Twenty-First Rehearsal and Concert*

Boston Symphony Orchestra*

SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES.

(Teleplione, J492 Back Bay.)

TWENTY-FOURTH SEASON, J9(H-J905.

WILHELM GERICKE, CONDUCTOR

ptOGtamme OF THE TWENTY- FIRST REHEARSAL and CONCERT

VITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE.

FRIDAY AFTERNOON, APRIL 7,

AT 2.30 O'CLOCK.

SATURDAY EVENING, APRIL 8,

AT 8.00 O'CLOCK.

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Twenty-first Rehearsal and Concert*

FRIDAY AFTERNOON, APRIL 7, at 2.30 o'clock.

SATURDAY EVENING, APRIL 8, at 8.00 o'clock.

PROGRAMME.

-f.. "JO-'T i_i^v-o. \s_fl./rwr\_£. "0. Smetana -Overture to the Opera, "The Kiss ." - First time

Handel ..... Concerto Grosso, No. 12, in B minor Largo, Allegro, Larghetto e piano. Largo, Allegro.

Saint-Saens " The Youth of Hercules," Symphonic Poem No. 4, Op. 50

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.

(First performance, April 7, 1805, in Vienna.)

There will be an intermission of ten minutes before the symphony.

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

City of Boston, Revised Regulation of August 5, 1898.— Chapter 3, relatlngr to the covering' of the head in places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest : J. M. GALVIN, City Clerk. 1359 L P. Hollander & Co.

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(Bom at Leitomischl, Bohemia, March 2, 1824; died in a madhouse at Prague, May 12, 1884.)'

" ' These are the operas of Smetana : Branibori v Cechach," 'The Bran- derburgers in Bohemia," serious opera, book by Karl Sabina (com pleted in 1863, produced at Prague, Januarys, 1866); " Prodana nevesta," "The Sold Bride," a comic opera in three acts, book by Karl Sabina (Prague, May 30, 1866); "Dalibor," serious opera in three acts, book by Josef Wenzig, Prague, May 16, 1868; "Libusa," festival opera in three acts, book by Wenzig, Prague, June 11, 1881; "Dve Vdovy" ("The Two Widows"), founded by Emanuel Ziingel on a comedy by MallefiUes, Prague, March 27, 1874, revised in 1877; "Hubicka" ("The Kiss"), comic opera, book by Ehska Krasnohorska, Prague,

November 7, 1876; "Tajemstvi" ("The Secret"), comic opera, book by Ehska Krasnohorska, September 18, 1878; "Certova stena" ("The

Devil's Wall "), comic opera, book by Eliska Krasnohorska, Prague, October 29, 1882. The opera "Viola," founded on Shakespeare's "Twelfth Night," begun in 1876, was not finished. Fifteen pages of the manuscript were fully scored, and fifty pages include the voice parts with an accompaniment of string quartet, but with the other orchestral parts unfilled. The title "comic opera," given to some of the operas, should not mislead one : the librettos include serious, even tragic, situations; thus, the story of "The Secret" is not unlike that of Erckmann-Chatrian's "Les Rantzau," chosen by Mascagni for operatic use (Florence, November 10, 1892). Smetana's operas have been performed at Prague in cycle form. When they celebrated the one hundredth performance of "The Sold

Bride" at Prague, May 5, 1882, Smetana said: "I did not compose it from any ambitious desire, but rather as a scornful defiance, for they

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1362 accused me after my first opera of being a Wagnerite, one that could do nothing in a Hght and popular style." The opera was composed, according to him, between January 5 and May 30, 1866; but Ottokar Hostinsky recalls the fact that in 1865 Smetana had performed frag- ments from a comic operetta, and Teige goes further and says the work was begim as far back as May, 1863. The libretto of "Hubicka" ("The Kiss"), a folk-opera in two acts, is by Ehska Krasnohorska, who based it on a like-named novel by Karo- line Svetla. It is a simple story of village life and superstition. A young peasant, Hanno, a widower, woos Marinka, his earlier love. Her father gives his permission, but his advice is against the match, for he thinks one is as self-willed as the other. This is proved before the wedding day, for Marinka refuses her betrothed a kiss. His entreaties and reproaches and threats are of no avail, for this high-minded and painfully conscientious maiden believes in the old superstition that it would disturb the jest of the dead wife in her grave if the widower should kiss the newly betrothed before the marriage day. Hanno has no respect for this superstition. He waxes angry and takes revenge by serenading her in charivari fashion, in dancing and playing the butfoon with gay girls before her window. Marinka, cut to the heart, leaves the house, and goes to her old aunt Brigitta, who is connected with a band of smugglers. "The old woman," to quote from the romance, "saw nothing scandalous in this calling, and the people in our mountains all think as she did."* The chief of this band, the venerable Steffan (in the romance his name is Matusch), is a God-fearing person, who in Lent abandons his trade, and also the use of tobacco, so that Heaven may smile upon him after Easter. Brigitta induces Marinka to follow

*So piracy was held to be an honorable calling among the ancient Greeks. For a description of an English village given up to smuggling, and how a clergyman was converted to the belief of these villagers, see the short story by Thomas Hardy.

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ARTHUR P. SCHMIDT, CHARLES W. HOMEYER & CO., 120 Boylston Street, Boston, Mass. 165 Tremont St., BOSTON, MASS. 1363 her at night and in a storm to the forest. Brigitta receives there from the pious Steffan a pack of smuggled goods, and returns home safely with the uneasy Marinka after a harmless interview with a frontier guard. I Meanwhile Hanno, torn by anxiety and remorse, has called together the whole neighborhood, that he may beg Marinka's pardon in public. He does this, he even refuses the kiss now offered him by his sweetheart, and is content to wait till the wedding day. In the romance there is a double marriage, for the old smuggler weds Brigitta:. The overture is scored for one piccolo, two flutes, two oboes, two clarinets in C, two bassoons, four horns, two trumpets, three trombones, kettledrums, triangle, strings. Themes of the opera are employed in the overture, as the duet between Hanno and Janusch in the second act, "Ah, poor friend," The structure of the overture may be easily followed, and it requires no analysis. The overture begins in D major, Moderato assai, 4-4, with a theme for full orchestra. Following sections are marked L' istesso tempo, 3-4; Allegro, D minor, 2-2; Maestoso; Allegro moderato, etc. * * Smetana from the beginning of his career to his death was a pas- sionate admirer of Liszt. In opera his ideal was Wagner, but in his own operas there was no deliberate imitation of Wagner. Smetana once said, "We cannot write as Wagner writes"; but he tried to pre-

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136S serve the relations between the drama and the music, the ever-flowing orchestral melody, which, however, should never interrupt, never disturb, the dramatic action, but should constantly display a consistent physiognomy. Furthermore, there is no trace of Wagnerian principles in his folk-operas. He was turned to the consideration of national music by Herbeck's remark at Weimar, when they were paying Liszt a visit, that the Czechs were simply reproductive artists. * * He was in a pitiable physical condition when he wrote "The Kiss." His deafness would have discouraged a stouter soul.

Smetana in 1881 told the story of his deafness to Mr. J. Finch Thorne, who wrote to him from Tasmania a sympathetic letter. Smetana answered that for seven years the deafness had been gradual ; that after a catarrh of the throat, which lasted many weeKs, he noticed in his right ear a slight whistling, which was occasional rather than chronic ; and when he had recovered from his throat trouble, and was again well, the whistling was more and more intense and of longer duration. Later he heard continually buzzing, whistling in the highest tones, "in the form of the A-flat major chord of the sixth in a high position." The physician whom he consulted found out that the left ear was also sympathetically affected. Smetana was obliged to exercise extraordinary care as a conductor; there were days when all voices and all octaves sounded con A NEW PATTERN

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13«7 fused and false. On October 20, 1874, he lost the sense pf hearing with the left ear. The day before, an opera had given him such enjoyment that, after he had returned home, he improvised for an hour at the pianoforte. The next morning he was stone deaf^ and until his death. The cause was unknown, and all remedies were in vain. "The loud buzzing and roaring in my head, as though I were standing under a great waterfall, remains to-day and continues day and night without interruption, louder when my mind is employed actively, weaker when I am in a calmer condition of mind. When I compose, the buzzing is noisier. I hear absolutely nothing, not even my own voice. Shrill tones, as the cry of a child or the barking of a dog, I hear very well, just as I do loud whistling, and yet I cannot determine what the noise is or whence it comes. Conversation with me is impossible. I hear my own pianoforte-playing only in fancy, not in reality. I cannot hear the playing of anybody else, not even the performance of a full orchestra in opera or in concert. I do not think it possible for me to improve. I have no pain in the ear, and the physicians agree that my disease is none of the familiar ear troubles, but something else, perhaps a paralysis of the nerves and the labyrinth. And so I am wholly determined to endure my sad fate in a calm and manly way as long as I live." Deafness compelled Smetana in 1874 to give up his activity as a conductor. In order to gain money for consulting foreign specialists Smetana gave a concert in 1875, at which the symphonic poems "Vysehrad" and "Vltava," from the cycle "My Fatherland," were performed. The former, composed in 1874, bears the inscription, "In a condition of ear-suffering." The second, composed also in 1874, bears the inscription, "In complete deafness." In April, 1875, he consulted physicians at Wiirzburg, Munich, Salzburg, Linz, Vienna; and, in hope of bettering his health, he moved to Jabkenitz, the home of his son-in-

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law, and in this remote but cheerful comer of the world he lived, devoted to nature and art. He could compose only for three hours a day, for the exertion worked mightily on his body. He had the tunes which he wrote sung aloud to him, and the singer by the end of an hour was voiceless. In February, 1876, he again began to compose operas. Under these conditions he wrote "The Kiss." The libretto pleased him so much that he put aside the opera "Viola," which he had begun, and composed the music to "The Kiss" in a comparatively short time (February—August, 1876). He determined henceforth to set operatic music only to librettos by Eliska Krasnohorska. The success of "The Kiss" at the first performance was brilliant, and the opera gained popu- larity quicker than "The Sold Bride." There are references to his deafness in the explanatory letter which he wrote to Josef Srb about his string quartet in E minor, "Aus meinem Leben" : "I wish to portray in tones my life : First movement of music when I predisposition Love was young ; toward romanticism unspeakable longing for something inexpressible, and not clearly delSned also a premonition of my future misfortune (deafness) . The long drawn- out tone E in the finale, just before the end, originates from this beginning. It is the harmful piping of the highest tone in my ear, which iti 1878 announced my deafness. I allow myself this little trick, because it is the indication of a fate so important to me. . . . Fourth movement The perception of the- individuality of the national element in music: the joy over my success in this direction until the interruption by the terrible catastrophe ; the beginning of deafness ; a glance at the gloomy future ; a slight ray of hope of betterment painful impressions ; aroused by the thought of my first artistic beginnings." The years of Smetana's deafness might well be named his classic period, for during these years of discouragement and gloom were born

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1371 the cycle of symphonic poems, "My Fatherland"; the string quartet in E minor; the opera, "Tajemstvi." In the year 1880 a prize of 1,000 guldens was offered by the Society for the building of a Czech National Theatre for the best serious opera, and Smetana took the prize with his "Libusa" (completed in 1872), which was produced June 11, 1881, at the dedication of this theatre. Smetana sat in the director's box and heard not a note. His last appearance in public as a pianist was at his fiftieth jubilee concert at

Prague, January 4, 1880. His opera, "Certova stena" ("The Devil's Wall"), was produced October 29, 1882. The proceeds of the third performance were intended for the benefit of the composer, but the public was cold. "I am at .last too old, and I should not write anything more; no one wishes to' hear from me," he said. And this was to him the blow of blows, for he had comforted himself in former misfortunes and conflicts by indomitable confidence in his artistry; but now doubt began to prick him. And then he wrote: "I feel myself tired out, sleepy. I fear that the quickness of musical thought has gone from me. It appears to me as though everything that I now see musically with the eyes of the spirit, ever)i:hing that I work at, is covered up by a cloud of depression and gloom. I think I am at the end of original work; poverty of thought

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1373 will soon come, and, as a result, a long, long pause, during which my talent will be dumb." He was then working at a string quartet in D minpr; it was to be a continuation of his musical autobiography; it was to portray in tones the buzzing and hissing of music in the ears of a deaf man. He had begun this quartet in the summer of 1882, but he had a severe cough, pains in the breast, short breath. There was a dreary benefit performance, the first performance of the whole cycle, "My Fatherland," at Prague, November 5, 1882. On the return from Prague, overstrain of nerves brought on mental disturbance. Smetana lost the ability to make articulate sounds, to remember, to think. Shivers, tremors, chills, ran through his body. He would scream continually the syllables te-te-ne, and then he would stand for a long time with his mouth open and without making a sound. He was unable to read. He forgot the names of persons near him. The physician forbade him any mental employment which should last over a quarter of an hour. Soon he was forbidden to read or write or play pieces of music ; he was not allowed to think in music. Humor, which had been his faithful companion for years, abandoned him. Strange ghosts and ghastly apparitions came to him, and played wild pranks in his diseased fancy. In March, 1883, he went to Prague, and, in spite of the physician, completed his second string quartet. He' dreamed of writing a cycle of national dances, "Prague, or the Czech Carnival," and he composed the beginning, the mob of masks, the opening of the ball with a polonaise. He again thought of his sketched opera, "Viola." The greatest of Czech composers knew nothing of the festival by which the nation honored his sixtieth birthday in 1884. His nerves had given way; he was in utter darkness. His friend Srb put him (April 20, 1884) in an insane asylum at Prague, and Smetana died there on the twelfth of the next month without once coming to his

- senses. ) | ? *

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ANNOUNCES the FIFTH PUB- LIC PERFORMANCE of the "SCHOOL OF OPERA, which will take place on Tuesday, April the eleventh, MCMV, at two o'clock, in the Boston Theatre, under the direction of Signor Oreste Bimbonu with a chorus and full orchestra. The program will consist of scenes from the following operas:

" The Masked Ball . Verdi "Haiducul" Bimboni " " Carmen • Bizet

"Aida" . . Verdi " •• I Falsi Monetari Rossi 'm-

Tickets, $1.50, $1.00, 75c., and 50c., on sale at the box office of the Boston Theatre. The proceeds of this performance will be devoted to free scholarships in the Opera School.

1376 —

These works by Smetana have been performed at Symphony Con-

certs : "Vysehrad," April 25, 1896, October 22, 1898, November 14, 1903. "Vltava," November 22, 1890, December 2, 1893, April 15, 1899. "Sarka," January 26, 1895.

"From Bohemia's Fields and Groves," December 8, 1901. ,^ "Wallenstein's Camp," symphonic poem, January 2, 1897. | "Richard III.," symphonic poem, April 25, 1903. Overture to "The Sold Bride," December 31, 1887, March 23, 18 January 15, 1898, March 10, 1900, January 30, 1904.

Concerto Grosso, No. 12, in B minor, George Frideric Handel

(Born at Halle on February 23, 1685; died at London, April 14, 1759.)

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1318 next. Subscriptions are taken by the author, at his house* in Brook Street, Hanover Square, and by Walsh." In an advertisement on November 22 the pubhsher added: "Two of the above concertos will be performed this evening at the Theatre Royal, Lincoln's Inn." The concertos were published on April 21, 1740. In an advertisement a few days afterwards Walsh said: "These concertos were performed at the Theatre Royal in Lincoln's Inn Fields, and now are played in most public places with the greatest applause." Victor Schoelcher made this comment in his Life of Handel: "This was the case with all the works of Handel. They were so frequently performed at con- temporaneous concerts and benefits that they seem, during his life- time, to have quite become public property. Moreover, he did nothing which the other theatres did not attempt to imitate. In the little theatre of the Haymarket, evening entertainments were given in exact imitation of his, — 'several concertos for different instruments, with a variety of chosen airs of the best masters, and the famous Salve Regina of Hasse.' The handbills issued by the nobles at the King's Theatre make mention also of 'several concertos for different instru- " ments.'

*This was the little house, No. 25, in which Handel lived for many years, and in which he died. In the rate-book of 1725 Handel was named owner, and the house rated at £35 a year. Mr. W. H. Cummins, about 1903, visiting this house, found a cast-lead cistern, on the front of which in bold reHef was "1721. G. F. H." The house had then been in the possession of a family about seventy years, and various structural alterations had been made. A back room on the first floor was said to have been Handel's composition room.

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1380 i739> the year in which these concertos were composed, was the year of the first performance of Handel's "Saul" (January i6) and

"Israel in Egypt" (April 4) (both oratorios were composed in 1738); of his music to Dryden's "Ode on St. Cecilia's Day" (November 22). The first performance of this Concerto in B minor in Boston was at a Symphony Concert on February 28, 1885, when Messrs. Listemann, Loeffler, and Giese played the solo instruments. The concertos of this set which have five movements have either the form of a sonata with an introduction and a postlude (as Nos.

I and 6) ; or the form of the symphonic overture with two slow movements in the middle, and a dance movement, or an allegro closely re-

sembling a dance, for a finale (as Nos. 7, 11, and 12); or a series of three movements from larghetto to allegro, which is followed by two

dance movements (as No. 3). The movements of the Twelfth Concerto are as follows: Largo, B minor, 4-4; Allegro, B minor, 4-4; Larghetto e piano, E major, 3-4

(\dolino I., II., III., viola, tutti bassi), an air with a variation; a transitional Largo, 4-4; Allegro, B minor, 4-4. The instruments are thus indicated at the beginning of the work:

violino I. concertino, violino II.; violino I. ripieno, violino II.; viola,

'cello, bassi. The word concerto in the first half of the eighteenth century had

these meanings: "(i) a music school; (2) either vocal or instrumental

chamber music, a piece that is called 'concerto'; (3) violin pieces which are so arranged that each player will at a certain time be prominent, and play in turn with the other parts in rivalry. In such pieces, when only the first player dominates, and where only one of many vioUnists

is prominent for remarkable agility, this player is called 'violino con- " certino' (Musicalisches Lexicon, by J. G. Walther, Leipsic, 1732). It is stated that the word concerto, as applied to a piece for a solo instrument with accompaniment, first appears in a treatise by Scipio Bar- gaglia, published at Venice in 1587, and that Giuseppe Torelli, who died in 1708, was the first to suggest a larger number of instruments in a concerto and to give the name to this species of composition, concerto grosso. But Michelletti, seventeen years before, had published his " Simfonie etconcerti a qitatro" and in 1698 his "Concerti mtcsicali," while the word concerto occurs frequently in the musical terminology of the seventeenth century. Up to the middle of the seventeenth cen-

PH'^h'!:* fecoa tury the music specially for violin was composed almost exclusively of dance tunes, as courantes, gaillardes, pavanes, etc. These compositions bore the title, sirnfonia, capricio, fantasia, toccata, canzone, ricercare. The first five words were used for instrumental pieces; the last two for pieces either for voices and instruments, sometimes for both. The title ricercare soon disappeared, canzone dropped out of sight, toccata was then a title reserved for harpsichord pieces, and toward the second half of the sixteenth century simfonia meant either an instrumental interlude or an overture. It was toward 1650 that the word sonata took the special meaning of an instrumental piece with accompaniment of organ or harpsichord and several other instruments, and in those days the sonata encroached on the rights of the capricio and fantasia. The claim of Torelli* to the invention of the concerto grosso may be disputed ; but it was he that determined the form of the grand solo for violin and opened the way to Archangelo Corelli, the father of modern violinists, composers or virtuosos. Custom decreed during the earlier years that the concertino, or group of solo instruments in a concerto grosso, should be of two violins and a

'cello. In the concerto grosso an orchestra dialogued with a principal instrument, and the name violino di grosso or di ripienit was given to the instruments of the orchestra to distinguish one of them from the principal violin, or the violino di concertino.

*Giuseppe Torelli, violinist, born at Verona, was in the service of the Petronius Church, Bologna (1685- 9S)", he then went to Vienna, where he produced an oratorio in 1695- He went to Ansbach, where he was concert-master to the Margrave of Brandeburg-Ansbach. He returned to Bologna, where he died. Schering, in his "Geschichte des Instrumental-konzerts " (1903), mentions concerii grossi by Alessandro Stradella, and Stradella died probably in 1681 or 1682. Torelli's solo viohn concertos are Op. 6 and Op. 8, Nos. 7-12.

^Ripieno means "full"; it is the opposite of solo or obbhgato, and the word in music is practically iden- tical with tutti.

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1383 Symphonic Poem No. 4, "The Youth of Hercules," Op. 50. CamilIvE Saint-Sa^ns

(Bom in Paris on October 9, 1835 ; still living in Paris.)

Saint-Saens's symphonic poem, "La Jeunesse d'Hercule," was performed for the first tune at a Chitelet concert in Paris, January 28, 1877. The first performance in Boston was at a concert of Theodore Thomas's orchestra in Music Hall on November 14, 1877. The work has been performed here at concerts of the Boston Symphony Orches- tra, October 20, 1883, February 7, 1891, April 6, 1901. The full score of this composition is preceded by a note on the fly- leaf:— THE YOUTH OF HERCULES. Symphonic Poem. LEGEND.

" The fable relates that Hercules on his entrance upon life saw two roads lie open before him, that of pleasure and that of virtue. "Insensible to the seductions of Nymphs and Bacchantes, the hero chooses the path of struggles and combats, at the end of which he catches a glimpse of the reward of immortality through the flames of the funeral pyre." The symphonic poem is scored for one piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, one small bugle in B-flat, two comets-k-pistons, two trumpets, three trombones, one bass tuba, kettledrums, bass drum, cymbals, tambourine, triangle, harp, and strings. The score is dedicated to Henri Duparc*

Henri Fouque Duparc was born at Paris, January 21, 1848. He studied at a Jesuit college and was admitted to the bar, but piano lessons from C^sar Franck prompted him to be a musician, and he also took lessons in composition. His early friends were Saint-Saens, Faur^, de Castillon, and the painter Regnault. In 1870 he journeyed to Munich to hear operas by Wagner. He served as a soldier in-the siege of Paris. About 1880 his health became such that he was obliged to give up work, and he made his home at Monein, in the Kakas Bros. (INCORPORATED) Manufacturing Furriers

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1384 The work begins with a short Andante sostenuto, E-flat major, 4-4. Muted viohns give out recitative-Uke phrases, which are interrupted by sighs in the wood-wind and end in gentle harmonies in the strings and wind instruments. A roll on the kettledrums leads to an Allegro moderato, E-flat major, 4-4, in which the now unmuted strings play the first theme in full harmony, the theme of Virtue, which bears a slight resemblance to the preceding violin phrases. This theme is developed and leads to an expressive subsidiary melody, played by the violins over a syncopated bass. "This melody seems almost like a rhythmic variation of the first theme." This is developed until it runs into passage- work, and fades away in soft harmonies. There is now a modulation to D major with oboe hints of a new theme. This songful new theme appears in E major, sung by flute and clarinet, then by the first violins over a tremolo of the other strings (muted), and then against wood- wind triplets and chords for the harp. The horn has the last of the melody. Allegro in E major, 2-2. The music of Pleasure begins with bits of a Bacchanalian tune played by flutes. This theme is developed at length, first in the wood-wind, then in the strings in octaves against trills in. the wood-wind, and then by a constantly increasing orchestra until the climax is reached. There is a gradual diminuendo. Reci- tatives for strings, horns, and other wind instruments lead to the return of the theme of Virtue, Andante sostenuto, E-flat major. This is developed much as before, although the development is somewhat more extended. Forcible declamatory passages in strings and wind

Lower P>Tenees. His chief works are a symphonic poem, "Lenore" (composed in 1874-75, performed at Paris, October 28, 1877, since revised, first performed in Boston at a Symphony Concert, December s, 1896), an orchestral suite, a 'cello sonata (unpublished), a set of waltzes for orchestra (1874), a suite for pianoforte, and some remarkable songs, the most important of which were composed during the years 1874-78. Franck repeatedly said that Duparc, of all his pupils, was the one best organized to create musical ideas, the one whose vigorous temperament and dramatic sentiment should have brought success in the opera-house. Duparc worked on a l>Tic drama, "Roussalka," but was unable to complete it before his enforced retirement.

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1386 are followed by the theme, sung softly, at hrst by the clarinet, to which the oboe is afterward added. The development at last reaches a stormy climax, when the second theme returns in E major with a different rhythm, in wood-wind instruments against harp arpeggios and sustained harmonies in clarinets, bassoons, and horns. The themes vie with each other, and the first theme triumphs in a maestoso movement, E-flat major, 4-4, with the full strength of the orchestra. * * * The prefatory note of Saint-Saens was taken from "Hercules between Vice and Virtue," an allegory by Prodicus of Cea or Cos. (There is dispute as to his birthplace: see note A to the article "Prodicus" in Bayle's Dictionary.) As quoted by Xenophon in his "Memorabilia" and put by him into the mouth of Socrates encouraging Aristippus to study wisdom, the apologue or declamation is about as follows: When Hercules left his infancy and entered into his youth,—the age when a man begins to decide things for himself,—he went to sit down and meditate in a lonely place. There two women of superhuman shape appeared to him. One was clothed in white, and to her had Nature given rare purity of form and color; her eyes were charged with mod- esty. The face and the body of the other were painted, to make her seem more white and red than she was by nature, and she wore a trans- parent garment that revealed her body.* She looked at Hercules and also looked around her and looked to see if others were regarding her, for she eyed herself constantly. Hercules asked her name, and she answered: "Those that love me call me Pleasure; my enemies call me Vice." The other woman, interrogated in turn, spoke very differently:

*This allusion might lead one to think that Prodicus was born on Cos, for it was a woman of that island, one Pamphila, "and surely she is not to be defrauded," says Pliny, "of her due honor and praise," who first found out "the fine silk tiffany, sarcenet, and cypress, which instead of apparel to cover and hide shew women naked through them." This silk of Cos is frequently alluded to by ancient writers, and even twenty years ago it moved the erudite Mr. John F. Rowbotham to the Uveliest admiration,—Rowbotham's "History of Music," vol. ii. p. 351 (London, 1886).

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1386 ;

"Hercules, you must pursue the path I show you. You will hear only the truth from my mouth. All that is beautiful and honest in this world is at the price of assiduous work. Those whom I love awake without regret or remorse; young, they know the pleasure of being praised by the old ; when they are old, they enjoy the respect of youth their memory lives after them, and their name goes sounding down the ages."

This story has been quoted by many, as by Cicero, Quintilian ; Lucian based his "Dream" on the legend; and Saint Basil used the apologue to show that a pagan writer could unconsciously work for the righteous- ness of the Christian. The subject has been chosen by many painters, —Rubens (who represents Hercules between Venus and Minerva), Battoni, Gerard de Lairesse, Poussin, G. Crayer, Annibal Carreche, and others. Some are of the opinion that this story was told by Prodi- cus in his life of Hercules; others, that it was in a book entitled "The Hours," a collection of moral sayings for old and young. It is an ironical fact that Prodicus, like Socrates, was put to death by the Athe- nians as one that corrupted their youth by inculcating profaneness, and Aristophanes said of one of his characters: "This man has been spoiled by books, by Prodicus, or the conversation of great talkers." Surely Hercules departed from the straight and narrow path, and

Saint-Saens himself represented him iri his third symphonic poem,

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A stranger is announced : 'tis young lole, who brings the shirt given by " Nessus to Deianeira, the wife of Hercules : If your spouse should ever be faithless," said the dying centaur, "give him this shirt stained by my blood." Omphale finds here a means of saving the hero from the prophesied death. Hercules dons the shirt, and, as in the old legend, is destroyed, and the flames seize the palace. Omphale starts

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13«8 GEORGES LONGY ^ Musician and artist through and through, the remarkable Oboe of the Boston Sym- phony Orchestra, Founder and dominating spirit of the Longy Club, and Conductor of the Orchestral Club, writes as follows of the

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U89 — immediately for Lesbos, repentant of her passing treachery toward the goddess.

In 1 90 1 "Ives Travaux d'Hercule," an o: era-bouffe in three acts, text by G. de Caillavet and Robert de Flers, music by Claude Terrasse, was produced at the Bouffes-Parisiens, March 16. Some years before Mr. Hdmond Pottier, an archseologist, startled the Institute by a paper in which he asserted that several of the labors of Hercules were performed by Theseus. But, centuries before him, Meglacides censured the poets who attributed to Hercules a strenuous life, and asserted that the hero was chiefly a glutton, who ate so greedily that his ears wagged,* a wine-bibber, an effeminate voluptuary. The librettists of this opera-bouffe ascribe the glory of the labors to Augeas. Hercules is a stupid, lazy, gluttonous fellow, a toss-pot, and a braggart. He is married to Omphale, who is discontented, for she knows too well that he is not heroic in mind or body. He swaggers about, wears the skin of the Nemean lion, which he did not kill, bran- dishes his club ; but he is pigeon-galled, frightened nearly to death, if there is any thought of personal risk. Still every one is afraid of him, even the women; and this makes Omphale smile sardonically. An oracle has foretold his extraordinary labors, and, while he is nerving himself to begin his glorious career, all tremble at his approach, and adore him; but his worshippers finally wonder when he will make his start. Omphale tries to console herself at first with Orpheus, a literary gentleman of the town; but he is shy,—here enters improbability, and he thinks more of author's readings and of publishers than of the woman who would gladly be his Muse. Then she looks toward Augeas, a man of wealth, who keeps race horses, and whose stables are known the country round. He had been proposed for membership in the

*So Crassot, the philosopher, could move his ears up and down without touching them. Saint Augustine knew a man who not only moved his ears at pleasure, but also his hair, without making the least motion either with his hands or head. Casaubon has a curious passage: "I have also been told by persons worthy of credit that the ears of a certain man of learning were plainly seen to move, when, travelling by the borders of Savoy, he found that he was in danger of being burnt alive by the magistrate, on its being reported that he was flying into Italy from Toulouse because he had perpetrated a heinous crime." VesaUus, the anatomist, saw in Padua two men whose ears thus moved, and he explained the cause. Furthermore, Procopius likened the Emperor Justinian to an ass, "not only on account of his dulness and stupidity, but likewise because of his self-moving ears."

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r/ie GOLDEN TREASURY o/HUSIC A Collection of Pieces written f«r the Virginal, Spinet, Harpsichord, and Clavichord

By Composers of the Sixteenth, Seventeenth, and Eighteenth Centuries. Edited by LOUIS OESTERLE. Two volumes, cloth, each $1.50 net. Ten more volumes in preparation.

The first volume contains pieces by Byrde, Bull, Gibbons, Blow and Purcell, Fres- cobaldi, Rossi, Pasquini and Alessandro Scarlatti, Froberger, Kerll, Buxtehude, Pachel- bel and Knhnau, Dumont, d'Anglebert, Chambonnieres, Louis Couperin, Lully and Loeillet. The second, Couperin and Rameau, Murschhauser, Mattheson and Muffat, and Domenico Scarlatti. 1390 —

Tyre Jockey Club, but Hercules, as Chairman of the Elections Com- mittee, had used his influence against him, and Augeas had been black- balled. The ofifended Augeas, "un sportsman bien connu," walks up to Hercules in the street, and slaps his face. The hero submits to the insult, which was witnessed by many, and declines to take any notice of suet a low person. Omphale, rejoiced to find a man of action, elopes with Augeas, who leaves a letter addressed to Hercules: "I am taking away your wife, your club, and your lion-skin; if you are bored, clean my stables." And Hercules does clean them. He gets rid of all the horses that are unsound in wind or limb. Augeas leads Omphale through her husband's gardens. Frightful roars as of wild beasts are heard. Orpheus, regretful of his shyness, hearing of the presence of mind of Augeas, prepared to kill himself, is about to be devoured by the animals of the Tyrian Zoo. His courage fails him, and, after he has opened the doors of the cages, he runs away. Augeas and Omphale are now surrounded by all sorts of monsters, the Lernean hydra, the Erymanthian boar, etc. ; but Augeas, with one arm about the sumptuous woman's waist, bashes each beast with the celebrated club, while the Tyrians on the battlements hurrah wildly for Hercules, for they see the lion-skin and the club, and it must be Hercules: did not the oracle foretell these deeds?

The lovers wander, and, wherever they go, it is the same story : Augeas performs the labor, and Hercules gains the credit. Omphale is not pleased. It is not enough that she knows the true hero; she prefers to be associated with the popular hero, to share in his triumph. Augeas, in hope to retain her love, bores her by recounting the story of his labors; but she asks: "What good to me or to you are these your deeds, while Hercules keeps gaining the honor?" Apd Omphale goes back to Hercules, who at last performs a surprising feat that brings reconciliation. But there were many Hercules known to the ancients. The most ancient nations had their own, and some think that the Grecian was the most modern. This may explain the liberties taken with the hero's character.

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For sale at all bookstores and at the Book Room, Number 4 Park Street Houghton, Mifflin & Company, Publishers, Boston. Symphony No. 3, m E-flat 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 (Miinster, 1840) "First in the fall of 1802 was his [Beethoven's] mental condition so much bettered that he could afresh take hold 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 symphony 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 oftien 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 i%g8, 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.

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Sciences. > Miss May Winsor's School (Boston). Framingham (Mass.) Normal School. St. Mary's Academy (Burlington, Yt.) Colnmbia Conseryatory of Music (Chicago).

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1393 Thayer admits that the thought of Napoleon may have influenced the form and the contents of the symphony, and that the composer may have bas^d a system of pohtics 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."

The symphony was composed in 1803-1804. The story is that the title-page of the manuscript bore the word "Buonaparte" and at the bottom of the page "Luigi van Beethoven"; "and not a word more," said Ries, who saw the manuscript. "I was the first," also said Ries, "who brought him the news that Bonaparte had had himself declared Emperor, whereat he broke out angrily: 'Then he's nothing but an ordinary man! Now he'll trample on all the rights of men to serve his own ambition; he will put himself higher than all others and turn out a t)^rant!'"

Furthermore, there is the story that, when the death of Napoleon at St. Helena was announced, Beethoven exclaimed, "Did I not foresee the catastrophe when I wrote the funeral march in the 'Hroica'?" The original score of the symphony was bought in 1827 by Joseph Dessauer for three florins, ten kreuzers, at auction in Vienna. On the title-page stands: "Sinfonia grande." Two words that should follow immediately were erased. One of these words is plainly "Bona- parte," and under his own name the composer wrote in large characters with a lead-pencil: "Written on Bonaparte." Thus it appears there can be nothing in the statements that have

come down from Czerny, Dr. Bartolini, and others : the first allegro describes a sea-fight; the funeral march is in memor}^ of Nelson or Gen- eral Abercrombie, etc. There can be no doubt that Napoleon, the young conqueror, the Consul, the enemy of kings, worked a spell over

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1395 Beethoven, as over Berlioz, Hazlitt, Victor Hugo; for, according to Mr. W. E. Henley's paradox: although as despot, Napoleon had "no love for new ideas and no tolerance for intellectual independence," yet he was "the great First Cause of Romanticism." The S3Tiiphony was first performed at a private concert at Prince Lobkowitz's in December, 1804. The composer conducted, and in the second half of the first allegro he brought the orchestra to grief, so that a fresh start was made. The first performance in pubUc was at

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- sharp by Herr Ludwig van Beethoven, dedicated to his Excellence Prince von Lobkowitz." Beethoven conducted. Czerny remembered

that some one shouted from the gallery: "I'd give another kreuzer if they would stop." Beethoven's friends declared the work a master-

piece. Some said it would gain if it were shortened, if there were more "light, clearness, and unity." Others found it a mixture of the good, the grotesque, the tiresome. 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." * *

This symphony was performed in Boston for the first time at a con-

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cert of .the Musical Fund Society, Mr. G. J. Webb conductor, Decem- ber 13, 1 85 1. The programme was as follows:

PART I.

I. Grand Symphony No. 3, "Eroica" Beethoven (First time in Boston.)

PART II.

1. Grand Overture to "Waverley" . . Berlioz , (First time in Boston.)

2. Cavatina, "Robert, toi que j'aime" Mayerbeer {s\c) Mme. GoRiA Botho.

3. Fantaisie pour la clarionette, avec accompag't d'orchestra, " L'Attente et I'Arrivee" {sic), Op. 180 C.G. Reissiger Thomas Ryan.

4. Air from "Charles VI." Halevy Mme. GoRiA Botho.

' 5. Grand Fantaisie for the 'Cello, on a theme from "Robert the Devil" and an original themg by Molique F. A. Kummer WuLF Fries. 6. Overture, "II Barbiere de Seviglia" Rossivi

* * *

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 OLD VIOLINS MISS QAFFNEY 384 BOYLSTON STREET HYGIENIC TREATMENT OF HEAD, FACE, AND NECK

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1319 for he had used it in the finale of his ballet, "Die Geschopfe des Pro- metheus," in the Variatiohs for pianoforte. Op. 35, and in a country dance. After a few measures of introduction, the bass to the melody which is to come is given out, as though it were an independent theme. The first two variations in the strings are contrapuntal. In the third the tuneful second theme is in the wood-wind against runs in the first violins. The fourth is a long fugal development of the first theme against a counter-subject found in the first variation. Variations in G minor follow, and the second theme is heard in C major. There is a new fugal development of the first theme inverted. The tempo changes to poco andante, wood-wind instruments play an expressive version of the second theme, which is developed to a coda for full orchestra, and the symphony ends with a joyful glorification of the theme. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, kettledrums, and strings. * * * What strange and even grotesque "explanations" of this symphony there have been! At the second concert of the Philharmonic Society of New York, February 18, 1843, the following comments were printed on the programme: "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

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1401 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 graA^e, 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 movement the entrance of the nineteenth century. Berlioz insisted that there should be no thought of battles or trium- phant marches, but rather profound reflections, melancholy recollec- tions, 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

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t4m 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 ac- cents of his tone-work. The artistic space of this work is filled with all the varied, intercrossing feelings of a strong, a consummate 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 manifest- ing 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 oxf " (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, bUthely doing man";

' while the finale shows us finally ' the man entire, harmoniously at one mth 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 Billow, cher unique, as Liszt frequently called him, be forgotten. Von Billow 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 citi- zen, George Washington. But he looked for a hero of his own time, a European hero; and his eyes fell on the great star of Bonaparte." And there'von Biilow might have stopped where Beethoven began.

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PROGRAMME.

" Hadley .... Symphony No. 2, " The Four Seasons First time in Boston

" Massenet . GriseUdis

Brahms ...... Haydn Variations

Wagner ...... Lohengrin's Legend

Liszt ...... Fest-Klange, Symphonic Poem No, 7

SOLOIST J Mr. ELLISON VAN HOOSE.

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AN AMERICAN GIRL IN MUNICH Impressions of a flusic Student By MABEL W. DANIELS

C The author's descriptions of her year of study in music are genuine, animated, and informing. She comments with originaUty upon the operas and symphonies which she heard in Munich, and a number of actual figures in the musical world — Chadwick, Gericke, Paine, Zerrahn, Weingartner, Thuille, Stavenhagen — are interestingly referred to. Interwoven with the musical portions is a typically Ger- man love story, which gives a touch of romance to a delightful book.

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SUNDAY EVENING, APRIL J6, J905, AT 7.30 O'CLOCK

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Scene from " II Guarany " Gomez

Cecilia . Miss Charlotte Grosvenor

Scene from " II Barbiere di Siviglia " Rossini Rosina .... Miss Sarah Eaton Scene from " Faust " Gounod " 1. Tableau, " Mephistopheles i 2. Jewel Song Margherita Miss Charlotte Grosvenor

Scene from "Dinorah" Meyerbeer

Dinorah . . . Miss Helen Philba

" " Scene from La Forza del Destine . , Verdi 1. Tableau (said to resemble the Magdalen of Correggio) 2. " Peace, my God" Miss Charlotte Grosvenor

Scene from " Un Ballo in Maschera " Verdi (Tlie withdrawing-room of the king, leading from the ball-room) Oscar Miss Sarah Eaton

"The Challenge of the Nightingale to the Lark " '. Gerli * (A " Vocalizzo Dialogetico" of the Old School)

The Nightingale . Miss Helen Philba

The Lark . . Miss Sarah Eaton

• " Maestro Giuseppe Gerli, the last of the great Old School masters, was. Mrs. Lichfield's only teacher."

" "^ Scene from Dolores ...... Auteri Manzocchi

Dolores . . , : Miss Grosvenor Lia Miss Philba

Had schooling of this order not gone so unfortunately out of fashion, artists like Lilli Lehmann, who can sing Isolde and Donna Anna equally well, would not be so pitiably rare. Whatever these pupils of Mrs, Lichfield may hereafter attain to remains to be seen. At present, in any event, they are being taught after the system that has made many great singers what they are. This second hearing of Mrs. Lichfield's pupils merely confirms one in the opinion that Mrs. Lichfield is a sineing-teaeher remarkably skilful in developing voices for the operatic stage. She knows how to make

voices big ; she gives them quality ; she trains them all as though they were light voices, the abandonment of which masterly practice has nearly resulted in the extinction of artists who can sing after the first bloom of youth has passed. At training voices Mrs. Lichfield is indeed a past master.

Miss Helen Philba's chromatic runs were pure and beautiful. Miss Charlotte Grosvenor was a Cecilia whose every motion was grace and every tone rich and noble. Both singers were ex'cellent in the highest reg- ister. Their high notes were not yells nor shrieks, but pure and musical tones. Such debutantes have righ t to build high hopes upon their career, and a teacher who can build such voices is to be congratulated.— Louis C. Elson, Boston Advertiser.

In sustained phrases or bravura passages they showed the results of careful training. Their enunciation ' was delightfully distinct. — Boston Herald.

Tickets are now on sale at Symphony Hall, also at the residence of Mrs. Lichfield> 60 Bay State Road. Regfular Hollis Street Theatre prices, $1.50, $1.00, 75c., 50c. Reserved seats in First and Second Balcony, for music, dramatic, and art students, 25 cents. 1412 Paderewski Fund for American Composers* Competition of 1905*

Three prizes of five hundred dollars ($500) each are offered for the current year for the best compositions submitted by American composers, as follows : —

1. For a piece for full orchestra.

2. For a concert piece for chorus, with orchestral accompaniment, with or without solo voice parts.

3. For a piece of chamber music, for any combination of instruments.

The term " American composers " is restricted to those born in the United States of America. The compositions offered for prizes are to be submitted on or before July i, 1905, and will be passed upon by the

Judges appointed by the Trustees, namely : — Messrs.

B. J. Lang, J. K. Paine, Franz Kneisel, Walter Damrosch, and H. E. Krehbiel. The decision of a majority of the Board of Judges is to be binding on all parties concerned. The compositions are to be sent anonymously, and the name of the composer is to be contained in a sealed envelope, forwarded with the composition. No composition shall be eligible for a prize which has been published, or which has been performed in public. The compositions sent will remain the property of the composers, and will be returned to them at the end of the

competition, if so requested by them. All communications in reference to the competition should be addressed to OTTO ROTH, Secretary, Back Bay Post-office, Box 138, Boston, Mass.

1413 JORDAN HALL

Saturday Afternoon, April J 5, at 230

Last Appearance in Boston this Season

Mr. Vladimir De PacKmann

CHOPIN RECITAL

1. Ballade, Op. 23, G minor 7. £tude, Op. 25, No. 2

2. Nocturne, Op. 37, No. 2, G major Etude, Op. 25, No. 3

3. Nocturne, Op. 27, No. 2, D-flat major fitude. Op. 25, No. 4

4. Impromptu, Op. 29, A-flat major fitude, Op. 10, No. 5

8. Polonaise, Op. 26, No. i, C -sharp 5. Prelude, Op. 28, No. i minor Prelude, Op. 28, No. 20 9. Scherzo, Op. 54, E major Prelude, Op. 28, No. 7 ID. Grand Mazurka, Op. 33, No. 4, B Prelude, Op. 28, No. 22 minor 9. Funeral March, B-flat minor

(by request) 1 1 . Grand Valse, Op. 42, A-flat major

Tickets, $1.50, $1.00, and 75 cents, now on sale at Symphony Hall. Mail orders, accompanied by check, may be addressed to L. H. MUDGETT.

THE PIA.no is a BAI^D'WIN

1414 JORDAN HALL

Sixth and Last Concert

by the BOSTON SYMPHONY QUARTET Professor WILLY HESS, First Violin

Mr. otto roth . Second Violin

Mr. EMILE FERIR . . Viola

Mr. RUDOLF KRASSELT . 'Cello

Monday Evenings April 10^ at 8

Prog>raii\me

MOZART .... Quartet in B-flat major (Kochel, 589)

C. SAINT-SAENS . . . Sonata for Piano and Violoncello, in C minor, Op. 32

MENDELSSOHN . . . Octet for four Violins, two Violas, and two Violoncellos, in E-flat major. Op. 20

ASSISTING ARTISTS

Mme. SAriAROFF and the HOFFMANN QUARTET J. HOFFMANN K. RISSLAND A. BAK C. BARTH

Tickets at Symphony Hall and at the door.

1416 SYMPHONIES «a^*H'JS'p^""lo%1/?s,By ** Theie two volumes by Mr. Goepp are Volume L Cloth . .- $2.00 ne/npt I to be numbered among classic works on Volume II. Qoth . . 2.00 net music.'' — Chica.go DUt.

PsMlihtrt, J, B. LIPPINCOTT CO., PHILADELPHIA Two Volumes in a box, 4.00 net

D. E. WHITTON, S£23'?.;J.SSl, PATENT END PIN

Conitnictcd to that it is impossible for it to rattle or jar when properly adjusted. VIOLINS MADE AND REPAIRED )03 Q)urt Street^ Room 6, Boston, Mass. Residence, 78 Pearl Street, E. Somerville, Mass. FINE OLD ITALIAN VIOLINS

Violas, and 'cellos. French, German, and other makers. Artistic repairing a specialty. Tested violin strings, warranted absolutely true. Finest wound strings, gold, silver, and copper, guaranteed never to rattle. J. H. EDLER, Violin flaker, 180 Tremont Street, BOSTON, MASS.

The Boston Symphony Orchestra Programme

For the twenty-four Boston Concerts, with Historical and

Descriptive Notes by Philip Hale. Bound copies of the

Programme for the entire season can be had at $1.50

by applying before the last concert. Address all com-

munications to

F. R. COMEE,

Symphony Hall, Boston.

1416 Sanders Theatre, Cambridge

TfiURSDAY EVENING, APRIL 27, at 7.45

INinth eund l^eist Concert by The Boston Symphony Orchestra

Mu WILHELM GERICKE, Conductor.

PROGRAMME TO BE ANNOUNCED

Tickets at Sever's Bookstore and at the door.

1417 Hemenway Chambers

Situated on Hemenway Street, at the Westland Avenue entrance to the Fenway, and four minutes walk from Symphony Hall. Suites, furnished or unfurnished, at monthly or yearly rates. Excellent cafe. Board by the week or a la carte. Transients accommodated. L. H. TORREFY, Manager Hotel Rennert BflLTinoRE, nb.

Within one square of the shopping district.

The standard hotel of the South.

The cuisine of this hotel has made Maryland

cooking famous.

The only hotel in the world where the Ches-

apeake Bay products, Fish, Oysters, Terrapin,

and Canvas-back Duck, are prepared in their

perfection.

MODERN IN EVERY DEPARTMENT

Rooms, $1.50 per day and upwards Fire-proof building

1418 MU5ICAL INSTRUCTION.

s*"^^'^*^ ^^^^ *^*^ «^^ ^^^^^^^ Mr. ERNEST DOUGLAS, °^ * ORGAN. two-manoal pipe-organ (elccttic

33 5teinert Hall, Boston, motor) , recently boilt in this studio.

VOCAL INSTRUCTION and SOPRANO SOLOIST

Miss HARRIET S. WHITTIER, ISa Huntmgton Av.aue. Exponent of the method of the late Charles R. Adamt. Portsmouth, New Hampshire, Mondays.

Concert and Oratorio. Miss fiERTRUDE EDHANDS, Vocal Instruction. EXETER CHAMBERS.

Barytone Soloist and STEPHEN TOWNSEND, Teacher of Singing.

153 TREMONT STREET, BOSTON.

PIAyNIST. Miss LAURA HAWKINS, Music Teaching Room, 153 Tremont Street, Residence, Exeter Chambers.

TJSrVOlE^ SOLOIST WILLIAM KITTREDGE, And Teacher of Singing. 160 Boylston Street, Boston.

Classes in Sight Reading '='°"t "ands,. Miss CAROLINE M, SOUTHARD, ' Advanced pupils follow the Symphony programmei TEACHER OF THE PIANOFORTE. as far as practicable. 22 Huntington Avenue Boston

1419 ,

TEACHER OF PIANO. Miss ELLEN M. YERRINTON, grSS^.'L^^S^Iw^^.SsS^

" Your teaching is moi t excallent." (Signed) TxKBSA Cabrbno.

Voice Culture, Repertoire. studio, Steinert Hall, Mr. CHARLES B. STEYENS, 162 BOYLSTON STREET, BOSTON. Telephone, 133 1 Oxford. Thorough preparation for church choir work. Chaicli choirs furnished and rehearsals conducted.

TEACHER of SINGING. COACHING.

. J. E. TIPPETT, STUDIO, 60 PIERCE BUILDING. Tel., Back Bay 1578-6. WbDNBSDATS in POBIXAKD, MaIME.

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

nr. B. L. WHELPLEY, Miss ROSE STEWAITT, Pianoforte and Harmony Lessons. PuirU of HARCHESI. VOCAL INSTRUCTION. 193 TREHONT STREET, BOSTON. 2-46 Huatinston Avdotie.

Mr. ARTHUR HADLEY ALBERT MILDENBERG* (Member of Boston Symphony Orchestra) VIOLONCELLIST and TEACHER; Pianist and Instructor. Pupil of David Popper. Studio, Carnegie Hall, 15 Havliand Street, Boston. NEW YORK CITY.

F. ADDISON PORTER. Mrs. GERTRUDE FRAHELIN SALISBURY Pianoforte instructor. Tone Placing, Correct Breathing, Addrosa, Steiaert Hall, i6t BoytBtoa Btreat, Repertoire. •r N>:w Eaglaad Coaservatory of Maaic, BOSTON, - HASS. 246 Huntington Avenue.

1430