CONVENTION HALL . . . ROCHESTER

Thirty-first Season, 1911-1912

MAX FIEDLER, Conductor

Programme

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

MONDAY EVENING, JANUARY 29

AT 8.15

COPYRIGHT, 1911, BY C. A. ELLIS

PUBLISHED BY C. A. ELLIS, MANAGER : :

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SEASON: 1911-1912

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CONVENTION HALL . . . ROCHESTER

Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor

MONDAY EVENING, JANUARY 29

AT 8,15

PROGRAMME

Beethoven . . Symphony No. 3, in E-flat major, "Eroica," Op. 55

I. Allegro con brio. II. Marcia funebre: Adagio assai.

III. Scherzo: Allegro vivace ; Trio. IV. Finale: Allegro molto.

Prelude to " Lohengrin"

" Funeral Music from " Dusk of the Gods

Wagner . Siegfried Idyl"

Overture to " Tannhauser >

There will be an intermission of ten minutes after the symphony 3 Symphony No. 3, in E-pl>at major, "Eroica," Op. 55. Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) Anton Schindler wrote in his Life of Beethoven (Munster, 1840): "First in the fall of 1802 was his [Beethoven's] mental condition so much bettered that he could take hold afresh of his long-formulated plan and make some progress : to pay homage with a great instrumental work to the hero of the time, Napoleon. Yet not until 1803 did he set himself seriously to this gigantic work, which we now know under the title of 'Sinphonia Eroica': on account of many interruptions it was not finished until the following year. . . . The first idea of this sym- phony is said to have come from General Bernadotte, who was then French Ambassador at Vienna, and highly treasured Beethoven. I heard this from many friends of Beethoven. Count Moritz Lichnow-

sky, who was often with Beethoven in the company of Bernadotte, . . . told me the same story." Schindler also wrote, with reference to the " year 1823 : The correspondence of the King of Sweden led Beethoven's memory back to the time when the King, then General Bernadotte, Ambassador of the French Republic, was at Vienna, and Beethoven had a lively recollection of the fact that Bernadotte indeed first awak- ened in him the idea of the 'Sinphonia Eroica.'" These statements are direct. Unfortunately, Schindler, in the third edition of his book, mentioned Beethoven as a visitor at the house of Bernadotte in 1798, repeated the statement that Bernadotte inspired the idea of the symphony, and added: "Not long afterward the idea blossomed into a deed"; he also laid stress on the fact that Beethoven was a stanch republican, and cited, in support of his admiration of Napoleon, passages from Beethoven's own copy of Schleiermacher's translation of Plato. Thayer admits that the thought of Napoleon may have influenced the form and the contents of the symphony, and that the composer may have based a system of politics on Plato; "but," he adds, "Ber- nadotte had been long absent from Vienna before the Consular form of government was adopted at Paris, and before Schleiermacher's Plato was published in Berlin." Mme. m SODER-HUECK METROPOLITAN OPERA HOUSE, 1425 BROADWAY, NEW YORK

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a concert given by Clement at the Theater an der Wien, April 7, 1805. The symphony was announced as "A new grand Symphony in D-

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The symphony was published in October, 1806. The title in Italian stated that it was to celebrate the memory of a great man. And there was this note: "Since this symphony is longer than an ordinary sym- phony, it should be performed at the beginning rather than at the end of a concert, either after an overture or an aria, or after a concerto.

If it be performed too late, there is the danger that it will not produce on the audience, whose attention will be already wearied by preceding pieces, the effect which the composer purposed in his own mind to attain." * *

The first movement, Allegro con brio, E-flat major, 3-4, opens with two heavy chords for full orchestra, after which the chief theme is given out by the 'cellos. This theme is note for note the same as that of the first measures of the Intrade written by Mozart in 1786 at Vienna for his one-act operetta, "Bastien et Bastienne," performed in 1786 at a Viennese garden-house (K. 50). Mozart's theme is in G major. Beethoven's theme is finished by the violins and developed at length. There is a subsidiary theme, which begins with a series of detached phrases distributed among wood-wind instruments and then the violins. The second theme, of a plaintive character, is given out alternately by wood-wind and strings. The development is most elaborate, full of striking contrasts, rich in new ideas. The passage in which the horn enters with the first two measures of the first theme in the tonic chord of the key, while the violins keep up a tremolo on A-flat and B-flat, has given rise to many anecdotes and provoked fierce discussion. The coda is of unusual length. The funeral march, Adagio assai, C minor, 2-4, begins, pianissimo e sotto voce, with the theme in the first violins, accompanied by simple chords in the other strings. The theme is repeated by the oboe, HOTEL PURITAN COMMONWEALTH AVENUE, BOSTON

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* MESSNER & SWENSON, Props. * What strange and even grotesque "explanations" of this symphony- have been made! At the second concert of the Philharmonic Society of New York, February 18, 1843, the following comments were printed on the pro- gramme: "This great work was commenced when Napoleon was first Consul, and was intended to portray the workings of that extraordinary man's mind. In the first movement, the simple subject, keeping its uninterrupted way through harmonies that at times seem in almost chaotic confusion, is a grand idea of Napoleon's determination of character. The second movement is descriptive of the funeral honors paid to one of his favorite generals, and is entitled 'Funeral March on the Death of a Hero.' The winding up of this movement represents the faltering steps of the last gazers into the grave, and the listener hears the tears fall on the coffin ere the funeral volley is fired, and repeated faintly by an echo. The third movement (Minuet and Trio) describes the homeward march of the soldiery, and the Finale is a combination of French Revolutionary airs put together in a manner that no one save a Beethoven could have imagined." And this note, Mr. Krehbiel tells us, was inserted in the programme for several, even twenty-five, years after. Marx saw in the first movement of the symphony the incidents of a battle as it is preconceived in the mind of the conqueror. The different incidents are characterized by the chief themes and their developments. The ending with the return of the first theme is the triumph of the victor's plan. The funeral march pictures Night spreading her shade over the battlefield, which is covered with the corpses of those who died for glory; in the scherzo are heard the rejoicings of the soldiery homeward bound; and the finale is Peace consecrating the victories of the hero. Griepenkerl preferred to see in the fugued passage of the first move- ment the entrance of the nineteenth century. Berlioz insisted that there should be no thought of battles or triumphant marches, but rather profound reflections, melancholy

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JOHN I. BROWN & SON, BOSTON, MASS. NEW YORK. N.Y. recollections, imposing ceremonies,—in a word, the funeral oration over a hero. Wagner wrote: "The designation 'heroic' is to be taken in its widest sense, and in no wise to be conceived as relating merely to a military hero. If we broadly connote by 'hero' {'Held') the whole, the full- fledged man, in whom are present all the purely human feelings—of love, of grief, of force—in their highest fill and strength, then we shall rightly grasp the subject which the artist lets appeal to us in the speaking accents of his tone-work. The. artistic space of this work is filled with all the varied, intercrossing feelings of a strong, a consum- mate Individuality, to which nothing human is a stranger, but which includes within itself all truly Human, and utters it in such a fashion that, after frankly manifesting every noble passion, it reaches a final rounding of its nature, wherein the most feeling softness is wedded with the most energetic force. The heroic tendency of this art work is the progress toward that rounding off" (Englished by Mr. W. A. Ellis). And Wagner explained on these lines each movement. As the second shows the "deeply, stoutly suffering man," so the scherzo reveals the "gladly, blithely doing man"; while the finale shows us finally "the man entire, harmoniously at one with self, in those emotions where the Memory of Sorrow becomes itself the shaping-force of noble Deeds." Nor should the " rededication " of the "Eroica" to Bismarck by von Biilow, cher unique, as Liszt frequently called him, be forgotten. Von Biilow said, at a concert of the Philharmonic Orchestra of Berlin (May 28, 1892): "Yes, the hero was the quintessence of the world to Beet- hoven. We cannot know, we cannot surmise, what slumbered in his soul. Perhaps there slumbered the picture of the great American citizen, George Washington. But he looked for a hero of his own time, a European hero; and his eyes fed on the great star of Bonaparte." And there von Biilow might have stopped where Beethoven began.

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Three Minutes from Back Bay Railroad Stations Prelude to the Opera "Lohengrin" .... Richard Wagner

(Born at Leipsic, May 22, 18 13; died at Venice, February 13, 1883.)

"Lohengrin," an opera in three acts, was performed for the first time at the Court Theatre, Weimar, August 28, 1850. The cast was as follows: Lohengrin, Beck; Telramund, Milde; King Henry, Hofer; The Herald, Patsch; Ortrud, Miss Fastlinger; Elsa, Miss Agthe. Liszt conducted. The tenor Beck found the first part of "Lohengrin's narrative" so exhausting that he was unable to sing the second; and, to quote Mr. Henry T. Finck's words, "Wagner, judging that this would probably be the case with most tenors, cancelled this passage altogether." The five additional verses are printed in the original orchestral score, but not in the score for voices and pianoforte, nor in the libretto. The whole narrative was sung at the Munich performance in 1869 with Nachbaur as Lohengrin. Some of Wagner's friends almost persuaded him to change the plot, and permit Lohengrin to remain with Elsa, just as Dickens was persuaded for the sake of "a happy ending" to change, and ruin in the changing, the final chapter of "Great Expectations." Beck, by the way, who, according to Richard Pohl, was wholly unable to do justice to the part, left the stage not many years after the first performance.*

It was at Marienbad in the summer of 1 845 that Wagner laid out the scheme of "Lohengrin." He wrote the libretto in the following winter, and conceived some of the melodic ideas. He began the actual com-

* Wagner, in a letter to Louis Schindelmeisser, written in 1853, declared frankly that Beck was "atrocious." Yet the Princess Sayn-Wittgenstein, who heard him a few years after the first performance, was hysterical in praise of the tenor. Wagner wished his Lohengrin to be "young and radiant." He wrote with reference to one unhappy Lohengrin: "I had always fancied that people must be glad whenever Lohengrin but tread the stage: on the contrary, it seems they were gladder when he left it." For much entertaining matter con- cerning the first performance of "Lohengrin" see W. A. Ellis's Life of Wagner: the indices of the volumes are commendably full. RARE OLD VIOLINS

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* * The Prelude is the development and working out of the Sangreal motive. Berlioz described the composition as a gradual crescendo leading to a shorter decrescendo. "Like the hero's career in the opera," says Mr. Apthorp, "it begins, as it were, in the clouds, then

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gradually descends farther and farther until it embraces all the low- est tones of the orchestra, and then returns to the clouds again. Its single theme is developed in free polyphony by various successive groups of instruments, each of which groups proceeds with free coun- ter-thematic work as the next group enters with the theme. First we have the violins piano in their higher register; then come the flutes, oboes and clarinets; then the violas, 'cellos, horns, bassoons, and double-basses; lastly the trumpets, trombones, and tuba fortissimo; then comes the decrescendo, ending pianissimo in the high violins and flutes." The Prelude is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, four horns, three trumpets, three trombones, bass tuba, a set of three kettledrums, cymbals, four solo violins, and the usual strings.

Siegfried's Funeral Music, from "Dusk of the Gods," Act III., Scene 2 Richard Wagner

(Born at Leipsic, May 22, 18 13; died at Venice, February 13, 1883.)

This music is not a funeral march. It has nothing to do with the last rites and ceremonies paid Siegfried. It is a collection of prominent leit-motive which are associated with the hero or with the Volsung race. These motives are named by Mr. W. F. Apthorp in the following order: M EH LIN PIANOS always respond to the most exacting demands, made upon them. For this reason they are preferred by musicians, in fact Mehlin Pianos are often called "The Musicians' Ideal"

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"I. The Volsung Motive (slow and solemn in horns and tubas, repeated by clarinets and bassoons). " II. The Death-Motive (crashing C minor chords in brass, strings, and kettledrums, interspersed with running passages in triplets in the lower strings). "III. The Motive of the Volsungs' Heroism (slow and stately, in tubas and horns). " IV. The Motive of Sympathy * (worked up in imitation in wood- wind and horns), merging soon into: "V. The Love-Motive (in the oboe). " (The bass under these last two motives is a further development of the Volsung-Motive, which is carried on for five measures more in the double-basses, bass-clarinet, bassoons, and bass and contra-bass tubas, against the running triplet figure from the Death-Motive in the violins.) "VI. The Sword-Motive (in the trumpet). "VII. The Motive of Glorification in Death (the crashing chords of the Death-Motive in the major mode; the full orchestra). "VIII. The Siegfried-Motive (in the horns and bass-trumpet; afterwards in the trumpets). "IX. The Motive of Siegfried the Hero (a rhythmic modifica- tion of 'Siegfried's horn-call,' in all the brass). " X. The Brunnhilde-Motive (in the clarinet and English-horn). "Of all these the only one which keeps constantly recurring in one form or another is the Death-Motive, either in its original minor shape, or else in the major mode as the 'Motive of Glorification in Death.' "This music on Siegfried's death comes to no definite close in the

* Siegmund and Sieglinde (Siegfried's father and mother) in the first scene of Die Walkilre.

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Louise Meisslinger (the Three Rhine Maidens) . Anton Seidl conducted. The Waltraute and Norn scenes were^omitted. They were first given at the Metropolitan, January 24, 1899. Mme. Schumann-Heink was then the Waltraute, also one of the Norns. The other Norns were Olga Pevny and Louise Meisslinger. The^original text of "Gotterdammerung" was written in 1848, and the title wasj" Siegfrieds Tod." This text was remodelled before 1855. The^scorejwas completed in 1874.

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14 ENTR'ACTE. SCIENCE AND SINGING.

(From the London Times, July 29, 19 n.) Some twenty years ago M. Maurel, a dramatic singer of great intel- lectual subtlety, brought forward a theory which puzzled a good many musical critics and "professors," though it was intelligible enough to educated singers. His object was to place singing on a scientific basis by analyzing the process, discovering the physical cause of difficulties, and so arriving at the means of overcoming them. Most "systems" of teaching profess to do this except the "old Italian method," which is purely empirical; but the "science" generally consists of a few anatomical details which merely mystify the pupil, not to mention the teacher, like the hocus-pocus of an alchemist. M. Maurel did not follow that line: he approached the subject from the standpoint of the singer, of whose difficulties his own experience made him conscious, and he evolved one fruitful idea. Every vocal sound, he said, has three qualities or properties: (1) the pitch, or note; (2) the intensity, or loudness; (3) the timbre, or vowel sound. The secret of singing lies in the relations between them. Each involves a certain position or adjustment of the vocal organs, so that any given sound requires a combination of three positions, one for the pitch, a second for the degree of loudness, and a third for the vowel. Every modification of any of the three involves a change of position and a readjustment of parts. But sometimes the combination required is physically impossible: the position demanded by one of the factors is incompatible with that required by the others. Hence the "holes" in the voice, of which almost every singer is more or less conscious. Certain vowels will not go with certain notes in the scale; they sound weak and bad ; or they may be sung soft, but not loud, or loud, but not soft. Singers differ enormously in this respect, and there are some exceptional individuals whose voices are sonorous and brilliant through- out and who can sing almost any combination. But this is exceedingly rare : most voices have sundry holes which the owners learn by degrees to dodge, so that the defect is not perceived by hearers. That is one reason why it takes a lifetime to master the art. Maurel's idea was that, if the physiological cause were scientifically understood, a scien- tific treatment could be applied in training by careful adjustment of the three elements. ISABELLA BEATON PIANIST TOUR OF THE UNITED STATES AND CANADA MANAGEMENT, MARC LAGEN

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IS Dr. Aikin has in his book on Phonology * made a considerable advance alqng very similar lines, though he may have never heard of Maurel's ideas. Following up Helmholtz's researches on vocal reso- nance, he has worked out the discovery, that each vowel sound has its own natural note on the scale or its own pitch, which gives it the greatest degree of sonority. This is ascertained, and may be easily verified, by whispering the various vowel sounds. In whispering, the vocal cords are not used, and the sound is produced by the vibration of air in the vocal chambers, which automatically dispose themselves to give resonance to the particular vowel uttered; they are, so to speak, acoustically tuned to it. Dr. Aikin has analyzed the vowel sounds with great minuteness and care, starting with "ah"; he has determined the pitch proper to each and constructed what he calls a "resonator scale," which consists of twelve or thirteen simple vowels on as many notes, arranged in ascending order from "oo" to "ee." Apparently, the relation of these vowels to each other on the scale is constant or nearly so, but the actual pitch on which they fall—deter- mined by the rapidity of the vibrations—varies with individuals accord- ing to the size of the resonant cavities. The reason why the natural pitch varies with the vowel is that the formation of the several sounds is accomplished by changing the shape of the resonant chamber, which causes modification of its size. The movements involved and the changes produced are stated in detail by Dr. Aikin. They are effected mainly by the lips and tongue; but associated with the movements of these organs, which govern the shape and size of the upper part of the sounding chamber,—namely, the mouth,—are automatic changes in the lower part, or the throat. Dr. Aikin's study of the relations between these two cavities forms one of the most interesting and illuminating points in his researches. He regards them as distinct, though continuous, sounding chambers, and observes the existence of a "nodal point" where they meet. At this point the vibrations, tested by a tuning fork, are strongly rein- forced. The behavior of the two cavities in relation to the resonator scale is curious. On the six lower notes of the scale, which are occu- pied by the round vowels, they sound the same note in unison (though possibly an octave apart); but when we go on to the "a" and "e" sounds, while the pitch rises in the mouth or upper cavity, it falls in the throat. There is a contrary movement. Thus on the vowel "eh" the upper resonance is an octave above the lower, and on "ee,"

* "The Voice: An Introduction to Practical Phonology," by W. A. Aikin, M.D. (Longmans. 75.6i.net.)

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16 which occupies the highest note in the scale, the interval is a twelfth. Dr. Aikin points out that these are the simplest possible relations, representing 1-2 and 1-3 respectively, and suggests that this accounts for the prevalence of those vowels in all languages. The establishment of these natural relations between pitch and vowel and between the upper and lower sounding chambers throws a good deal of light on various phenomena observed in singing. It helps to explain some familiar difficulties, and shows the futility of trying to overcome them by exerting force. Dr. Aikin has opened up a genuine and promising line of investigation into the working of the vocal apparatus. From the practical point of view there is no doubt that the acoustic properties of the sounding chambers as revealed by the whispered resonance are the right starting-point. This is the key to natural production and pure tone. In simple whispering no force or pressure is applied, and the parts spontaneously assume that free, loose, and natural position the maintenance of which is essential to good singing and the object of every competent teacher. Mr. Shake- speare lays great stress upon it, and advocates the use of whispered production in his excellent treatise which he has rewritten and just issued in a new edition.* This is a practical work by a highly experi- enced teacher who is at the same time a cultivated singer and a thor- ough musician. He approaches the subject from quite a different point of view, which makes his virtual agreement with Dr. Aikin all the more interesting. Dr. Aikin has, in fact, supplied a scientific foundation, or the beginnings of one, for the best empirical or tradi- tional teaching. The anatomical and physiological details, which are taken from medical text-books and paraded as the scientific basis of innumerable singing "methods," form a mere preliminary introduction to the real science of the thing. To establish any connection between them and the conventional exercises that follow, it is necessary to traverse a region full of obscure and complicated problems of which next to nothing is known. Dr. Aikin would be the last to claim that he has mastered them; but he has thrown light on the darkness. He has not stopped at the points explained above, but has accurately analyzed the compound vowels and the consonants, tackled to some extent the complications introduced when the vocal cords (and the voice) are brought into play, and has even worked out an elaborate table of the harmonics accompanying the notes of a bass voice. All this is interesting, but the resonator scale is the main thing.

• "The Art of Singing, " by William Shakespeare. (Metzler. 6s. net.)

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17 He has based upon it a series of simple exercises intended to cultivate the emission of pure sounds, strengthen their resonance, and impart ease in vocalizing them. Pure sound, with control of the breath, he considers the essential thing, and the same principles are applicable to the speaking and declaiming voice. They are the principles of what he calls Phonology, and should be studied by all teachers who have to superintend the use of the voice, whether for speech or song. His book is pre-eminently for teachers, but it has also important lessons for composers, who, with some notable exceptions, constantly and obstinately run their heads against nature in writing for the voice. It is not nature which suffers from the encounter, but the voice, and consequently the music, not to mention the audience. Composers too often assume that because certain notes lie within the compass of a given voice it does not matter how often they occur and in what juxta^ position or on what syllables they fall. Dr. Aikin has invented an extremely ingenious method of analyzing the "lie" of a composition and representing it graphically by means of a diagram, which shows at a glance how much work falls on each note in the register. Com- posers who do not sing themselves or have no instinctive feeling for the voice would do well to study this chapter if they wish to write vocal music with success. The direct influence of scientific study of the voice upon singers is another matter. It is a great help to teachers to know not only what they are doing, but why they are doing it, and to understand the physi- cal conditions governing the processes they are directing. But to draw the attention of learners to these details is a mistake. A knowledge of the respiratory and vocal mechanism is no more help to breathing and emitting the voice than a knowledge of the anatomy of the forearm would be to playing the piano or the violin. On the contrary, by with- drawing attention from the end and fixing it on the means it embarrasses the pupil, increases self-consciousness, and conduces to that very con- dition of constraint, constriction, and unnatural movement which is the particular enemy of the right use of the voice. Dr. Aikin draws a distinction between the action of the vocal cords on the one hand and the respiratory and sounding mechanisms on the other. He says the former is unconscious and cannot be directed, whereas the latter can be; so he lets the one alone, and gives elaborate directions for the others. Mr. Shakespeare does the same so far as breathing is con- cerned, but in regard to the formation of sounds he leaves more to the natural instinct. This distinction involves some confusion of ideas. All movements are effected by muscles, but the conscious will has no direct control over any muscle. It demands the result, and the order is transmitted through an unconscious co-ordinating centre which

ARTHUR L. LAWRASON- PROMINENT STUDENTS REGINA VICARINO, Phenomenal Colorature SALLIE FISHER LINA ABARBANELL 322 W- 57th Street Columbus 8945 NEW YORK 18 picks out the right muscles. What we are conscious of is the result, and we are just as conscious of the vibration of the vocal cords as of the ingoing and outgoing breath or of the sounds formed in the throat and mouth. We are just as unconscious, save by an indirect reasoning process, of the particular muscles employed. Practice in breathing increases the lung capacity and gives control of expiration, but the less the learner thinks about the mechanism the better. And just the same with the vowel sounds. Attempts at conscious regulation of the muscles are merely confusing. A billiard player who tried to make a stroke by bringing into action, say, the extensor communis and check- ing the supinator longus would never make it at all. Even hard-and- fast rules about positions are unwise, because individuals are built so differently. Dr. Aikin recommends practising with the teeth an inch apart. Mr. Shakespeare prefers a thumb's breadth, which is about three-quarters of an inch. But it all depends on the individual. M. de Soria, whose enunciation was a lesson to all who heard it, hardly opened his mouth at all. His singing is well described in "Trilby." The only criterion is the result. In other words, singing is an art in the practice of which full play must be given to individuality. M. Maurel's notion that the patient attention given to individual pupils in former days, when singers were few, can be replaced by general rules derived from science, is only susceptible of a hmited realization. But science can give some practical guidance, and when that coincides in effect with experience, as Dr. Aikin's views with Mr. Shakespeare's, it is a valuable aid.

CATHEDRAL FESTIVALS.

(From the London Times, September 9, 191 1.) A festival programme (by which we do not at the moment mean merely the sequence of works performed, but the actual document set- ting forth all the arrangements for the festival) makes entertaining read- ing, from the list of stewards or guarantors with which it opens to the highly complex railway arrangements with which it ends. That issued for the Worcester Musical Festival, which begins to-morrow, has a statement on the front page of peculiar interest. It announces that this is "the one hundred and eighty-eighth meeting of the Three Choirs of Worcester, Hereford, and Gloucester, for the benefit of the Widows

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The Lamb (Bb and Db). Sacred or Secular. Memory (C and Bb). French and English Texts. The Time I've Lost in Wooing (Eb and C). Humorous. April (G and F). Two Roses (Bb, Kb, and F). Good-night (High). Laughing Song (High). Coloratura.

19 and Orphans of Clergymen of the Three Dioceses." We must note the wording carefully in order to appreciate the meaning of the remark. It is a frank assertion that the festival is undertaken not primarily for any artistic benefit to those who take part in it as performers or listeners, still less for the material advantage of the performers, but in order to provide funds for a worthy diocesan charity. It hurls defiance alike at those who maintain the plea of art for art's sake and those who would urge art for the artist's sake. It ignores the favorite ecclesiasti- cal plea (so persistently upheld by each preacher at each opening ser- vice) of art for religion's sake, and proclaims art for charity's sake. It is small wonder that this position has been strongly attacked, as the sense of the independent responsibility of musical art and artists has grown stronger amongst musical people. They feel that the proceeds of an artistic enterprise should be devoted to the furtherance of art, especially in a country in which art receives no regular endowment. Musicians, they say, are as liable to leave widows and orphans as clergy- men ; but it would be better still to help the musician before his wife is a widow and his children fatherless, better to give him a tangible reward for his best artistic energies, that the music-loving public may get the greatest benefit from them. This, of course, especially applies to the case of the composer, for it has become recognized that professional singers and players, have to be paid, while composers are still expected to be, and generally are, the most disinterested of human kind. Many of them will resist the temptation to make money out of "shop bal- lads" and salon pieces, and will devote months to the preparation of works fit for production at a great festival, or make expensive journeys to superintend rehearsals, because they love their art. They are true philanthropists; but there are some to whom such philanthropy is a sheer impossibility, and as the Foreign Gentleman said to Mr. Podsnap, "They do how?" For them there is only the answer of Podsnappery, "They do—I am sorry to be obliged to say it—as they do." This state of things must surely have something to do with the fact that it is in- creasingly difficult to procure new works of a suitable kind for the big cathedral festivals. It does not account for the difficulty, but it is an element in it. It must be counted in along with the facts that the older forms of religious festival music have become outworn, that a higher standard is now demanded, that the Victorian oratorio of the kind which every respectable Church musician could turn out of his cloistered workshop would not now be listened to, and nobody regrets the fact. But here the change in conditions must also be borne in mind, for a generation or two ago festival works, the best then obtainable, were written chiefly by men who were profiting by cathedral endowments: now they are expected from men who live in a larger, a freer, and a worse- MAUD POWELL 44 The Head of an Artist The Arm of a Man, and " The Heart of a Woman

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20 — paid world. The festivals are a hundred and eighty-eight years old, and in many respects they are working with the organization of the eighteenth century, but their musical scope has grown* with advancing time. One sees it in the fact that, although the official order of service always speaks of the musical performance as "the Oratorio," yet almost every form of serious composition finds a place. In this year's programme, for example, there are only three oratorios, "Elijah" and "The Messiah" and, by a slight stretch of the term, the "Saint Mat- thew Passion"; while symphonies, motets, a mass, a song cycle, a violin concerto, even an act of an opera, are included. The only restric- tion which the cathedral imposes is that the works should deal with* the more serious issues of life, and that they should be, broadly speaking, consonant with Christianity. They need not be of it, as the presence of the Ninth Symphony of Beethoven and the third act of "Parsifal" shows. The attitude represents the greater trustfulness now exist- ing even among ecclesiastical leaders,—the feeling that the artistic expression of the soul of man is essentially religious even without the hall-mark of an orthodox faith, and is thereby fit for representation in the cathedral. With such an acknowledgment there are surely big possibilities for the cathedral festivals. They have the opportunity of leading towards a wider type of Church composition, expressing itself in new forms as capable of expansion along their own lines as are those of the concert-room or of the opera-house. Church music can become as fit a field for the free spirit of man as it was in times past, if it may express the religion of his own heart and not that of somebody else's head. But one is soon recalled from dreams of such possibilities by the thought that all the conditions have to be brought into line in order to meet all the needs of the case. Formerly (to return to the statement on the front page of the Worcester programme) the Church endowed the musicians who made her own somewhat restricted types of music, and the results of the policy are evident in the fine things they wrote, not the oratorios of the last century, but the long succession of genuine Church compositions from Tallis to Wesley. It was not unnatural that Church musicians should help Church charities in certain dioceses with the proceeds of an annual festival. Moreover, the charity helped, and in a sense still helps, the festival. It is certain that no purely musical institution could have existed through the last one -hundred and eighty-eight years in English provincial towns in its own right. People supported the festival for the sake of the charity, and so all un- consciously made the festival develop beyond mere local importance. Now it has become a national possession, one of the few musical insti- tutions in this country which possesses an individuality and a tradition

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Miss ELINOR COMSTOCK, 1000 Madison Ave., New York City 21 . — all its own. Noble music has been written by composers of the first rank to suit its conditions, and it has certain ideals which can only be followed out by its being given the ability to cast its net wide, to secure the best work from the best men, and to offer it to the best, that is, the most musically enlightened audiences. To do so, the economic position must support the artistic one.

"A Siegfried Idyi/' Richard Wagner

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

Cosima Liszt, daughter of Franz Liszt and the Comtesse d'Agoult, was married to Hans von Billow at Berlin, August 18, 1857. They were divorced in the fall of 1869. Richard Wagner married Minna Planer, November 24, 1836, at Konigsberg. They separated in August, 1861, and she died at Dres- den, January 25, 1866. Wagner and Cosima Liszt, divorced wife of von Biilow, were married at Lucerne, August 25, 1870. Siegfried Wagner, their son, was born at Triebschen, near Lucerne, June 6, 1869. Wagner wrote, November 11, 1870, to Ferdinand Prager: " My house, too, is full of children, the children of my wife, but besides there blooms for me a splendid son, strong and beautiful, whom I dare call Siegfried Richard Warner. Now think what I must feel, that this at last has fallen to my share. I am fifty-seven years old." On the 25th of the month he wrote to Prager: "My son is Helferich Siegfried Richard. My son! Oh, what that says to me!" But these were not the first references to the son. In a letter written to Mrs. Wille, June 25, 1870, Wagner wrote: "Certainly we shall come, WLLFRIED KLAMROTH

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D' Music teaches most exquisitely the art of development.— Israeli MUSIC EDUCATION Boston, 900 Beacon Street CALVINr«AT vrvr B.i* CADY.r"Aiw Studiosc*«^i«o S \ New Y ^rk 15 claremont Avenue Pianoforte, Harmony, etc., and Normal Courses Address Teachers College, Columbia University, New York, for Syllabus of Course in Music Education Address Clayton F. Sum my Co., Chicago, III., for Poetic Folk Dances, Books I. and II., Folk Songs for Ten Fingers, First Home Studies, Music Education, An Outline, Books I. and IL Summer Normal, Portland, Oregon, in July 22 for you are to be the first to whom we shall present ourselves as man and wife. She has defied every disapprobation and taken upon herself every condemnation. She has borne to me a wonderfully beautiful

' and vigorous boy, whom I could boldly call Siegfried ' : he is now grow- ing, together with my work, and gives me a new, long life, which at last has attained a meaning. Thus we get along without the world, from which we have retired entirely. . . . But now listen; you will, I trust, approve of the sentiment which leads us to postpone our visit until I can introduce to you the mother of my son as my wedded wife" (Finck's

Wagner, vol. ii. p. 246). The "Siegfried Idyl" was a birthday gift to the composer's wife. It was first performed as a morning serenade, December 24,* 1871, on the steps of the villa at Triebschen, by a small orchestra of players collected from Zurich and Lucerne. Wagner conducted. Hans Richter, who played the trumpet in the performance, had led the rehearsals at Lucerne. The children of Cosima called the Idyl the "Steps Music." Siegfried was born while the composition of the music drama, "Sieg- fried," was in progress. The themes in the Idyl were taken from the music drama, all save one,—a folk-song, "Schlaf ', mein Kind, schlaf ein"; but the development of the themes was new.

The composition, which first bore the title " Triebschener Idyll," is scored for flute, oboe, two clarinets, trumpet, two horns, bassoon, and strings. It begins quietly, E major, 4-4 (strings without double-basses), with a short introduction made out of portions of the so-called "Friedens- melodie," which is soon announced by the strings, the theme from the love scene in the third act of "Siegfried," at Briinnhilde's words, "Ewig war ich, ewig in suss sehnender Wonne—doch ewig zu deinem Heil!" (I have been forever, I am forever, ever in sweet yearning ecstasy —but ever to thy salvation!) The development is wholly independent of

* Ramann says that Cosima Liszt was born at Bellagio, "at Christmas," 1837. Chamberlain and Dannreuther give 1870 as the year of composition of the Idyl; but see Richard Pohl's statement in the Musikalisches Wochenblatt of 1877 (P- 245).

ANNOUNCEMENT of M. H. HANSON 437 FIFTH AVENUE, NEW YORK

For Spring, 1912. Available among others M troPo1" JSS^SinS^E^R^TT.xT ) ^ LUDWIG HESS, Famous Tenor BERNICE DE PASQUALI itan ( HETr1?MTNRI, T SCOTT,c^ott Basso,r Chicagoru- Operan HENRIETTE WAKEFIELD ( Opera MARGARETE MATZENAUER ) House BORIS HAMBOURG, 'Cellist

. For 1912-13 GEORGE HENSCHEL, Recitals to his own accompaniment GOTTFRIED GALSTON, the sensational Munich pianist LOUIS PERSINGER, American Violin Virtuoso of European fame All the above artists, and others to be announced 23 that in the music drama. The wood-wind instruments gradually enter. The flute introduces as an opposing theme a phrase of the slumber mo- tive in the last scene of "Die Walktire." This phrase is continued by oboe and clarinet. There is a crescendo. The theme appears in the basses, and reaches a piu forte. A short theme of two descending notes —generally a minor seventh or major sixth, taken from Briinnhilde's cry, "O Siegfried! Siegfried! sieh' meine Angst!" (O Siegfried! Siegfried! see my terror!) from the same love scene in "Siegfried" —appears now in the basses, now in the violins, while wind instruments give out chords in triplets. This short theme is much used throughout the Idyl. The cradle song, "Schlafe, Kindchen, schlafe" (Sleep, my little one, sleep), is sung "very simply" by the oboe. All these themes are worked up in various shapes until trills on the first violins lead to the "World-treasure" motive in Briinnhilde's speech

! to Siegfried,—' ' O Siegfried, Herrlicher ! Hort der Welt " (O Siegfried,

, thou glorious one ! Treasure of the world !) —which is sung first by the wind, A-flat major, 3-4 time, afterward worked out by strings, and then combined with preceding themes. There is a climax, and on an organ-point on G as dominant the first horn gives out Siegfried's "motive," where he announces his intention of going out into the world, never to return (act i.), but the form is that assumed in the love scene. Flute and clarinet embroider this horn theme with hints at the bird song in the "Waldweben." There is a mass of trills, and the strings play the accompanying figure to Siegfried's "Ein herrlich Gewasser wogt vor mir" (A splendid sea surges before me), 'cellos and violas, then violins. The music swells to forte, and, after there is a modulation back to B major and a combination of the first two themes, the climax of the Idyl is reached, and the trumpet sounds the forest bird motive. The chief themes are further developed, alone or in combination. The pace slackens more and more, and the first two themes bring the end in pianissimo. "A Siegfried Idyl" was performed at Mannheim in December, 1871, and at Meiningen in the spring of 1877. The work was published in February, 1878, and the first performance after publication was at a Bilse concert in Berlin toward the end of February of that year. Ac- cording to Dr. Reimann the music drama "Siegfried" was then so little known that a Berlin critic said the Idyl was taken from the second act. So Mr. Henry Knight, a passionate Wagnerite, wrote verses in 1889, in which he showed a similar confusion in mental operation. The first performance in Boston was at a concert of the Harvard Musical Association, December 19, 1878. DO YOU LOVE OPERA? IN ATTENDING OPERA what one wants is the Story; in few words. Opera Stories fills this want. It contains the Stories (divided into acts) of 1 63 Operas, 5 Ballets, Edition and D'Annunzio's Mystery Play, The Martyrdom of St. Sebastian. It gives the stories Just f La Foret Bleue, Cendrillon, Lobetanz, Mona, Le Donne Curiose and other recent operas; also of all Standard Operas. Opera Stories contains portraits of famous singers. The book is handsomely, substantially bound. Endorsed by Teachers, Singers, the Public and the Press.

Mailed {postpaid) on receipt of 50c. , stamps, money order, or currency. HENRY L. MASON, 188 Bay State Road - - BOSTON 24 Overture to the Opera "Tannhauser" . . Richard Wagner

(Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) "Tannhauser und der Sangerkrieg auf Wartburg," romantic opera in three acts, book and music by Richard Wagner, was first performed at the Royal Opera House in Dresden, under the direction of the com- poser, on October 19, 1845. The cast was as follows: Hermann, Dettmer; Tannhauser, Tichatschek; Wolfram, Mitterwurzer; Walther,

Schloss ; Biterolf , Wachter ; Heinrich, Gurth ; Reimar, Risse ; Elisabeth, Johanna Wagner; Venus, Schroeder-Devrient; a young shepherd, Miss Thiele. The first performance in the United States was at the Stadt Theatre,

New York, April 4, 1859, and the cast was as follows: Hermann, Graff;

Tannhauser, Pickaneser ; Wolfram, Lehmann ; Walther, Lotti ; Biterolf, Urchs; Heinrich, Bolten; Reimar, Brandt; Elisabeth, Mrs. Siedenburg; Venus, Mrs. Pickaneser. Carl Bergmann conducted. The New York Evening Post said that the part of Tannhauser was beyond the abili- ties of Mr. Pickaneser: "The lady singers have but little to do in the opera, and did that little respectably." * * * The coda of the overture was cut out, and the overture was connected

GRAND CONCERT

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Reserved Seat Tickets, 75c., $1.00, $1.50 and #2.00

Balcony Admission, 50c. Seat sale opens Monday, January 5. at GIBBONS & STONE'S with a new version of the first scene of the opera for the performance of the work in a translation by Charles Nuitter into French at the

Opera, Paris, March 13, 1861. Some consider therefore the overture in its original shape as a concert overture, one no longer authentically connected with the opera.

The overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, cymbals, triangle, tambourine, strings. It begins with a slow introduction, Andante maestoso, E major, 3-4, in which the pilgrims' chorus, "Begliickt darf nun dich, o Heimath, ich schauen," from the third act, is heard, at first played piano by lower wood-wind instruments and horns with the melody in the trom- bones against a persistent figure in the violins, then sinking to a pian- issimo (clarinets and bassoons). They that delight in tagging motives so that there may be no mistake iq recognition call the first melody the "Religious Motive" or "The Motive of Faith." The ascending phrase given to the violoncellos is named the "Motive of Contrition," and the persistent violin figure the "Motive of Rejoicing." The main body of the overture, Allegro, E major, 4-4, begins even before the completion of the pilgrims' song with an ascending first theme (violas), "the typical motive of the Venus Mountain."

"Inside the Horsel here the air is hot; Right little peace one hath for it, God wot; The scented dusty daylight burns the air, And my heart chokes me till I hear it not."

The first period of the movement is taken up wholly with baccha- nalian music from the opening scene in the Venus Mountain; and the motive that answers the ascending typical figure, the motive for vio- lins, flutes, oboes, then oboes and clarinets, is known as the theme of the bacchanal, "the drunkenness of the Venus Mountain." This period is followed by a subsidiary theme in the same key, a passionate figure in the violins against ascending chromatic passages in the 'cellos. The second theme, B major, is Tannhauser's song to Venus, "Dir tone Lob!" The bacchanal music returns, wilder than before. A pianissimo episode follows, in which the clarinet sings the appeal of Venus to Tannhauser, "Geliebter, komm, sieh' dort die Grotte," the typical phrase of the goddess. This episode takes the place of the free fantasia. The third part begins with the passionate subsidiary theme,

DE MERITTE SCHOOL CAMP ALGONQUIN 813 BOYLSTON STREET. BOSTON Twelfth Year ASQUAM LAKE, N.H. A preparatory school for boys who want A select camp for manly boys, opens June education. an 25. Twenty-seventh season. Personal The Upper Grade prepares for college and the scientific schools. supervision, outdoor life, tutoring. For The Lower Grade gives to boys from ten circulars or information, address to fourteen years of age a careful training for the work of the upper grade. EDWIN DE MERITTE EDWIN DE MERITTE, A. B., Prin. 815 Boylston Street BOSTON, MASS. 26 which leads as before to the second theme, Tannhauser's song, which is now in E major. Again the bacchanalian music, still more frenetic. There is stormy development; the violin figure which accompanied the pilgrims' chant returns, and the coda begins, in which this chant is repeated. The violin figure grows swifter and swifter as the fortis- simo chant is thundered out by trombones and trumpets to full harmony in the rest of the orchestra.

MUSICAL INSTRUCTION

TEACHER OF THE VIOLIN FRANZ KISTNER 62 STATE STREET Thorough instruction in Solo and Ensemble Playing Public Recitals, Orchestra Class free

TEACHER OF SINGING

Miss CLARA E. MUNGER century building 177 Huntington Avenue, BOSTON

Teacher of Sin£in2 Miss n 111 O fll I JL iff | |TP 602 Pierce Building PRISCILLA WHITE COPLEY SQUARE, BOSTON

'" Miss KATKERINE LINCOLN ""^SLSLSS Copley Square, BOSTON SOPRANO Saturdays and Mondays in New York Management, Mrs.Irs. PAUL SUTORIUSSU Representing Miss Clara E. Munger I West 34th Street, New York Studio, 56 East 34th Street, New York City

67 MOUNT VERNON STREET TEACHING AT BERTHA GUSHING CHILD LANQ STUDIOS

6 NEWBURY STREET, BOSTON

TEACHER OF SINGING Assistant, GRACE R. HORNE CLARA TIPPETT 312 Pierce Building, Copley Square BOSTON, MASS.

27 MUSICAL INSTRUCTION

ORGAN EDWIN OPENINGS CONCERTS ARTHUR AND RECITALS SEND FOR NEW CIRCULARS

ADDRESS: TRINITY CATHEDRAL = = CLEVELAND, OHIO

MAY SLEEPER (HIGGLES Liederheim has a distinguished Advisory- (CONTRALTO) Board of Educators and Musicians, en- dorsing the work done in this unique Liederheim School of Vocal Music AUBURNDALE. MASS. music-home. One or two years here, (Private Home for a few pupils) devoted to singing alone, brings direct practical results. 602 Pierce Building, Copley Square, BOSTON THE LIEDERHEIM EUROPEAN TOUR Art, History, Music and Sight-seeing, with Mrs. Ruggles

June 20 to September 9, 1912

RECENT COMPOSITIONS EBEN H. BAILEY SACRED SONGS Faith and Patience ORGANIST Also arr. as duet, Soprano and Baritone Voice Culture Singers Coached Ope, Thou, Mine Eyes. 'Cello ad lib. Alone with Thee Song, Opera, and Oratorio C<^CERT WALTZ SONGS Carol of the Lark Life's Merry Morn 30 HUNTINGTON AVE., BOSTON Fleeting Days

MARGARET CONTRALTO CONCERTS, ORATORIO, RECITALS Management, Quinlan Agency

1 WEST 34TH STREET - NEW YORK

Ziegler Institute of Normal Singing Incorporated 1425 BROADWAY (Metropolitan Opera House) SUMMER SESSION IN COUNTRY NEAR NEW YORK MOTTO: " Know thy work, and do it" Director, Mme. ANNA E. ZIEGLER PIONEER FOR CORRECT SINGING Dramatic department under personal direction of Gardner Lamson, also Correspondence Department

28 MUSICAL INSTRUCTION

OLGA SAMAROFF IN AMERICA 1912-1913 Madame STOKOWSKI) ======

Address, J. L. HICKENLOOPER 4545 Maryland Avenue ST. LOUIS, MO. STEINWAY PIANO USED SOPRANO Distinguished Academician of Royal Philharmonic Academy of Rome DOROTHY TEMPLE ORATORIO CONCERT RECITAL Management, E. M. S. FITE 145 W. 45th Street - - - NEW YORK TEA H ING MME. DE BERG-LOFGREN £ =^«™

Teacher of Bettina Freeman, now leading soprano of the Quinlan Opera Company of England

70 WESTLAND AVENUE, BOSTON Telephone, Back Bay 3096-R ALVAH GLOVER SALMON PIANOFORTE INSTRUCTION

Concerts and Lecture Recitals (Russian Music) the result of personal investi- gation and study in Moscow and St. Petersburg Critical reviews of these recitals from American, English, French, German, Russian, and Australian journals forwarded on request.

Address all communications to ALVAH GLOVER SALMON, Carnegie Hall, New York City

Permanent studio address, Carnegie Hall, N.Y Boston, Mass. (Huntington Chambers), Tuesdays BARITONE GWILYM MILES ORATORIO and CONCERT RECITALS

Address, Care MUSICAL COURIER Studio, 917 CARNEGIE HALL NEW YORK

MrS. HATTIE CLAPPER MORRIS breathing^ Specialty TEACHING IN ALL ITS BRANCHES 1730 Broadway - NEW YORK CITY VIPTOR I4APRIQ teacher of singing V 1V^ 1 VJM\ r±f\M\$\lO i n all its branches

THE BEAUFORT . . . 140 West 57th Street, NEW YORK

LOUIS DI TQQI7I I Author RUSSELL SYSTEMS ARTHUR J\UODllLiJ-i ofthe OF MUSIC STUDY

Invites correspondence from teachers and professional students of voice, piano and theory. Prepara- tion for concert work or teaching. Repair of voice. Development of technic. Write for literature.

SUITE 853 CARNEGIE HALL . MANHATTAN, NEW YORK (Summer Normal Session)

29 MUSICAL INSTRUCTION WILLIAM ALDEN PAUL TEACHER OF SINGING 312 PIERCE BUILDING, COPLEY SQUARE, BOSTON Monday and Thursday P.M. and by appointment Address, Instructor in Music, Episcopal Theological School Telephone, 2816 R Cambridge BARITONE SOLOIST and TEACHER OF SINGING FREDERICK N. WATERMAN NEW CENTURY BUILDING 177 HUNTINGTON AVENUE - BOSTON Room 10

Mezzo-Contralto, Soloist and Teacher

Soloist; Boston Symphony Orchestra Miss ANNA MILLER Chicago Symphony Orchestra WOOD Kneisel Quartet, etc.

Studio, Pierce Building, Copley Square, Bootes MR. C. M. CHASE • TEACHER OF PIANOFORTE PLAYING Assisted by MILDRED HARLOWE COOK and others STUDIOS, STEINERT HALL ANNEX, BOSTON 500 CARNEGIE HALL, NEW YORK, WEDNESDAYS ART OF SINGING Thursdays, Estey Building, Philadelphia Mrs. WILLIAM S. NELSON Metropolitan Opera House

Studio Building . . . New York

Conductor and Coach for amateur or professional Opera Clubs C. JOHN DEMPSEY Choirmaster of St. Mark's P.E. Church, N.Y. City Musical Director of the St. Cecilia Society BASS-BARITONE of Flushing Musical Director of St. Cecilia Choral Club of TEACHER OF SINGING Long Island City PIANIST Sixty-nine West Eighty-eighth Street ELLA BACKUS-BEHR NEW YORK As Vocal Coach refers to Mme. Louise Homer Mr. Bechtal Alcock and Mrs. Merle Tillotson-Alcock Mr. Frederic Martin

METROPOLITAN COLLEGE OF MUSIC 212 West 59th Street, New York City AMERICAN INSTITUTE OF Thorough instruction in all branohes of music Personal attention to individual pupils. APPLIED MUSIC Twenty-sixth year began October 2, 1011. KATE S. CHITTENDEN, Dean of the Faculty 80 MUSICAL INSTRUCTION PIANO INSTRUCTION

Studio, 133 Carnegie Hall, New York Claude Maitland GrUfeth Mon. and Thurs. Afternoons Pouch Gallery, Brooklyn SEND FOR CIRCULAR BARITONE PERRY AYERILL Prepares Singers for the profession Studio, 220 West 59th Street, New York

'Phone 1097 Col.

TEACHER OF SINGING t ARTHUR D. WOODRUFF 5 West 38th Street NEW YORK CITY SOPRANO Hiss I. GRACE DASCHBACH In charge of Vocal Department Teachers TEACHER OF SINGING College, Columbia University 401 Carnegie Hall . New York City TENOR Soloist with Boston Symphony Orchestra Cecilia Society GEORGE HARRIS, Jr. and with New York Symphony Orchestra Management: M. H. HANSON, 437 5th Avenue, New York

MASTER MUSIC STUDIOS SUMMER CENTER 2789 Broadway, New York SCHLOSS ORT, GMUNDEN, AUSTRIA Mrs. M. DUBLE-SCHEELE Study of music is optional Apply to Secretary, Master Music Studios CATALOG Telephone Connection STEINWAY PIANO USED BASSO CARL E. DUFFT Vocal Instruction

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SINGERS— Suzanne Baker Watson, Cora Cross, Nellie Hart, Willette Kershaw, Gertrude Hutcheson. LESLEY MARTIN Ivy Scott, Marion Stanley, Estelle Ward, Mabel Wilbur, Flora Za belle, Edward Foley, George Gilbert, Bel Canto John Hendricks, Andrew Mack, Dr. Eugene Walton Marshall, Fiske O'Hara, Umberto Sacchetti, Ellis Studio: 1425 Broadway, New York Rhodes. Albert Wallerstedt, and many other singers now before the public in operatic and church wock « " " " — MUSICAL INSTRUCTION BARITONE RECITAL, ORATORIO, CONCERT FRANCIS ROGERS Also a limited number of pupils in the art of singing There is the real stuff in this singer. Phufp Hale. Management, LOUDON CHARLTON Mr. Rogers is a true artist. — W. J. Henderson 868 Carnegie Hall, New York (N. Y. Sun). Address, 563 PARK AVENUE, NEW YORK THE SCHOOL THAT MAKES VIRGIL PLAYERS Piano School and Conservatory RESULTS TELL

42 West 76th Street, New York Catalogue on request TENOR Tone production and preparation for E. SHEFFIELD MARSH public work

Studio, 815 Carnegie Hall . New York City

L From tone work to artistic finish. Traditions and ac- hT?isROBSARTE tion of full opera repertoire— Concert and oratorio. Teacher of Mme. Jungman, Prima Donna Contralto. Former Opera Tenor Voice Specialist Hofopera, Vienna; Mile. Lillian Grenville, Prima Donna Soprano, Milan, St. Petersburg, Nice, Chicago Paris, teacher of Melba. Gar- A. de Trabadelo, Opera Co.; Signor Jacoletti, now singing in Naples; den, Farrar, Eames, Carasa.Gayarre, etc., says: Miss Helene Travis, Mascagni Opera Co. "1 sincerely believe Mr. Robsarte has no equal among American instructors. Residence Studio - Hotel Woodward, N.Y. Voices tried gratis by appointment 'PHONE. 5000 COLUMBUS SIGHT PLAYING FOR PIANISTS If you are a poor Sight Reader and have difficulty in reading NEW MUSIC AT FIRST SIGHT write for Booklet giving full particulars of our complete correspondence course

A Professor of Music in one of the largest Colleges in the United States, to whom reference is permitted, says: "Your Course is worth the price to me evert week in the amount or TIME IT SAVES ME ALONE Address NEW YORK COLLEGE OF APPLIED MUSIC 9208 METROPOLITAN TOWER NEW YORK CITY WM. S. WAITH THE MASTER SCHOOL Special Representative and Authorized Teacher of the OF MUSIC

YERSIN METHOD Vocal Department begins its 8th Season October 23d 18 Arlington Place BUFFALO, N.Y. Mme. Aurelia Jager Mr. Edward Falck

Perfect French Diction and Eminent Faculty Voice Trials October 19-20 Interpretation of French Songs and Arias 96 CLINTON ST. BROOKLYN, N.Y. ELIZABETH JOHANNES MIEHSCH CLARK-SLEIGHT ROYAL COURT VIOLINIST VOCAL INSTRUCTION CONCERTS and RECITALS Principal Violin Department

817 West End Avenue, New York City College of Music of Cincinnati, Ohio IBBIE RAYMOND F. ADDISON PORTEE Illustrated Lectures on "Lives and Works of Famous Composers, Painters aud Sculp- Teacher of Pianoforte tors"; also on the "History of Music and Art New England Conservatory of Music Drawing-rooms, Schools, Clubs, Private Classes Private Studio, 31 Steinert Hall Piermont-on-Hudson - New York BOSTON 32