the manuscript score and parts of the symphony to Joachim, who led the performance at Cambridge, March 8, 1877, although Mr. J. L. Erb, in his "Brahms," says that Stanford conducted. The programme included Bennett's overture to "The Wood Nymph," Beethoven's Violin Concerto (Joachim, violinist), Brahms's "Song of Destiny," violin solos by Bach (Joachim), Joachim's Elegiac overture in memory of H. Kleist, and the symphony. This Elegiac overture was composed by Joachim in acknowledgment of the honorary degree

.udy vocal art IT fj

You might go to Paris, or any of the great musical centers of Europe, to hear and study the great operas, but you won't find any- where more practical actual voice demonstrations or a better opportunity to become intimately acquainted with the methods of

the greatest living artists, than is afforded you by the

Write for the Victor record Catalog, with pictures of the world's greatest artists.

VICTOR TALKING MACHINE CO., Camden, N. J.

10 conferred on him that day. He conducted the overture and Brahms's symphony. The other pieces were conducted by Charles Villiers Stanford, the leader of the Cambridge University Musical Society. The symphony is often called in England the "Cambridge" sym- phony. The first performance in London was at the Philharmonic Concert, April 16 of the same year, and the conductor was W. G. Cusins. The first performance in Berlin was on November n, 1877, by the orchestra of the Music School, led by Joachim.

Overture to "The Flying Dutchman"

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

The overture is scored for one piccolo, two , two oboes, one English horn, two clarinets, four horns, two bassoons, two trumpets, three trombones, one bass tuba, kettledrums, harp, strings. It was sketched at Meudon near Paris in September, 1841, and com- pleted and scored at Paris in November of that year. In 1852 Wagner changed the ending. In i860 he wrote another ending for the Paris concerts. It opens Allegro con brio in D minor, 6-4, with an empty fifth, against which horns and bassoons give out the Flying Dutchman motive. There is a stormy development, through which this motive is kept sounding in the brass. There is a hint at the first theme of the main body of the overture, an arpeggio figure in the strings, taken from the accompaniment of one of the movements in the Dutchman's first air

in act i. This storm section over, there is an episodic Andante in F major in which wind instruments give out phrases from Senta's ballad of the Flying Dutchman (act ii.). The episode leads directly to the main body of the overture, Allegro con brio in D minor, 6-4, which begins with the first theme. This theme is developed at great length with chromatic passages taken from Senta's ballad. The Flying Dutch- man theme comes in episodically in the brass from time to time. The subsidiary theme in F major is taken from the sailors' chorus, "Steuer- mann, lass' die Wacht!" (act iii.). The second theme, the phrase from Senta's ballad already heard in the Andante episode, enters jf in the

By HENRI LEONARD Revised, Fingered, bowed and with translation by OVIDE MUSIN

Vol. 1. 40 Studies in first position, with accompaniment for second violin. Vol. 2. 60 Studies in all positions, Harmonics, Staccato, Shifting, Chromatics, , Vibrato and How to Practice them, with accompaniment for second violin. Vol. 3. 50 Studies preparatory to pieces by Old and Modern Masters. Vol. 4. 22 Special daily exercises for advanced violinists, Scales with Paganini's fingering. The Staccato and HOW TO ACQUIRE IT QUICKLY by Ovide Musin. Write for History of the Belgian School. Enclose 2 cent stamp.

Address REGISTRAR, MUSIN'S VIRTUOSO VIOLIN SCHOOL. 51 W. 76th St.. 11 full orchestra, F major, and is worked up brilliantly with fragments of the first theme. The Flying Dutchman motive reappears jf in the trombones. The coda begins in D major, 2-2. A few rising arpeggio measures in the lead to the second theme proclaimed with the full force of the orchestra. The theme is now in the shape found in the Allegro peroration of Senta's ballad, and it is worked up with great energy.

"The Island of the Dead," Symphonic Poem, for Full Orchestra, to the Picture by A. Bocklin, Op. 29. Sergei Vassiuevich Rachmaninoff

(Born in the government of Novgorod, April 1, now living.) / 1873;

This symphonic poem was played at Moscow in the season of 1908-09, under the direction of the composer. It was played after- ward in Berlin at a concert of the Society of Friends of Music, led by Oskar Fried. The first performance in the United States was at a concert of the Theodore Thomas Orchestra in Chicago, December 3, 1909, when the composer conducted. The first performance in Boston was at a concert of the Boston Symphony Orchestra, December 18, 1909, when the composer conducted. Mr. Fiedler conducted the performances of February 19, 19 10, and April 15, 191 1. "Die Todteninsel, Symphonische Dichtung zum Gemalde von A. Bocklin," is dedicated to Nicolas von Struve, and is scored for these instruments: three flutes (one interchangeable with piccolo), two oboes, English horn, two clarinets, , two bassoons, double-

bassoon, six horns, three trumpets, three trombones , bass tuba, a set of three kettledrums, , , harp, and the usual strings. * * * Arnold Bocklin, in the spring of 1880, made the first sketch of his "Island of the Dead," and this sketch, 1.10 metres in length and 1.54 metres in breadth, is in the possession of the Simrock family of Berlin. This he left unfinished for a time, and made a second which

GRANDPRIZl andGGLD MEDAL ST LOUIS EXPOSITION -190t

OLDandNEW THE ELITE VIOLINS <% ^ ESTABLISHED 1 IN 1883 ITALIAN STRINGS ^ The Hi ghes t Grad e Si ngle Length Tested Violin Strings. EXCEL ALL OTHERS. Known JOHNFRIEDRICH&BRQ throughout the world and used Agents mNcwYwfc for by prominent ARTISTS and SttVESTREJMAUCOT 279 FIFTH AVE., SOLOISTS. For Sale by Lead- CELEBRATED Shns 1 ing Music Dealers, Trade sup- ' NEW YORK JRICOLOREtesteo Reg.U.S.Pat.Off. plied by .VIOLIN STRINGS M- E. SCH0ENIN6. 26 E. 22d St.. New York City

Send for our Catalogues

12 he at once painted, and this was for the Countess Marie von Oriola, of Biidesheim. It is said that he painted it according to the wish of the Countess, who visited him at Florence, and that when he showed it to her he said: "You received, as you wished, a dream picture. It must produce such an effect of stillness that any one would be fright- ened to hear a knock on the door." According to Fritz von Ostini, a third variant of the first sketch was made in 1883, a fourth in 1884, a fifth, which is in the Leipsic Museum, in 1886, and still a sixth, almost a replica of one of the former ones, was sold in Munich. The second variant is owned by the Schon family in Worms. There are differences in detail and in color in the five variants. The island in the picture was suggested by the group of Ponza Islands, north of the Gulf of Naples. Their form and rocks show that they are of volcanic origin, and in prehistoric times were probably of the Vesuvian craters. Some of the islands are arable and inhabited, others are wild masses of rocky ledges. As Franz Hermann Meissner puts it, one of the latter islands was the half of what was once a vol- canic peak. The waves in the course of centuries shaped a little haven. Birds brought the seeds of cypress-trees. The trees in time shot up in the ledges. At last man came, and made paths and hollowed chambers and threw up a rough wall as a protection against the waves. The island even then was as solemn as a pyramid. It was a hidden nook for the dead that wished to lie undisturbed. Bocklin expressed this rest of the dead in a place remote, and forgotten by the world. The sea is still, there is no cry of bird, no fluttering, no voice. The boat approaching the little harbor of the island with its towering blue-green cypresses and awful rocks is rowed no'selessly by the ferryman. The white and quiet figure near the coffin,—is it some mourner or is it a priest? *

Rachmaninoff's musical instinct was discovered at an early age, and carefully developed. When he was nine years old, he was sent to the Conservatory of Petrograd, and he studied the pianoforte there with Denyanski, but in 1885 he left this conservatory to enter the one at Moscow. There he studied the pianoforte, first with Zvireff, a pupil of Liszt, and afterward with Alexander Siloti,* a cousin of

* Siloti visited Boston in 1898, and played here at a concert of the Boston Symphony Orchestra, Febru- ary 5, when he played Tschaikowsky's Concerto for pianoforte, G major, No. 2, Op. 44- He gave three con- certs here that season, February 12, 14, March 12. At the last he was assisted by Messrs. Kneisel, violinist, and Schroeder, violoncellist. He also played here at a concert of the Kneisel Quartet, March 14, 1898 (Tschai- kowsky's Trio, Op. 50).

Established 1857 SUMMER SESSION, July 1 to August 12th

BALTIMORE :: MD. HAROLD RANDOLPH, Director

Its endowment enables it to offer exceptional advantages for musical culture in all grades and branches and to maintain a staff of eminent European and American masters, including George F. Boyle Max Landow Gustav Strube Adelin Fermin Pietro Minetti Emmanuel Wad Theodor Hemberger Arthur Newstead Bart Wirtz J. C. van Hulsteyn Harold D. Phillips Scholarships, Diplomas, Teachers' Certificates. Catalogues mailed.

13 Rachmaninoff. His teachers in composition were Arensky and Tanei'eff. In 1 89 1 he was awarded the highest honors as a pianist, and in 1892 the highest honors in composition, the gold medal of honor, for his opera "Aleko" in one act (with the libretto after Pushkin). He then travelled for some years, and gave many concerts in Russia. In 1899 he visited London at the invitation of the Philharmonic Society, and conducted his Fantasia, "The Cliff," based on Lermontoff's poem, and appeared as pianist at the Philharmonic Concert, April 19. In 1902 he appeared at Vienna as a pianist, and in 1907 visited Paris. In 1897 he was appointed conductor at the Moscow Private Opera, but he gave up this position at the end of a year. Jn 1893 he was appointed pro- fessor of the pianoforte at the Maryinsky Institute for girls in Moscow. In 1904 he was appointed first conductor at the of Moscow, and it is said that he accepted the position with the condition that he should conduct only Russian operas. In 1906 he resigned the position to devote himself to composition, and he left Moscow to make Dresden his dwelling-place. He has visited Petrograd and Moscow to conduct concerts of the Philharmonic Association in the former city and of the Imperial Musical Association in the latter. Mr. Rachmaninoff made his first appearance in the United States as a pianist, giving a recital at Smith College, Northampton, November 4, 1909. He played with the Boston Symphony Orchestra on the trip tnat began November 8, 1909.

Overture, "The Roman Carnival," Op. 9 . . .

{Born at la Cote Saint-Andre, December 11, 1803; died at Paris, March 9, 1869.)

Berlioz's overture, "Le Carnaval Romain," originally intended as an introduction to the second act of "Benvenuto Cellini," is dedicated to Prince de Hohenzollern-Hechingen. It was performed for the first time, and under the direction of the composer, at the Salle Herz, Paris, on February 3, 1844. The first performance in Boston was at a Phil- harmonic Concert, led by Mr. Carl Zerrahn, at the Melodeon on Janu-

(Eontralto Boston Transcript. "A voice of unexpected beauty, a voice whose full resonance charmed the ear as few voices can." Address, MABEL HAMMOND 403 Riverside Drive, New York City

ANTONIA SAWYER ANNOUNCES THAT

HAS A FEW OPEN DATES IN FEBRUARY ADDRESS: AEOLIAN HALL, N. Y. C.

14 —

ary 24, 1857. The overture then reminded Mr. J. S. Dwight of "Mr. Fry's 'Christmas' symphony"! The overture was composed in Paris in 1843, shortly after the journey in Germany. The score and parts were published in June, 1844. *

The overture begins Allegro assai con fuoco, with the chief theme, which is taken from the saltarello danced on the Piazza Colonna in Rome in the middle of the second act of the opera. This theme is announced in forte by the violins and , answered by wood-wind instruments in free imitation; and horns, bassoons, trumpets, and cornets make a second response in the third measure. Then there is a sudden silence. Trills that constantly swell lead to an Andante sostenuto in 3-4 time. The English horn sings against a pizzicato accompaniment the melody of Benvenuto at the beginning of the trio in the first act: "O Teresa, vous que j'aime plus que ma vie, je viens savoir, si loin de vous, triste et bannie, mon ame doit perdre l'espoir." The violas repeat the song against a counter-theme of flutes, then ' and violins, the last-named in canon of the octave. Some of the wood-wind and brass instruments, with pulsatile instruments, strike up a dance tune, which is heard at first as afar off. The pace grows livelier, and chromatic sixths in the wood-wind lead to the Allegro vivace. Here begins the main body of the overture; and the theme given out softly by the strings is the tune sung in the opera by a band of Cellini's followers, who are standing on a little stage erected in the piazza at the finale of the second act. (I here refer to the edition published in three acts.) A pantomine of King Midas is playing, and Balducci is caricatured by one of the amateur actors. Teresa cannot distinguish between her two masked lovers. There is fighting and general confusion. Cellini is arrested, and is about to be lynched, when three cannon-shots announce Ash Wednesday. The lights go out, and Cellini escapes. Now the song sung by Cellini's friends begins as follows: "Venez, venez, peuple de Rome! Venez entendre du nouveau." The theme in the overture is built up out of fragments, and is then immediately developed. There are constant

Studio, Address WoalLLuiw oYL&/&

15 returns to the theme heard at the beginning of the overture, but there is no formal second theme. The dance music grows softer; and the love-song of Benvenuto returns as a counter-theme for contrapuntal use, first in the bassoons, then in other wind instruments, while the strings keep up the saltarello rhythm. The saltarello comes back, is again developed, and prevails, with a theme which has been already developed from it, until the end. The overture is scored for two flutes (one interchangeable with piccolo), two oboes (one interchangeable with English horn), two clarinets, four horns, four bassoons, two trumpets, two cornets, three trombones, cymbals, two , triangle, kettledrums, and strings. Berlioz wished 15 first violins, 15 second violins, 10 violas, 12 violoncellos, and 9 double basses. *

The overture played at the concerts given by Berlioz in towns outside of France was loudly applauded except at Petrograd, where at the first of a series of concerts it was hardly noticed; and as the Count Wielhorski, a celebrated amateur, told Berlioz that he did not under- stand it at all, it was not on later programmes in that city. According to Berlioz himself it was for a long time the most popular of his works at Vienna. We know from Bulow ("Die Opposition in Siiddeutsch- land," 1853) that, when Kucken attempted to produce it at Stuttgart, the adherents of Lindpaintner, who was then the court conductor, prevented him; but at that time, in Stuttgart, the only works of Beethoven heard in concert rooms were the "Prometheus," the "Eg- mont," and the "Coriolanus" overtures, "the last named with three violas and three 'cellos." The first performance outside of France was at Vienna, November 16, 1845, at the Theater an der Wien, in the first of six Berlioz concerts led by the composer. The orchestra was composed of members of that theatre orchestra and of the band of the Second Artillery Regiment. The programme included this overture, which was repeated afterward; a hymn with chorus; cavatina from "Benvenuto Cellini," sung by Miss von Marra; the "Harold" symphony ( solo, Mr. Heissler); "Le Cinq Mai" (bass solo by Mr. J. Staudige); and the Apotheosis-Finale from the "Mourning and Triumph" symphony. Berlioz planned the composition of "Benvenuto Cellini" early in 1834. He wrote on October 2, 1836, that all he had to do was to orchestrate the work. On April 11, 1837, he wrote: "My opera is

PIANIST

Tour 1916-1917 Now Booking

MARGARET RICE, Secretary, 325 Oakland Avenue, MILWAUKEE

STEINWAY PIANO

16 Detroit Management ANNOUNCES

THREE PERFORMANCES LYCEUM THEATRE

FRI. EVE. FEB. 11 SAT. MAT. & EVE. FEB. 12

PRICES, $1.00 to $5.00. Mail orders for all reserved seats, $1.50 to $5.00, now received. BOXES, $24.00 and $30.00

THE BALLET RUSSE IS BROUGHT TO AMERICA BY THE METROPOLITAN GRAND OPERA CO.

JOHN BROWN, Business Manager

FEB. 29 ARCADIA FEB. 29 AUDITORIUM

THE IRISH

MIcCORMAC:i

PRICES, $1.00 to $3.00 MAIL ORDERS NOW

Detroit Management, 933 dime bank bldg.

17 finished." The first mention made by Berlioz of the opera was in a letter to Ferrand, the 15th or 16th of May, 1834; on August 31 of that year the libretto was ready and the "Chant des Ciseleurs," which opens the second scene, was composed. This music was performed at concerts given by Berlioz, November 23 and December 7, 1834, and " then entitled Les Ciseleurs de Florence : trio with chorus and orchestra." Excited by reading Cellini's Memoirs and E- T. A. Hoffmann's short story "Salvator Rosa," Berlioz wished Alfred de Vigny to write a libretto, with Cellini as the hero. Vigny, busy, recommended de Wailly, who in turn sought the aid of Barbier; but de Vigny criticised and corrected and suggested until nearly the time of performance. The letters and memoirs of Berlioz give much information concern- ing his trials and tribulations in the rehearsal and production of the opera. The music was then thought so difficult that there were twenty- nine full rehearsals. The performance was announced for September 3, 1838, and in several books of reference this date is given as that of the first performance; but Duprez had a sore throat, and the per- formance was postponed until the 10th. The second and the third were on September 12 and 14, and there were no more that year. There were four in 1839, and at the first, January 10, Alexis Dupont replaced Duprez. Alizard replaced Derevis after the first, and in 1839 Miss Nau was substituted for Mme. Dorus-Gras. Meyerbeer, Paganini, and Spontini were present at the first per- formance, and Dom Francois de Paule, brother of the- Queen of Spain, sat in the royal box, surrounded with princesses. The audience was a brilliant one, but the opera failed dismally, although the music was praised by leading critics, and Thdophile Gautier predicted that the opera would influence the future of music for good or evil. Berlioz was caricatured as the composer of "Malvenuto Cellini." See the romantic memoirs of Berlioz and Duprez's "Souvenirs d'un Chanteur" (pp. 153, 154) for explanations of the failure.

You can find material which will compe lyou to think SCALES and CHORDS in "Con- centration and Keyboard Facility" also "Concentration and Technic" by Louis Stillman. FIVE VOLUMES

STILLMAN STUDIOS, STEINWAY HALL and 114 West 72d Street, New York City

We call your attention to the advertieement of "The Elite" La Favorita Strings, which are considered as the Acme of Highest Grade Strings and we are assured that they are used throughout the world by leading Artists and Soloists. They are on sale at most of the Leading Music Houses throughout the United States and Canada, if you are not familiar with these strings, give them a trial and convince yourself as to their unequalled merit as to correct- ness, tone and durability.

18 . TEACHER OF SINGING

610-611 PIERCE BUILDING, COPLEY SQUARE

MUSICAL INSTRUCTION

TEACHER OF SINGING

ir*\ 602 Pierce Building

Copley Square, BOSTON

RECITALS A SPECIALTY Instruction in Organ, Harmony, and Piano

(Fellow of The American Guild of Organists) Address, 140 Boylston Street, Boston, or 92 Corey Road, Brookline Organist and Choirmaster Park Street Church Telephone, 271 7-M Brookline

PIANIST INSTRUCTION

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

TEACHER of SINGING

372 BOYLSTON STREET

AVAILABLE FOR THEODORE CE CONCERTS RECITALS HARPIST MUSICALS Boston Symphony Orchestra HARP INSTRUCTION Telephone, Back Bay 2005 Studio, 252 Huntington Avenue, Boston, Mass.

19 MUSICAL INSTRUCTION

Head of Violin Department WALTER SPRY MUSIC SCHOOL

712 Fine Arts Building, Chicago, 111.

Concert Manager: H. CULBERTSON FINE ARTS BUILDING

#[f SOPRANO

Season 1915-16 Chicago Opera Co. Soloist, New York Symphony Orchestra, February 5th and 6th, New York

Available for Concerts After February 1

Management: LOUDON CHARLTON - - CARNEGIE HALL, NEW YORK

VIOLIN INSTRUCTION Has studied with such well-known artists as Mme. CECELIA BRADFORD CAMILLA URSO. EDUARD HERRMANN, and CONCERT VIOLINIST YSAYE The Hunnewell, 169 Washington Street Telephone. Newton North NEWTON. MASS.

THE ART OF SINGING WALTER L. BOGERT BARITONE President of National Association of RECITALS of FOLK SONGS A SPECIALTY Teachers of Singing

1 14 West 72d Street - - - New York City

ANME CHRISTTA] TEACHER DANCING FENCING Dancing and therapeutic exercises for the Social and Old English development of the sub-normal child Dances. 220 Phone, Murray Hill 427 NEW YORK Send for Circular TERESA CARRENO This is to certify that Miss Okell has been my pupil and that I consider her a VERY EXCELLENT TEACHER Berlin, 1900 ADELAIDE C. OKELL

PIANIST AND TEACHER STUDIO. 1 15 W. 84th STREET. New York City Pupils Musicales Monthly Amateur and Professional Couriet 20 MUSICAL INSTRUCTION

Announces the Winter term of the

Twenty-five Students now holding New York Positions

Students aided in securing positions Send for new catalogue

44 West 1 2th Street NEW YORK

INSTRUCTION IN PIANO Ir. HARRIS S. SI ORGAN. HARMONY, INTERPRETATION Organist and Choirmaster Harvard Congregational A. A. G. 0. Church, Brookline, Mas3.

417 Huntington Chambers, BOSTON, MASS.

CARUSON Refert by Permission to Enrico Caruso, Antonio Scotti, Giorgio Polacce Studios: The Nevada, 70th and Broadway NEW YORK CITY and Andres De Segurola (Tel. Col. 2922) of the Metropolitan Opera Company

SINGERS— Suzanne Baker Watson, Cora Cross, Nellie Hart, Willette Kershaw, Gertrude Hutcheson, Ivy Scott, Marion Stanley, Estelle Ward, Mabel Wilbur, Flora Zabelle, Edward Foley, George Gilbert, BEL CANTO John Hendricks. Andrew Mack, Dr. Eugene Walton Marshall, Fiske O'Hara, Umberto Sacchetti, Ellis Rhodes, Albert Wallerstedt, and many other singers Studio 1425 Broadway, NEW YORK now before the public in operatic and church work

COSTUME RECITALS

267 WEST 79th STREET NEW YORK 'PHONE, 7938 SCHUYLER

ATHARINE K AMERICA'S BRILLIANT YOUNG VIOLINIST

SEASON 1915-1916 NOW BOOKING

Address, 64 Commonwealth Avenue - BOSTON, Mass.

21 MU SICAL INSTRUCTION

Piano Instruction Rafael Joseffy Method

Assistant to the late Rafael Joseffy o j- f Carnegie Hall Mail Address: t | Steinway Hall Carnegie Hall, New York

TEACHER OF SINGING IN ALL ITS BRANCHES THE BEAUFORT 140 WEST , NEW YORK

Teacher of Singing Mezzo-Soprano Mrs.JESl METROPOLITAN OPERA HOUSE (Jessie G. Fenner) NEW YORK 'PHONE. 9086 BRYANT

DRAMATIC SOPRANO SOLOIST, MARBLE COLLEGIATE CHURCH CONCERTS ORATORIO RECITALS Pupils thoroughly prepared for Opera, Oratorio, Concert and Lieder Singing Personal Address, 309 WEST 86th STREET, NEW YORK 'Phone, 8280 Schuyler

SEASON 1915-1916

M. H. HANSON, 437 , New York STEINWAY PIANO USED

"Two Roses." "Ah Love but a Day." "An Evening Song." "For Ever and a Day." "A Maiden's Yea and Nay." "Song of the Canoe." "The Little Red Ribbon." "You is Jes' as Sweet."

These songs are found on the programmes of Mmes. Rappold, Jomelli, Alda, White, Lund. Bottero, Buck- hout, Florence Jepperson, Sammis MacDermid, White. Longman. Hallem McLewee, Myrna Sharlow, Christine Miller, Vera Courtenay, Margaret Keyes, Florence Otis, Marguerite Dunlap, Florence Mulford, Messrs. Ellison Van Hoose, William Simmons, John Finnegin, Vernon Archibald, Frederic Gunther, and many other singers before the American public. boston CH,CAG0 380 Boylston St. CARL nsCHER &SfSquare New York 335 S. Wabash Ave.

22 MUSICAL INSTRUCTION

,s\ ]\ PRIMA DONNA SOPRANO ROYAL OPERA, MUNICH NOW IN AMERICA

First New York Appearance, January 13th and 14th. Soloist, New York Philharmonic in Special Strauss Program. Management: Concert Direction M. H. HANSON 437 Fifth Avenue, New York

ADDRESS: CONTRALTO METROPOLITAN OPERA HOUSE METROPOLITAN OPERA COMPANY NEW YORK

]

J \ "M1L: £~A £ \! Vil^r-a, J DISTINGUISHED AMERICAN SOPRANO

Concert Direction MAURICE & GORDON FULCHER, CHICAGO

SONGS BY LONGING TO A MESSENGER

RETREAT I CAME WITH A SONG Sung with great success by Alda, Amato, Gluck, BEFORE THE CRUCIFIX Schumann-Heink, and Sembrich ELLMER ZOLLER ACCOMPANIST-COACH Grand Opera, Paris, and Grand Opera Chicago "There was gold of the purest in Mile. Verlet's voice." London Daily Express. On tour with Mme. Fremstad Address, GEORGE JEDWARD, Secretary

28 63d Street . . . York City W. New 637 Madison Ave., New York Phone 8869 Plaza

MARGUERITE BERIZA REBECCA DAVIDSON PRIMA DONNA SOPRANO PIANIST Engaged for First Roles, Personal Address: 918 Ivy St., Pittsburgh, Pa. Entire Season, Chicago Opera Company Management: MRS. HERMAN LEWIS Management: WALTER ANDERSON 402 Madison Ave., Telephones: New \ ork Murray Hill 7058, 2890 171 West 57th Street - - New York

CONCERT PIANISTE

Address, 740 WEST END AVENUE NEW YORK

23 MUSICAL INSTRUCTION

it.k CARNEGIE HALL POUCH MANSION NEW YORK— BROOKLYN NORMAL TRAINING INTERPRETATION LECTURE -RECITALS for Piano Teachers DEMONSTRATION CLASSES RECITAL TRAINING Illustrating practical methods of teaching In both solo and ensemble playing

Regular courses in HARMONY. HISTORY. ANALYSIS, and all related subjects THE FAELTEN SYSTEM WRITE FOR BOOKLETS of Fundamental Instruction

SOUSA and MARIE L. EVERETT His BAND SINGING Diction and Interpretation in Italian, English. German NOW PLAYING AT and French Song. Opera and Oratorio NEW YORK HIPPODROME Especially adapted Studies for young voices Boston Studio. 543 Boylston Street. The Cluny Worcester Studio, Levana Club Rooms Office. 1 W. 34th Street NEW YORK CITY 393 Main Street (Wednesdays)

MARIAN VERYL ANITA RIO LYRIC SOPRANO SOPRANO CONCERT RECITAL OPERA (Covent Garden) Management: Management: HAENSEL & JONES Annie Friedberg, 1425 Broadway, New York Aeolian Kail, N.Y.

BEULAH BEACH ETHEL NEWCOMB SOPRANO PIANIST Former assistant of Leachetizlcy. Now teaching in New Concert Oratorio Opera York. Studio: 26 West 27th Street. Phone: Farragut 3880. For Concert and Recital Dates. Address

LOUDON CHARLTON -:- CARNEGIE HALL 724 NOSTRAND AVE.. BROOKLYN. N.Y. NEW YORK

F. W. RIESBERG, A.A.G.O. Edna Gunnar Peterson INSTRUCTION — PIANO, ORGAN, HARMONY With the "Musical Courier"; Secy Manuscript Society; PIANIST Organist. Central Baptist Church. New York; 439 Fifth Ave.; Tel. 4292 Murray Hill. Residence. Park Hill. Yonkers. N.Y. 1352 E. 62nd STREET, CHICAGO Branch Studio, lb No. Broadway

H. RAWLINS BAKER AAGE FREDERICKS PIANOFORTE INSTRUCTION VIOLINIST

. Studio Management, Harry Culbertson, Fine Arts Bldg.

404 CARNEGIE HALL, NEW YORK CITY Chicago, 111.

24