CARNEGIE HALL - NEW YORK

Twenty-third Season in New York

MAX FIEDLER, Conductor

•programmes at % FOURTH CONCERT

THURSDAY EVENING, FEBRUARY 18

AT 8.15 PRECISELY

AND THE FOURTH MATINEE

SATURDAY AFTERNOON, FEBRUARY 20 AT 2.30 PRECISELY

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

COPYRIGHT, 1908, BY C. A. ELLIS

PUBLISHED BY C. A. ELLIS, MANAGER J Mme. CECILE CHAMINADE The World's Greatest Woman Composer

Mme. TERESA CARRENO The World's Greatest Woman Pianist

Mme. LILLIAN NORDICA The World's Greatest Woman Singer

USE

^^ Piano.

THE JOHN CHURCH CO., 37 West 32d Street New York City Boston Symphony Orchestra PERSONNEL

TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

First Violins.

Hess, Willy Roth, O. . Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, S.

Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strobe, G. Rissland, K. Ribarsch, A. Traupe, W.[

i Second Violins.

Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz. H. Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H.

Violas.

Fe*rir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos.

Wamke, H. Nagel, R. Barth, C. Loeffler, E. Warnke, J.[ Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses.

Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R.

Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn Bass Clarinet. Contra-bassoon.

Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz, O. Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Merrill, C. Phair, J. Schumann, C. Haep. Tympani. Percussion.

Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian.

Sauerquell, J. tvtna

l^taitu

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Represented in New York by JOHN WANAMAKER . CARNEGIE HALL, Symphony NEW YORK.

Twenty-eighth Season, 1908-1909.

Orchestra Twenty-ihird Season in New York.

MAX FIEDLER, Conductor.

FOURTH CONCERT,

THURSDAY EVENING, FEBRUARY 18,

AT 8.15 PRECISELY.

PROGRAMME.

Paderewski ..... Symphony in B minor, Op. 24 First time in New York

I. Adagio maestoso ; Allegro con fuoco. II. Andante con moto. III. Allegro vivace.

Saint-Saens . . . Concerto, C minor, No. 4, for Pianoforte and Orchestra, Op. 44

I. Allegro moderato ; Andante.

II. Allegro vivace ; Andante. III. Finale, Allegro.

SOLOIST, Mr. PADEREWSKI.

The pianoforte is a "Weber.

NOTE As the DOORS WILL BE CLOSED during the performance of the first movement of the Symphony, which requires 25 MINUTES, patrons are urgently requested to be prompt in attendance.

There will be an intermission of ten minutes after the symphony, 6 Always the Kiiabe

m %riaf>e 3^ <§?o.

BALTIMORE NEW YORK WASHINGTON — Symphony in B minor, Op. 24 Ignace Paderewski * (Bora, November 6, i860, at Kurilowka, in Podolia, a former province of Poland; now living at Morges, Switzerland.)

The following sketch of this symphony is based on information furnished by the composer.

The symphony Op. 24 is in three movements: I. Adagio maestoso; Allegro fuoco; II. Andante con moto; III. Allegro vivace. The themes of the first movement were sketched in the summer of 1904. The three movements which now compose the work were com- pleted, and the parts were copied in December, 1908. ' 'The symphony is written as a patriotic tribute of the composer to his native country, and it was directly inspired by the fortieth anniversary of the revolution of 1863-64. There is no absolute programme for either the first or second movement. The first movement is. free, but classical in form. It seeks to celebrate Poland's great heroic past. The themes, although racial in character, are not based on popular melo- dies. The same is true of the second (slow) movement in which the composer endeavors to express the lyric nature of his race. "In the third movement Mr. Paderewski has followed a sharply defined programme. It is in effect a symphonic poem, and is peculiarly in memory of the revolution of 1863-64.

"In the opening of the movement is felt the spirit of social and po- litical unrest which filled the country prior to the outbreak of the war, the unrest of the young hot-heads, the youth of the nation, who longed for independence. Older heads, conservative age, counselled patience and caution, urged the impossibility of a successful issue. This despond-

ent feeling is expressed in a treatment of the national anthem, from which all buoyancy and joyousness have been taken. The anthem is

treated not unlike a dirge ; it appears in a subdued, sad mood. GRAND OPERAS In this Season's Repertory

TIEFLAND, by E. D 'Albert, German and English text Price, $5.00 If LA HABANERA, by R. La Parra, French text . 3*o U LE VILLI, by G. Puccini, English text 2.50 it The Same, Italian text 3-oo it LA WALLY, by A. Catalani, Italian text . 4.00 u FALSTAFF, by Giuseppe Verdi, Italian and English text 4.00

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"The youth refuse to listen. The atmosphere of restlessness subdues the remonstrances of the elders, and the spark of revolution ignites with the appearance of the second theme, a theme of brilliant chivalric char- acter, which has been heralded by faint distant trumpet-calls,—the sum- mons to war.

"Light-hearted, gay, and confident, the youth of Poland depart for battle. The first conflict is characterized by the use of sarrusophones, which, with their dark, heavy coloring, express the weight and over- whelming strength of the oppressing force. Again is heard the Polish anthem, this time strong, vigorous, and battling; yet, as the conflict pro- gresses, it is gradually lost in the gloom of defeat, finally disappearing in an atmosphere of utter despair.

! 'Then a funeral dirge celebrates the heroes that are gone. The themes of unrest heard in the first movement reappear, but are divested of their substance. They are as shadowy and as unsubstantial as the heroes that have passed away. They are bitter memories of defeat. Upward they soar, higher and higher,—lamentations for the fatherland ascending to heaven. 'A quick transition of mood follows, from gloom to brightness. Hope returns, and in the recapitulation and climax one hears again the splen- did buoyancy of the theme of chivalry from this third movement, the theme of the heroic past from the first movement, and a third theme on which will be built the fourth movement yet to be written.' The symphony is complete as a work in its present shape, but Mr. Paderewski contemplates a fourth movement. It will be a scherzo.

The work is scored for three flutes, three oboes (one interchangeable

with English horn) , three clarinets (one interchangeable with bass clari- net), two bassoons, contrabassoon, three sarrusophones, four trumpets, four horns, three trombones, one bass tuba, harp, organ, a set of three

C. SCHIRMER, 35 UNION SQUARE, NEW YORK NEW DANCE MUSIC FOR PIANO SOLO (ALSO PUBLISHED FOR ORCHESTRA) QABRIEL ALLIER, Les Idoles (Idols of the Heart) Waltz ...... $0.75 Graceful in style and conception, fine rhythm. J. B. BOLDI, Chanson Boherhienne. Intermezzo-Valse .60 The most spontaneous and characteristic Gypsy Waltz. ENRICO CARUSO and R. BARTHELEMY, Adorables Tourments (Love's Torment)

Valse . .75 The reigning success of London, Paris and along the Riviera. The big- gest hit since " The Merry Widow Waltz." As a song it is a favorite number on Mr. Caruso's programs. EMILE DELMAS, Valse frivole 1.00 A little waltz of careless and unconcerned gayety of mood. E. LAUNAY, Elle est charmante (She is lovely) . Valse-Boston 60 A langorous French waltz of immensely captivating swing. ALEX. MAITINSKY, Les Charmeuses (The Charmers) Valse . . 1.00 A waltz embodying alluring melody, elegant facility of style and genuine swing of rhythm. ARMAND TEDESCO, La Debutante. Valse langoureuse 75 The catchiest French " Valse lente " that has appeared for years. Conservatory of MUSIC GEORGE W. CHADWICK, Director Huntington Avenue, Boston, Mass.

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PIANOFORTE DEPARTMENT

The Pianoforte Course is designed to equip the student for a career as soloist or teacher, or both, and diplomas are grantgd accordingly. The course includes Sight Playing, Ensemble, Playing with Orchestra, and the following theoretical studies: Solfeggio, Theory of Music, Harmony and Analysis, Lectures on Musical History, Lectures on Orchestral Instruments, Lectures on English Literature. The Pianoforte Normal Course gives students in this department an opportunity to gain practical experience in the art of teaching without the necessity of going through the experimental period which would other- wise be unavoidable.

Pupils received for a single subject as well as for full courses

FOR PARTICULARS AND YEAR BOOK APPLY TO RALPH I, FLANDERS, Manager 10 ;. kettledrums, side-drum, cymbals, triangle, tam-tam, tambour de basque, tonitruone, and the usual strings. The tonitruone is an instrument of percussion which Mr. Paderewski himself invented. It gives the feeling of far-distant thunder in a way which cannot be accomplished with the bass drum.

Mr. Paderewski studied at the Musical Institute, Warsaw (1872-78), the piano under Janotha, harmony under Roguski. In 1876 and 1877 he gave concerts in Poland and Russia, and from 1879 to 188 1 he taught at the Warsaw school. In 1883 he went to Berlin, where he studied composition with Kiel and Urban, and in 1884 he went to Vienna to take pianoforte lessons of Leschetitzki. He taught for a while at the Strassburg Conservatory, and then returned to Vienna. In 1887 he began his career as a virtuoso; he played in Vienna and Paris, and gave his first concert in London on May 9, 1890. His career after this is known to all. The list of his compositions includes an opera, "Manru" (produced at Dresden, May 29, 1901; performed for the first time in America at the Metropolitan Opera House, New York, February 14, 1902; per- formed for the first time in Boston at the Boston Theatre, March 15, 1902);* a Concerto for pianoforte and orchestra, Op. 17; a "Polish Fantasia," for pianoforte and orchestra, Op. 19; Violin Sonata, Op. 13 pianoforte pieces and songs. Among his latest compositions are a pianoforte sonata, Op. 21, and a set of Variations and Fugue for piano- forte, Op. 23. The latter work was performed for the first time in this

* The cast was as follows : Manru, Mr. Von Bandrowski ; Ulana, Mrae. Sembrich ; Hedwig, Mme

Homer , Asa, Mme. Scheff ; Urok, Mr. Bispham ; Oros, Mr. Muehlmann; Jagu, Mr. Blass. Walter Damrosch conducted.

The ORATORIO SOCIETY NEWO YORKF THIRTY-SIXTH SEASON

FRANK DAMROSCH . . . CONDUCTOR

Remaining Concerts for the Season of 1908- 1909, at Carnegie Hall

THE DREAM OF GERONTIUS . . . Elgar Miss JANET SPENCER, Contralto Mr. GERVASE ELWES, Tenor Mr. CLAUDE CUNNINGHAM, Baritone Evening of Saturday, March 20th, 1909

THE PASSION ACCORDING TO ST. MATTHEW . Bach Mrs. CORINNE RIDER-KELSEY, Soprano Mr. GERVASE ELWES, Tenor Mr. CLAUDE CUNNINGHAM, Baritone Evening of Thursday, April 8th, 1909

Tickets at offices Musical Art Society, No. i West 34th St., and at Box Office, Carnegie H all Applications for seats by mail, prepaid, will be filled in the order of receipt, and seats assigned as near at possible to those designated 11 country by Mr. Sigismund Stojowski, a pupil of Mr. Paderewski, Janu- ary 23, 1907, in New York. Biographies of Mr. Paderewski have been written by Mr. Henry T. Finck, "Paderewski and his Art" (New York, 1895), and Dr. Alfred

Nossig, "I. J. Paderewski" (Leipsic, s. d.), though the latter is an "appreciation" rather than a biography. Mr. Paderewski has played at regular concerts of the Boston Sym- phony Orchestra in Boston: December 5, 1891 (Paderewski's Concerto in A minor—this was his first appearance in Boston ; the concerto was played in Boston for the first time by Mrs. Julia Rive-King at a Boston

Symphony Orchestra Concert, March 14, 1891, and this was the first performance in the United States); January 28, 1893 (Paderewski's Concerto in A minor); December 23, 1899 (Beethoven's Concerto, No.

5, in E-flat major); April 22, 1905 (Chopin's Concerto, No. 2, in F minor); November 16, 1907 (Rubinstein's Concerto in D minor). He has played here at a concert of the Symphony Orchestra of New

York, December 9, 1891 (Rubinstein's Concerto in D minor and Liszt's Hungarian Fantasia). At a concert for the benefit of members of the

Boston Symphony Orchestra, March 2, 1892, he played Schumann's Concerto and Liszt's Hungarian Fantasia. At his own concert with the Boston Symphony Orchestra, November 19, 1895, he played

Chopin's Concerto, No. 2, in F minor, and his own Polish Fantasia. At a concert of the Boston Symphony Orchestra, January 5, 1896, for the benefit of the family of E. Goldstein, he played his own Polish Fan- tasia and solo pieces by Liszt and Chopin. At concerts in aid of the Pension Fund of the Boston Symphony Orchestra, April 30, 1905, he played Beethoven's Concerto in E-flat, No. 5, and Chopin's Ballade in A-flat major, Mazurka in B minor, Etude in G-flat major, and Polo- naise in A-flat major; and on December 29, 1907, when he played Beethoven's Concerto in E-flat major, pieces by Chopin, etc. He played in Boston with the Kneisel Quartet, March 30, 1896, Beethoven's Trio in B-flat major and Brahms's Pianoforte Quartet in A major. He also played with the Adamowskis a quartet by Brahms, as some say on February 26, 1892, but newspapers of that month said nothing about the concert. I have been unable to verify this date.

Claude Maitland Griffeth Piano Instruction Studio, 133 CARNEGIE HALL - NEW YORK Telephone 1350 Columbus

Instructor for six years in The Virgil Piano School. Pupil of Barth and Moszkowski.

Monday and Thursday afternoons Pouch Gallery, Brooklyn, 345 Clinton Avenue 12 :

Recitals in Boston: 1891, December 7, 8, 23, 28, 29. 1892, February 23, 24, 25, 27, March 22.

1893, January 4, 12, 21, February 11, March 23, April 1. 1895, November 23, 30. 1896, April 4.

1899, December 27, 30.

1902, February 19, March 3. 1905, April 1.

1907, November 5, when he played his Variations and Fugue for the first time in Boston; December 21, when he played his Sonata in E-flat minor for the first time in Boston. 1909, February 6. * *

Grove's "Dictionary of Music and Musicians" (revised edition, Vol. IV., 1908) states that the Sarrusophone was designed in 1863, by Sarrus, a bandmaster in the French army. In "Organographie" by the Comte Ad. de Pontecoulant, ^the sar- rusophone is mentioned. Now the second volume of "Organographie" was published in 1859. De Pontecoulant says (p. 513): "Gautrot, striving to counterbalance the success and the vogue of the saxophone, thought to produce a huge imitation named the sarrusophone. The inaccuracy in Grove's Dictionary is only one of many. The statement in "Organographie" is not strictly accurate. As a matter of fact, the family of sarrusophones was invented by Sarrus, the bandmaster of the 13th (not 3 2d, as stated by Riemann) French regiment of the line. The patent is dated June 9, 1856. The idea of Sarrus came from futile experiments made by Triebert, who endeavored to apply the principles of Boehm to oboes and bas- soons. Triebert 's experiments were futile because they took away from the instruments their distinctive character. Sarrus thought of constructing a family of brass instruments with a conical bore, played With a double reed, and with lateral holes of large diameter, pierced MENDELSSOHN HALL Th« adele MARGULIES TRIO ADELE MARGULIES, Pianiste LEOPOLD LICHTENBERG, Violinist LEO SCHULZ, 'Cellist

THIRD CONCEBT, Tuesday, February 23, at 8.15 PROGRAMME

• • • Tschaikowsky TRIO A MINOR • In memory of a great artist SONATA, E-FLAT MAJOR Rheinberger Piano and Violin

' . Naprarnik TRIO, OP. 62, D MINOR. .(First time) . ,

SEATS ON SALE AT BOX OFFICE, 9 a.m., 5 p.m. ORCHESTRA, $1.50, BALCONY, $1.00

. . YORK TIMES says .. . . _. ... NEW . , The performances of this organization are the finest of the kind that this public can enjoy. ^ ; at regular intervals and controlled by keys. These holes, he thought, would diminish the length of the column of air in such a manner that he would obtain a series of fundamental sounds of sure intonation and of a franker timbre and more equalized tones than could then be obtained from the oboe family. Gautrot, a Parisian manufacturer of instru- ments, realized the idea of Sarrus, and he gave to the family the name Sarrusophone. The family consisted of the soprano in E-flat, the soprano in IB- flat, the contralto in E-flat, the tenor in B-flat, the baritone in E-flat, the bass in B-flat, the contra, or double-bass in E-flat, and the contra- bassoon in B-flat. The double-bass was the one that survived. "The double-bass sarrusophone has a compass of three octaves.

The first is the best ; the second and third leave much to be desired in pure intonation and equality of tone." So says Pierre. For a table of the compasses of the different members of the family in relation with the keyboard of the pianoforte see the table on pp. 26, 27, of "Le Materiel Sonore des Orchestres de Symphonie, d'Harmonie, et de Fan- fares" by Victor Mahillon (Brussels, 1897). The story is still current that the ordinary double-bassoon was in- troduced into France in 1800 for the performance of Haydn's ' 'Crea- tion." In a pamphlet about the serpent, published in 1804, it is said that it replaced advantageously the double-bassoon with its "dull and crying" tones, the double-bassoon "employed by the English." Never- theless, this despised instrument was heard in the performance of Isouard's "Aladin" produced at Paris in 1822. Constant Pierre says that thereafter, up to 1863, when the Societe des Concerts du Con- servatoire secured the only double-bassoon that had been made in France, the double-bassoon was replaced by the ophicleide, when the part written could not be suppressed. It is only in recent years that French composers have used the double- bassoon and parts written for it have been performed on the instrument lent by the Soci£te\ Am- broise Thomas, C. Saint-Saens, Reyer, and Massenet used it in 'Fran- coise de Rimini' (1882), 'Henri VIII.' (1883), 'Sigurd' (1884), and 'Le Cid' (1885)." For the double-bassoon offered few resources. Its tonal emission was slow, and the intonation left much to be desired. The instruments were old German ones more or less modified, but with borings and mechanism that were not conceived on rational prin- ciples. Many of these instruments were made before the reform in pitch, and the changes necessary to lower the pitch added to the in- herent faults. ELEANOR McLELLAN TEACHER OF SINGING

ATELIER BUILDING, 33 West 67th Street - - NEW YORK

Telephone, 4225 Columbus

Most prominent pupils are, Daniel Beddoe, tenor ; Tom Daniels, bass ; Beatrice Fine, soprano; Edward Strong, tenor; Charles Kitchell, tenor; Antoinette Harding, contralto

Grace Munson, contralto ; and Weild, bass. 14 :

VICTOR MAUREL

The World's Greatest Baritone

For whom Verdi wrote "Falstaff " and "Iago" and the creator of these roles Prefers the Weber Piano

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Eug&ne Jancourt, music captain of the Fifth Subdivision of The National Guard of France (i 867-1 870), thought of substituting a double-bass sarrusophone in E-flat for a double-bassoon, and he in- trusted the playing of it^to Mr. Coyon, a bassoonist and author of a method for the bassoon, and later to Eugene Bourdeau, first bas- soon at the Opera-Comique. This instrument was given by Mr. Jancourt to the Museum of the Conservatory of Music. Some years later Clement Broutin, prix de Rome in 1878, bought several sarruso- phones for the military band at Roubaix. Camille Saint-Saens was the first composer who thought of sub- stituting a sarrusophone for a double-bassoon in an operatic orchestra. His score of "lyes Noces de Prom£thee," which won a prize at the Paris Exposition of 1867, contained a part for the double-bassoon. Un- fortunately, he found it difficult to obtain the latter instrument. He therefore used a sarrusoplione. Later he had a sarrusophone con- structed at his own expense, and gave it to the Opera House at Lyons

for the performances of his opera "Etienne Marcel' ' in 1879. He had another made, and offered it to a musician in Paris, who used it in the performance o£ excerpts from "Samson et Dalila," "The Creation," the fifth and ninth symphonies of Beethoven, fragments of "fitienne Marcel" at concerts at the Chatelet and those led by Pasdeloup, and in the performance of "Etienne Marcel" at the Theatre du Chateau- d'Eau in 1884. Nevertheless, Saint-Saens did not write a part expressly for this instrument in his scores, for the reason that the sarrusophone was not in general use. At the Op£ra he was obliged to accept a double-bassoon of wood for his "Henri VIII.," also for "Ascanio." For a long time he was the only French composer that appreciated the value of the sarrusophone, which was so ignored that it was not even referred to in any review of a performance of his works. The sym- phonic orchestras of the Chatelet and the Cirque des Champs-filysees in 1890 had neither a double-bassoon nor a double-bass sarrusophone. No one in France was then manufacturing the former, and no orchestral musician had any motive to learn thoroughly the latter. In 1888 Mr. Constant Pierre made a determined effort to determine the orchestral value of the double-bass sarrusophone. He put the instrument into the hands of Mr. Roger Leruste, to whom was awarded the first prize for bassoon playing at the Conservatory in 1887. When they were satisfied that tonal emission was easy, that the instrument could be played piano and that tones could be played legato or detached, they invited the attention of composers. Jules Massenet was then orchestrating his opera "Esclarmonde." He had hesitated to write a

Miss EVANGELINE S. ADAMS Announces that she may be consulted on ASTROLOGY AND PALMISTRY AT HER NEW YORK STUDIO 402-3 CARNEGIE HALL 56th Street and 7th Avenue, NEW YORK CITY

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This suite was played in Boston at a concert of the Boston Symphony Orchestra, October 27, 1900. The first performance in Boston was at a concert for the benefit of the members of the Boston Symphony Orchestra, Mr. Nikisch conductor, March 2, 1892. The soloists were Mrs. Julie Wyman, Mr. Paderewski, and Mr. Schroeder.

THE WORLD-RENOWNED The many points of superiority were never better emphasized than in the SOHMER PIANO SOHMER of to-day

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17 Concerto, C minor, No. 4, for Pianoforte and Orchestra, Op. 44 Camiixe Saint-SaEns

(Bom at Paris on October 9, 1835; now living there.)

This concerto was composed in 1875 and published in 1877. The composer played the pianoforte part with orchestra at the Chatelet, Paris, October 31, 1875. It was in 1875 that his symphonic poem "Danse Macabre" was first performed (March 24 at the Chatelet,

Paris) ; also the pianoforte quartet in B-flat (Salle Pleyel, Paris, March ,, 6). Six "Melodies Persanes" ("La Brise, '%a Splendeur Vide," "La Solitaire," "Au Cimetiere," and "Tournoiement") were published. The concerto was played in Boston for the first time at a concert of the Harvard Musical Association, February 14, 1878. Mr. John A. Preston was the pianist. The concerto has been played in Boston at concerts of the Boston Symphony Orchestra by Mme. Madeline Schiller, February 25, 1882; Mr. Carl Stasny, October 22, 1892; Mme. Bloom- field-Zeisler, March 5, 1898. In its structure there is a departure from the traditional form, as in other pianoforte concertos by Saint-Saens. The work begins with a sort of free prelude, Allegro moderato, C minor, 4-4. A theme of eight measures is given out alternately by the orchestra and the piano- forte; it is treated now contrapuntally, now in free preluding fashion, somewhat after the manner of a cadenza. A French critic, Mr. Georges Servieres, speaks of this dialogue between pianoforte and orchestra "in the style of Beethoven." This species of introduction leads to the main body of the movement, an Andante in A- flat major, 4-4. There are soft and mysterious harmonies for orchestra with flowing arpeggios for the pianoforte. The chief theme, a simple melody, is developed at some length and enriched with varied ornamental work. The second movement, Allegro vivace, C minor, 2-4 (6-8), begins with a lively scherzando. The theme of the prelude to the first movement reappears in a faster tempo. Mr. Apthorp says of this movement, it "shows the composer in a vein which he has cultivated with great success, and in a style that can be traced to two very different influ- ences—to that of Mendelssohn, on the one hand, and that of Berlioz, on the other. By combining in this way two utterly different ways

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L 19 of giving musical expression to the same mood (Mendelssohn's and Berlioz's), Saint-Saens has here, as in several other compositions of his, succeeded in producing a style of light, tricksy writing that is very individual and thoroughly his own, borrowed as its component ele- ments may be." There is a short Andante, C minor, 4-4, with remi- niscences of the first movement. This leads to the Finale, Allegro, C major, 3-4. A theme that has the character of a folk-song is devel- oped energetically and brilliantly somewhat after the manner of the rondo. The concerto, dedicated to "Mr. Anton Door,* Professor of the Vienna Conservatory," is scored for two flutes, two oboes, two clar- inets, two bassoons, two horns, two trumpets, three trombones, kettle- drums, strings, and solo pianoforte.

ENTR'ACTE. AN ANCIENT ORACLE.

(From The Daily Telegraph, London, January 23, 1909.)

It is a pretty old story that times are changed. All who are young enough to remember their Latin grammar will call to mind the saw about times changing, and we with them. But this, if true at all, can surely refer only to individual atoms, and not to the big things composed of these atoms. If for things we substitute opinions, the result is the same, and we come round to another wise saw which has reference to history repeating itself.

Anton Door, pianist, was born at Vienna, June 20, 1833. He was a pupil of Carl Czerny and Simon Sechter. He began to give concerts in 1850, first in Germany, later with Ludwig Strauss, violinist, in Italy. In 1856-57, he gave concerts in Scandinavia, and at Stockholm was made court pianist and a member of the Royal Academy. In 1877 he made a tour with Sarasate through Austria and Hungary, and afterward he played with great success in Germany and the Netherlands. For ten years he taught the pianoforte at the Moscow Conservatory, but in 1869 he was appointed professor at the Conservatory of the Society of Friends of Music at Vienna. He retired when Emil Sauer was appointed " master school teacher " (1901). ANNOUNCEMENT EXTRAORDINARY

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Sole Management of LOUDON CHARLTON - CARNEGIE HALL, NEW YORK 20 History certainly does repeat itself, whether it be musical history or other. Since music began the "new," that is, the progressive com- poser has been worried to death, metaphorically speaking, by the critics, his and work has been torn to pieces and, as it were, thrown to the dogs. Nevertheless, it goes on living, in spite of its rending, in spite of the critics. For, with all due deference to the august body whose business it is to sit in judgment, it is Time, and not they, which decides the fate of musical and other art works. In this respect Time has never changed.

Somewhere about the reign of George IV. there lived a versatile M.D., a graduate of Glasgow, but an old Etonian, named William Kitchiner, among whose literary remains are two volumes, respectively entitled "The Cook's Oracle: The Art of Invigorating Life," and "The Trav- eller's Oracle; or, Maxims for Locomotion." It is of the latter I would write, though it does not look a promising subject for an article on a musical theme. But whatever Kitchiner's knowledge of medicine, to say nothing of coal, from which he derived his income, he certainly was a musician. For intermingled with his hints to travellers for preserving their health, his estimates of the expenses of travelling on foot, on horseback, in stages, in post-chaises, and in private carriages, are a number of songs composed with some skill, but not much original- ity, by the worthy M.D., whose motto was, "Mirth and motion pro- long life." And a very good motto, too. One portion of "The Traveller's Oracle" may be regarded almost as a foreshadowing of Berlioz's delicious "Soirees de l'Orchestre," a book far too little read in these days, the more's the pity. The doctor pitches the tale of one Sandy McSiller, who on arrival at a Border inn demanded bed and board. The former was promised him by the innkeeper, but, alas! the whole of the food in the inn had been com- mandered by a certain Major Sharp and a friend. These latter gentle- men, however, received McSiller with all the politeness possible at

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their own table, and opened their meal with the toast "Here's a health to all those that we love." The evening sped merrily along its appointed way, songs from the different members of the party being abundant, and, as time passed and the generous wine flowed freely, quoth the Major: "Come, waiter,

come, bring some Welcome glasses, none of your Acorn glasses : bring us some manly, Old English half-pint bumpers, and let us have a Mag- num of Warm Heart." (On this there follows an elaborate receipt for preparing this "delicious drink," which seems to have been a patent concoction of the Doctor's invention. It is too long to reproduce, but the beverage certainly was not of the temperance order.) Before McSiller had arrived at the pitch of jollification requisite for the per- formance of the songs demanded of him by the company, there arose a wordy discussion on music in general. In this the Major's friend, a nameless captain, laid it down as an argument that "a Plain Ballad was not only the delight of his ear, but was also the chef d'ceuvre of singing." He proceeded then to explain that "from its simplicity it is apparently easy enough, however, to warble a ballad with grace- ful expression, as we hear it from Braham or Sinclair, requires quite as much judgment and as attentive consideration of every Note and every Syllable, as it does to execute the most intricate Bravura. The former is an appeal to the heart, the latter merely plays about the ear, and seldom excites any sensation beyond.

" I like the plain Song without vain repetitions, Soft Cadences, Graces, or running divisions; I love 'Auld Lang Syne' and sweet 'Gra Machree Molly,' So strike up the Jorum to chase Melancholy."

Now, are the Captain's sentiments and his thesis very different from those which are in vogue to-day. Has time changed in this respect ? Up rose the Major and spoke in a manner that showed even more convincingly that Time changes little, and we even less, if we exam- ine ourselves truly. "My dear Captain," said he, "People are prone to admire most what they understand least. It is one of the most unrea- sonable affectations that Mr. John Bull's arbiters of fashion have ever insisted upon that worthy person's submitting to. However, arbi- trary fashion, from whose imperative decree there is no appeal, has pronounced it to be extremely genteel to sing Italian songs, and to be seen at the Italian Opera!" (Has Time changed?) "But—

"To be sure * .; I'm not a connoisseur, Arrah, will you now be aisy? I don't the Uproar know at all, And then I have not heard them squall, From Mingotti to Marchesi, Who pretty well have sucked the pence,

[: , And sold the English Sound for Sense, The soft John Bull to ta^e by the Ears, To whom this Babel proves the music of the Spheres.

Astonish'd, John cries, Bravo ! Encore And swears all English Music's a vile bore."

' To this the Captain replied vigorously that ' the furious admiration with which would-be-thought polite 'people pretend to listen to for- eign music is a piece of silly affectation—yet Vanity seems to pre- 22 vail T even overHhe very sense of Pleasure, and the Italian Opera is more frequented by people of fashion than any other public diversion, who, to avoid the imputation of want of taste, submit to some hours of painful attendance on it every week. But the most outrageous Fanatico per la Musica will not venture to impeach his understanding by pretending that his ears have ever been half so filled with pleasure by any Oltramontani Queen of Quavers, as they have by our mellifluous native Warblers, Crouch, Jordan, Billington, Bland, Stephens, Carew, Povey, etc., or our matchless Champion of Song, Mr. Braham.

"Italian music, sweet because 'tis dear; Their Vanity is tickl'd, not their ear; Their tastes would lessen if the prices fell, And Shakespeare's wretched stuff do quite as well."

As a final utterance the gallant Captain clinched matters in this wise: "Of the late importation of the unaccountable assemblage of unconcatenated Discords and Hobgoblin Dramas from Germany, while we have such universally esteemed musicians as The Father of English

Harmony, our Orpheus Anglicus, William Shield, T. Cook, J. Braham, &c. —to use the gentlest terms, I must say, I wish to see it as unpop- ular as it is unpatriotic. Let it not be again said that our Excellent English Musicians, who are ornaments to our country, are less patron- ized, and that double and treble price is paid to Foreign Artists of Inferior Talents." Again, Has Time changed? Let us hope it is at least changing, and that some portions of our musical history will refrain from repeating themselves.

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26 FOURTH MATINEE,

SATURDAY AFTERNOON, FEBRUARY 20,

AT 2.30 PRECISELY.

PROGRAMME.

Paderewski ..... Symphony in B minor, Op. 24

I. Adagio maestoso ; Allegro con fuoco. II. Andante con moto. III. Allegro vivace.

Beethoven . Concerto for Pianoforte, No. 5, in E-flat major, Op. 73

I. Allegro. II. Adagio un poco moto.

III. Rondo : Allegro ma non troppo.

SOLOIST, Mr. PADEREWSKI.

The pianoforte is a Weber*

NOTE.— As the DOORS WILL BE CLOSED during the performance of the first movement of the Symphony, which requires 25 MINUTES, patrons are urgently requested to be prompt in attendance.

There will be an intermission of ten jninutes after the symphony, 27 —;

Symphony in B minor, Op. 24 Ignace PadeRBWSki

(Born, November 6, i860, at Kurilowka, in Podolia, a former province of Poland; now living at Morges, Switzerland.)

The following sketch of this symphony is based on information furnished by the composer.

The symphony Op. 24 is in three movements : I. Adagio maestoso

Allegro fuoco ; II. Andante con moto; III. Allegro vivace. The themes of the first movement were sketched in the summer of 1904. The three movements which now compose the work were com- pleted, and the parts were copied in December, 1908. "The symphony is written as a patriotic tribute of the composer to his native country, and it was directly inspired by the fortieth anniversary of the revolution of 1863-64. There is no absolute programme for

either the first or second movement. The first movement is free, but classical in form. It seeks to celebrate Poland's great heroic past. The themes, although racial in character, are not based on popular melo- dies. The same is true of the second (slow) movement in which the composer endeavors to express the lyric nature of his race. "In the third movement Mr. Paderewski has followed a sharply defined

programme. It is in effect a symphonic poem, and is peculiarly in memory of the revolution of 1863-64. "In the opening of the movement is felt the spirit of social and po-

litical unrest which filled the country prior to the outbreak of the war, the unrest of the young hot-heads, the youth of the nation, who longed for independence. Older heads, conservative age, counselled patience and caution, urged the impossibility of a successful issue. This despond-

ent feeling is expressed in a treatment of the national anthem, from

which all buoyancy and joyousness have been taken. The anthem is

treated not unlike a dirge; it appears in a subdued, sad mood. "The youth refuse to listen. The atmosphere of restlessness subdues the remonstrances of the elders, and the spark of revolution ignites with the appearance of the second theme, a theme of brilliant chivalric char- acter, which has been heralded by faint distant trumpet-calls,—the sum- mons to war. "Light-hearted, gay, and confident, the youth of Poland depart for battle. The first conflict is characterized by the use of sarrusophones, which, with their dark, heavy coloring, express the weight and over-

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school for young ladies ; limited numbers : personal guidance ; unusual musical opportunities ; strong Advisory Board of eminent musicians and educators. Send for PROSPECTUS which defines LIEDERHEIM'S advantages. Write us your desires and arrange for interview. LIEDERHEIM will satisfy you. 28 whelming strength of the oppressing force. Again is heard the Polish anthem, this time strong, vigorous, and battling; yet, as the conflict pro- gresses, it is gradually lost in the gloom of defeat, finally disappearing in an atmosphere of utter despair. "Then a funeral dirge celebrates the heroes that are gone. The themes of unrest heard in the first movement reappear, but are divested of their substance. They are as shadowy and as unsubstantial as the heroes that have passed away. They are bitter memories of defeat. Upward they soar, higher and higher, —lamentations for the fatherland ascending to heaven. "A quick transition of mood follows, from gloom to brightness. Hope returns, and in the recapitulation and climax one hears again the splen- did buoyancy of the theme of chivalry from this third movement, the theme of the heroic past from the first movement, and a third theme on which will be built the fourth movement yet to be written." The symphony is complete as a work in its present shape, but Mr. Paderewski contemplates a fourth movement. It will be a scherzo. The work is scored for three flutes, three oboes (one interchangeable with English horn) , three clarinets (one interchangeable with bass clari- net), two bassoons, contrabassoon, three sarrusophones, four trumpets, four horns, three trombones, one bass tuba, harp, organ, a set of three kettle-drums, side-drum, cymbals, triangle, tam-tam, tambour de basque, tonitruone, and the usual strings. The tonitruone is an instrument of percussion which Mr. Paderewski himself invented. It gives the feeling of far-distant thunder in a way which cannot be accomplished with the bass drum.

Concerto No. 5, E-flat, for Pianoforte and Orchestra, Op. 73. Ludwig van Beethoven

(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.)

Beethoven wrote this concerto in 1809 at Vienna. The town was occupied by the French from May 12 to October 14. Other works of the year were the String Quartet in E-flat, Op. 74, the Sonata in E- military flat, Op. 81a, Sonata, F-sharp major, Op. 78, a march for a band, some pianoforte pieces, and songs. And it was in 1809 that Haydn died. Joseph N MANHATTAN GRAND OPERA SCHOOL AND VOCAL STUDIO Under the direction of GUSTAV HINRICHS (Conductor of American, National, and Metropolitan Opera) an d the e e Mr. HINRICHS will be assisted by a corps of the best asjsistants !^gj,9B PERFORMANCE WJ^ki,*r ||.g£| . Manager in America. Practical stagework daily. TRIAL 2228 BROADWAY, near 79tK Street DATE OF OPENING OCTOBER 1st, 1908

4. Send for circular. Mr. Hinrichs will be at the Studios daily from 10 to 39 The autograph bears this inscription: "Klavier Konzert 1809 von

LvBthvn." The concerto was published in February, 181 1, and the title read as follows: "Grand concerto pour le Pianoforte avec accom- pagnement de l'orchestre compose et dedie a Son Altesse Imperiale Roudolphe Archi-Duc d'Autriche, etc., par L,. v. Beethoven OBuV. .73." It is said that the first public performance of which there is any record was at Leipsic on November 28, 181 1. The pianist was Friedrich Schneider.* The Allegemeine Musik Zeitung described the concerto as "without doubt one of the most original, imaginative, effective, but most difficult of all existing concertos." Schneider, it seems, played "with soul" as well as force, and the orchestra accompanied remark- ably, for "it respected and admired composer, composition and pianist." The first performance with which Beethoven was concerned was at Vienna on February 12, 181 2, when Karl Czerny (1791-1857) was the pianist. The occasion was a singular sort of entertainment. Theodor Korner, who had been a looker-on in Vienna only a short time, wrote home on February 15: " Wednesday there took place for the benefit of the Charitable Society of Noble Ladiesf a concert and a representation of three pictures after Raphael, Poussin, and Troyes, as Goethe describes them in his 'Elective Affinities.' A new concerto by Beethoven for the pianoforte did not succeed." Castelli's Thalia gave as the reason of this failure the unwillingness of Beethoven, "full of proud self-confi- dence," to write for the crowd. "He can be understood and appre- ciated only by the connoisseurs, and one cannot reckon on their being in a majority at such an affair." Thayer moralizes on this statement.

* Johann Christian Friedrich Schneider, organist, pianist, composer, teacher (i 786-1853). He was busy as organist, pianist, and conductor at Leipsic from 1807 to 1821, when he settled at Dessau, where he died. t The title of this society was " Gesellschaft adelicher Frauen zur Beforderung des Guten und Nfitzlichen."

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"The trills of Miss Sessi* and Mr. Siboni f and Mayseder's Variations on the March from 'Aline' t were appropriate to the occasion and the audience/' And he might have added with reference to this concerto the line of Burns, slightly altered:

"Compar'd with this, Italian trills are tame."

The programme of this entertainment was as follows :

i. OuverturB Cariellieri% 2. Raphael's "Queen of Sheba doing Homage to King Solomon."

3. Scene and Aria from "Adelasia ed Aleramo" .... Mayr \\ (Sung by Ther. Sessi, her first appearance.) 4. Grand New Concerto for Pianoforte, dedicated to Archduke Ru- dolph by Louis van Beethoven, played by Carl Cserny (sic). 5. Pousson's " Esther Fainting before King Ahasuerus." 6. Aria from "Debora e Sisara" GuglielmiH (Sung by Mr. Siboni.) 7. Variations for Violin on the March from "Aline," Maiseder (sic). (Played by Mayseder.) -. 8. Duet from "Adelasia ed Aleramo" Mayr (Sung by Sessi and Siboni.) 9. Franz de Troyes's "The Arrest of Haman by Command of Ahasu- erus in the Presence of Esther."

The Vienna correspondent of the Allgemeine Musik Zeitung wrote that the extravagant length of the concerto diminished the total effect which the "noble production of the mind" would otherwise have made. As for Czerny, "he played with much accuracy and fluency, and showed that he has it in his power to conquer the greatest difficulties." But the correspondent wished that there were greater purity in his perform- ance, a finer contour. The tableaux pleased mightily, and each one was repeated. One of the first performances, if not the first, in Boston, was at a concert of the Germania on March 4, 1854. The pianist was Robert Heller.**

* There were four distinguished sisters by the name of Sessi. Marianne (i 776-1847) was, perhaps, the most famous, and she was applauded in many cities, although the Earl of Mount Edgcumbe heard her in Lon- don in 1815, and wrote: "The first woman, Sessi, was somewhat of a singer, with whom, though it was diffi- cult to find fault, it was equally so to be pleased." The oboist Parke admitted that her voice was "clear and powerful, its compass was extensive, and her style tasteful; but she sang without expression." Marianne married a rich grocer named Natorp. Imperatrice (1 784-1808) married an army officer, Baron von Natorp, brother of the grocer. Caroline sang at Naples. Anna Maria (1790-1864) began her career at Vienna about 181 1, and afterward was known on the stage as Neumann-Sessi. This debutante was probably Maria Theresa Sessi. She was of another family, and began her career at Parma iff 1805; and on December 26 of that year she appeared at La Scala, Milan. She went to Vienna, afterward to cities of Poland and Russia, and from 1835 to 1837 she sang again in Italy, but without conspicuous success. t Giuseppe Siboni, celebrated tenor, was born at Bologna in 1782. He was for a long time at the opera house in Prague. He died at Copenhagen in 1839. % Joseph Mayseder, violinist and composer (1 789-1863), was born at Vienna, and he died there. He seldom gave concerts, and he never went on tours; yet, as a virtuoso, he was admired by Paganini. There were several operas founded on the story of Aline, Queen of Golconda. The most famous were by Monsigny (1766), Berton (1803), Boieldieu (1808), Donizetti (1828).

§ Casimir Anton Cartellieri (1 772-1807), composer and chapel-master to Prince Lobkowitz at Liebeshausen

II "Adelasia ed Aleramo," opera by G. S. Mayr (1763-1845), was produced at La Scala, Milan, December 26, 1806, when Sessi created a part.

IF "Debora e Sisara," oratorio (1794), by Pietro Guglielmi (1727 (?) -1804). "** Robert Palmer, known as Robert Heller, was born at Canterbury, England, in 1833. He studied music and at the age of fourteen won a scholarship in the Royal Academy of Music, London. Fascinated by the performances of Robert Houdin, he dropped music to become a magician, and he came to the United States in September, 1852. Some say that he made his first appearance in New York at the Chinese Gardens as a Frenchman; others, that his first appearance was at the Museum, Albany, N.Y. He met with no success, and he then went to Washington, D.C., where he taught the piano and served as a church organist. He married one of his pupils, Miss Kieckhoffer, the daughter of a rich banker, and at once went back to magic. In New York he opened Heller's Hall, and was eminently successful. He then went to London, opened Poole's Theatre, and he came back to New York in 1875. He had given exhibitions of his skill in Australia and India. He died at Philadelphia, November 28, 1878. His name stands very high in the list of magicians. His tricks of "second sight" for a long time perplexed the most skilful of his colleagues. And he was one of the first to use electricity as a confederate. In his will he instructed his executors to destroy all his apparatus. For a long and interesting explanation of his "second sight" tricks, see "Magic," by A. A. Hopkins (Munn & Co., New York, 1897). 33 The concerto was called the "Emperor/' no doubt, "from its grand dimensions and intrinsic splendor." The orchestral part is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings. The first movement, Allegro, in E-flat, 4-4, opens with a strong chord for full orchestra, which is followed by a cadenza for the solo instrument. The first theme is given out by the strings, and afterward taken up by the clarinets. The second theme soon follows, first in E-flat minor softly and staccato by the strings, then legato and in E-flat major by the horns. It was usual at that time for the pianist to extemporize his cadenza, but Beethoven inserted his own with the remark, "Non si fa una cadenza ma s' attacca subito il seguente" (that is to say, "Do not insert a cadenza, but attack the following immediately"); and he then went so far as to accompany with the orchestra the latter portion of his cadenza. The second movement, Adagio un poco moto, in B major, 2-2, is in the form of "quasi-variations," developed chiefly from the theme given at the beginning by muted strings. This movement goes, with a sugges- tion hinted by the pianoforte of the coming first theme of the Rondo, into the Rondo, the Finale, Allegro, in E-flat, 6-8. Both the themes are announced by the pianoforte and developed elaborately. The end of the coda is distinguished by a descending long series of pianoforte chords which steadily diminish in force, while the kettledrums keep marking the rhythm of the opening theme. * * * Karl Czerny played Beethoven's Concerto in E-flat for pianoforte when it was produced for the first time in Vienna. Why did not the composer play it ? He made his first appearance in that city as a pianist when he played his Concerto in C major (March 29, 1795). He had improvised there privately in 1787, and for some years he was esteemed in Vienna as a pianist rather than composer. We find him playing his Concerto in G major and the pianoforte part of his Fantasia with chorus and orchestra in December, 1808, thirty years after he had appeared at Cologne as an infant phenomenon. But after that he BROWNS BROWN'S CAMPHORATED BRONCHIAL SAPONACEOUS TROCHES

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PRICE, 25 CENTS John I. Brown & Son BRONCHI* tirtii * Brtwi Hfg. Co., Ltd., lew lerk, I.I. BOSTON, MASS. Jthi L Brora * 8m, Beaten, last. 33 preferred to let his pupils interpret his works, the Baroness Ertmann in concerts of a private nature and Czerny in public concerts. Some years ago Franz Kullak wrote a series of introductory chapters to his excellent edition of Beethoven's concertos for pianoforte and orchestra. One of these chapters, devoted to consideration of Beet- hoven as a pianist, was Englished, in connection with Kullak's essay on the Execution of the Trill, by Dr. Theodore Baker, and published in 1 90 1 by G. Schirmer, of New York. Beethoven at a tender age was urged to severe piano practice. One of his teachers said of him when he was eight years old, "He plays the pianoforte with vigor and in a finished manner." When Beethoven, about seventeen years old, met Mozart, he complained that, although he took lessons from him,—probably in composition,—Mozart never played to him. Later he heard the Abbe Johann Franz Xaver Sterkel (1750-1817), then one of the foremost pianists in all Germany. "Beet- hoven, who had never before heard an ilustrious pianist, was unfamiliar with the fine shadings in the treatment of the instrument; his own playing was rough and hard." Nevertheless, he played his variations on "Vieni Amore" (composed about 1790), "also a great many other pieces not less difficult, and, to the extreme surprise of his hearers, in precise and perfect imitation of the elegant styles which had impressed him in SterkePs performance." Another wrote of him in comparison with Vogler: Beethoven is, "aside from his dexterity, more eloquent, imposing, expressive—in a word he touches the heart more ; he is there- fore as fine in Adagio as in Allegro." And this writer declared that the pianist had struck out a new path. Mozart had delighted by his clearness, roundness, tranquillity, delicacy. Beethoven surprised the Viennese by his vigor, fiery ex- pression, grandeur.

Here is a significant fact : "As Beethoven's creative genius continually sought greater and loftier tasks, his careful attention to the details of technic appears to have relaxed." ^And then his deafness increased. J. B. Cramer, himself a great pianist, the only pianist praised ~by Beethoven, said of his friendly rival, "All in all, Beethoven was, if not the greatest, certainly one of the greatest and most admirable pianists I have ever heard." He heard him in 1 799-1 800. Cherubini heard him five years later, and characterized his performance as "rough." Cle- menti described it as "little cultivated, not seldom violent, like himself, but full of spirit." The prevailing opinion was that his style was admi- rable, his technique adequate, and his touch too violent. When he played his G major Concerto at the famous performance in 1808, Reich- ardt bore witness that he played "with astounding cleverness in the

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35 fastest possible tempi. The Adagio, a masterly movement of beauti- fully developed song, he sang on his instrument with a deep, melancholy feeling that thrilled me." Czerny, the teacher of Liszt, was a pupil of Beethoven. He said of his master (i 800-1 805) that no one rivalled him in the swiftness of his scales in double trills; that his attitude was calm and refined, "without the slightest gesticulation (except bending over as his deafness increased)"; that he pedalled a great deal, "far more than is indicated in his works"; that his titanic force was too much for the instruments of the period. Ries, another pupil, said: "As a rule, he played his compositions most eccentrically; however, he usually kept strict time, though he would occasionally hurry somewhat the tempo." Nisle wrote: "As a player he is, to be sure, inferior to many others in elegance and technical accomplishments ; and, as he was hard of hear- ing, he played rather loud; but one lost sight of his defects when the master disclosed the depths of his soul." Here surely are opinions at variance. It must be remembered that some of them came to us through the speech of several, and that in some instances the original speech was the recollection of a man who heard Beethoven years before he was questioned about him. Some years ago, in Boston, Mr. Busoni was praised by certain persons for his delicacy; by others he was reproached for his violence. And which opinion was the true one? There is always interest in speculation concerning a composer's inter- pretation of his own works. In some instances the composition suffers because the technic of the composer-pianist is inadequate. Thus Brahms—I speak from personal knowledge—in the eighties was a coarse, nerve-rasping pianist. To-day you often hear a pianist reproached for his interpretation of Beethoven's music. "No, his performance was not in the spirit of Beet- hoven,"—a beautiful phrase, like that other phrase, "The chronometer of God never errs," which in Mark Twain's story passed as beautiful until some one had the boldness to ask, "What is the chronometer of God?"

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If Beethoven should play his sonatas to us now in Boston, would not some one complain of his lack of temperament? and might not some one say, from force of habit: "He is an interesting pianist, but he should not attempt to play Beethoven: he had better stick to Chopin or Liszt"? * * Let us see what Beethoven himself said about pianoforte music and pianists. We quote from "the excellent little book, "Beethoven: The Man and the Artist, as revealed in his own Words," compiled and anno- tated by F. Kerst, translated and edited with additional notes by|H. E. Krehbiel York, (New 1905): | "It has always been known that the greatest pianofortefplayers were also the greatest composers ; but how did they play ? Not like the pianists of to-day, who prance up and down the keyboard with passages in which they have exercised themselves putsch, putsch, putsch;—what does that mean? Nothing. When [the true piano- forte virtuosi played, it was always something homogeneous, an entity; it could be transcribed and then^it appeared as a well-thought-out work. That is pianoforte playing; the other is nothing!" (18 14.) 'Candidly I am not a friend of Allegri di bravura and such, since they do nothing but promote mechanism." "The great pianists have nothing but technique and affectation." (1817.) "As a rule, in the case of these gentlemen [pianoforte virtuosi] all reason and feeling are generally lost in the* nimbleness of their fingers." HOTEL RENNERT BALTIMORE, MD.

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' He said to Czerny, who was teaching his nephew Karl : ' With respect to his playing with you, when he has acquired the proper mode of fingering and plays in time and plays the notes with tolerable correct- ness, only then direct his attention to the matter of interpretation; and when he has got thus far do not stop him for little mistakes, but point them out at the end of the piece. Although I have myself given very little instruction, I have always followed this method, which quickly makes musicians,, and that, after all, is one of the first objects of art." "Always place the hands at the keyboard so that the fingers can- not be raised higher than it is necessary; only in this way is it pos- sible to produce a singing tone." "The solo sonatas [Op. 109-111?] are perhaps the best, but also the last music that I composed for the pianoforte. It is and always will be an unsatisfactory instrument. I shall hereafter follow the example of my grand master, Handel, and write every year only an oratorio and a concerto for* some string or wind instrument, provided I shall have finished my tenth symphony (C minor) and Requiem." "God knows why it is that my pianoforte music always makes' the worst impression on me, especially when it is played badly." Having heard Mozart's Concerto in C minor at a concert, he exclaimed to his companion: "Cramer, Cramer, we shall never he able to com- pose anything like that!"

ENTR'ACTE. HECTOR BERLIOZ AS CRITIC. BY PHILIP HALE.

Studying Berlioz, the music critic, as revealed to the world by Mr. Boschot in his entertaining volumes,* we have seen the composer criticis- ing at times with a view to his own interests ; criticising the compositions or performances of others to produce his own works, onto gain for himself certain positions; bitter against singers, alternately amiable and dis- agreeable toward managers, in the hope of maintaining Marie Recio, the fausse maigre, born Martin, in a subordinate position at the Opdra. Thus did Berlioz show himself human; that is, weak. Yet as a critic he wielded a mighty influence for good. His courage, which approached recklessness, was proverbial. His honesty, even when he praised Meyerbeer, poor Miss Bertin's opera, and Miss Recio's figure, face, and voice, was not questioned by those who knew him. He was not the only one who found admirable pages in

"The Huguenots," which still remains a work that may well command

* Adolphe Boschot's "La Jeuuesse d'tro Romantique " (Paris, 1906) and "Uu Romantique sous Louis Philippe" (Paris, 1908), 38 respect and admiration for certain pages; he was discriminative in his eulogy of "Esmeralda," for he pointed out faults and recommended im- provements. He was infatuated with Marie and he married her after the death of his first wife, whose last years were years of bodily fatness, drunkenness and maniacal jealousy. Read carefully his comments on Marie's singing, and you will not find extravagant commendation. The

worst that may be said about his treatment of her as a singer is that he probably paid her more attention than he would have done, had he not been personally interested in her. That he obtained a position for her is not injurious to his reputation as a critic. It seems to me that Mr. Boschot in his desire to write the one authori- tative life of -Berlioz, and to bring him as a man clearly before the readers of to-day, has dwelt almost amorously on matters of insignificant

detail. Let Mr. Boschot, who, it should be remembered, is a warm

admirer of Berlioz, the genius, do his worst. Berlioz still remains the most vivid, the most brilliant of music critics, and for many years in the face of apathy and discouragement he fought valiantly, desperately for the best music and for general appreciation of this music. That he included his own music among the best showed his perspicacity. To-day he must be fairly ranked among the few great ones of the nine-

teenth century who expressed their emotions and their views of life and

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39 The career of Berlioz as a critic may serve as a text for the discussion of musical criticism in general. There are questions that are often asked: Should not a critic be a thoroughly trained musician, a com- poser or the master of an instrument or of the voice ? Should he be a partisan ? Should not his first aim be to educate the public ? Should he be young or old ? Should he be intimate with musicians or should he keep aloof from them ? Berlioz was an extraordinary man, a genius, a creator as well as a translator into music, but in the narrow meaning of the word he was not an accomplished musician. His early training amounted to nothing. At the Conservatory he shocked his teachers by his contempt for counter- point and his heterodoxy. No doubt graduates from the. conservatory in Boston are better grounded in harmony. He played as an amateur on the guitar. He was not a violinist or a pianist. He could not have supported himself by playing any orchestral instrument. He was not a "natural singer, " nor did he study the art of singing.

In his criticisms, therefore, there is as a rule a lack of technical analysis, but the display of the higher qualities that made him great as a composer, musical instinct, sense of color, abhorrence of platitudes, sympathy with that which was nobly antique or passionately romantic, towering imagination, also distinguished him as a critic from others who were concerned only with the letter of the law. Baudelaire stoutly insisted that a critic worthy the name must be a partisan; that his own theories and beliefs must shape his articles in which he comments on the works of others. Berlioz was certainly a partisan in that he joined the romanticists. His romanticism was elastic: it included the tragedies of Gluck and the symphonies of Beethoven, the operas of Spontini and those of Weber. He was a partisan in this: he was not interested in music that did not appeal to him, even though the structure of that music was flawless. Pere Tournemine remarked shrewdly that a man admires in an author only those qualities which have the germ or the root in himself. Sainte-Beuve, quoting this saying, added that there is a relative degree to which a mind raises itself ; this mind cannot go higher, and, having attained this degree, it judges as best it can. Berlioz was not unique as a critic because he was a composer, but in spite of his creative faculty. Whenever he judged solely as a composer, he said strange things, as other composers before and after him. Read Weber's articles on Beethoven's symphonies, —how inferior in judgment and in sympathy to those written by E. T. A. Hoffmann, who, as a com- poser, is known only to the antiquarian. There are Spohr's singular views of Beethoven's music. Beethoven himself expressed singular opinions concerning his contemporaries. If Schumann saw the genius of Chopin, he also saw true swans in certain German geese. How often he praised to the skies composers whose very names are now unfamiliar! How bourgeois, how narrow was Mendelssohn in his estimates ! And did not Tschaikowsky, Brahms, Grieg, express themselves at times to the wonder, if not the consterna- tion, of their admirers ? Has not Debussy spoken as a madman beating a drum? 40 A teacher is not qualified for general criticism because he is a teacher. If he be a teacher of the piano, he is interested first of all in matters of mechanism, in the "method" of the pianist that appears before him for judgment. He has his own ideas. Woe to the virtuoso who succeeds in spite of them ! In like manner the singing teacher is concerned with the tonal emission, the manner of breathing, points of mechanism, rather than with the interpretation of the poet's sentiment which the composer emphasized or put as a precious stone in a fit set- ting. The critic as teacher may write well about the mechanical merits of a performance, but it will be hard for him to judge without prejudice, to take a broad view, to sympathize with the performer's aesthetic purpose, unless the critic and the criticised be avowedly of the same school. The critic should surely have a knowledge of the capabilities of in- struments and of the human voice; he should have been drilled in the elements of theory, the grammar of composition. He should know intimately the history of music. It will not harm him to play the piano or the violin, to have written his contrapuntal exercises, to be a member of an orchestra, to lead a choral society. He should have a practical knowledge of music and of the difficulties necessarily encountered by singers and instrumental players. If a composition be crudely constructed or shabbily orchestrated, he should be able to tell the reason why. If the performance be poor, he should know why it is poor. But it is not necessary for him to be a composer or a virtuoso. A critic may not be able to sing delightfully, and he may yet judge intelligently the total impression made by the singer on the stage. Neither he nor the public is interested first of all and chiefly in mat- ters of mechanical detail. A critic may not be able to trill; his in- ability does not preclude him from saying honestly that Miss Gazaba's trill was like a coffee mill. It is not necessary for him to explain to the public why this comparison was inevitable. A critic may not be able to play the much-abused polonaise of Chopin, but he has a right to say that Mr. Hammerkuis butchered it and man-handled the piano, or that Mme. Solferina turned the polonaise into a jam-pot of sentiment. There are two distinct faculties, —the creative and the critical. In many concerts the symphonic poem or the cantata is merely an excuse for a brilliant article. This article need not shine at the expense of the unfortunate composer. His work should serve as a text and the ser- mon should be of benefit to him as to others. How often you hear the composer saying of a critic, "I should like The Berlitz School of Languages NEW YORK, nadison Square Brooklyn. 73 Court Street Paris, 27 Avenue de POpera Philadelphia. Loder Buildng London, 231 Oxford Street Chicago, Auditorium Berlin, 113 Leipziger Strasse St. Louis, Odeon Rome, 114 Via Nazionale Washington, 723 14th Street, N.W. Madrid, 5 Preciados Prospect Baltimore, 14 West Franklin Street St. Petersburg, 6 Newsky Boston, 132 Boylston Street Vienna, Graben 13 Europe. And over 300 other branches in the leading cities of America and GRAND PRIZES AT ALL RECENT EXPOSITIONS Lessons may be transferred from one to any other Berlitz School. , Pupils speak and hear the new language exclusively from the beginning. evening. Lessons at school or residence, in classes or privately; day or Best native teachers. Rates moderate. TRIAL LESSON FREE 41 to see him write as good a piece!" And so, when there was the outcry against slavery in the South, the retort was: "Would you be willing to have your sister marry a negro?" The one answer is as pertinent as the other. If the critic has neither theoretical nor practical knowledge of music, he becomes a phrase-monger, and, although his articles may be graceful and redolent with a literary flavor so that they please the ladies, those acquainted with music will pass them by. It happens more than once that a ready-witted man, with the gift of fluency, with a good memory so that he retains what he has read, with a natural taste for the beauti- ful, with a keen sense of an audience's appreciation or rejection, may sit in the critic's chair and write plausible articles. Sooner or later he is found out. He is revealed as a man writing pleasantly about music, as he would about a trip to the Yellowstone, the jute crop, or the latest quick-seller. And so we had not long ago the melancholy spec- tacle of Mr. Arthur Symons, who writes intelligently and as a poet about literature, contributing colored nonsense as a music critic to the Saturday Review. It has been said that the young critic is buoyant, enthusiastic optimistic; that the critic of. many years is bored and unemotional. Youth, as Liszt said, is the time for virtuosity; it is hardly the time for judgment based on experience, comparison, meditation. George Farcy described the young man as enthusiastic in his ideas, stern in his judg- ments, passionate in his opinions, both bold and timid in action; he reasons in place of observing; he is an intractable logician; the right not only dominates, it crushes the fact. "Later he learns that there is a reason for every doctrine, that there is an explanation, if not an excuse, for every action." If the young man has studied seriously, he is still under the influence of his teachers. If they were of the old school, he has little sympathy with modern tendencies. If they were ultra-modern, then the old masters have only a historical interest, and only the radicals make for musical righteousness. Reared musically in Germany, he honestly believes that music is made in Germany; in our own country, only after approved German patterns. The young man is intolerant. Sometimes he believes he has a mission. The public is to be educated by his articles, it is to be con- ducted personally to the temple of true art. A singer should sing only songs by Schubert, Schumann, Franz,

Brahms ; or, if the critic be of the other wing, songs by Loeffler, Faur6, Strauss, Wolf, Debussy. The pianist should also be a partisan. Ah, who of us has not passed through these yeasty years! We were all sincere in our views and opinions, —and this was the most pathetic feature of our work. We all took ourselves seriously, too seriously perhaps. Changes in popular taste are constant and inevitable. Some of us thought, possibly, that we were instrumental in bringing about these changes, which would have come, however, had we served as blameless clerks in the shops of apothecaries. "Like Plato's sage, it is only at fifty that the critic rises to the true height of his literary priesthood, or, to. put it less pompously, of his social function. By then only can he hope for insight into all the modes of being, and for mastery of all possible shades of appreciation." This was the opinion of Amiel, who was critical to the verge of self-torture.

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The critic by the time he reaches fifty should have educated himself. The opera he hailed twenty years ago as a fixed and shining star turned out to be the comet of a season. The virtuoso who was enthroned by him as a chaste and noble interpreter fell into mannerisms and set traps for applause. The composer who suddenly appeared to lead trium- phantly in new paths fell quickly by the wayside. A critic should keep scrap books of his articles. Looking over columns written with his heart's blood a dozen or even half a dozen years ago, he learns humility. Were those his thoughts? Had he the audacity to express them so positively, so violently? As the years pass, the critic, if he listens and meditates, has a less con- tracted horizon, a broader sweep of vision. He realizes the fact that there were imaginative composers before Debussy; that Debussy in "Pell£as and Melisande" may have said his last word—in music, but not the last word. The critic is now ready to accept both Mr. Pader- ewski and Mr. de Pachmann, when each is in the vein. He* enjoys both Mme. Melba and Miss Garden. In hearing orchestral music, he is neither Russian nor French, German nor Italian. He hears with keen pleasure Beethoven's "Coriolanus" overture or LoefHer's "Pa- gan Poem"; Cesar Franck's symphony or Gluck's overture to "Iphi- genia in Aulis." Yet he is not dazzled by the brilliance of a name, ancient or modern he is conscious of the fact that the wildly romantic music of to-day may be tamely classic to ears in 1926; he will still inveigh against the pre- tentiously ignorant, the climbers, the poseurs, the money-changers and the charlatans in the art that is dear to him. He writes his articles with the same gusto, not in the hope of persuading the public to accept his views, much less to turn composers and performers from the error of their ways, but for his own satisfaction, to fulfil his duty to his em- ployer, to give the public the best he has within him, to be faithful to himself. The critic of fifty years has heard many famous singers and players he has seen changes in public taste; he has observed the acceptance of music that was at first rejected with scorn, the enthusiasm over this music, and at last the lack of interest in it and the quiet dismissal. The man that has heard Rubinstein and von Bulow has a surer standard of judgment than he that began his piano recital life six years ago. The man that heard Brignoli, Campanini, Lucca, Faure, Patti in her prime, may be pardoned for not losing his head in rapture over more modern singers so that he rushes into print with mad superlatives of praise. There has always been much to admire and much to condemn. Marie Recio disturbed for a time the critical v.ision of Berlioz. Should the critic carefully abstain from familiar intercourse with composers, singers, players? If the critic wishes to be outspoken, it is certainly better for him not to go beyond an amiable bowing acquaintance. It is not pleasant to tell the public that in your opinion a friend has failed. In the desire to be scrupulously honest the young critic, wishing to show his impartiality, exercises the malice of a friend and treats the work or performance with a greater severity than is necessary. It should never be forgotten that, strive as he may, a critic, praising, seldom responds fully to the expectation of a friend, especially when the friend asks for a wholly unbiassed judgment.

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ALBERT HILDENBER6. Studio, 123 Carnegie Hall New York

October till June, New York June till September, Paris, 33 Rue Francais Premier

Vocal, Instrumental, Ensemble, Ear-train- ing, Theory, Interpretation, History, Sight- Advanced Tuition in Mnsic. reading, Memorizing, etc. Courses for teach- ing, concert, and appreciation. Excellent teachers for each department. GUSTAV L. BECKER, Director Studios, 1 1 West 42nd Street and NEW YORK Steinway Hall, 109 East 1 4th Street CITY

BARITONE. PERRY AYERILl Prepares Singers for the profession Studio, 220 West 59th Street

'Phone 1097 Col.

Mme. GROSSKOPF, SIEQnUND GROSSKOPF, 1204 Carnegie Hall. 1204 Carnegie Hall DRAMATIC SOPRANO. GraduatedDiplomaConservatory,Frankfort-on-Main Artistic Violin Instruction from beginning Instruction from careful and correct tone to finish. Succesful Teacher and Soloist, placing to reportoire ; diploma highest refer- Pupils' recitals ; circulars mailed. Highest ences ; studied in Paris with Desiree Artot. references.

NEW YORK AND BROOKLYN

PIANIST. WILLIAM BADER. RECITALS and INSTRUCTION.

123 Carnegie Hall.

VOCAL INSTRUCTION WALTER S. YOUNG, 801-802 Carnegie Hall, NEW YORK. 46 VOCAL INSTRUCTION. PIZZARELLO, Voice Developed. Style, Diction. 851-852 Carnegie Hall, New York.

PIANOFORTE INSTRUCTION.

Certificated Teacher of the CHARLES LEE TRACY, Leschetizky Method.%

Studio, Carnegie Hall, NEW YORK. BARITONE, TRESSLER SCOTT, Specialist in Building, Strengthening and 135 Carnegie Hall, Beautifying of Voice through the Expres- sion of Thought and Feeling in Singing NEW YORK. and Speaking.

PIANIST and TEACHER.

Graduate of Leipzig Conservatory 1880-04 EDWIN FARMER, Post graduate student at Berlin, 1902-4 Studio 1007 Carnegie Hall Residence, 301 W. 107th Street, New York City

COLORATURE SOPRANO. Concert, Oratorio, and Song Recitals line. MINNA KADFMANN, Pupil of the celebrated Lhhmann Teacher of the Lehmann Method Studio, 809 Carnegie Hall New York

Pianist and Teacher. EUGENE HEFFLEY, STUDIO, 707-708 CARNEGIE HALL.

TEACHER of SINGING.

E. PRESSON MILLER, 1013 Carnegie Hall, NEW YORK.

Telephone. 1350 Columbus.

MUSICAL INSTRUCTION.

PIANIST. Miss LAURA HAWKINS, LANQ STUDIOS, No. 6 NEWBURY STREET.

47 Mr. ALVAHGLOVER SALMON, Material for lectures obtained in Moscow and St. Petersburg through personal interviews with Cui, PIANIST. Balakireff, Glazounoff and Rimsky-Korsakoff.

Lecture-Recitals (Russian Music). Circulars containing criticism from American, Management C. W. Thompson & Co. English, French, German, Russian, and Australian Music Publishers, A and B Park St., Boston, Mass. journals, forwarded upon request. Engagements now booking for 1909-10.

PIANISTE and TEACHER.

Mrs. CAROLYN KING HUNT, Hemenway Chambers, BOSTON.

TEACHER OF SINGING. Miss CLARA E. MUNGER, NEW CENTURY BUILDING, 177 Huntington Avenue, Boston. TENOR- BARITONE. Pupil of Professor Jachman-Wagner, Berlin, and Professor Galliera, Milan, Italy. Training and Finishing of Voice. KARL DOERING, School for Grand Opera and Oratorio. STEINERT HALL, ROOM 27. Open Monday, October 12. Send for new Prospectus. TEACHER OF SINGING. 602 Pierce Building, Miss PRISCILLA WHITE, Copley Square, BOSTON.

Tuesdays and Fridays at Lasell Seminary.

Tenor Soloist and Teacher. CLARENCE B. SHIRLEY, Concert and Oratorio.

Studio, Huntington Chambers, Boston.

HELEN ALLE/N HUNT, BOSTON MUSICAL BUREAU. Established 1899. CONTRALTO SOLOIST. Supplies Schools, Colleges, and Conservatories with Teachers ef Music, etc.; also Churches with Teacher of Singing. Organists, Directors, and Singers. Address HENRY C. LAHEE, No. 514 Pierce Building Boston 'Phone, 475-1 Oxford. 218 Tremont St., Boston Church Choir Agency CLARA Instrumentalists and Vocalists for Church or Con» TIPPETT cert Furnished at Short Notice Without Charge to the Church or Concert Com* pany for Commission. WM * ALDEN PA II I I F. N. ROBBINS 218 TREMONT STREET - ROOM 305 VOICE Telephone 1635 Oxford Highest References STUDIOS Concert. Oratorio. Mrs. SOPRANO Assistant, Lafayette GRACE R. HORNE SOODBAR, SOLOIST. TEACHER OF SINGING. 312 PIERCE BUILDING Thorough preparation for Concert and Church. Studio . . Steinert Ha)!. COPLEY SQUARE 'Phone, Oxford 1330. Mondays and Thursdays 48