[OFFICIAL]

NINETEENTH BIENNIAL MUSIC FESTIVAL

AT CINCINNATI

MAY 3, 4, S, 6, 7, 1910

FRANK VAN DER'STUCKEN Musical Director

PUBLISHED AND SOLD BY THE FESTIVAL ASSOCIATION 1910 COPYRIGHTED I9IO BY THE CINCINNATI MUSICAL FESTIVAL ASSOCIATION

Press of C. J. KREHBIEL & CO. BOARD OF DIRECTORS

LAWRENCE MAXWELL, President.

WM. COOPER PROCTER, V ice-Presiden t.

FRANK R. ELLIS. ALEXANDER McDONALD.* JULIUS FLEISCHMANN. J. G. S'CHMIDLAPP. LOUIS J. HAUCK. CHARLES P. TAFT. FRANK B. WIBORG.

FRANK R. ELLIS, Secreta'J·Y·

H. T. LOOMIS. Treasurer.

* Died March 18, 1910.

3 THE STOCKHOLDERS OF THE FESTIVAL ASSOCIATION.

Alms, William H. Gamble, James N. Mitchell, P. R. Anderson, Mrs Louise N. Geier, Fred A. Mitchell, Richa.rd H. Anderson, Geo. M. Goepper, Edward Moyer, Samuel Anderson, L. W. Halstead, Mrs. Marshall Mooney, James E. Armstrong, Geo. W. Hanna, Mary Outcalt, Miller Ault, L. A. Harrison, Charles L. Procter, Wm. Cooper Baker, Charles W. Hauck, Louis J. Puchta, George Balch, George R. Hinkle, A. Howard Ramsey, Robert Baldwin, D. H. & Co. Hinkle, T. M. Resor, Robert L. Balke, R. F. Holden, R. A. Rhodes, Goodrich B. Ballman, Frank H. Holmes, Mrs D. H. Redway, A. J. Bosworth, C. A. Holmes, Dr. C. R. Rowe, Casper H. Campbell, B. W. Hooker, James J. Sattler, Mrs Robt. Carew, J. T. Ingalls, Geo. H. Schmidlapp, J. G. Chatfield, A. H. Ingalls, M. E. Senior, Edward Church, The John Co. Jones, Frank J. Shipley, Edward E. Colston, Edward Kerper, G. B. Storer, Mrs Bellamy Cunningham, Briggs S. Keys, John B. Taft, Charles P. Davis, Nat!. Henchman Krehbiel, C. J. Taylor, W. W. Dymond, Richard Laws, Harry L. Thalheimer, W. B. Edwards, David George Lawson, Franklin H. Walker, Miss Annie Elliott, J. F. Lawson, Fenton Warrington, John W. Ellis, Frank R. Levy, Harry M. Werk, Eugenie M. Ernst, Richard P. Lincoln, John Ledyard Wiborg, Frank B. Espy, Arthur Longworth, Mrs. Nicholas Wilby, Joseph Farrin, Mrs. M. B. Loomis, H. T. Wilson, Chas. E. Fleischmann, Julius McDonald, Alexander Wright, Clifford B. Foraker, J. B. Jr. Maxwell, Lawrence Wood, Harry F. Forchheimer, Dr. F. Meacham, D. B. Wulsin, Lucien Freiberg, J. Walter Melish, Wm. B. Yeiser, H. C. Freiberg, Maurice J. Miller, Robert T.

GUARANTORS OF THE FESTIVAL. Alms, Wm.H. Kroger, B. H. Senior, Edward Ault, L. A. Levy, Harry M. Shinkle, A. Clifford Emery, Mary M. Longworth, Susan W. Shoemaker, Murray M. Fleischmann, Julius Maxwell, Lawrence Taft, Cllarles P. Freiberg, J. Walter McDonald, Alexander Thomson, Peter G. Freiberg, Maurice J. Perin, F. L. Wiborg, F. B. Greene, W. M. Procter, Wm. Cooper Wright, Clifford B. Hauck, Louis J. Robertson, W. F. Wurlitzer, Rudolph Sr. Harrison, E. P. Rowe, W. S. W ulsin, Lucien Hanna, Mary Schoepf, W. Kesley Krippendorf, C. H. Schmidlapp, J. G.

Total Subscription...... $30,000

4 FRANK VAN DER STUCKEN MUSICAL DIRECTOR FREDERICK A. STOCK ASSOCIATE CONDUCTOR

SOPRANOS EMMY DESTINN, of the Royal Opera, Berlin MRS. CORINNE RIDER-KELSEY MRS. EDITH CHAPMAN-GOOLD MME. MARISKA ALDRICH MRS. ANTOINETTE WERNER-WEST

CONTRALTOS MME. LOUISE HOMER MIss JANET SPENCER MME. ERNESTINE SCHUMANN-HEINX

TENORS DANIEL BEDDOE N. HOUGAARD NIELSEN EVAN WILLIAMS

BASSES HERBERT WITHERSPOON CLAUDE CUNNINGHAM

RHAPSODIST JOSEPH O'MEARA

ORGANIST SIDNEY C. DURST

FESTIVAL CHORUS THEODORE THOMAS ORCHESTRA CHORUS OF CHILDREN FROM THE PUBLIC SCHOOLS SOLO CHORUS IN THE CHILDREN'S CRUSADE AND IN THE TROJANS IN CARTHAGE CHOIR OF BOYS ORGAN 5 ORDER OF PERFORMANCES

TUESDAY EVENING, MAY 3 ...... FIRST CONCERT

VVEDNESDAY EVENING, MAY 4 ...... SECOND CONCERT

THURSDAY AFTERNOON, MAY 5 ...... THIRD CONCERT

FRIDAY EVENING, MAY 6 ...... FOURTH CONCERT

SATURDAY AFTERNOON, MAY 7 ...... FIFTH CONCERT

SATURDAY EVENING, MAY 7 ...... SIXTH CONCERT

Evening Concerts begin at 8 o'clock. Afternoon Concerts begin at 2 o'clock.

6 PARTICULAR NOTICE

The doors will be closed and the Concerts will begin at the minute adver­ tised. The doors will not be reopened nor persons admitted until some con­ venient point in the program is reached. No encores will be given. The intermissions, a long established custom and attractive social feature of the Festivals, will last about half an hour, during which time the audience will have an opportunity to promenade in the corridors and foyer of Music Hall. They will be called to their seats by the sound of a trumpet.

Season Tickets, including reserved seats for all six performances (on sale only until April 23) ...... $15 00 Tickets for each performance detachable and transferable. Single Concert with reserved seat on the ground floor or in dress circle (for sale on and after April 25) ...... 2 50 Single Concert with reserved seat in balcony (for sale on and after April 25) ...... 1 50 General Admission...... 1 50 Boxes seating six, for the Festival...... 100 00

Auction Sale of choice of seats for Subscribers to Season Tickets and Box holders will be held at Aeolian Hall, 124 East .Fourth Street, Tuesday, April 19, and Wednesday, April 20, at 10 o'clock a. m. Sale of reserved seats for single concerts begins Monday, April 25, at the box office, Southeast corner of Fourth and Elm Streets, and continues until the close of the Festival.

Persons residing at a distance can obtain season tickets with reserved seats for all the concerts, or tickets for single concerts with reserved seat, by addressing "The Cincinnati Musical Festival Association, Cincinnati." Plats of the Hall, and other information about the Festival, will be fur­ nished on application.

7

FIRST CONCERT.

TUESDAY EVENING, MAY THIRD.

JUDAS MACCABEUS ...... Handel

An Oratorio

Special Version by Frank van der Stucken

MRs. RIDER-KELSEY MME. MARISKA ALDRIOH

MR. EVAN WILLIAMS MR. DANIEL BEDDOE

MR. HERBERT WITHERSPOON MR. CLAUDE CUNNINGHAM

Chorus Choir of Boys

Orchestra Organ

Intermission, and dedicat'iun of the statue· of Theodore Thomas. after the second part of the oratorio. SECOND CONCERT.

VVEDNESDAY EVENING,~AY FOURTH

MISSA SOLENNIS, D major, Op. 123.

MIss EMMY DESTINN MIss JANET SPENCER

MR. DANIEL BEDDOE MR. HERBERT WITHERSPOON

Solo Violin, Mr. Hans Letz

Chorus Orchestra Organ

Intermission.

CONCERT ARIA, Ah, Perfido, Op. 65.

MME. MABISKA ALDRICH

SYMPHONY NO.5, C minor, Op. 67. Allegro con brio Andante con moto Allegro-Finale

10 THIRD CONCERT.

THURSDAY AFTERNOON, MAY FIFTH.

OVERTURE, The Flying Dutchman ...... Wagner

SYMPHONY No.4, D minor, Ope 120 ...... Schumann Introduction, Allegro, Romanza, Scherzo, Finale.

VITELLIA'S ARIA, Titus...... Mozart Clarinet Obligato, Mr. Joseph Schreurs

MME. SCHUMANN-HEINK

OVERTURE TO A COMEDY OF SHAKESPEARE, Ope 15, Scheinpflug

Intermission.

RHAPSODY, Ope 53 ...... " ...... Brahms Ml\IE. SCHUMANN-HEINK Solo Chorus of Men Orchestra

VARIATIONS, Ope 36 ...... Elgar

ARIA, 0 Harp Immortal, Sapho ...... Gounod

MME. SCHUMANN-HE!NK

THE SORCERER'S APPRENTICE ...... Dukas

11 FOURTH CONCERT.

FRIDAY EVENING, MAY SIXTH.

THE CHILDREN'S CRUSADE ...... ··.. p'Ierne , A Musical Legend.

MBS. RIDER-KELSEY

MBS. CHAPMAN -GOOLD MRS. WERNER-WEST

MR. DANIEL BEDDOE MR. CLAUDE CUNNINGHAM

MR. HERBERT WITHERSPOON

Solo Chorus of Women

Festival Chorus

Chorus of 700 Children from the Public Schools

Orchestra Organ

Intermission after the second part.

12 FIFTH CONCERT.

SATURDAY AFTERNOON, ]dAY SEVENTH.

·OVERTURE, Anacreon ...... Cherubini

ARIA, Abscheulicher, Fidelio ...... Beethoven

MIss EYMY DESTINN

.INVITATION TO THE DANCE ...... Weber Arranged for Orchestra by Weingartner

ARIA, Dove Sono, Marriage of Figaro ...... Mozart

MIss EMMY DESTINN

~RONDO, The Merry Pranks of Till Eulenspiegel, Ope 28. Strauss

Intermission.

;;SYMPHONY, C minor ...... Stock Adagio-Allegro ma non troppo Scherzo Andante Oantabile Finale

13 SIXTH CONCERT.

SATURDAY EVENING, ~AY SEVENTH.

THE TROJANS IN CARTHAGE ...... ~ ...... Berlioz

A Lyric Poem

MME. LoUISE HOMER

MRS. RIDER-KELSEY MME. MARISKA .ALDRICH

MR. DAN1EL BEDDOE MR. N. HOUGAARD NIELSEN

MR. CLAUDE CUNNINGHAM MR. HERBERT WITHERSPOON

ME. EVAN WILLIAYS

Rhapsodist, MR. JOSEPH O'MEARA

Chorus Orchestra

Intermission after the f~ird part.

14 THE CINCINNATI MUSIC FESTIVALS

N his Musicall\:Iemories published in 1908, George P. Upton, the veteran critic and 'editor, says of the Cincinnati festi­ I vals: "They have been a continuous success, and have steadily grown in importance as ,expositions of the higher mus~c and indices of its growth. I have attended all of these but two, and have seen the steady advance from their modest beginning to the highest standard of musical perfection in this country. They have always seemed to me the crowning achievement in Mr. Thomas's career. The people of Cincinnati do not even yet know how greatly he prized these festivals or how great was the pang when he laid down the baton at the clos-e of the festival of 1904, knowing that it was his last one. Cincinnati has every reason to be proud of its May Festivals and the great influence they have had upon musical progress in the Middle West." Speaking of the festival of 1904, he says: "Never were more exacting programs laid out for players and sing,ers than these. It is doubtful whether they could have found elsewhere in this country the appreciation which was given them in Cincinnati. It was Mr. Thomas's ambition to gIve biennial festivals in New York and Chicago as well as 15 THE FESTIVALS. in Cincinnati utilizing the same material for each. The scheme was d~opped in N ew York after the first festival, and in ChicagD after the second. Cincinnati alone was able to continue them even aft,er their founder and master spirit had passed away.' The atmosphere of Cincinnati is musical. It has always had musical pride and ambition, and noW it has musical traditions and prestige which it evidently is deter­ mined not to sacrifice." In the cours'e of an extended article on the Cincinnati festi­ vals, Grove's Dictionary of Music and Musicians, the standard English authority, says: "The most notable of the regular recurring musical meetings in the United Stat,es are those held biennially in Cincinnati, .ohio. They had their origin in 1873, have been from the beginning under the artistic direction of Theodore Thomas, and have beyond question exerted a more powerful influence for musical culture than any institution of their kind." The first festival was held in May, 1873, in the old Exposi­ tion Building, a frame structure on the present site of Music Hall, which was erected for the Saengerfest of 1867 and used afterwards for industrial expositions. The festival was gen­ -erously attended and enthusiastically received, and at the close of the last cDncert, Honorable Stanley Matthews, after­ wards United States Senator and a Justice of the Supreme Court of the United States, presented a request for another festival signed by a large number of prominent citizens. The result was' the f,estival of 1875, which was held in the same building as the first festival. Its success' led to the building of Music Hall, which was opened and dedicated at the third festi­ val in May, 1878. Thus in five years the experiment of 1873 had r,esulted in :providing Cincinnati with the largest music hall and organ in the United States, and the festivals were looked upon as permanently established. Their history since then is largely from their artistic side, which is disclosed in the schedules

16 THE FESTIVALS. printed in this book giving the programs of every festival and the soloists who took part. The Association has been moved from the heginning by a spirit of conscientious endeavor and high artistic purpose. Its effort has been to present the master works, classical and modern, with the best forces ob­ tainable, and in doing so it has' enlisted the services of the most eminent singers of their tim·e, including Lilli Lehmann, Materna, Nordica, Nilsson, Sembrich, Gadski, Annie Louis,e Cary, Ritter-Goetze, Marie Brema, Schumann-Heink, Muriel Foster, Camp anini, Candidus, Winkelmann, Edward Lloyd, Ben Davies, Henschel, Scaria, Fischer, Bispham and Whitney. The first festival was given under the direction of a com­ mittee of citizens consisting of George Ward Nichols, president, Carl A. G. Adae, vice-president, John Shillito, treasurer, Bel­ lamy Storer, Jr., secretary, John Church, Jr., George W. Jones and Daniel B. Pierson. The second festival in 1875, and all of the festivals since then, have been given by the Cincinnati Musical Festival Association, which was incorporated under the laws of Ohio, in January, 1874, for that purpose. It is composed of one hundred members, who pay twenty dollars each for a share of stock on becoming members, and annual dues of ten dollars. The money derived from this source is used principally in maintaining chorus classes, where young men and women with good ears and voices, but without musical education, are taught to sing with a view to hecoming members of the festival chorus. The 'expense of each festival, including the cost of tr,ain~g the chorus, averages about $45,000. In 1906 it was $46,247.60, and in 1908, $42,115.68. The income is generally slightly in excess of the expense. In 1908 the income from the festival itself, not including stockholders' dues, was $43,272, being $1,156.79 in excess of the expenses. The cash on hand at the close of the festival after paying all expenses was $5,243.84. The total attendance was 18870, or an average of 3145 at each of the six concerts. 17 THE FESTIVALS.

The Association has a modest endowment fund, which was started yea~s ago at the suggestion of Julius Dexter, one of the most devoted friends of the Association. It has grown by degrees until it amounts now to $12,500, having been in­ creased since the last festival by two legacies of $3,000, each bequeathed by Mary P. Ropes and Eliz,a O. Ropes, of Salem, Mass., former residents -of Cincinnati. It is hoped that the example of these two ladies may lead other friends of the cause to remember the endowment fund, and the opportunity which it ,affords of strengthening the position and usefulness of the Association. The fund is safely invested in the hands of the Union Savings Bank and Trust Company as trustee, and the income is allowed to remain to augment the principal. Prior to the festival of 1880 the chorus was formed for the occasion by combining the forces of separate singing societies, but as the, programs grew in dignity and difficulty, that m'ethod was found to be inadequate, and the festival chorus was established in 1880 as a permanent body. It is a high school of music where the young men and women of Cincinnati make the loftiest works ,of art their own, by study­ ing them with serious' purpose and patient devotion, and then they share their treasure with the public, by delivering it over at the festivals to he the intellectual property of the whole city.

18 THEODORE THOMAS

INCINNATI'S estimate of Theodore Thomas is reflected C in the following resolution adopted by the Board of Directors of the Festival Association at their first meet­ ing after his death, which occurred January 4, 1905: Mr. Thomas has been musical director of the festivals from the beginning. He conducted the first concert of the first festival on Tuesday evening, May 6, 1873, and every concert of every festival thereafter until he laid down his baton after the memorable performance of Beethoven's Missa Solennis and the .Ninth Symphony, with which he brought the sixteenth festival to a glorious close on Saturday night, May 14, 1904. What he accomplished for the education of the public and for the cause of music in this city during those years of service is not recorded in any written annals, and can not be; it is part of the history of Cincinnati and of the lives of her citizens, which he enriched and made better and purer and happier by inspiring them with an appreciation of the highest and best forms of music, and by revealing to them the ineffable beauties of the art to which he devoted his life with noble and unselfish purpose. His upright character, his high ideals, his sound judgment matured by years of study and labor, his indefatigable energy, his courage and pa­ tience in times of trial, his catholic spirit, his faith in the people, and his confidence in the ultimate triumph of his appeals to their intelligence and of his efforts to raise the standard of art in their midst, are the qualities of heart and mind which have endeared him to his associates, and have laid the foundation of his enduring fame as a benefactor of mankind. 19 THEODORE THOMAS STATUE.

He came to us when he was a young man; he gave to us a large part of his life; he has gone full of years and honor. He fought a good fight and kept the faith. We deplore the loss of our leader and mourn the death of our friend. In the shadow of his death we pledge ourselves to continue the work which he began, and to maintain the Cincinnati Festivals on the plane of excellence where he placed them, and in the spirit of conscien­ tious endeavor and high artistic purpose with which he endowed them. The memorial statue of Theodore Thomas which will be un­ veiled on the opening night of the festival is intended to express in permanent form the appreciation by the people of Cincinnati of his devotion to the advancement of our knowledge and apprecia­ tion of music. The movement toward the erection of a statue originated in the offer of Mr. A. Howard Hinkle to give five thou­ sand dollars for that purpose on condition that a like amount be raised by popular subscrption. The Municipal Art Society of Cin­ cinnati undertook to comply with Mr. Hinkle's condition and soon received the necessary subscriptions, in amounts large and small, from the citizens whose names appear in the list printed on sub­ sequent pages of this book. The Municipal Art Society gave the commission for the statue to Mr. Clement J. Barnhorn, a sculptor born in Cincinnati and practicing his profession here, having full confidence in his ability to express in appropriate form the idea for which the statue stands. It is a source of satisfaction that the statue has been modeled by a local artist and is to that extent also the tribute of a Cincinnatian. With the dedication of the statute at the festival it passes from the trusteeship of the Municipal Art Society through the Festival Association to the Music 'Hall Association.

20 r------~

FRANK VAN DER STUCKEN

R. VAN DER STUCKEN was' born at Fredericksburg, Gillespie County, Texas, October 15, 1858. He lived in M Europe from 1866 to 1884. He studied at the Conserva­ tory of Music at Antwerp under Peter Benoit from 1875 to 1879, and at Leipsic from 1879 to 1881. He was kapellmeister of the Stadt Theater, Breslau, Germany, in 1882, and conducted a concert of his own compositions under the protection of Liszt at Weimar in November, 1883. In 1884 he came to the United States having been elected leader of the Arion Singing Society of New York, and in 1892 took that society on a most successful concert tour in Europe. He conducted novelty concerts in Steinway Hall, New York, in 1885 and 1886, symphony concerts in Chickering Hall, New York, in 1887 and 1888, and the first concert of American compositions at the Paris Exposition in 1889. He was conductor of the festivals of the North American Sangerbund at Newark, New Jersey, in 1891, with 4000 singers, and in New York in 1894 with 5000 singers. He conducted festivals in Indianapolis, Indiana, in 1896 and in 1897. He was dean of the College of Music of Cincinnati from 1897 to 1901, honorary dean thereafter, and conductor of the Cincinnati Symphony Orchestra from 1895 to 1907. Mr. van der Stucken succeeded Theodore Thomas as musical director of the Cincinnati festivals in 1905 and conducted with great success the festivals of 1906 and 1908. He reorganized the chorus in the fall of 1905 and has personally trained it for each festival since then, including the present festival. 21

FIRST CONCERT

JUDAS MAOOABEUS ...... HANDEL

UDAS MAOCABEUS was composed in 1746, when the Scotch rebellion, under Charles Edward, fanned English patriotism J into bright flames, and was performed for the first time at Oovent Garden Theater on April 1, 1747, to celebrate -the return of the Duke of Oumberland after his victory over Oharles at Oul­ loden. The patriotic spirit which animated Handel is shown on every page of the score. The biblical text served only as a basis for expressing in tones the irresistible enthusiasm of a people for a victorious hero. It is this universal human sentiment which finds eloquent embodiment in the tremendously virile and energetic choruses. It is not Judas Maccabeus of scriptural story whose triumphs are commemorated, but the abstract ideas of patriotism, courage and liberty, which are common to all nations and peoples. After the German war of deliverance, the oratorio kindled the en­ thusiasm of the German singers and audiences as it had kindled that of the English. Its glowing measures appeal to the sym­ pathies of the people. It is, in the literal sense of the word, a popular oratorio. The libretto was compiled by Thomas Morrell, an English poet, whose services Handel frequently enlisted. The subject is taken from the apocryphal books of Maccabeus. With- 23 FIRST CONCERT. out reference to any dramatic development, it consists of the sto~y of oppression and deli verance twice told. The argument IS briefly this: In the first part the Jewish people lament the death of Mattathias, father of Judas and Simon, to whom they have looked for deliverance from Syrian oppression. They invoke divine favor, and pray for "a-leader bold and brave." Judas is recog­ nized as such a one. The people prepare for war. The second part opens with the celebration of victory and praise of Judas. Again war threatens, and again Judas comes to the rescue and the people respond. The principal incidents in the third part are the feast of the dedication of the sanctuary at Jerusalem, which has been desecrated by heathen idolatries, and the return of Judas as victor. A performance of the oratorio always calls for some editing ,of ,the score. In its entirety it is too long for a single concert, and is usually shortened by leaving out the least interesting num­ bers. Even Handel himself never gave the work without devia­ tion from the original score. The choruses, "See the conquering hero comes," originally written for the oratorio Joshua, and "Zion now her head shall raise" were added after the first performance, and several arias were later on transposed to other voices and keys to suit the soloists who were available. Mr. van der Stucken's :first idea was to use Friedrich Chrysander's version. As in all his versions of Handel's oratorios, Chrysander has condensed the work considerably, weeding out the weaker numbers that do not belong to the story proper, in order to concentrate interest on the central figure of the drama. But in this process he left out many beauti­ ful numbers, like the arias "No unhallowed desire," "0 liberty," "Sound an alarm" (first part), "From mighty kings," the duets "Come, smiling liberty," and "Hail, Judea," the trio "Disdainful of danger" and the chorus "Sing unto God," none of which an American audience cares to miss. So Mr. van der Stucken set out to publish a special edition based on Chrysander's prin­ ciple, yet materially different from his version. He did not eliminate the above numbers, but condensed the oratorio by leav-

24 JUDAS MAOOABEUS. ing out less interesting parts that do not belong to the story, such as the arias, "Wise men flatt'ring," "The Lord worketh wonders,'" "So rapid thy course is," "With honor let desert be crowned," the duo "Oh, never bow we down," and the chorus "To our great God," also by shortening certain recitatives, ritornels and two numbers, "From mighty kings" and' "Zion now her head shall raise," and by joining two numbers in one, "Call forth thy powers'" and "Lead on," "0 liberty" and "Come, ever smiling liberty," and the duet and chorus, "Hail, Judea." Besides this, Mr. van der Stucken makes it optional to musical directors to use a children'.s choir in "Hail, Judea," ''We hear, we hear," "See the conquering hero comes" and the final "Halle­ lujah." The characteristic aria, "No unhallowed desire," which is superfluous in the first part, has been changed to the third part,. where it takes the place of ''With honor let desert be crowned." As there are virtually none in Handel's score, the special edition has been provided with careful indications of dynamics. Mr. van der Stucken has also revised the orchestration, adding accompaniments to the existing ones, an~ giving to the additional instruments the role formerly intrusted to the organ and the cembalo.' The part of the cembalo has 'been restricted to the ac­ companiment of the recitatives, and the organ is used for the­ climaxes and special effects in a few recitatives and choruses. Only in one instance, "See the conquering hero," has a simple adequate contrapuntal accompaniment been added for the pur­ pose of better joining and characterizing the different repetitions of the melody. In order to join the chorus "Sing unto God" to the­ preceding march, a short cal~ of trumpets has been added which is an optional addition. Handel asks for a signal of trumpets in his oratorio Joshua without writing out the music, and the editor felt justified in using this means for reaching the climax of the dramatic situation, the entrance of the victorious Judas into· Jerusalem.

25 FIRST aONOERT.

CHARACTERS REPRESENTED. JUDAS MACCABEUS, Mr. Williams SIMON, THE HIGH PRIEST, Mr. Witherspoon ISRAELITISH MAN, Mr. Beddoe ISRAELITISH MESSENGER, Mr. Cunningham ISRAELITISH WOMAN, Mrs. Rider-Kelsey ISRAELITISH WOMAN} Mme. Mariska Aldrich A PRIEST CHORUS: THE PEOPLE OF ISRAEL.

ARGUMENT PART I.-Lamentations for the death of Mattathias. the father of Judas Maccabreus and Simon, by whom the Jewish people had been roused to resist the cruelties and oppres­ sions of Antiochus Epiphanes, the Syrian king, in his attempt to suppress their reli­ gion and liberties.-The divine favor invoked.-Judas recognized as leader.-Appeal to the patriotism of the people, and their response.-The value of liberty.-Prepara­ tions for war.-Pious trust in God, and heroic resolve to conquer or die. PART I1.-Celebration of the victories gained over the armies of Apollonius, the Governor of Samaria, and Seron, the Deputy Governor of Crelesyria; and the valour of Judas.­ Renewal of war by a division of the Syrian army from Egypt, under Gorgias, and the despondency it occasions amongst the Israelites.-Judas again arouses the failing courage of the people, and they set out to meet the enemy.-Those who remain be­ hind utter their detestation of the Heathen idolatries, by which the Sanctuary at Jerusalem had been desecrated, and their determination to worship only the God of Israel. PART IlL-Feast of the Dedication at Jerusalem, after Judas and his followers had re­ covered and restored the Sanctuary, and reestablished the liberties of his country.­ Return of Judas from his final victory over Nicanor and his confederates.

PART I. DUET.-Israelitish Man and Woman' OVERTURE, From this dread scene, these adverse SCENE.-Modin. pow'rs, Israelites, Men and Women, lamenting Ah! whither shall we fly? the death of Mattathias, Father of o Solyma, thy boasted tow'rs Judas M accabeus. In smoky ruins lie!

CHORUS. CHORUS. Mourn, ye afflicted children, the re­ For Sion lamentation make mains With words that weep, and tears that Of captive Judah, mourn in solemn speak. strains, Your sanguine hopes of liberty give RECITATIVE.-Simon. o'er; Your hero, friend, and father is no Not vain is all this storm of grief; more. To vent our sorrows, gives relief. 26 JUDAS MAOOABEUS.

Wretched indeed I But let not CHORUS. Judah's race We come, we come, in bright array, Their ruin with desponding arms Judah, thy sceptre to obeyl embrace. RECITATIVE.-J udas. AIR.-Simon. 'Tis well, my friends I With trans­ Pious orgies, pious airs, port I behold Decent sorrow, decent pray'rs The spirit of our fathers, famed of Will to the Lord ascend, and move old His pity, and regain His love. For their exploits in war.-Oh, may their fire With active courage you, their sons, CHORUS. inspire! o Father, whose Almighty powlr As, when the ~ighty Joshua The heav'ns, and earth, and seas fought, adore, And those amazing wonders The hearts of Judah, Thy delight, wrought, In one defensive band unite, Stood still, obedient to his voice, the And grant a leader bold and brave, sun, If not to conquer, born to save. Till kings he had destroy'd, and kingdoms won.

RECITATlvE.-8imon. AIR .....",-J udas. I feel the Deity within, Call forth thy pow'rs, my soul, and Who, the bright Cherubim between, dare His radiant glory erst display'd; The conflict of unequal war: To Israel's distressful pray'r Great is the glory of the conqu'ring He hath vouchsaf'd a gracious ear, sword And points out Maccabe us to their That triu!TIphs in sweet liberty ra­ aid: stor'd. Judas shall set the captive free, And lead us on to victory. CHORUS. Lead on, lead onl Judah disdains AIR.-Simon. The galling load of hostile chains I Arm, arm, ye brave! a noble cause, RECITATlvE.-Israelitish Woman. The cause of HeavIn, your zeal demands; To Heav'n's almighty King we kneel, In defense of your nation, religion, For blessings on this exemplary zeal. and laws, Bless him, Jehovah, bless him, and The almighty Jehovah will once more strengthen your hands. To Thy own Israel liberty restore. 27 FIRST CONOERT.

AIR.-Israelitish Woman. RECITATlvE.-8imon. o Liberty, thou choicest treasure, Haste ye, my brethren, haste ye to Seat of virtue, source of pleasure I the field, Life, without thee, knows no blessing, Dependent on the Lord, our strength No endearment worth caressing. and shield.

CHORUS. DUET.-Two Israelitish Women. Hear us, 0 Lord, on Thee we call, Come, ever-smiling Liberty, Resolv'd on conquest, or a glorious And with thee bring thy jocund fall! train; For thee we pant, and sigh for thee, With whom eternal pleasures reign!

RECITATIVE.-J udas. PART II. My zealous father, now at rest SCENE.-The same. In the eternal mansions of the blest: The Israelites celebrating the return of "Can ye behold," said he, "the Judas from the victories over A p­ miseries olloniu8 and Seron. In which the long insulted Judah lies? Can ye behold their dire distress, CHORUS. And not, at least, attempt redress?" Then faintly, with expiring breath: Fall'n is the foe: so fall Thy foes, 0 "Resolve, my sons, on liberty, or Lord, death." Where warlike Judas wields his right­ eous sword. We come lOsee, thy sons prepare The rough habiliments of .war, DUET (Israelitish Woman and Israel­ With hearts intrepid, and revengeful itish Man), AND CHORUS. hands, To execute, 0 Sire, thy dread com­ Sion now her head shall raise, mands. Tune your harps to songs of praise.

RECITATIVE.-Israelitish Woman. TRIO (Judas, Simon, Priest) AND CHORUS. Oh, let eternal honours crown his: name, Disdainful of danger, .we'll rush on Judas, first Worthy in the rolls of the foe, fame. That Thy pow'r, 0 Jehovah, all Say, "He put on the breast-plate as. nations may know. a giant,

28 JUDA.S MAOOABEUS .

.And girt his warlike harness about In all their horrors rise. him. Prepare, prepare, In his acts he was like a lion, Or soon we fall a sacrifice And like a lion's whelp roaring for To great Antiochus: From th' Egyp­ his prey." tian coast (Where Ptolemy hath Memphis and AIR.-Israelitish Woman. Pelusium lost) He sends the valiant Gorgias, and From mighty kings he took the spoil, commands .And with his acts made Judah smile. His proud victorious bands To root out Israel's strength, and to CHOIR OF Boys AND CHORUS. erase Hail, Judea, happy land! Ev'ry memorial of the sacred place. Salvation prospers in his hand.

AIR (Israelitish Woman) AND RECITATIVE.-J udas. CHORUS. Thanks to my brethren: but, look up to Heav'n I Ah I wretched, wretched Israel! fall'n To Heav'n let all glory and all praise how low, be giv'n; From joyous transport to despond­ To Heav'n give your applause, nor ing woe. add the second cause, As once your fathers did in Midian, RECITATIVE.-J udas. Saying, "The sword of God and Gideon." My arms I against this Gorgias will It was the Lord that for his Israel I gol fought, The Idumean governor shall know And this our wonderful salvation How vain, how ineffective his design, wrought. While rag~ his leader, and Jehovah mine. AIR.-Judas. How vain is man, who boasts in fight AIR (Judas) AND CHORUS. The valour of gigantic might, And dreams not that a hand unseen Sound an alarm, your silver trumpets sound, Directs and guides this weak machine. And call the brave, and only brave, (Enter an Israelitish Messenger.) around I Who listeth, follow:-to the field RECITATIvE.-Messenger. again I o Judas, 0 my brethren I Justice, with courage, is a thousand New scenes of bloody war men. 29 FIRST OONOERT.

CHORUS. AIR.-Priest. We hear, we hear the pleasing, dread­ Father of Heav'n, from Thy eternal ful call, throne And follow thee to conquest:-If to Look with an eye of blessing down, fall, While we prepare, with holy rites, For laws, religion, liberty, we fall. To solemnize the Feast of Lights. And thus our grateful hearts employ, RECITATIVE.-Simon. And in Thy praise This altar raise Enough! to Heav'n we leave the With carols of triumphant joy. rest. Such gen'rous ardour firing ev'ry breast, RECITATIVE.-Israelitish Woman. We may divide our cares. The field o grant it, Heav'n, that our long be thine, woes may cease, Judas, and the Sanctuary mine. o And Judah's daughters taste the For Sion, holy Sion, seat of God, calm of peace; In ruinous heaps is by the heathen Sons, brothers, husbands, to bewail trod. no more, Down, down with the polluted altars, Tortur'd at home, or havock'd in down! the war. Hurl Jupiter Olympius from his throne, Nor reverence Bacchus with his ivy AIR.-Israelitish Woman. crown! So shall the lute and harp awake, Our fathers never knew him, or his And sprightly voice sweet descant hated crew, run, Or, knowing, scorn'd such idol Seraphic melody to make, vanities. In the pure strains of Jesse's son.

CHORUS. RECITATIVE.- Israelitish Messenger. We never, never will bow down To the rude stock or sculptur'd stone: From Capharsalama on eagle wings We worship God, and God alone. I fly, With tidings of impetuous joy: Came Lysias, with his host array'd PART III. In coat of mail; their massy shields Of gold and brass flash'd lightning o'er the fields; SCENE.-Mount Sion. But Judas, undismay'd Met, fought, and vanquish'd all the Israelitish Priests, etc., having re­ rageful train. covered the Sanctuary. 30 JUDAS MACCABEUS.

But lo! the conqueror comes; and RECITATIVE.-J udas. on his spear, Sweet flow the strains, that strike my To dissipate all fear, feasted ear; He bears the vaunter's head and Angels might stoop from Heav'n to hand, hear That threaten'd desolation to the The comely songs ye sing land. To Israel's Lord and King.

AIR.-Judas. No unhallow'd desire SCENE.-Near Jerusalem. Our breasts shall inspire, Nor lust of unbounded pow'r: I sraelitish Youths and Maidens meet­ But peace to obtain, ing Judas on his return from the Free peace let us gain, victory over Nicanor. And conquest shall ask no more.

CHOIR OF Boys AND CHORUS. DUET.-Israelitish Women. See, the conqu'ring hero comes! o lovely peace, with plenty crown'd, Sound the trumpets, beat the drums; Come, spread thy blessings all Sports prepare, the laurel bring, around; Songs of triumph to him sing. Let fleecy flocks the hills adorn, See the godlike youth advance, And valleys smile with wavy corn. Breathe the flutes, and lead the dance; Let the shrill trumpet cease, nor Myrtle-wreaths and roses twine, other sound. To deck the hero's brow divine. But nature's songsters wake the cheerful morn.

MARCH. AIR (Simon), CHOIR OF Boys, AND CHORUS. CHORUS. Rejoice, 0 Judah, and in songs Sing unto God, and high affections· divine, raise With cherubim and seraphim har­ To crown this conquest with un­ monious join. measur'd praise. Hallelujah! Amen!

31 SECOND CONCERT

MISSA SOLENNIS, D major, Opus 123. EETHoVEN holds a place in the pantheon of art with the great poets and artists of all time, beside Aeschylus and B Dante, Michael Angelo and Shakespeare. Great as were his achievements as a musician, we lose sight of the musician in contemplating the greater tone poet, who touches every chord of the human heart, and uplifts and broadens the minds and souls of men. His long struggle to rise above the sorrows and ills of life imparts to his music a lofty spirttuality and intensely religious sentiment. Beethoven no doubt began composing the Mass with the inten­ tion of conforming in external features ·to the conditions which obtain in the celebration of the service of the church. He could not restrain himself long, however. The significance of the under­ taking grew on him with every measure he wrote, and his musical genius soon cast off all shackles and asserted itself in its resistless might. Schindler has given this striking description of his work on the Mass. "As I think of the occurrences of the year 1819, par­ ticularly of the time when the' tone poet was occupied with the Credo in the Hafner house at Moedling, and picture to myself his excited mental condition, I must acknowledge that never before or after ithat period of complete abstraction from earthly things did I observe anything like it in him." Beethoven was carried away by the greatness of the ideas, the 32 MISSA SOLENNIS. emotional power of the words, rather than their liturgical, dog­ matical, theological import. His object was to picture the condi­ tion of the soul as it contemplates the idea of God, its relation towards a divine, omnipotent being, its insignificance in the pres­ ence of an all-powerful, all-controlling force, the deeply a~ecting idea of salvation by faith in unchangeable love, the grandeur ot all-conquering trust in Providence. This appears to have been his conception of religion. Bettina von Arnim, writing to Goethe, quoted Beethoven as saying: "I have no friend, yet I know that God is closer to me in my art than He is to others. I commune with Him without fear, I have ever recognized and understood Him; therefore I do not iear for my music; no evil fate can overtake it; he who has once understood it must be free from all the misery with which others are burdened." To Beethoven art was religjon, its practice an act of devotion, the highest law the observance of beauty, and purity a guide for daily conduct. There­ fore he could safely give free play to his fancy and avail himself of all the resources which he had accumulated during a lifetime of ceaseless activity and experience. Instrumental music was the language which was most .sympathetic to his nature, and toward which his genius inclined with preponderating affection. Hence the supreme importance and eloquence of the instrumental part, which is more than an accompaniment, in the Mass; hence too many of the difficulties in the voice-parts, which arise from Beet­ hoven's determination to carry out a definite concept. He never did violence to the nature of instruments 01'- of the voices; he knew their capabilities, but he did not hesitate to exhaust them if that was necessary for the realization of his purpose. An adequate per­ iormance of the Mass therefore is not possible without unusual resources, and the unselfish devotion and enthusiasm of those who take part. Such a performance can not fail of making a pro­ found impression, for the work is saturated with a grandeur, an intensity, of which only such a great volcanic temperament as was Beethoven's is capable; a temperament which was the product of the intellectual and spiritual development of generations.

33 SEOOND OONOERT.

The first performance of the Mass was at St. Petersburg on MaI'ch 24, 1824. At a benefit concert given to Beethoven in Vienna on May 7, 1824, the program consisted of the overture, Consecra­ tion of the House, the Kyrie, Credo, Agnus Dei and Dona from the Mass and the Ninth Symphony. The rehearsals were inade:­ quate, but the impression on the distinguished audience that crowded the theater was profound. Umlauf conducted, Beethoven standing at his side, indicating the tempos of the different move­ ments. At the close of the Symphony, the final number on the programme, there was enthusiastic applause. The master heard nothing of it. He was not even aware that the last chord of his great works had died out, but kept on beating time. Finally Fraulein Ungher, who sang the contralto part in the solo quartets, turned Beethoven around to see the demonstration he could not hear. Then the audience realizing what had happened, redoubled their expressions of admiration and affection for the genius who was so sorely in need of sympathy. The work has been sung four times at the Cincinnati festivals, twice at the festival of 1880 and once each at the festivals of 1898 and 1904, on each occasion producing a profound impression. It was given at the last festival concert that Theodore Thomas conducted. The Mass consists of five principal divisions, the Kyrie, Gloria, Credo, Sanctus and Agnus Dei, each having its appropriate place in the service of the Church. Beethoven does not treat any of these divisions in a formal way. Many of them, especially the Gloria, embrace a variety of the most diverse themes, following the various sentiments of the underlying text. There are no set numbers for soloists. They come in with the greatest freedom throughout the Mass, now alone, now with the chorus, now separately, and now together. The Kyrie opens with a solemn, majestic outburst of the band and organ. A hush follows, which !s made more impressive by two interrupting soft chords. Then the strings take up a slow legato phrase and the instrumental introduction proceeds. At the twenty-

34 MISSA. SOLENNIS. second bar the chorus, supported by the organ 'and full orchestra, breaks forth with the Kyrie, intoning it three times, at each new invocation rising to a grander and more massive accumulation of sounds above the steadfast tonic, while the solo voices, one after an­ other, break in upon the chorus with their wailing appeals. The sopranos and tenors take up the supplication they have just heard from the solo alto, and the whole chorus, now confidently, now fear­ fully, beseech the mercy of the Father. The Christe eleison introduces a new movement. The trembling and awe' of the Kyrie give way to a more familiar and trustful in­ vocation of the Savior and Intercessor. The Christe is built out of two very simple motives, one of invocation (Christe), the other of supplication (eleison).

No. 1. Chris . te, Chris . teJ

~ ~ ~ I E§E#~~. "-t~ ---J~;fl (.Andante ~a'i be1~ marcGtto.)j 1 t Ii .,. t r I ~ 1 " ...... E - lei - • - - - . . . son.

They are introduced by the orchestra, then taken up by the soloists, and a little later by the chorus. They are constantly heard in the various parts, and always appear interwoven in the same relative position. Out of them Beethoven has constructed a move­ ment of superlative beauty, which ends with a soft and peaceful in­ tonation of Christe eleison. Then returns the Kyrie eleison, only to intensify the sublime themes of the opening movement, but leading at last to an ending of calm, devotional contemplation. "In devotion," says Seroff, "Beethoven's Kyrie is perhaps the holiest thought in the history of all art. Fervid, blissful devotion! Above all of his divine creations we place the Kyrie, whose meas­ ureless depth and nameless meaning only a critic yet unborn can interpret." Beethoven was himself so impressed with the Kyrie that he always directed it in a stooping position. He marked it "mit Andacht" (with devotion), and on the back of the score 35 SECOND CONCERT. wrote these words: "Vom Herzen, moge es wieder zu Herzen gehen" (from the heart; may it go to the heart). And who will deny that his hope is realized? Surely no one can resist the subtle spirit with which this divine composition penetrates the inner­ most soul of the listener. The motive of the Gloria is one of joyou~ excitement and relig- ious elevation. No.' 2. - ~~~""r jO fa ro It fj 010 • ri • a in ex· eel· sis De",·,'" \lV·=.,,,,· 0,

First it is given out in octaves and unisons by the organ and band. Then one part after another in the chorus takes it up joy­ ously, until they at last unite in an exultant unison outburst, In excelsis Deo. Suddenly all is hushed. A peaceful calm comes over us, as the basses of the chorus, in a low monotone, sing teet in terra pax," and then the whole chorus joins in a beautiful hymn of peace, whose rhythmical swing gives color to its quiet, full har­ monies. Again the· Gloria motive is heard in the orchestra, and the chorus shouts in unison, "laudamus te." Another hush, and in a low awe-inspiring tone the chorus chants "adoramus te." Then the basses in the orchestra and chorus announce this bold and joyful theme:

No.3. ~ E9±t=~ - ... ~ --- ~t p-r---q:="3 1 r ~! II" d±-=$=PL¢i 1:&23 ' Glo - ri - fi - ca ------mus teo

One after another the other parts take it up and unite in the song of praise. The Gratias Agimus which follows, after a short instrumental inuroduction, is perhaps the most beautiful and

36 MISSA SOLENNIS.

touching cantilena ever written. It is given out first by the solo tenor, the other solo parts and finally the chorus taking it up suc­ cessively. Again the old Gloria motive comes from the orchestra, while the chorus sings Domine Deus, Rex Crelestis, Deus, at each utterance mounting higher and higher, until Pater Omnipotens breaks forth with tremendous effect, in a crashing thunderbolt of sound. The exquisite beauty and touching dramatic effect of the Qui tollis, which follows shortly afterwards, are indescribable. "The genii of piety and beauty," says Niecks, "seem to have here closed a hallowed union, so that with their combined strength they might once more endeavor to effect what singly they failed in, the ame­ lioration of men." , Then comes a majestic movement from the orchestra, and the tenors of the chorus sing out 'boldly the first three words of the phrase "Quoniam tu solus sanctus," bowing reverently, on the last word, with the thought of God's holiness. The orchestra comes in with another majestic stride, and the sopranos sing Quoniam tu solus Dominus. The movement which follows leads into a colossal :fugue founded upon the following subj ect :

No.4.. Allec\!'o ma non troppo e bf"n IDR,·("ato-. --::>- :::- :::- :::- :::- :::- ==---:- --.... - , ~#t: t51 I(t:t r tt1ECt!: cJ $ Gf rFir ,r 9. r Ir !rl in glo ri-a Dei PatiisjA -- men.

We have Seroff's authority for calling it the greatest fugUe in the whole literature of music. It calls into play all the powers of the chorus, soloists, orchestra and organ. The text of the Credo, on account of its abstruse and meta­ physical character, presents great difficulties to the musical com­ poser. Beethoven adopts the idea of firm belief, and gives expres­ sion to it in the following motive:

3'1 SECOND CONCERT. No.5. ere • do, ere· do.

AII"Kro ma nOD &roppo. , Sf Sf sf"!!!!::· ~p~ L . fir- rl~ Fr ere - do. ere - do in U· num, u • Dum De· urn. which is announced successively, not by the four parts of the chorus, but by three, for the belief is in the Trinity. This an­ nouncement is preceded and accompanied by a triumphal symphony in the orchestra. We shall not undertake to describe the various movements of the Credo. Each word of the text is illustrated by the composer. But especial attention is called to the Et Incarnatus. How wonderfully the music expresses the mystery of the text! "It is one of those things," Bays Niecks, "that haunt one for days and nights, and the impression of which can never be wholly effaced." The Crucifixus, too, is unsurpassed for depth of feeling. What tenderness and sorrow is expressed in the· sighs and sobs of the solo voices, the wailing of the instruments, and the murmurs of the chorus I Here Beethoven illustrates his genius by the simplicity of the means which he employs. The phrase "et'sepultus est" is given in a low adagio sepulchral tone, while the resurrection is immediate­ ly announced by the sudden, clear outburst of the tenors, the effect being heightened by the silence of the orehestra. Then comes "et ascendit in crelum," the orchestra, and each part in the chorus, suiting the action to the words, and mounting the scale higher and higher, the basses starting in this way:

No.6. ff .. n..... -- -!""I ~"+ t ~ b ~7---=j tl h-~~.~~~'~f g~~~~~E~=:3~ Et . a . seen dit • in ere 1um, The Credo closes with a fugal treatment of the words "et vitam venturi, saeculi, Amen." This fugue has two subjects. The so­ pranos propose the first, and the tenors, starting a little more than a bar later, the second: 38 MISSA SOLENNIS.

No.7. Et vi - tam yen - tu - ri are cu - Ii

A.llegretto DJ.3 non troppo• ... ~!----t - I: r I-j p A men. A- A men, A - men, A - men, A - I I..-J-l I I J -- li g ..../J ~ I r r-?7? IEj etc. Et VI - tam ven - tu- 'f .-. -II- .fI.. .P- ... ~ ~t: oi- ... 111 ...... - I r ! I I I I =±:< I ~P SZr r I II ~ Ietc. men. Nothing can .surpass the grandeur of the inspiring pedal point in the second portion, or the magnificent passage following after­ wards, where the whole chorus sings the first subject in its original form, while the orehestra opposes, with the same subject in diminu­ tion. The concluding Coda is not less wonderful than the fugue itself. The ascending scales, with which the solo voices ·and in­ struments end their jubilation, are interrupted by two tremen­ dous shouts of Amen from the full chorus and orchestra. They add effect to the ethereal character of the pianissimo which f~llows, and bring the Credo to a close. 'The words "mit Andacht" (with devotion), prefixed by Beet­ hoven to the Sanctus, indicate its general character. It is a move­ ment of wondrous beauty, opening with a subdued, but richly col­ ored, orchestral introduction. The two movements which follow are short, but full of life and exaltation, the first "pleni sunt cmli et terra gloria tua," the second, "Osanna in excelsis Deo." The Osanna leads directly into 'a praeludeum, which prepares us for the mystical rapture of the Benedictus. This praeludeum is intended 89 SECOND OONOERT. to accompany the solemn service of the Church, when the. sacr~­ ment is being elevated, the priest and congregation prayIng In silence. At the last bar the exquisite violin solo commences, ac­ companied by flutes in the high registers. No lovelier vision was ever revealed. The long-sustained notes of the horns open an infinity around us, and, rapt in restful silence, we feel rather than utter the words Benedictus qui venit in nomine Domini. First the basses of the chorus give them out softly, in priestly monotone, as if from afar off, but the violin pays no attention to this earthly call, and only soars the higher in its heavenly flight. After a while the soloists, the alto commencing, take up the words in quiet, rhythmic measure, the chorus coming in, at first only to reinforce the "in nomine Domini," and then taking up the theme. All the while the ethereal violin is heard, the blessed mes'Senger that cometh in the name of the Lord. "Words can do nothing here," says Schindler; "they are bad servants of the divine word which music utters." The Agnus Dei repeats a portion of the text of the Gloria, "Qui tollis peccata mundi, miserere nobis." A more touching con­ ception than Beethoven's is impossible. The sombre coloring is in keeping with the downcast spirit and contrite heart that speak out this' movement. The ascending and descending of the melody expresses the urging and anguish of the supplicants. The expres­ sion becomes more and more intense; the male chorus breaks in piteously upon the beseeching prayer of the solo voices, and the hidden emotions, which together they can not utter, are revealed by the orchestra. The Dona nobis pacem is closely joined to the Sanctus. Beethoven marked it "Bitte urn innern und aussern Frieden" (prayer for inward arid outward peace). It begins with an allegretto vivace, and is distinguished by a lovely, flowing melo­ diousness in all its parts. The orchestration is elaborated with the greatest delicacy. But suddenly the serenity of the prayer for peace is interrupted. The drums roll pianissimo, the strings wail, the trumpets sound fromaiar, and the affrighted alto solo anxiously exclaims, "Agnus Dei, qui tollis peccata mundi." The drums and

40 MIBBA. SOLENNIS.

trumpets are heard again, this time louder; the tenor solo calls for mercy; fear increases with danger; the chorus cries "miserere nobis;" the trumpets and drums only break forth the louder, and the soprano solo shrieks out "Agnus Dei;" but before she closes the sentence peace returns, and the Dona nobis leads us to the orig­ inal theme. The dramatic effect of the passage is powerful. Next comes a martial symphony:

No.8.

ff Presto. --- • • • • ff Double Basllell. Celli aUdDonble Ballsoon.

It pictures the proud, defiant, insolent bearing of soldiery, sure of victory, advancing on the enemy. But the turmoil soon passes away, and the emotions of fear resolve themselves into a beautiful closing of perfect trustfulness. The Latin text is the liturgy of the Roman Catholic Church. The words are of great dignity, solemnity and power; each sep­ arate phrase, even the shortest, conveying in compact and ener­ getic form some great truth of Christian faith or theme of devo­ tion. Especially is this true of the Credo. This is the Nicene Creed, the longer Creed of the Catholic and Episcopal service, the confession of faith common' to both Roman Catholic and Protes­ tant Christendom. The words themselves are singularly well suited for choral singing, since they abound in pure, broad vowels, with but few, if any, awkward combinations of consonants, or ungainly divisions of syllables, such as occur in English and German. The English translation is that of the Book of Common Prayer of the Church of England. I t is the worthiest that has been made, a perfect specimen of grave and beautiful old-style English.

41 SEOOND OONOERT.

I. KYRIE. KYRIE eleison. LORD, have mercy upon us. Christe eleison. Christ, have mercy upon us.

II. GLORIA. GLORIA in excelsis Deo, et in GLORY be to God on high, and terra pax hominibus, bome volunta­ on earth peace, good will towards tis. Laudamus te, benedicimus te, men. We praise thee, we bless adoramus te, glorificamus te, gratias thee, we worship thee, we glorify agimus tibi propter magnam· gloriam thee, we give thanks to thee for tuam, Domine Deus, Rex Crelestis, thy great glory, 0 Lord God, heav­ Pater omnipotens. enly King, God the Father Almighty. o Lord, the only-begotten Son, Domine fili unigenite, Jesu Christe, Jesus Christ, 0 Lord God, Lamb of Domine Deus, Agnus Dei, Filius God, Son of the Father, that takest Patris, qui tollis peccata mundi, away the sins of the world, have miserere nobis. Qui tollis peccata mercy upon us. Thou that takest mundi, miserere nobis. Qui tollis away the sins of the world, have peccata mundi, suscipe deprecati­ mercy upon us. Thou that takest onem nostram. Qui sedes ad dex­ away the sins of the world, receive, teram Patris, miserere nobis. our prayer. Thou that sittest at the right hand of God the Father, have mercy upon us. For thou only art holy, thou only Quoniam tu solus sanctus, tu solus art the Lord; thou only, 0 Christ, Dominus, tu solus altissimus, Jesu with the Holy Ghost art most high Christe, cum Sancto Spiritu in gloria in the glory of God the Father. Dei Patris. Amen. Amen.

III. CREDO. CREDO in unum Deum, Patrem I BELIEVE in one God the Father omnipotentem, factorem creli et ter- Almighty, Maker of heaven and rre, visibilium omnium et invisibili- earth, And of all things visible and uin: invisible: Et in unum Dominum, Jesum And in one Lord Jesus Christ, the Christum, Filium Dei unigenitum et only-begotten Son of God, Begotten ex Patre natum ante omnia srecula; of his Father before all worlds; God Deum de Deo, lumen de luniine, of God, Light of Light, very God of Deum verum de Deo vero; genitum very God, Begotten not made, Being non factum, consubstantialem Patri, on one substance with the Father per quem omnia facta sunt; qui By whom all things were made; Who: 42 MISSA. SOLENNIS.

propter nos homines et propter nos­ for us men, and for salvation, came tram salutem descendit de crelis; et down from heaven, And was incar­ incarnatus est de Spiritu Sancto ex nate by the Holy Ghost of the Virgin Maria virgine, et homo factus est; Mary, And was made man, And was crucifixus etiam pro nobis sub Pontio crucified also for us under Pontius Pilato, passus et sepultus est. Et Pilate. He suffered and was buried; resurrexit tertia die secundum scrip­ And the third day he rose again, ac­ turas et ascendit in crelum; sedet ad cording to the Scriptures; And as­ dexteram Patris, et iterum venturus cended into' heaven, And sitteth on est cum gloria judicare vivos et the right hand of the Father. And mortuos; cujus regni non erit finis. he shall come again with glory to judge both the quick and the dead; Whose kingdom shall have no end. And I believe in the Holy Ghost, Credo in Spiritum Sanctum Do­ the Lord and Giver of Life, Who minum et 'vivificantem, qui ex Pa­ proceedeth from the Father and the tre Filioque procedit" qui cum Pa­ Son, Who with the Father and Son tre et Filio simul adoratur et con­ together is worshiped and glorified, glorificatur, qui locutus est per Pro­ Who spake by the Prophets. And I phetas. Credo in unam sanctam ca­ believe in one Catholic and Apostolic tholicam et apostolicam Ecclesiam. Church. I acknowledge one Bap­ Confiteor unum Baptisma in re­ tism for the remission of sins; And misslnem peccatorum, et expecto I look for the Resurrection of the resurrectionem mortuorum et vitam dead, and the life of the world to venturi sreculi. Amen. come. Amen.

IV. SANCTUS. SANCTUS, sanctus, sanctus, Do­ Holy, Holy, Holy, Lord God Al­ minus Deus Sabaoth. Pleni sunt mighty. Heaven and earth are full creli et terra gloria too. Osanna of thy glory. Hosanna in the high­ in excelsis I Benedictus qui venit in est I Blessed is he that cometh in nomine Domini. Osanna in excelsis I the name of the Lord. Hosanna in the highest I

V. AGNUS DEL. AGNUS DEI, qui tollis peccata LAMB OF GOD, Thou that tak­ mundi, miserere nobis, dona nobis est away the sins of the world, have pacem. mercy upon USt grant us peace. '

43 SECOND CONCERT.

CONCERT ARIA, Ah, Perfido, Ope 6'1'.

MME. MARISKA ALDRICH. This celebrated concert scene and aria, composed at Prague in 1 '1'96, is supposed to have been written for Duschek, a celebrated singer of that day. It was sung at the first Cincinnati Festival in 18'1'3 by Mrs.. Edmund Dexter, at the Festival of 1884 by Christine Nillson and at the Festival of 1896 by Mme. Nordica. It consists of seven divisions: 1, an extended accompanied recitative; 2, an adagio; 3, a song movement, allegro assai; 4, a second song move­ ment, piu lento; 5, a third, with new subject-matter, allegro assai; 6, a repetition of No.4; '1', an extended finale, allegro assai, with still another repetition of No.4.

RECITATIVE. Ah, faithless one! Oh traitor, cruelly thus think'st thou to leave me? These, then, are the words thou would'st give at parting? Whoe'er was tortured by such fell barbarity? Leave me, thou traitor! Go! from me thou canst fly, but canst not fly from the gods' avenging. Justice in heaven is found; hatred of wrong. Soon will the gods agree together to smite thee. Where'er thou goest, my shade will follow thee, and gaze upon thy torture. E'en now in fancy I behold them. Yes, now I see the lightnings; they dart on thee already. But no! Not yet! Pause, ye avengers! Spare that heart, I implore, and smite mine alone! Though he's the same no longer, my love I cherish! For him, him only liv'd I; for him, I'll perish! ARIA. Leave me not, no,. I emplore thee, In my solitude to sigh! Well thou know'st that I adore thee, That without thee I shall die I I may die, yes, naught will move thee; Thou of marble must be made! Why is one who thus can love thee Thus ungratefully repaid! Surely I deserve some pity, Basely, cruelly betrayed. 44 FIFTH SYMPHONY.

SYMPHONY No.5, C minor, Ope 67'. Allegro con brio Andante con moto Allegro-Finale \ Beethoven's Fifth Symphony is the best known and most gen­ erally enjoyed of all the works of its class. It is the great popular symphony, whose hold upon the people is due to the simplicity of its structure, the grandeur of its outline, and the directness of its appeal. In it Beethoven gives free rein to his stupendous imagina­ tion, and rids himself completely of the shackles of conventionality. His first, second and fourth symphonies were constructed on old forms, more or less extended and infused with the brilliant and passionate inspiration of his vigorous youth, but the fifth is the direct product of his individual genius, untrameled. His secret sorrows, his moments of rage or depression, his visions by night, and his dreams of enthusiasm by day, are all reflected in forms of melody and harmony, rhythm and instrumentation, as powerful and noble as they were new and original. It is the epic of a human soul struggling for liberty. It has been suggested that the four notes with which the sYJ11- phony opens represent fate knocking at the door. Beethoven is reported to have us.ed the expression, "Thus fate knocks at the por­ tals" in speaking of them. The suggestion is at least a touching fancy, for those few notes form the simple theme out of which Beethoven develops his drama, and as we hear the fatal knock again and again, we conjure up in imagination a fierce struggle between man and fate, whose issue is held in suspense until we hear the triumphant strains of the final movement. The Andante with its gently insistent mood of hope and consolation, and the groping, somber and mysterious Scherzo, which rushes into the jubilant march of the Finale, we think of as episodes. Beethoven is remarkable for two qualities, eloquence of expres­ sion and beauty of form, but he attained them by the genius of work. What appears in its finished state to be simple and SPOD- 45 SEOOND CONOERT. taneous cost him endless labor, as we know from his notebooks, which reveal him at work day by day, remodeling first drafts, elimi­ nating the irrelevant, re-enforcing the significant, exploring the sources of melodic, rhythmic, harmonic and structural variety, and returning upon his task to gather up all the threads into a com­ plete close woven fabric. The result is that ordered richness and complex simplicity, which is beauty. Theodore Thomas in his Autobiography truthfully says that a man who does not understand Beethoven and has not been under his spell, has not half lived his life. What Beethoven himself said of his artistic creations leaves on us no disagreeable impression of boastfulness, but rather of simple and sincere faith, for he had a nature exquisitely sensitive and a character of profound depth and imposing nobility. This was his prediction: "1 do not fear for my works; no evil can befall them, and whosoever shall understand them, he shall be freed from all the misery that burdens mankind."

46 THIRD CONCERT

OVERTURE, The Flying Dutchman ...... WAGNER HIS brilliant overture is an epitome of the opera, presenting T themes associated with the principal characters and occur­ rences in the drama. It opens with the horn phrase indic­ ative of the curse. The description of a storm at sea which accom­ panies this is interrupted by a tender melody designative of Senta as the saving angel. Another wild passage suggesting the Flying Dutchman cast about on the waves soon appears, followed by the song of his ship's crew. The overture closes with the Senta theme in combination with that of the Flying Dutchman, transformed into a song of triumph.

SYMPHONY No.4, D minor, Op. 120 ..... SCHUMANN

Introduction~ Allegro, Romanza~ Scherzo~ Finale. An autograph copy of the score, which Schumann sent Dr. Joachim as a Christmas present in 1853, is superscribed "Sym­ phonistische Phantasie flir Grosses Orchester." The adjective "symphonistic" he, no doubt, used advisedly to emphasize the re­ tention of the symphony form, a shade of meaning which is foreign to the current expression ".symphonic." Even this title appears not to have quite satisfied Schumann, for he altered it to "Sym­ phony No.4, D minor. Introduction, Allegro, Romanza, Scherzo 47 .THIRD OONOERT. and Finale, in one piece," and so it stands in the original printed score. That Schumann set great store by emphasizing the unity of the different movements is apparent and ought not to be overlooked, for it has an important bearing on the meaning of the symphony as well as on its structure. It was not a passing notion of Schu­ mann's to connect the different movements by means of reminis­ cences, but the result of mature reflection. How completely he was imbued with the romantic spirit, with that deep emotionality which longs to communicate itself to others through the agency of art, and to make others partakers of its joys and sorrows, his accompanying so many of his compositions with titles suggestive of their purport demonstrates. On the other hand, his highly sensi­ tive musical temperament compelled him to recognize the force of the inherent laws of the tone art as laid down by those to whom musical form was the primary consideration. Hence his attempt to reconcile the one with the other, to indulge emotionality, and at the same time not to do violence to the musically beautiful. Billow very keenly wrote: "A tone-poet is, first of all, a romantic, who, however, if he develops into a genius, can also become a classic." Schumann was a tone-poet and also a word-poet. The first movement begins with an Introduction whose dark, mysterious theme the violas and cellos give out. It will be well to note this theme, as it is one of the connecting links of the sym­ phony, and as such appears again in the Romanza:

48 FOURTH SYMPHONY.

The pl'incipal subject of the movement proper is a stormy one, ex­ pressive of violent, continued emotion:

This the composer evidently wishes to impress deeply on the hearer, for he has constructed the entire first part of the movement up to the repeat on it, introducing two episodes, however, of a clearly defined, independent character. After the repeat the same course of thematic work is pllrsued for a time, during which we meet with the very motives which constitute the first subject of the last movement, and therewith encounter another connecting link in the symphony. Finally a song theme, which, according to the orthodox conception of the symphony form would be accounted the second subject, appears: No.3. f- .. 1-----" .... -- .------, . ...i'" .... JL

49 THIRD OONOERT.

-.. i .l--- I i , 1 ... .L .... - ----i" ~jlt· -54 - ~ -- 'r

This enters into the fabric together with what has gone before. Towards the end it assumes, in consequence of the change of key, of slight alterations in rhythm and the sonorousness of its instru­ ment~tion," a triumphant· character, and signalizes the climacteric point of the m"ovement. Of the customary recapitulation there are only indefinite indications. In view of the form of this movement, Schumann's title, "Symphonistic Fantasia," appears well invented, even though at the present time such punctiliousness in naming a work would scarcely be 'observed~ In. choosing for tl;1e second movement a Romanza, Schumann selected a form which was peculiarly sympathetic to him, because it left him free to put his day dreams into tender and longing melodies, and at the same time to adjust the outlines to the concen­ trated musical ideas in which he was most at home. In fact, Schumann has created the ideal instrumental Romanza, for Ro,,:, manza\is a generic name for any piece in which the melodic element predominates. He himS'elf ranked his romanzas for the piano among the best of his compositions. Although writing the move­ ment of a symphony would naturally lead to extendIng'its dimen­ sions, Schumann made no effort at enlarging this movement, but kept within the narrow limits prescribed by the touching melody which is its nucleus. This melody, according to the modern code of tonalities, could be classified as A minor. In reality it is in a church mode, and to this largely owes its sad, plaintive character:

*50 FOURTH SYMPHONY.

No.4.

...I.....--r :!:- III ,-~

,,---r... 3 -+=-li--.-"'I i g§'I ,;--.- ~ ~ "--'1 ~ .-.--.--Il __., -- ~ J,J ~" 1"= II" 3 ":" ....-:: I~.J. ~ j' I I I r: .., ... _....L4o.L,-t!i'- "---. " ., ~ __ ~-"-F4?~

This song is offset by an intermediate section which is taken from the introduction of the symphony, and here as the~e rises to glowing fervency only to return quickly to the quiet strains of the song:

No.5.

Then an intermezzo derived from the intermediate section of the preceding part, now in the major key, with a lovely violin va.riation, sheds a brighter, more hopeful ray of light into the Romanza. With a repetition of the song the movement closes, the last measures modulating so :as to prepare the entrance of the Scherzo. It was Schumann's intention to introduce a guitar accompaniment in the

51 THIRD OONOERT.

Romanza, which would have well befitted the love-song, but would have proved of doubtful appropriateness ina symphony. The pizzicato chords of the strings, reinforced by the wood-wind choir and horns, serve the purpose with more dignity. The Scherzo is not, as might be expected, a dainty movement, but an energetic one, full of youthful impetuosity, dotted with incisive rhythmic accentuations and almost ponderous chords. It begins as follows:

No.6.

T.o this the lovely Trio, with its graceful violin passages, be­ ginning with the -syncopations so peculiar to Schumann's style affords an effective contrast: '

No.7.

52 FOURTH SYMPHONY.

Deeply poetic in conception and beautiful in utterance is the transition into the introduction of the last movement. Little by little the delicate passage of the Trio grows shorter and fainter. A last refrain, questioning, with uncertain syncopations dying out in sombre sighing chords, merges into the mysterious introduction, which is a counterpart of the last part of the one to the first move­ ment. The same theme here gathers force, as it did there, but now it resolves into the major key, and combined with sonorous harmonies in pronounced rhythm, develops into a joyful song of triumph:

I -;; ! 1 .! .. - ...... ' ~/L.'+ ~ '-r;=J i r I I~

With this movement Schumann's esthetical, one might almost say psychological, purpose, in recurring frequently to previously em­ ployed themes, becomes apparent. It was evidently his object to trace an emotional evolution which had for its starting point a given idea to which the mind constantly reverted. A somewhat less rigid theme follows the first subject, and then the second flowing, graceful one, expresSIve of peaceful content­ ment, makes its appearance:

53 THIRD CONCERT.

The movement runs on with unabating energy, and comes to a close with a brilliant Coda, ending in a dashing Presto.

RECITA'TIVE AND ARIA, Titus ...... MOZART .Clarinet obbligato, Mr. Jos. Schreurs.

MME. SCHUMANN-HEINK. Titus, Mozart's twenty-third and last opera, in two acts, was composed for the coronation of Leopold II of Austria and pro­ duced at Prague on September 6, 1791,' having been completed only the day before. The original score contained no recitatives. They have been added, presumably, by Mozart's pupil and friend, Franz Xaver Siissmayer (1766-1803). The selections for this .afternoon are sung by Vitelli a in Act II, scene. VII:

RECITATIVE. Now, Vitellia, the hour strikes, the serious hour of the great trial. ~ast thou the courage to see how he ends his life who'swore fidelity to thee? Sextus loves thee, more than his own life; he became a criminal at thy behest.

54 TITUS.

Thou hast ever seen him accomplish what thou cruelly askedst for; he will keep faith with thee in death. And yet wouldst thou, well knowing his misdeeds, marry the emperor with a smile on thy face? Ah, wherever I might be, I should see Sextus. ' The breezes-the rocks would discover my secret to my husband. I will acknowledge my guilt at his feet; I will lessen my Sextus' crime, even if I cannot save him by my own undoing. So vanish, proud hope, vanish forever!

ARIA.

Never shall Hymen adorn my life's path with roses, with fragrant myrtle. Already I see dungeons open horribly, already see torments of death draw near. Woe to me, wretched one! what terror! Ah, what will be my lot? He who sees what I suffer will surely take pity on me. Translation by W. F. Apthorp.

OVERTURE TO A COMEDY OF SHAKESPEARE, Ope 15 ...... SCHEINPFLUG.

This a recent work by Paul Scheinpfiug, one of the younger German school. It was performed for the first time in January, 1909, at a Philharmonic concert at Bremen under the direction of the composer. Wider attention was attracted to it by a perform­ ance at the orchestral concert of the Allgemeine Deutsche ,Music­ verein at Stuttgart on June 5, 1909, and since then it has been heard in many German cities. The first performance in America was by the Boston Symphony Orchestra in January, 1909, and in England on September 16, 1909, by the Queen's Hall Orchestra under the direction of Henry J. Wood. Scheinpfiug is in his thirty-fourth year, He studied at the Dresden Conservatory and lived in Bremen for several years as composer, teacher, and player of the violin and piano. He has recently left that city to become conductor of the Konigsberg Orchestra. 55 THIRD OONOERT.

He has not indicated which of Shakespeare's comedies his over­ ture is intended to depict, but it is supposed to be Twelfth Night. It is scored for full orchestra and concludes with an old English melody which is employed as one of the themes.

RHAPSODY, Opus 53 ...... '.... BRAHMS

MME. SCHUMANN-HEINK. Solo Chorus of Men and Orchestra. In the fragment from Goethe's Harzreise in Winter, which fur­ nishes the text for the Rhapsody, the poet pictures a lad, misan­ thropic, .sad, dejected and despondent, making his way through the inhospitable passes of the gloomy Harz mountains. Yearning for relief and comfort, he finds peace and sol3{!e in the contemplation of nature, which softens his heart, makes his tears to flow and finally leads him to break forth into prayer. In the beginning the orchestra assumes the burden of depicting the lad as he plods along, tired of the world and of life itself, while the solo voice offers a sympathetic commentary on the scene. The latter then in affect­ ing accents gives utterance to the dark thoughts which agitate the wanderer, and lastly, borne on the soft tones of the men's voices,. pronounces an inexpressibly tender and fervent supplication. Tp,e Rhapsody is a gem of the purest lustre, though its perfec­ tion of form and emotional depth may not be apparent at first: blush. Its claim to being one of the noblest and most refined com-. positions for male voices, accompanied, is now generally recognized. Brahms composed the Rhapsody in 1868, at Rome, while he was at work preparing his Requiem for print, and to the Requiem it is, a worthy companion piece.

But who goes there apart? In the brake his pathway is lost, Close behind clasp the branches together. The grass rises again, The desert engulfs him. 56 VARIATIONS~ Ope 36.

Who can comfort his anguish If balsam be deathly? If the hate of men From the fullness of love be drained? He that was scorned, Turned to a scorner, Lonely now devours All he hath of worth In a barren self-seeking. But if from thy Psalter, All-loving Father, One strain can come to his hearing, 0, enlighten his heart! Lift up his o'erclouded eyes Where are the thousand fountains Hard by the thirsty one in the desert.

VARI.ATIONS, Opus 36 .. ,...... ELGAR The :first performance of this composition took place at London on June 19, 1899, under the direction of Dr.' Hans Richter. It was given at the Cincinnati Festival of 1904. At the same Festival, the last that Theodore Thomas conducted, we heard for the first time Elgar's Dream of Gerontius. Elgar endeared himself to us at the Festival of 1906 when he conducted The Dream of Gerontius and The Apostles. The Variations are repeated at this Festival in response to general request, and for the purpose of putting on the program one of the most important works from the pen of the greatest composer England has produced. 'The score, embracing a theme and fourteen variations, is dedicated by the author to his "friends pictured within." The variations constitute a series of musical portraits. The following statement from the composer suggests the nature and scope of the work: "It is true that I have sketched, for their amusement and mine, the idiosyncrasies of fourteen of my friends, not necessarily musi­ dans; but this is a personal matter, and need not have been men- 57 THIRD CONOERT. tioned publicly. The Variations should stand simply as a 'piece' of music. The enigma I will not explain; its 'dark saying' must be left unguessed, and I warn you that the apparent connection be­ tween the Variations and the theme is often of the slightest tex­ ture; further, through and over the whole set another and larger theme goes, but is not played. " The theme, or, as the composer styles it, the Enigma, starts thus, in G minor, andante, 4-4 time:

No.1. Espresstvo e S~Slt1lUio. , -... ~ I.. ~ .. J 1-, ~~~.:- -- ~. , - i.I * ~,. 1,-\ .,. X 'r X r~r - X r ~ i ~ f ,1 ::::::-' Cres. Str. -= . .- "" ,. 1L .. .. - ~: .... '"'.... - .... l J I l I 1-, I I f - .-..-

ARIA, 0 Harp Immortal, Sapho ...... GOUNOD

MME. SCHUMANN-HEINK.

Where am I? Ah I yes I now remember. All which e'er now to life hath bound me is no more. For me there now remaineth nought but night and darkness To grant my heart relief from its grief, from its grief. ' 58 THE SORCERER'S APPRENTICE.

o harp immortal consoling I Days full of woe abound; By thee my grief controlling When thy sweet tones resound. In vain thy voice, soft sighing, Strives to comfort my pain; Ahl it will aye remain: Of this last wound I'm dying! 'Tis a wound of the heart Grief I must know till from life I depart, I depart.

Adieu! thou moonlight tender, Shine on with radiance blest! Cold wave, I now surrender; Grant me Eternal rest. The day which soon is dawning, Phaon shall light for thee, Think not, I pray, of me. For thee returns the morning. Open then, wat'ry grave. I soon shall sleep evermore 'Neath the wave, 'neath the wave.

THE SORCERER'S APPRENTICE ...... DUKAS The Sorcerer's Apprentice, entitled on the score "an orchestral scherzo," has for its pictorial basis Goet4e's poem "Der Zauberlehr­ ling," written in 1796, and published two years later. The poem concerns itself with the apprentice of a magician, who, when his master leaves the house, proceeds to experiment with the magic formula he has heard the sorcerer utter. Using the cabalistic words employed by his master the apprentice commands the broom to go to the shore and fetch water. The broom obeys, and when the pitchers are all filled the apprentice is dismayed to discover that he can not remember the magic utterance that will compel the broom to stop. Soon the room is swimming with water, and still the indefatigable utensil hurries to and from the river's edge. In

59 THIRD OONOERT. desperation the apprentice resolves to stop its progress with a hatchet. As the broom comes in with its liquid burden the arm of the young man wields the weapon and the broom is split in twain. Before the sorcerer's apprentice. has had time to utter a sigh of relief at the satisfactory ending of his troubles his dismay is doubly increased. For now both parts of the broom are speeding to the river bank. As the water splashes over and around the steps and hall the apprentice 'screams for help. And help arrives. The sorcerer enters at that moment, takes in the situation, commands the carriers to desist and both parts of the broom fly into their corner. The work was given its first performance at a concert of the Societe Nationale, May 18, 1897, in Paris. Its first performance in America was by Theodore Thomas on January 14, 1899. It was given at the Cincinnati Festival of 1900. It is scored for two flutes, piccolo, two oboes, two clarinets and bass clarinet, three bassoons and double bassoon, four horns, two trumpets, and two cornets, three trombones, three kettledrums, bass drums, cymbals, triangle, glockenspiel, harp and strings.

()O FOURTH CONCERT

THE CHILDREN'S CRUSADE ...... PIERNE HIS striking composition was performed for the first time T in Cincinnati at the last festival, and is repeated at this festival by general request. It is a musical setting of Marcel Schwob's exquisite poem based on a pathetic legend of the thirteenth century, whose outlines are indicated in the follow­ ing extract from old chronicles prefixed to the score: About that time, many children, without leader and without guidance, did fly in a religious ecstacy from our towns and from our cities, making for the lands. beyond the seas. And to those who asked of them whither they were bound, they did make an­ swer: "To Jerusalem, in search of the Holy Land." . . . They carried staves and satchels, and crosses were embroidered on their garments . . . and many of them came from beyond Cologne. They travelled to Genoa and did embark upon seven great vessels to cross the sea. And a storm arose and two vessels perished in the waters. . . . And to those who asked of such of the children as were saved, the reason of the journey, these replied: "We do not know." Pierne divides the poem into four scenes, the departure of the children; their journey to Genoa; the scene by the sea, and the Savior in the storm. In the first scene are pictured the celestial summons, the enthusiastic response of the children, and the vain pleading of the parents. It opens with an ethereal prelude in the orchestra, and the repeate"u call of mystic voices bidding the 61 FOlJRTH CONOERT. children to awake and set forth for Jerusalem, where Jesus waits. Among the first to respond are Alain the blind boy, who already sees Jerusalem with the eyes of faith, and little Allys, his sister, who offers tenderly to conduct him to the holy city. "I will find the way, Alain, 'tis Jesus calls us; let me hold thy hand." Their song full of religious fervor, sung in unison, is taken up by the children, "There in those fair. gardens we'll pluck sweet flowers." The chorus of the fathers' and mothers alternates with the canticle of the children and finally unites with them in an ensemble of powerful effect. The second scene shows the young pilgrims on their way, wan­ dering in hands through fields bedight with flowers which they; pluck and weave into crosses. The instrumental introduction is a masterpiece of musical delineation, with its antiphon of oboe, flute and violin solos. In order to relieve the fatigue of the jour­ ney the children sing a quaint medieval hymn, a march tune of bewitching rhythm in alternate triple and double time. First we hear it by a group of children in the distance and then by another group still farther away and alternately by one group after an­ other, on the stage and behind the scenes, and then in full chorus. As the hymn djes away, Alain prays, "0 Lord! help me bear this my cross that I am blind," and he and his little sister join· in a prayer to the Savior, "Suffer little children to come unto Thee." The third scene depicts entrancingly the exuberant joy of the children at the sight of "the wide blue sea." The old chronioles tell that they were amazed that the waters did not roll back to give them passage to the Holy Land, as the .Red Sea parted for the ·children of Israel. The book of Pierne's musical legend barely alludes to this episode and replaces it with a poetical conceit of its own. The children playing on the 'beach pick up star fishes which they imagine to be stars that have fallen from heaven into the sea and been drowned, and a sailor sings a legend of the Sta~ of Bethlehem, which, once azure, turned red at the crucifixion and fell into the sea. Beautifully descriptive is all the music, conju:r;~ ing up visions of the calm sea that is to ''bear the children on to 62 THE OHILDREN'S ORUSADE. their Lord," the "mighty sea that chanteth for joy," the murmur of foaming waves, and the gleaming of the natal star. Frightened by the excited zeal of the host of little ones, the senate of Genoa provides seven vessels to carry them to Jerusalem, and as night falls we hear the chorus of sailors and children as they "sail o'er the deep blue sea onward to the holy city." The last scene describes realistically the tempest, the ship­ wreck, the despairing cry of the children, their prayer for help, and Alain's celestial vision of the Savior.

I see such a radiance, One glorious burst of brightness! Noel! Noel! I see' the Lord I

Eyes that were lately blind on earth now are open forever:, and it becomes Alain;s turn to lead his sister,

Allys, my beloved! let me have thy hand, For now I am to lead thee, beloved I See! look there, 0 look there into the brightness! Ah! See, there is the Lord! He is there, we shall go to Him.

And Allys in trusting resignation answers,

Take thou my hand, lead thou me on Toward the radiant brightness I

With tears of joy the chorus of ~ngels welcomes the children, redeemed and saved.

End victorious of every trouble! Joy of joys! Holy joyl

'The city of Paris offers every three years a prize of ten thou­ sand francs for .the musical composition in large form which shall be adjudged most worthy by a committee composed of municipal officers and experts. In 1904 The Ohildren's 'Orusade was awarded

j 63 FOURTH OONOERT. a special prize by the city, and the work was performed for the first time at the Chatelet under the direction of Colonne, on J an­ uary 18, 1905. Its first performance outside of France was by the Oratorio Society of Augsburg, on April 1, 1906. The Paris performance was with a chorus of two hundred children and five hundred executants in all. The performance at the festival will be with seven hundred children and twelve hundred executants altogether. Pierne was born at Metz on August 16, 1863, and studied at the ParisConservatoire. His first intention was to perfect him­ self as a player of organ and piano, 'but later he turned his atten­ tion to composition at the advice of friends who saw his creative talent. In 1879 he received the first prize at the Conservatoire for piano playing, in 1881 the first prize for fugue, and in 1882 the first prize for organ, and also the Prix d~ Rome, which entitled him to study abroad for three years, most of the time in Rome at the academy provided there by the French government for suc­ cessful competitors for the Roman prize in music, painting, sculp­ ture, engraving and architecture. He is now conductor of the Colonne orchestra in Paris.

CHARACTERS: Alain ...... MRS. RIDER-KELSEY Allys ...•...... MRs. CHAPMAN-GOOLD A Mother...... MRs. WERNER-WEST The Narrator ...... MR. BEDDOE An Old Sailor ...... MR. WITHERSPOON The Voice from on High ...... MR. CUNNINGHAM Mystic Voices ...... SOLO CHORUS OF WOMEN

Chorus of Children. Choruses of Men and Women.

Period 1212.

64 THE OHILDREN'S ORUSADE.

PART I. Uplifting their hands to the heavens. Children, too, in their frenzy, Batter the doors down, Leave their parents' homes, THE FORTHSETTING. Escape from the arms of their mothers. A public square in a Flemish town o Lord, is this the time appointed? in 1212. Night. o Lord, it is a crusade that Thou commandest? MYSTIC VOICES. VOICES. Wake! wake! awake! Set forth for Jerusalem, Wake! wake I awake! Where Jesus waits. Set forth for Jerusalem, Where Jesus waits. CHORUS. THE CHILDREN. What is this marvel that is brood- ing o'er the nations? 0, hear ye not the voices that call Is a miracle impending? us? Through the night, Do ye not hear the pale voices? Through the shades of night, Alain! Allys! Comes a voice, Do ye not hear heavenly voices? Mysteriously yet plainly Athwart the gloom of the darkness, THE NARRATOR. So clear, Comes a wondrous voice from out Ahl dear Lord, the gloom of the darkness. Dost Thou see these bands of little ones, VOICES. That answer to Thy call?

Wake I wake! awake! Set forth for Jerusalem, THE CHILDREN. Where Jesus waits. 0, hear ye not through the night The pale voices that are calling? THE NARRATOR.

Through all the folk are rumours CHORUS OF MEN. astir, And women run about the streets Dear Lord, and can it be

65 FOURTH CONOERT.

Thou bidst our children seek the Jerusalem is shining, gleaming Cross? through the dark. Then up, children all! VOICES. Up, since our knights have cast aside their armour, Wake! wake! awake! Our kings no longer rule, nay, nor Set forth for Jerusalem, reign! Where J~sus waits.

THE CHILDREN. ALAIN.

0, hear ye not the voice? Then up! Jesus calls! Ah, where it calls, there fain would Up! since the knights have cast I go. aside their armour. o God, I was born sightless, sight­ No king, no, nor man, less; Dare go to battle for the faith, o God, Thou mad'st me blind and Then upl Jesus calls! To Jerusalem! sightless, Never yet have I known what the light is. ALLYS AND ALAIN. Where is Jerusalem? 0, dear Lord, Lead me there, help me go. There in those fair gardens We'll pluck sweet flowers, And many a cross we'll weave ALLYS. Of green leaves and red roses, 'Tis Jesus calls us, For Jesus. Jerusalem shines brightly through For, like the little swallows in the dark, autumn And I, thy little Allys, That flyaway homeward, I will find the way. So must we seek the sun. Alain, 'tis Jesus calls us; let me Let us seek the Holy City, hold thy hand. And Jesus!

ALAIN. THE CHILDREN. Jerusalem is shining, gleaming There in those fair gardens through the dark. Ahl would I might be following We'll pluck sweet flowers , those voices that call us. And many a cross we'll weave o Lord, be my guide, for I ne'er Of green leaves and red roses , have known what the light is. For Jesus.

66 THE OHILDREN~S OR USA DE.

For, like the little swallows in ALAIN. autumn That flyaway homeward, 'Tis J esu~ that will give us our So must we seek the sun, bread, We must go to the sun, And we shall live even as the birds We all shall gather flowers, of heaven, And green leaves and red roses, For Jesus will provide us with For Jesus. fountains of water, And there in His gardens THE FATHERS; CHORUS OF MEN. Shall we gather fruits. Aye! and through the night Alas! foolish ones! We'll sleep lout of doors on the hay, Where think ye now to fare, While the moon so friendly o'er When all is darkness? our sleep will watch, From up on high I THE CmLDREN; ALLYS, ALAIN.

Jerusalem is shining, THE CHILDREN. Gleaming through the dark., For Jesus, He will give us our CHORUS OF MEN. bread, And we shall live even as the birds Jerusalem lieth far away o'er the sea. of heaven, And through the night THE CHILDREN; ALLYS, ALAIN. We shall sleepin the loving embrace The sea will divide itself, of the moon. The sea shall become dry land, We shall walk between its waves; / THE MOTHERS (Soprano Solo and Unto Jesus we go, unto Him, unto Chorus of Women). H lID.· , To reconquer the Holy City! Children dear, go not! But stay here with your mothers. CHORUS OF MEN. Ah, can you forget Alas! Alas! Foolish ones! Go not! What we suffered when-we bore you, Go not! foolish ones! Ye are mad! And all our care since. then I Whither go ye into the darkness? Ah, can you forget All that for you we have suffered? Ah, no, my little child, dearest child CHORUS OF WOMEN. That I so softly used to rock to But, children, who will give you, sleep each day, In thy cradle. Sweet my child! Your daily bread? And at night I~used to wake,

6'1 FOURTH CONOERT.

Just to be sure thou didst breathe. ALLYS AND ALAIN Thy body itself was once a part of ~;3 mine. o come to Jerusalem, o .thou my child, my child! That shines so brightly through L~ave me not behind thee here in the night. ;!I,{!the dark! There in those gardens fair Thou art my very flesh and blood! We'll pluck sweet flowers Leave me not! Leave me not 1 For Jesus. Whom I for so long have borne in Let us go to the sun! my arms. We all shall gather flowers, Wilt thou force me to weep for And green leaves and red roses, ever? For Jesus. So much I've wept, That mine eyes are red with weeping. THE CmLDREN. Ahl Sweet my child, do not leave me here alone, He calls! Away! Away! Dear child; remember, ah! remem­ There in those fair gardens ber, We'll pluck sweet flowers, ' Leave me not! Do not go! And many a cross we'll weave Ah! ye children, think of us! Of green leaves and red roses For Jesus. And, like the little swallows In VOICES. autumn That flyaway homeward, Depart for Jerusalem! Set forth, Let us go to the sun! Jesus awaitsl We all shall gather flowers, And green leaves and red roses, For Jesus. ALAIN.

Ah! Listen to the voice, CHORUS (Tutti). The pale voice from out the night. o children, think of us! Do not forsake us like this! VOICES. Forsake, th I forsake us not! 011 1 stay with us I Ah I little ones! Set forth for Jerusaleml Depart, Oh I dear children, go ,not! For Jesus waits! Jerusalem lies far away, Far beyond the confines of Oceanl Ohl remain! Ah mel Do not for- ALAIN. sake us! o do not leave us! Stay with us, Ah! To us He is calling! Little children! Ah I go not 1 68 THE CHILDREN'S CRUSADE.

CHORUS. of woods. A warm morning in spring. Alas! Foolish ones! For your guide is a child, and THE CHILDREN. sightless! Children three were we, Who were going on our way. THE CHILDREN. And, as we went, lo! What if this world he sees not, We met with our blessed Lord, Jesus he can see, the Christ he sees! Jesus Christ. The sea will divide itself, The sea shall become dry land, ALAIN. We shall walk between the waves! Allys, this hand of thine I hold is Unto Jesus we go, unto Him! all a-tremble; To reconquer the Holy City! Art thou not weary, my beloved? Speak to me; ALAIN. Thou, whose face I see not, What if this world I see not, Must be as fair as are the lilies of Jesus I can see, the Christ I seel God.

CHORUS. THE CHILDREN. Jerusalem lieth far away o'er the Children three, what do ye here? sea. Be good to us, 0 Saviour dear, o Lord, have pity! Alas! foolish And let us pluck the flower, we pray, ones! That all Thy grief shall take away. o Lord, have mercy, and keep them safe, ALLYS. Pardon them, and keep them safe. Hear them all singing! Go not, foolish ones! Mad are ye! o God, keep them safe, pardon They are thronging along, They look like a swarm of bees, of them, 0 Lord. white bees, Like pilgrims they go marching on, CHORUS OF WOMEN. And staves they bear of hazelwood, And green and leafy crosses. O· Lord, protect, 0 God, these in­ nocents. THE CHILDREN. PART II. And staves of hazelwood, And green and leafy crosses, THE HIGHWAY. Flowering crosses, living crosses, A highroad between a broad meadow Crosses green and leafy. bright with flowers and a strip Be good to us, 0 Saviour dear. 69 FOURTH CONOERT.

ALLYS. ·We shall see Jerusalem. Children three were we, Ah I how bright and fair this year Who were going on our way. is the spring I And, as we went, 10! Ah! how fair! We met with our blessed Lord, For our Lord, He is here with us now. Jesus Christ. Here in this hawthorn so red, Behold the Lord, and in all things; Be good to us, 0 Saviour dear, In the hum of wings, And let us pluck the flower, we pray, And in the song of the crickets. That all Thy grief shall take away.

THE CHILDREN. ALAIN. Lord! help me to bear this my Green crosses, white crosses, and o cross, in flower. That I am blind. Creature that flyeth, Cricket that chirpeth. Be good to us, 0 Saviour dear. ALLYS AND ALAIN. o Lord, suffer the little children to ALAIN. come unto Thee.

Ah! how bright and fair this year is THE CHILDREN. the springl For our Lord is in all, Children three were we, In the wind blowing by, Who were going on our way. That over my face doth fling thy golden tresses. Oh! shall we see our blessed Lord PART III. Clothed in holy light?

THE CHILDREN. THE SEA. Shore of the Mediterranean near To Mount Olivet now go ye, Genoa, in the Gulf of Lyons. The And pluck the flower from off its silvery sand, spangled with bright tree. seashells and. blue-tinted starfish Come, help us pluck the flower, we sparkles in the sunshine. ' pray, That all Thy grief shall take away. THE NARRATOR. Green crosses, flowering crosses, The sea, at last the sea, Lead usJon, gladden our hearts. The mighty ocean, Whose soft folds Soon we shall come to the sea, of blue

70 THE GHILDREN'S GRUSADE.

Are edged above with white, THE CHILDREN. As were't a heavenly garment! Sky so deep, alive with thy stars. Noel! Oh! here we are at last Crystal waters clear, pure and holy! At the wide blue sea! The sea! Thou receiv'st that river divine. Where Saint John did cleanse man- ALLYS. kind from evil. The sea; Noel! In thee were reflected Here is the glorious ocean! The faces and forms of the Apostles. Noell The sea! o thou cradle of blue, Thou dost not ebb nor flow. THE CHILDREN. Bear thou to their Lord These children that stray! Hark! the sea is moaning, To the Christ! Hark! the sea is murmuring. Bear the children on o'er thy blue Jerusalem lieth there at the end of , waters, this lovely sea! Show them a face ever fair of heaven­ o hear how it laughs, ly blue; Hear how it is moaning. Hark! the sea is murmuring, Thy voice to them the gentlest of Look how it laughs bright and blue! murmurs, A}ld wear thou for them thy rosiest ALLYS. smile. With children thou shouldst play, Noel! The sea! Noeli Jerusalem lieth there! Caress them with thy touch. Noel! Noel! o thou cradle of blue, 0 sea, Jerusalem lieth there Bear these children on to their At the end of this lovely sea! Lord! THE CHILDREN.

THE CHILDREN. The sea! Oh here we are at last, Here's the wide blue sea! The sea! The sea! See there the lovely sea, 'Tis the wide blue sea! Noel! Noel! THE NARRATOR. Jerusalem Iieth there At the end of this lovely sea! Look! look! See these blameless ones ALAIN. All singing for joy by thy borders! o thou cradle of blue, take these Allys, I hear something great com­ children to thee! plaining, 71 FOURTH OONOERT.

Hear it groan, hear it weeping. THE CHILDREN. Where are we now? Oh, where are Blue sea, blest waters, we? Baptize us all, be kind to us, ALLYS. Thy children all.

Alain, rejoice, dear! ALAIN. There is nothing complaining Or groaning or that weeps, Noell It is the glorious sea, 'Tis the mighty sea that chanteth 'Tis the wide blue sea. for joy, It is the lovely sea, And its foaming waves, 'Tis the wide blue sea. Noel! Are murmuring and cooing like doves together, ALLYS. And each one of its murmuring waves sings Noel! Thy foaming billows are Hallelujah! Hallelujah! chanting for joy. Noel! Each of the foaming waves is singing And is cooing for joyl Noel! THE CHILDREN. Jerusalem lieth there o'er the lovely Noel! Noel! sea!

Hallelujah! THE CHILDREN; ALLYS, ALAIN.

ALAIN. Hark! the sea is moaning, Hark! the sea is murmuring. 0, beautiful water blue! Jerusalem lieth there 0, let me now but dip my hands At the end of this quiet sea! In waves that lap on Palestine's border I ALLYS. CHORUS. Oh hark, hear it laugh! Hallelujah! Hallelujah I Its foaming waves are chanting for joy!

ALLYS AND ALAIN. ALAIN. Blest waters, blue sea, Hear, hear, now 'tis murmuring, Baptize us thou, be kindly thou, Its foaming waves are chanting for Be kind to thy children twain. joy!

CHORUS. THE CHILDREN. Blest waters, blue sea, 'Hear, hear it laugh! Caress and baptize them, Hear how it laughs, the bright blue These little children all. ocean!

72 THE OHILDREN'S CRUSADE.

THE CHILDREN; ALLYS, ALAIN. With flowers of luminous tissues that move. Jerusalem Iieth there, Jerusalem But come, children, come aboard! Iieth there I All aboardl Noel! Noel!

THE CHILDREN. CHORUS OF MEN (SAILORS).

Ahoy! sail<:>r-Iads, ahoy I A wonder! Here are the ships that by the town They're the stars of the sky. are sent, That have been drowned in the sea. The town of Genoa I A wonder I A wonder I The magistrates have ordered out these ships THE SAILORS. For Palestine landl Cornel come I Come aboard I Ahoy I Gome aboard I Many a time for a distant shore Have we chartered our courses, A SAILOR. Never yet have we had Nay, the stars there in the sea Such a force of fair hair among the Come from the Holy Land. canvas. Lend an ear, young things, 'Tis a flight of pretty little swallows, And I'll tell you their story. A flight that's starting for the East. Upon that Christmas night, Jesus, Jesus, guide Thou this passage When came to earth our blessed of swallows, Lord, Guard them, safeguard this passage (Lord of children is He,) of swallows, On that same night was a star Guide them to Thee, created: Watch over Thy children. 'Twas great and blue. Watch did it keep o'er Him in the THE CmLDREN. manger; When He walked abroad, that star Look, Lookl followed Him, See the stars here on the seashore, And the star did Jesus love. See the stars there in the sea I But when evil men slew Him wick­ Look, look I See, see I edly, See, they're all either violets or And when the blood of the Christ roses, flowed forth, Are the stars of the sea I This bright blue star did turn red and lurid, THE SAILORS. There fell from it tears of blood. In curious creatures the sea doth The fire that it wept dropped like abound, rain from the sky,

73 FOURTH aONOERT.

And when our Lord was dead, then CHORUS OF MEN. died the star, as well; Ahoy! sailor-lads, ahoy! And then fell the star in the sea, Come aboard now! it is time to sail! and there was drowned. Board the ships sent by the town of Genoa! THE CHILDREN. (The children embark; it grows dark.) Noel! 'Tis for Jesus that all the stars have been drowned, CHORUS OF MEN. And have perished in the sea! The evening falls o'er the sea, ALLYS, ALAIN. And there the crescent moon rises redly, Noel! Noel! 'Tis for Jesus that all And she sails· through the sky as the stars have been drowned, were't a ship of fire. And have perished in the seal See, 0 see! The wind of the evening is filling our THE NARRATOR. spreading canvas. No, the stars, they have never per- Sail we o'er the lovely sea, ished, Sail away, for the wind is fair! But with Jesus they live above. For seel As the twilight falls, ALLYS AND ALAIN (The Children). The sky doth turn roseate and tur- quoise, Sailing, sailing o'er the peaceful And there the stars are a-shining, sea, All alive above us there I Sail we to Jerusalem, sail on to 'Tis Jesus that doth call, ever call the Holy Land, then to Him. Onward o'er the lovely sea, For Jesus said: Onward to Jerusalem o'er the "I am the Life, the Resurrection quiet sea from the dead." That rocks us through the night. Onward, sail on, sail on. CHORUS OF MEN. CHORUS OF MEN. Jesus said: "I am the Life, the Resurrection Sail we o'er the lovely sea, from the dead." Sail we o'er the deep blue sea, Sailing to the Holy Land and to THE NARRATOR (With Chorus). Jerusalem, Onward o'er the lovely sea, Behold! In the sky, there on high Onward to the Holy City, in the sky Onward o'er the sea The holy, glowing souls of stars are That rocks us through the night. shining! Sail on, onward, sail on, sail on. 74 THE OHILDREN'S ORUSADE.

P~~RT IV. ALLyS. Ohl Alain! Alainl Ohl speak to me! THE SAVIOUR IN THE STORM. Alain, I have lost thee! Ohl Spindrift blinds me I Alain THE NARRATOR. How dark the night is! The night has fallen on the deep, Alain I Alain I And the ship trembles here in the darkness I THE CmLDREN (With Chorus). Hear how the wind-tauten'd cordage De profundis libera nos, Domine. is groaning And complaining as in anguish I Alas I the billows are rising, CHORUS OF MEN. And the ship sobs and sighs 'gainst Keep a hold of the ropes all, the waters! Hold ye fast to the handrail! Whirlwinds dark fill the air, Lord, protect us now! Lord have And whirlpools fierce churn the mercy on us! water! De profundis libera nos, Domine. o Lord God, save us now, protect CHORUS OF ME~ (Sailors). us now! Whirlwinds dark fill the air, o Lord, save us now! Whirlpools fierce churn the water I HoI Stand by! stand by for the THE CmLDREN. topsail! Reef in the mainsail! o Herbert I 0 Dennis 1 0 Elenor! The hatch! close the hatch I Do not leave me herel Hurry to shut the portholes! o Bernard! 0 Herbert I 0 Elenor! That wave, the huge one, O! 'twill Hold me close to thee! fall upon us I Hold hard the tiller, hold hard I CHORUS. For that awful wave is going to fall upon usl De profundis libera nos, Domine. To brace the foremast, all hands I o Lord God, save us now, protect Look alive! the miizen is falling! us now! The tiller is gone I o Lord, save us now! Captain! Captain! Where is the captain? ALLYS. The mainmast's goingl Ah! Alain, I'm frightened! Ohl where art THE CmLDREN (With Chorus). thou? Spindrift blinds me, I cannot see! De profundis libera nos, Domine. Art thou there? Alain!

'i5 FOURTH CONCERT.

ALAIN. CHORUS. We had eyes, as well, yet we could Allys, hallelujah I hallelujah I not see, I see, I see such a radiance, This child that's blind One glorious burst of brightness I Sees the Lord here in the darkness. Noell Noell I see the Lord! Happy he, though blind, that sees the Lord in His glory I ALLYS. Where Jesus reigns I Hallelujah I Ohl ALAIN. THE CHILDREN AND SAILORS. Allys, my beloved! let me have thy De profundis libera nos, Domine. hand, For now I am to lead thee, beloved I ALLYS. See I look there, 0 look there into the brightness! Alain! Dost see the Lord? Ah! See, there is the l,ord I Alain, where see'st the Lord? Look ye all I Oh look ye at the radiant brightness! ALAIN. He is there, we shall go to Him. The Christ is there, Up there, on high. Hallelujah I We're going to Him, to Jesus, to Hallelujah I God. Our Lord is there, in that great Then on to Him I Hallelujah! radiant brightness! Noel! Noell I see the Lord! ALLYS.

CHORUS OF MEN. Take thou my hand, lead thou me on Toward the radiant brightness I Hallelujah! Ahl I see the Lord! Ah! I seel I see Jesus! Ohl my brother, lead THE CHILDREN. me on to Him, Noell He is there, we shall go to Him. He is there, I can see, we're going to THE NARRATOR. Him, To Jesus, to God. Then on to Himl Eyes had they, as well, yet they Hallelujah I could not see I This child, though blind, THE CHILDREN (With Chorus). Sees the Lord here in the darkness. Happy he, though blind, that sees Hallelujah I Happy he, though blind, the Lord in His glory! That sees the Lord in His glory!

76 THE OHILDREN'S ORUSADE.

This child that's blind leads us on And come, ye little ones, rejoice, to God. live again, The sightless child leads us on all And be full of joy, ye little ones; in the darkness. o come, 0 come I Jesus is there, He is there, we shall go to Him. He is there, I see Him, we shall go CHORUS (Tutti). to Him, To Jesus, to God. Then on to Him! Hallelujah! Hallelujah! For all your sorrows on earth Be turned to joy in Heavenl Hallelujah I THE VOICE FROM ON HIGH. Eyes but lately blind on earth, Suffer little children to come unto Now are open for ever. Me. Resurrection! Resurrection I Hallelujah I Hallelujah! MYSTIC VOICES. All things that blessed are and holy Shall end in joy. Children that were Christ's, now Hallelujah! Hallelujah! have risen again. Ah! celestial flowering forth of terrestial sorrows! CHORUS OF WOMEN (Chorus Holy joy! joy of joys! Seraphicus) . End victorious of every trouble I Ah, ye souls baptized anew in deep­ Joy of joys! Holy joy, est waters, Joy of joys, joy everlasting, Unto Life everlasting born again, Joy of joys! Hallelujah! Joy of rejoice, rejoice I joys! FIFTH CONCERT

OVERTURE, Anacreon ...... CHERUBINI HERUBINI, born at Florence, September' 14, 1760, was the son of the accompanist at the clavichord of the Pergola C Theater. After having received preliminary musical in­ struction in his native city, he was enabled at the age of eighteen, through the liberality of the Grand Duke, afterwards the Emperor Leopold II., to place himeslf under the care of the distinguished Sarti, of Bologna, who implanted in him a love for the works of the golden era of vocal counterpoint, the works of Palestrina and the Roman school of church composers, and initiated him into the secrets of their workmanship. After having devoted himself for a time to writing church music, Cherubini, still under the guidance of Sarti, turned to the composition of Italian operas in the light Neapolitan style. About 1788 he took up his permanent resi~ence in Paris, where, under the ii:rfluence of Gluck, he inaugu­ rated in 1791 with Lodoiska the series of dramatic masterpieces, which were destined to carry his fame throughout Europe. The displeasure of Napoleon, whose musical taste Cherubini had the temerity to criticize, stood in the way of his material prosperity, by closing against him the doors of the Grand Opera, and he turned to Vienna for artistic encouragement. At the outbreak of the war between France and Austria he returned to France, and after a period of inactivity devoted himself almost exclusively to the composition of church music. He was one of the first three inspectors of the Paris Conservatoire. He was appointed professor 78 ABSCHEULICHER. of composition in 1795, and in 1821 director of the institution. He died in 1842 at Paris. The very attributes of Cherubini's compositions" purity of style to the point of severity, artistic moderation, distinction of melodic material and refinement of workmanship, which stood in the way of the full appreciation of his greatness in France, gained for him the unqualified admiration of his German colleagues, foremost among them Beethoven, whom he met in 1805 at Vienna, and who gave emphatic expression to his regard for Cherubini's genius. Anacreon is a ballet opera, composed in 1803 and performed for the first time on October 4 of the same year. Notwithstanding the beauty of the music it failed of lasting sue-cess on account of its undra­ matic, confusing libretto. The overture, however, which is con­ sidered one of the choicest -of Cherubini's orchestra compositions, has gained a permanent place in the ,concert repertory. In point of form it follows the scheme of the old Italian overture fixed by Lulli, consisting of a ,slow introduction followed by a rapid move­ ment contrapuntal in character. On account of the freedom, how­ ever, with which Cherubini made this scheme subservient to dra­ matic purposes, the overture to Anacreon is classed as belonging to the period of transition from the musically symmetrical over­ ture of Mozart to the overture of Beethoven, conceived in the spirit of a dramatic prologue, and therefore not amenable to the laws of musical form in the abstract.

SCENE AND ARIA, Abscheulicher, Fidelio, BEETHOVEN

MISS DESTINN.

(Leonora enters, in violent agitation, from the side op'posite to that on which Pizarro and Rocco have gone off, having overheard the plan for killing Florestan.)

RECITATIVE. Insatiate! thy teeming brain would fain Invent some vile conceit of hideous mischief. Sweet pity's beam her crystal tribute Can ne'er from that cold heart distil, FIFTII CONCERT.

Yet, though thy passions come like thunder, Full on my smiling heav'n of bliss, Mine eye can yet see one fair rainbow Of. fai.nt existence 'gainst the gloom.

ARIA.

The snowdrop peeps beside the rose, Their native worth unblighted. On this fond bosom both repose, True love, with hope united. I know their fresh young beauty Gives courage life, And bids the wife Fulfill her sacred duty. Ah, could I, like the golden day, Pierce to the cell to bless thee, And shed affection's holy ray, Where chains and want oppress thee!

INVITArrION rro THE DANCE ...... WEBER

"\Veber's celebrated Invitation, written for piano, has been ar­ ranged for orchestra by Berlioz and by Felix Weingartner, Con­ ductor of the Imperial Opera at Vienna. The latter, whose ar­ rangement is played this afternoon, has given the following ac­ count of it in a preface to the score, in which he says: "Whoever conveys the work of a poet into another language, and simply translates it word for word into the other idiom, will at best remain true to the meaning, but obscure the poetic spirit of the original. Whoever arranges an instrumental composition for another instrument or group of instruments, and simply writes out the notes from one part into the other, performs an unneces­ sary task, for the original will always be better than the transcrip­ tion, and the latter will therefore be to no purpose. In both cases the trans.cription must be so made that it can in itself lay claim to the character and value of an original, and may have, inde- 80. INVITATION TO THE DANCE.

pendent of the latter, a reason for existing. In one word, it will be necessary to recompose the work in accordance with the charac­ ter of the new word or tone-language. Shining examples in this respect are Liszt's transcriptions and arrangements of all kinds. When I studied Berlioz's orchestration of the Invitation to the Dance for the purpose of having it performed, I was at once struck by the fact that that great master of the art of instrumentation had in this case 'by far underrated the capabilities of his orchestra in every direction. In the first place he transposed the piece from the noble key of D-flat into that of D major, which in this instance sounds dull and commonplace. Some of the piano passages of Weber are difficult of performance by the orchestra, but can be played easily and conveniently in the key of D. But Weber com­ posed these very passages for the piano, not for the orchestra, and therefore they ought not to be copied note for note, if an orchestra­ tion is to be undertaken, but ought to be so remodeled as to be well capable of performance by the respective instruments. The new passages must be just as well fitted for the orchestra as those of Weber's original are for the piano." Weingartner proceeds to explain how he was led to make use simultaneously of themes which in the piano composition ap­ pear in succession only. As one of these the following "entranc­ ing thematic interrelation," which will explain other similar ones, may be instanced:

}t ~f }t - I '".... Ir Ir ~=

Harmonic changes which Weingartner has made he justifies in the same way, and also the coda which he has added, and in which all the different themes appear at the same time. One more re­ mark from the preface may be quoted, because it is of a certain historical interest: "The little Cadenza before the Allegro I have 81 FIFTH CONOERT. added. Liszt, as he told me himself, always played a cadenza at this place. One by Tausig has appeared in print." Weingartner's adaptation is an example of the capabilities of the virtuoso orchestral composer, and an evidence of his technical mastery of the res.ources of modern instrumentation. I t was per­ formed for the first time January 30, 1897, at the sixth concert of the Royal Orchestra, Berlin, the organization to which it is dedi­ cated, and was played a few months. later at the Cincinnati Festi­ val of 1898. The score calls for an unusually large number of wind instruments: three flutes, three oboes, three clarinets (one of them in E-flat), three bassoons, four horns, three trumpets, three trombones and tuba.

MARRIAGE OF FIGARO ...... MOZART

MISS DESTINN.

RECITATIVE-"E SUSANNA NON VIEN." Still Susanna delays! I am anxious to be told how his lordship regards this last proposal. Brimful of danger does the project appear, with such a husband, of a temper quick and jealous. But yet, what harm? Simply exchanging raiment with my own maid, Susanna, and she mine taking! Night the plan, too, will favor-O heaven, to what degTadation I'm yield­ ing! How am I humbled by a husband's default, who, after having, 'midst strangest admixture of faithless vows, of jealous transports, and fury, first adored me, then ill treated, and last betrayed, brings me to this-calling my maid to aid me!

ARIA-"DOVE SONO."

Vanished are ye, bright hours, for­ If for me the past is dead, ever, Why in mem'ry still to taunt me, When love's rapture and bliss I Live the joys forever fled? knew; When he promised to leave me In my heart, where faith unshaken, never, Dwells the thoughts that ne'er can When I thought his false lips true! range, Ah, might hope like dawn awaken . If but torturing thoughts must haunt Whispering: Soon his heart ~ill me change. 82 THE MERRY PRANKS OF TILL EULENSPIEGEL.

RONDO, Till Eulenspiegel's Merry Pranks, Op. 28, RICHARD STRAUSS

The complete title of this strange composition is "Till Eulen­ spiegel's Merry Pranks, after old roguish fashion, set in rondo form for grand orchestra by Richard Strauss." Till Eulenspiegel, according to a history of his life, written in 1483, was born at Kneitlingen, Bnmswick. He masqueraded as charlatan physician, fool, valet, artist, and jack-of-all-trades, and must, indeed, have 'been a mischievous vagabond, for about his name are grouped so many tales des.criptive of his pranks that it has become synonymous with waggery. It would seem that Strauss purposed furnishing a musical allegory of this hero of German folklore. In this he has succeeded most admirably. No more comic, odd, amusing tricks can be. played with orchestral instru­ ments than Strauss has played, without violating even the most elastic notions regarding the boundary lines of dissonance and cacophony. But as Eulenspiegel, according to tradition, was not malicious in exercising his ingenuity, so Strauss has kept in view the limits set by the nature and mission of the tone language. Aside from the clever orchestration of the Rondo, the melodies and harmonies, and the rhythmic oddities, in which the work abounds, make apparent the composer's unusual technical skill. When Dr. Wuellner, who performed this work for the first time in public, at a Guerzenich Concert, at Cologne, on November 5, 1895, requested of the composer a short explanatory synopsis of its purport and contents, he received the following reply: "It is im­ possible forme to furnish a program to 'Eulenspiegel.' Were I to put into words· the thoughts which its several incidents suggested to me, they would seldom suffice, and might even give rise to of­ fense. Let me leave it, therefore, to my hearers to 'crack the hard nut' which the Rogue has provided for them. By way of keeping them to a better understanding, it. seems sufficient to point out the two 'Eulenspiegel' motives:

83 FIFTH OONOERT.

which, in the most manifold disguises, moods, and situations, per­ vade up to the catastrophe, when, after he has been condemned

to death, Till is strung up to the gibbet. For the rest, let them guess at the musical joke which a Rogue has offered them."

SYMPHONY No.1, C Minor ...... STOCK Adagio-Allegro ma non troppo. Scherzo. Andante cantabile. Finale. Mr. Stock has furnished the following brief outline of his symphony: "It is meant to describe, what so often has been described in works of the same character and form: human life, its sorrows as well as joys, the struggle of mortal man against fate, the 'spiritual trials to which he is subjected, his despair at the apparent futility of worldly existence, mingled with everlasting hope that victory will be his in the end. The first movement represents various phases of this struggle. As it surges to and fro, it depicts man's mind in a state of utter restlessness and determined resistance, a state of mind which does not recognize hope of lasting relief or comfort. The Scherzo speaks of life's joys. in a more or less humorous fashion, while the Andante depicts reminiscences of life's happiest moments. The Finale explains itself when it is made known that it bears the motto which has become the 'motive of life' of the German nation: V orwarts! Aufwarts! (forward, upward), which 84 o MINOR SYMPHONY. motto is, of course, to be taken in its broadest, most ideal and uni­ versal sense." The first movement opens with an introduction, the opening five measures of which set forth the principal theme (see No.1), which is given elaborate and varied treatment in later portions of the symphony. Some twenty measures later a solo viola, solo cello and oboe foreshadow the second subject of the movem~nt (see No. 2), the trombones giving out the opening motive against it. There is a quickening of the time, three sharp chords fortissimo in the full orchestra, a long roll on the kettledrum, and the main move­ ment is reached. 'The principal subject is announced by the cellos and double-basses, reinforced at the fifth measure by the violas and various wind-instruments.

No. 1. b e

The following is the second subject:

No.2.

85 FIFTH CONCERT.

It enters in the first violins and is taken up by the woodwind with imitative representations by a solo viola, solo second and solo first violins. The two themes are developed in a mas.terly manner~ and the movement is brought to a close with a great climax pres­ tissimo in which the first theme has the last word. The principal theme of the Scherzo appears after twelve meas­ ures of introduction.

It begins in the woodwind ,and is continued by the strings. The working over leads to a subsidiary theme of capricious character given to a solo violin.

No.4.

The second subject of the Scherzo is given to the cellos and violas, the harmony being supported by the lower woodwinds, horns and chords of the harp. The theme begins as follows:

86 o ~l!1INOR SYMPHONY. No.5. tJlc' cantabile.

After development of the three themes, and recapitulation, a presto concludes the movement with a final development of its opening subj ect No.3. The Andante, which like the preceding divisions is written in sonata form, opens with the following subject, given at the second measure to the first violins:

Some twenty-four bars after the close of this quotation a suggestion of the theme of the second subject in the first movement (No.2) is brought forward. After a climax has been reached the second theme of the Andante enters in the cellos and first horn, as fol­ lows: No.7. FIFTH CONCERT.

The subject is elaborated by both the wind and string divisions, the latter containing occasional interpolations for a solo violin. There is a hastening of the time, upon which the brass intone the opening notes of the first theme (No. 6). A climax having been reached, the music becomes more tranquil, and the recapitulation enters with the principal subject of the movement given out by the cellos, violas, and certain of th~ woodwind instruments. Above this an ornamental figuration is played by the flutes and first clari­ net. The seconq theme (No. 'I) follows closely in the first violins. There are suggestions of the opening subject (No.6) in the trum­ pets and violas; the music grows in intensity, the violins mount higher and ever higher, the agitation culminating in a great for­ tissimo, largamente molto. The first five notes of the principal subject are chanted in diminution by the brass, and immediately afterward in augmentation, pianissimo. The tranquility which en­ sues is not broken before the close of the movement. Note that the last chord contains the whole opening portion of the theme in one chord. I The score of the Finale is inscribed "Vorwarts! Aufwarts!" (forward, upward). The following quotation from the introduc­ tion suggests the first of these two mottoes. It is played by the horns:

No.8.

Twelve measures are taken up with the introduction; then there is a sonorous chord, a pause, and the main movement sets in. The principal theme, typical of the second of the two mottoes, Upward , is twenty measures long and is given to the violins and violas in unison, and on the fourth string.

88 o MINOR SYMPHONY.

No.9.' Moderato. 'J-ri;~~:lffiIJ~t ...... ", ----' '- ..... »~ ==-

~~~rIt~-fi1~ -,1--" -- -' '-'" ---TU-' J ...... J ----:: ::=- :=: r- =- -=---' The theme is almost immediately followed by a subtle suggestion of the opening subject of the first movement (No. la) in the violas. No. 10.

This motive is now presented by the full orchestra forte and given development. The key changes to E major, and the second subject enters tranquillo di molto: No. 11. ~gfVioli" ;d! t~)Ji=W[}iUFIW j T ~ tt ---" - ---'-'----" ~;:;.. The further development employs the foregoing four themes (Nos. 8, 9, 10 and 11), the principal theme of the first movement (No.1), treated as a fugato; two themes of the Scherzo (Nos. 3 and 5), a reminiscence of the first theme of the Andante (No.6), and a suggestion of the second theme of that movement (No.7), on the flute answered by the oboe. The work comes to a close with the second theme (No.2), of the opening movement. The symphony is scored for a large orchestra: three flutes, two piccolos, two oboes, two English horns, two clarinets, bass clarinet (interchangeable with a third clarinet), three bassoo:p.s, double­ bassoon, four horns, four trumpets, three trombones, tenor tuba, 89 FIFTH CONCERT. bass tuba, four kettledrums, glockenspiel, xylophone, bass-drum, cymbals, triangle, ,side-drum, harp, strings. 1\IIr. Stock, who was a member of Theodore Thomas' orchestra when the latter died in January, 1905, succeeded him as conductor of the orchestra, and has held the position ever since to the entire satisfaction of the men and the public. He is associate conductor of the Festival and was associate conductor of the Festival of 1908. For a man not yet thirty-eight, whose time is much occupied with -his work as conductor, he has made a remarkably large number of contributions to the literature of orchestra and chamber music. They comprise two symphonic tone-pictures, Durch N acht zum Licht and VerkUirung, in 1894-95, two movements of a Romantic symphony in E minor and a sextet for strings, in 1896, a string quartet in C minor, in 1897, a string quintet in B-flat, in 1898, a Romantic Overture, in 1899, Variations for string orchestra, in 1900, a Concert-'Scene for violoncello and orchestra, in 1901, a Romantic-Scene for violin and orchestra, in 1902, Symphonic Variations for orchestra, in 1903, a symphonic-poem, A Human Life's Morning, Noontime and Evening, in 1905, a Symphonic "\Valtz, and several smaller pieces, in 1907, and this, his first symphony, completed in February, 1909.

90 SIXTH CONCERT

THE TROJANS IN CARTHAGE ...... BERLIOZ

HE Troj ans in Carthage is the pathetic love-story of lEneas, T the Troj an hero, and Dido, the widow queen of Oarthage, told by Virgil in the fourth book of the lEneid. Berlioz presents it to us in a lyric poem written by himself, which is di­ vided into five parts and a prologue. The prologue relates how Troy was taken by the Greeks, after ten years' siege, through the treachery of Sinon and the strategem of a wooden horse. The poem proper opens with a festal scene in a floral hall in the palace of Dido at Carthage. She enters with her court and takes her place on the throne while her subjects sing a national hymn to "great Dido, queen by right of her grace, her beauty and her wisdom, and monar.ch by the love of all o'er whom she reigns." She tells how, seven years before, she fled from be­ loved Tyre to escape vile Pygmalion, the arch-tyrant who foully slew her royal spouse, and founded a new home, fair Carthage, on the shores of the Mediterranean. Left alone with her sister Anna, she reveales to her the strange sadness, which, notwith­ standing scenes of merriment and the joyous songs of her people, enshrouds her heart like a tomb. Anna divining the cause of her dejection predicts to Dido that she will love again.

o Queen, too young art thou, far too young and beauteous, To close thy heart to love, nature's eternal law. Thy Carthage needs a King.

91 SIXTH OONOERT.

Dido answers: Mayall the gods and my people forsake me, Should I forget my vow and this ringlet of gold.

Presently delegates of an alien fleet, that has sought refuge in the harbor from buffeting storm, seek an audience, and when Dido learns that it is lEneas, son of Venus and valiant Hector's friend, who is in distress, she bids him attend with all his com­ rades.

His vessels and his men safe within our good harbor, Let him}orget all his woes.

Soon N arbal enters much excited to announce the dread tidings that fierce Hiarbas, the rebellious N umidian, is advancing toward the city with an army of men. lEneas, heretofore disguised as a sailor, lets fall his cloak and discloses himself clad in armor:

Dido, behold ~neas r My ships with warriors are fill'd, by rude winds hither driven; To great hardships inured, gladly see they a duty! Grant the Trojans the boon, with thee, for thee to fight t

The Trojans and Tyrians, leagued in friendly bonds, depart for the war. Thus ends the first part of the opera with its vigorous ensembles. The second part opens with a scene in the gardens of Dido by the seaside. There is a pretty ballet by the orchestra in celebration of lEneas' victory over Hiarbas with a Dance of Carthaginians, a Dance of Warriors, and a Dance of Nubian Slaves, who sing a weird song. The quintet, the septet and the love duo between Dido and lEneas, that follow, are among the most beautiful and passionate numbers that Berlioz has composed. They recall his own statement of his artistic methods and purposes, in which he says: "The dominant qualities of my music are pas'sionate expression, internal fire, rhythmic animation, unexpected changes. When I 92 THE TROJANS IN CARTHAGE. say passionate expression, I mean an expression that eagerly strives to reproduce the most inward meaning of the subject, even when the subject is foreign to passion, and sweet and tender sentiments or the most profound calm are to be expressed." 'The third part is a stirring orchestral scene descriptive of the royal hunt arr,anged by Dido for the entertainment of lEneas. As Virgil tells the story, Juno, by Venus' consent, raises a storm which separates the hunters and drives lEneas and Dido into the same cave where their marriage is supposed to be completed. But 1Eneas was destined by the gods to found Rome, and through omens and tokens they call on him to leave Carthage and go to Italia to fulfill his mission. His despair and anguish at the thought of leaving -Dido are depicted with dramatic fervor in the fourth part. Ghosts of Trojan heroes arise, veiled, their heads crowned with lambent flames, and cry to him: Do not delay, not a day, not an hour, Till thy mission's fulfill'd! lEneas answers: I must comply with your pitiless, cruel mandate; I obey! I obey! Inexorable specters, I'll sacrifice my love- Dido I'll see no more!

\ So at break of day he sails away with his fleet to Italia. Look- ing toward Dido's palace he sings a pathetic farewell: Farewell forever! Thy pardon I must lose: I leave thee, 0 my queen! My destiny, impatient, calls me To a warrior's grim fate, To a death ever glorious!

Dido, filled with grief on finding that her lover has fled, re­ solves to die. Ordering a funeral pyre built on the terrace over­ looking the sea, she places on it the arms and relics of lEneas, "mementoes of a fatal, luckless passion," and covering them with tearful kisses, stabs herself. In prophetic vision she cries: 93 SIXTH CONCERT.

A victorious avenger of my wrongs shall rise; Yea, even now I hear his glorious name: Hannibal! Hannibal! My heart with pride is swelling, All past bitterness has fled; Thus Queen Dido descends To the realms of the dead!

As she dies she sees a vision of eternal Rome in its glory, while her people, turning to the s.ea with gestures of imprecation, swear eternal hatred to the race of 1Eneas. The ceremony about the funeral pile with the priests of Pluto grouped around two lighted altars, while Dido enters with her sister Anna and N arb aI, is profoundly impressive. • A Trojan march, drawn from The Fall of Troy is introduced in the prologue and used throughout the score to characterize the hero a~d his mission, against which the unhappy Dido's life is wrecked, and to suggest the eventual overthrow of Carthage by placing it under the chorus of threats which the Carthaginians hurl after the departing ships of the Trojans. The Fall of Troy and The 'Trojans in Carthage are two operas, each complete in itself, but they bear to each other a relation simi­ lar to that of the different divisions of Wagner's Niebelung tetra­ logy. Together Berlioz described them as a lyric poem and en­ titled the work The Trojans. The Fall of Troy was given at the Cincinnati Festival of 1882. The Trojans in Carthage is now given complete and on a grand scale for the first time in the United States. yrank van del' Stucken has adapted the opera to the concert stage, and H. E. Krehbiel, working with him, has pro­ vided the English version. The Trojans was Berlioz's last work and he eonsidered it his dramatic masterpiece. The "Fall of Troy was not performed during his lifetime. The Trojans in Carthage was given at the Theatre Lyrique in Paris in November, 1863. The two were performed together for the first time at Carlsruhe in December, 1870. Berlioz died March 8, 1869.

94 THE TROJANS IN CARTIlAGE.

CHARACTERS DIDO, Queen of Carthage ...... Mme. Homer ANNA, her sister. " ...... Mme. Mariska Aldrich £NEAS, a Trojan Hero ...... " ...... Mr. Williams ASCANIUS, his son...... Mrs. Rider-Kelsey NARBAL, a Carthaginian dignitary ...... Mr. Cunningham PANTHEUS, a Trojan Priest ...... Mr. Witherspoon IOPAs, a Tyrian Poet ...... Mr. Beddoe H YLAS, a Sailor...... Mr. Nielsen RHAPSODE (in the Prologue) ...... Mr. O'Meara Carthaginians, Trojans, Specters, Nymphs and Fauns

LAMENTO (ORCHESTRA) PROLOGUE. RHAPSODE. By Sinon's crafty tongue and mien Ten years of war and useless siege deceived, o'erpast, With admiration look on Pallas' gift, Despair fell on the Greeks that e'er And fain with joyful pomp and cir­ Troy's walls cumstance Should fall before them, or revenge Would place it in the citadel. To be had them For Menelaos' wrongs. And now Cassandra, sapient seer and Hector's they feigned kin, To raise the siege of Priam's sturdy In warning cries, if haply she may ope town. The understanding of those doomed On Pallas calling loud, they moved men. away, In vain her words. "Distraught is But left behind, as 'twere a votive she!" they cried; gift, "Throw down the walls, and strew A monstrous horse, upreaching like the way with fiow'rs! a tower. Its hollow bulk a band of warriors Ye' youths and maidens, raise your fill'd, voices sweet The chosen men of brave Ulysses' In sacred songs! Let lyre and trum­ soldiery. pet sound!"

The priests, the people and the Tro­ A moment's pause.-A silence omin­ jan King, ous.- 95 SIXTH OONOERT.

Then hark! The circumambient air RHAPSODE. doth shake With shouts prodigious and with The song was hushed, when from the joyful noise. monster's flanks And thus the frenzied, maddened Was heard the noise of clanging arms. Trojans sing: The fear Allayed, with increas'd power the CHORUS OF TROJANS. chant flow'd on: o Child of Zeus, 0 glorious goddess, With helmet and with spear endowed, CHORUS OF TROJANS. Wisdom and valor are pair'd in thy mild eyes! Lofty towers of Pergamum, with To all our projects be propitious, joyous fires be crested! Let Ilium's host rem;tin victorious; Shine triumphant o'er the land! 0, Pallas fair, protect us now! o hear our voice, virgin celestial, o hear the soft flutes of Dindymene RHAPSODE. In true accents proclaim thy praise. o hear the Phrygian trumpet's clan- With death and ruin big, the dread gor machine Sounding with the lyre of Ilium Within the sacred citadel is lodg'd. To celebrate thy endless fame! Again Cassandra, with great eyes up­ With bright flowers adorn gaily the turn'd off'ring.- That pour forth tears like rain, in Dance, youths and maidens, and wild despair scatter all along our pathway Prophetic cries: "'Tis done! The -Snowy flow'rs with odors fragrant, Fates their prey Strew thickly on our pathway Have seized, and all is o'er! Beneath Snowy lilies from our vales. the walls o Pallas t Protect us now! Of Ilium Hector's sister dies t"

(END OF THE PROLOGUE. ORCHESTRA.)

PART I. SCENE T. (A floral hall in the palace of Dido at Carthage.)

No. 1. CHORUS OF CARTHAGINIANS. Succeeding a night of such terror? How soft the breeze! Fann'd by its On our city's great feast, soothing wings See how the heavens are smiling! The radiant sun lessens his potent Dawned ever such a glorious morn, ardor, 96 THE TROJANS IN OARTHAGE.

While at his sight the mighty valley ARIA (with CHORUS). Trembles with joy! He advances! His golden kiss now is felt by the Men of Tyre! As I view these fields, achievements, And nature wakes with happy blush. Full grows my heart with pride! I rejoice in your glory: (Dido enters with her court, and takes Ne'er may your spirit fail! 0 hear her place on the throne.) the voice of reason, The voice divine that summons all to great and noble deeds! NATIONAL HYMN. And once again an example give in­ Hail! all hail to our queen! spiring; I Hail! all hail to great Dido! Mighty in peace, but when foes are Queen by right of her grace, conspiring, Her beauty and her wisdom! Yet mightier then in war! Queen by the favor of the gods, Fierce Hiarbas, the Moor, And monarch by the love, Into a union abhorred Of all o'er whom she reigns! Seeks to force your queen. But in vain! Fruitless his vile endeavor! No.2. RECITATIVE AND ARIA. My cause is in your hands, DIDO (from her throne) . And the hands of the gods! Scarce seven years have passed since here we landed, CHORUS. To flee the hatred of the vile Pygma­ lion, Hail! all hail to our queen! The arch-tyrant, who foully slew my Hail! all hail to great Dido! royal spouse. Each Tyrian, justly proud, From lov'd Tyre thus we came, to To give his life is ready; found a new home on these Gladly we hear her call! shores; We defy her vile foe, Yet already we see fair Carthage Scorn his threats and his fury; arise; Before us he shall fly! On all sides fields in bloom, a fleet To the wild waste of sand ')~ mighty and strong, We will drive the barbarian! Thro' which, from yonder East where Aurore awakes the day, DIDO (recitative). Your sailors bring from the far-dis­ tant lands Let this day in your mem'ries, The wheat, the wine, the iron and the Yea, in your inmost hearts, wool, Be treasured up for aye, The fruits of loom and forge, which A crown and capstone of the work of as yet here are lacking. peace, 97 .sIXTH OONOERT.

The first fruits of my mission. SCENE II. Approach, ye farmers, sailors, ar­ tisans! No.4. DUET. Receive from your queen the just re­ muneration (DIDO and ANNA, alone.) Due to the work which is the source Of power and of life to the st~te. DIDO. These joyous songs, this scene of mer­ No.3. ENTRANCE OF ARTISANS, SAILORS AND FARMERS. riment and gladness, Bring solace to my heart, and my

(ORCHESTRA. ) soul fill with peace; Freely now do I breathe; yes, ban­ ished is all sadness, DIDO. While blest quiet returning, to sorrow Tyrians! the greatest honors to the brings surcease. greatest art, Humanity's preserver! ANNA.

CHORUS. Queen of a youthful nation, Hail, 0 husbandmen true! We owe Which day by day in strength and to your toil power grows, Our grateful thanks, for you give us Peerless in beauty, queen of the our bread. world's admiration, What could cause thee to grieve? DIDO. What shouldst thou know of woes? Ceres fair, our future is bright and secure! DIDO. Yet at times a strange sadness CHORUS. Sinks round me, with its gloom Hail! all hail to our queen I Enshrouds my heart like a tomb; Hail! all hail to great Dido! It defies all control; Each Tyrian, justly proud, Though I strive 'gainst the madness To give his life is ready! I feel the weight rest on my soul, Here our vows we renew, And bar the way to gladness; Greater love here we pledge! While through JIlY tears' misty Ye men of Tyre, haze Let val'rous fire Glow my cheeks all ablaze 1 Fill ev'ry breast I Haill all hail to our queen! ANNA. Hail! all hail to great Dido 1 Queen by right of her grace, etc. Dido shall love again! 98 THE TROJANS IN OARTHAGE.

DIDO. DIDO. No; the sweet, tender passion For me is dead, and my heart ne'er Sichxus, 0 my spouse, grant par­ shall move. don, For thoughtless, unintended, idle fault! ANNA. May the sweet thought of thee Dido shall love again! Drive from my troubled heart The torments which consume it! DIDO. Alas! grant pardon, 0 spouse so The sweet, tender passion, ne'er again dear! shall it fill my heart,! No more thoughts of love find en­ ANNA. trance to my soul. My sweet, my gentle sister, pardon

ANNA. A thoughtless, unintended, idle fault! o Queen, too young art thou, far too o pardon, if my words young and beauteous, Awakened in thy heart To close thy heart to love, nature's The thoughts which now consume eternal law! it! Thy Carthage needs a I{ing! o Queen, gran-t pardon, 0 sister dear! DIDO. Mayall the gods and my people for­ sake me, SCENE III. Should I forget my vow and this ringlet of gold! No.5. RECITATIVE AND ARIA. (Enter IOPAS.) ANNA. IOPAs. At such a vow, so idle and unchal­ lenged, Spent with buffeting sore on the Venus, love's goddess, smiles, turbulent sea, And eke the pitying gods refuse it Monarch, the delegates of a vast record! alien fleet Send their greetings to thee, and BOTH. crave an audience here. ~; {words, inspiring, fill {h!r} soul With dreams and hopes alarming, DIDO My } feeble will disarming, Her Our gates are never closed, nor our And bid {he~} yield again to pow'r bounty e'er stinted beyond control. To suppliant voice. 99 SIXTH OONOERT.

AIR. For from the heights of Ida to this shore of the sea Like them, by tempest tossed, We've fought our way! llione's I've wandered o'er the sea, jewel'd scepter, All v.eglected, forsaken, (She Priam's daughter fair,) here By the wrath of Zeus o'ertaken, Hecuba's rich circlet, Pursued by his decree 1 And the light, filmy, golden ve~. of Alas! the scourge of fate, Grecian Helen- I've felt its cruel torture, Such gifts proclaim aloud that from Its angry lashes! Ilium we come. But my heart grows elate With a duty divine: Who misfortune has suffered, DIDO. Sweet mercy's law will ne'er abate. From Troy!

No.6. TROJAN MARCH. AsCANIUS. (ORCHESTRA.) And our chief is }Eneas! His son am (Enter }ENEAS, disguised, with P AN­ 1. THEUS, ASCANIUS, and the Trojan chiefs, bearing No.7. FINALE. , gifts.) (Enter N ARBAL, much excited). ASCANIUS. o gracious monarch! Before thee NARBAL. see a hapless crew Who beg from thee protection. and Woe is me, that I bear to the queen shelter. " I such dread tidings! At your feet here we lay homage due And rich gifts-of wealth the sole re­ DIDO. mains, Which by my hands, so feeble, in the Thy message-speak! name of the gods

Our chieftain offers thee! NARBAL.

DIDO. The rebellious N umidian, fierce Hiar­ bas, is seen, Of thy father, dear child, tell me the And with him an army of men ad­ name and lineage. vancing towards the city!

ASCANIUs. CHORUS (in the distance.) O'Dido! Stains of blood have marked '" our ev'ry footstep t To arms I ye warriors! 100 THE TROJANS IN OARTHAGE.

NARBAL. ENSEMBLE.

The wild hordes of the tyrant are Mars, great Mars, he brings us to­ slaying all our flocks, gether, Devastating our fields! 'Tis the son of fair Venus who"'leads But all I have not told, nor yet the on our hosts! direst misfortune: Exterminate the dusky army! For our brave, youthful troops, the And on the morrow, all rejoicing, defenders of our nation, Proclaim the great dishonor and the We lack the needful arms! death of our foe!

-LENEAS (to PANTHEUS). DIDO. Announce, then, to our men this our You tell me naught but woe! new undertaking, Which promises them glory. (To Dido) Monarch, NARBAL. I pledge thee deliv'rance full soon from this odious savage. The struggle now at hand Into your tender care I surrender my Finds us all unprepared! son. DIDO. -LENEAS (lets fall his cloak and dis­ On a love maternal you safely may closes himself clad in armor). rely. Dido, behold -LEneas! My ships with warriors are fill'd, by -LENEAS (to ASCANIUS). rude winds hither driven; Come, child, embrace thy father! To great hardships inured, gladly see Others may teach thee happiness: they a duty! 'Tis not for me. Grant the Trojans the boon, with 1 can only teach thee what 'tis thee, for thee to fight. Becomes a warrior: Rev'rence for the gods! Trojans and Tyrians, leagued in Treasure ever in thy heart, friendly bonds, Treasure ever in thy mem'ry In serried ranks will march, facing The example and the fame of -LEneas the foe, and Hector! To victory will hasten together! Whirling like clouds of sand before ENSEMBLE. the fierce simoom, We'll drive him back into the wilder­ Up, warriors! ness. Trojans and Tyrians, leagued in The N umidian king shall tremble! friendly bonds, etc.

101 SIXTH OONOERT.

PART II.

SCENE I.

(The gardens of Dido by the seaside.)

No.8. BALLET (ORCHESTRA). o goddess, behold How all, young and old, (In celebration of lENEAS' victory over To thee praise are bringing, HIARBAS.) Our gratitude singing, (A) Dance of Carthaginian Maidens. And praise manifold. (B) Dance of Warriors. Fleeting birds in the air, (C) Dance of Nubian Slaves (with Fleecy flocks white and fair, song). The breeze coolness bringing, Over all perfume flinging, SLAVES. Woods and fields are ringing, Hal hal All nature now is singing

Ama loue, I To thee hymns of praise. Midonae Fai cara ime, DIDO Dei bera imbe Hal hal Iopas, enough I Thy sweet singing Doth not delight my troubled senses, N or yet relieve my restless soul. SCENE II. lENEAS. No.9. RECITATIVE AND SONG. Dido, my queen t

DIDO. DIDO. Iopas, take thy lyre t In soft and gentle strains lEneas, pray, thy story resume, The praise of Ceres sing, who doth And relate the mishap that befell enrich our fields. noble Troy, Thee and thy brave companions. IOPAS. Fain would I be told the fate Of the lovely Andromache. My queen, I hear thy mandate, and obey. lENEAS. o Ceres divine I When thy gifts benign, Alas I Enslaved by Pyrrhus, first Of grain, fruits and flowers fallen in his power, Adorn fields and bowers, She longed for death alone. But the Grateful praise is thine t obstinate love 102 THE TROJANS IN OARTHAGE.

Of the Prince for his captive touched ANNA, IOPAS and NARBAL (gazing at at last AsCANIUS). Her desolate heart; and forgetting the past, Behold, the child that she caresses, She resisted no more, but married her In form and face so like the god of enslaver. love, With innocent craft does remove The ring that our queen holds sacred. DIDO. She, who'd been Hector's wife? lENEAS (leading DIDO to . the water's edge.) lENEAS. Banish, 0 Queen, the mem'ries that On the throne of Epirus she\ now distress you! shares his kingdom. See the moon's golden splendor! o come, thou beauteous one, Breathe with me the soft sighs No. 10. QUINTET. Borne upon breezes so caressingl

DIDO. No. 11. SEPTET AND CHORUS. Shame, 0 shame! Thus forgotten! Silence and peace all nature now en­ All conspires chain: To vanquish my remorse, and ab­ Soft night her veil is weaving; solve my heart I In drowsy motion heaving, Could Andromache forgive him Who A sweet, harmonious song gently destroyed murmurs the main. Her dear father, the son of him who slew Hector, (All depart, save DIDO and lENEAS.) Her glorious spouse?

lENEAS. SCENE III. She loves her enslaver, who destroy'd No. 12. DUET. her dear father,

The son of him who slew Hector, her DIDO AND lENEAS. glorious spouse 1 Wonderous night, steep'd in strange, ENSEMBLE. bewild'ring magic! Phrebe, thou queen, and ye stars

DIDO, lENEAS. that with her rove, 0, shed your light, pour out your All conspires to vanquish I:;;} re- golden treasures! morse, ,.. Flow'rs of heav'n, kindly smile on All incites {:;;} heart to love! sweet, immortal love! 103 SIXTH OONOERT.

DIDO. DIDO. 'Twas e'en on such a night, And yet, 'twas in this night Disdaining all disguises, That Cytherea's son, That thy mother divine Cold at heart, all unmov'd Encountered brave Anchises Heard the tender protestations In high Ida's green grove. Of fair Dido, the Queen!

lENEAS. lENEAS. And e'en on such a night And yet, on this same night, 'Twas that Troilus stood, . E'en while she was upbraiding By love's torment consumed, And accusing her love, Near Ilium's walls, awaiting He, needing no persuading, Cressida, the false. Did full pardon declare. 'Twas e'en on such a night That the chaste goddess, Diana, BOTH. At last removed the veil Which concealed her from her lover, 0, wondrous night, steep'd in From sweet Endymion I strange, bewild'ring magic, etc.

PART III.

No. 13. DESCRIPTIVE SYMPHONY. sets in. lENEAS and DIDO take refuge in a grotto. Dryads and Sylvans (ORCHESTRA.) enter in a mad rout, shouting, "ltalial" (Morning, in the depths of an Afri­ Lightning strikes a tree and sets it can forest. Naiads, bathing, are dis­ ablaze. The Sylvans seize burning turbed by the sounds of an approaching branches and TUsh off brandishing hunt. They flee in alarm. Hunters them with loud cries. The storm dies dash by, seeking shelter from a coming away. Clouds veil the scene. Gradu­ storm. The sky is overcast. The ally they lift, the sun appears, and thunderstorm breaks. Deep darkness quiet is restored.)

PART IV. SCENE 1. (Camp of the Trojans on the seashore. It is night. The fleet is seen in , the offing.)

No. 14. SONG. Where, chasing night's shadows, My voice rose on the air; BYLAS. o sayl (A young sailor singing on the mast of Shall e'er an echoing strain a ship.) My tones send back again, o woods and meadows, My roundelay? 104 THE TROJANS IN.OARTHAGE.

Cradl~d on thy breast Are oft resounding. As erst in\Troy,. With thy love maternal, when on that fatal night ~ Comfort give, and rest, Brave Hector came, clad in armor, o Ocean vast, eternal! as warning to us all, With a host of grim shades, so)ast o lowly dwelling! night he came again, My sad heart was swelling And thrice in gloomy accents the When I took leave of thee! specters cried: o hear! Shall e'er a mother's kiss GHOSTS. Fill this poor soul with bliss, Or bring it cheer? To Italia! To Italia! To Italia! Cradled on thy breast With thy love maternal, TROJANS. Comfort give, and rest, Vengeful gods! 'Tis their voice! Ah, o Ocean- too long . (He falls asleep.) The divine command we are defy­ ing! Make haste and leave these shores, SCENE II. With the mandate complying. Haste away! We must not longer No. 15. SCENE AND CHORUS. stay! (The Trojans disappear in their tents.) PANTHEUS. Be ready, all! At last we must de­ depart! The queen's despair, SCENE III. All her pleadings and tears, can no longer move lEneas. No. 16. RECITATIVE AND ARIA. Again he'll heed the call of glory and of duty, lENEAS (advancing in great agita­ And his heart shall be steel'd 'gainst tion.) the painful farewell! RECITATIVE. TROJANS. Foolish, idle regrets! Now hence Ev'ry day is increasing the rage of I must betake me. The die is ca.gt. the gods! Dido's tears much too long have Dread signs and omens dire their given me pause, made my courage wishes are expounding; forsake me. Now duty calls; go I The sea, the hills, the fields, the dark­ must 1 Oh, can I e'er forget how sad ·some woods her sweet face? How pale and wan Are sighing! From blows of hands her lovely features? In dread silence unseen our arms she stood, her eyes staring, inflam'd 105 SIXTH OONOERT.

with wild passion. In vain did I Kiss the hand that would bind relate how through omens and tokens me, the gods declar'd that I must go; Thy pardon to obtain: vainly did I set forth what high duty Then depart in despair! now calls me for the sake of my son and my brave Trojan host, the death triumphant and proud by friendly SCENE IV. Fates predicted, which on th' Au­ sonian plain shall crown my glorious No. FINALE fame. Answer none did she deign. 17. Her silence was affrighting. Then GHOSTS (of Trojan heroes, which arise, :fled I from her gaze full of ominous meaning! veiled, their heads crowned with lambent flames). Ai}neasl ARIA. £NEAS. Ah! moment supreme, soon I'll hear thy dull knell! Again that call! Moment of anguish, wet with sorrow's From the dark realms of Pluto, oblation. Give me answer, ye shades, How can I speak the last farewell? What summons ye to me? How can I meet her rage and her fierce indignation? GHOSTS. Oh, lov'd one, I too suffer, I share thy anguish sore 1 Thy weakness and thy glory! I wring thy heart with grief, yet thy pardon implore. £NEAS. See my soul's desolation! Ah, would that I might die! May waters dark engulf me, Neptune's deepest abyss, If now I dare to leave thee GHOSTS. Without a parting kiss. Do not delay, not a day, not an hour, Leave her thus? Basely fly? Till thy mission's fulfil'dl Forget the sacred laws Of hospitality? Ai}NEAS. Oh, no, queen divine, Soul of perfection, I must comply with your pitiless, By me doom'd to dejection, cruel mandate; Benefactress benign 1 I obeyl I obey I Inexorable spec­ Once I'll see thee again, ters, Within these arms will wind thee, I'll sacrifice my love-Dido I'll see Thy fell sorrow I'll share, no morel 106 THE TROJANS IN CARTHAGE.

(Before the Trojan tents.) Cast off the cables! To sea, away! To ItaHa! On board, my friends! let no one henceforth waver! TROJANS. The sea is calm, the wind blows in Rouse ye, 0 men! Let the moment our favor. avail! Rouse ye, my men! we must away Cast off the cables! Let us sail! Ere Phcebus awakens the day! To sea, awayl To ItaHa!

}ENEAS TROJANS. (looking towards Dido's pal­ ace). Arouse ye! Follow the stern com­ Farewell for ever! Thy pardon I mand must lose: Of chief }Eneas! We must away I leave thee, 0 my queen! At the break of the day! My destiny, impatient, calls me To a warrior's grim fate, To a death ever glorious! }ENEAS.

My task now be fulfil'd, 0 gods, TROJANS. To your great honor. To ItaHa! To ItaHa! To Italia! Arouse ye, friends I (They board the ships. Morning Let the moment avail! dawns.)

PART V.

SCENE 1.

(An apartment in Dido's palace.)

No. 18. RECITATIVE AND SCENE. ANNA.

DIDO. To forget former vows. Noone should tempt th' almighty gods! Go, my sister, move his heart! From His departure can not be stayed­ my soul, full of sorrow, yet he loves thee dearly. All pride has fled. Go! His deser­ tion would kill me- DIDO. Yet he prepares to sail away. Alas! I feel that I was guilty when He, love me? No! His heart is of I incited thee stone;

107 SIXTH OONOERT.

Ah! I know passion's power, and if Unavailing my rage! I yield to fate, e'en great Zeus mutely despairing! Bade me to disavow my love, my Conceal thy fearful anguish, 0 hapless poor, desperate heart woman! Of Zeus himself would defy th' im­ Now all regrets are vain, futile all precationl imprecations ! Go, sister dear, with Narbal go; beg Let Pluto's priests their sacred office him to stay; fill; Beseech him to concede us a few days With my own hands a sacrifice I'll more on this shore. offer Pray, implore him to think of me, to To all the gods that reign in the realm think of the dead! Of all I've done for his fleet, for his Build a funeral pile. Let the gifts sonl of lEneas Can he fail to comply with my urgent And those which he received, hated entreaty sigp.s of my passion, Through N arbal, our true friend, By the flames be devoured for ever! through thee, my faithful sister? I pray you, leave me now. (Exeunt ANNA, NARBAL and 10- IoPAS (entering). PAS. Left alone, DIDO rushes despair­ ingly about the chamber, beating her The Trojans have sailedl breast and tearing her hair.)

DIDO. No. 19. RECITATIVE AND ARIOSO. What hear I?

IoPAS. DIDO. Before the daybreak their vessels left Ah! (she stops abruptly). My time is our port; come. They vanish in the distance. Misfortune's whelming billows Now engulf me, and I die unavenged! DIDO. 'Tis better thus ! Yea, if his heart retains Ye immortal gods I He flees I Arm A spark of tender feeling, he may ye, Tyrians alII weep when he sees afar Ye Carthaginians, help I The vile The funeral pile ablaze that con­ Trojans pursue! sumes my corse; Hasten, hasten, ye oarsmen! Fly Deplore a fate like mine, let fall a on o'er the deepl pitying tear I Hurl on them firebrands I Extirpate He, weep for me? My love, my love! their fleet! Oh, my soul flees with thee! And may they for ever- Vain To thine own fettered for ever, en­ clamor! slaved, 108 THE TROJANS IN OARTHAGE.

'Twill go with thine down to eternal To wounded hearts -give courage, night! strength and repose! o Venus, give back thy sonl- Vain From dismal Tartarus, hearken and and idle petition hear, Of a heart breaking with sorrow! o Hades 1 0 Chaos and Erebus! gentle death, Thou my solace, attend; to Dido ANNA AND NARBAL. come: Grant her thy peace! Should safely base .ai:neas reach his destination, (Arioso.) May he there meet a hapless fate! Lov'd Carthage, fare thee well! May the fierce Latin race, by bloody Thy queen's sincerest pride, fury frenzied, Thou noble symbol of gen'rous en- His every step impede! May vulgar ~' deavor! hand Farewell, my sister dear, Him slay upon the field of battle; Farewell, my people brave and true, his corse Ye loving shores that so kindly re- Lie on the ground without burial, ceived me, dishonored! . Bright Afric's skies so blue, stars May the vile carrion birds upon his whose bright beams I've lov'd, body feast! Nights, wondrous nights, steep'd in Hear us, we pray, 0 Hades! Chaos! strange, bewild'ring magic,­ Erebusl Ye I shall see no more! N ow to death I devote me! DIDO. (She walks out slowly). (On the pyre; covering the relics of .ai:NEAS with tearful kisses.) SCENE II. Mementoes of a fatal, luckless pas­ (A terrace overlooking the sea. In the sion, foreground a funeral pile on which Disappointment and grief bear ye are laid the armor, arms and relics into the fire! of iENEAS. Priests of Pluto are grouped around two flaming altars. DIDO enters with ANNA and (Prophetically. ) NARBAL.) Heroic mem'ries fame for me shall No. 20. CHORUS, DUET AND FINALE. fashion, My people's noble deeds future ages PRIESTS (marching with solemn steps inspire! around the pyre.) Some day, here in these dominions, Gods of deep glo~m! Gods of ob­ A victorious avenger of my wrongs livionl shall rise; 109 SIXTH OONOERT.

Yes" even now I hear his glorious (She sees a V'/,mon of Rome in its name: glory.) Hannibal! Hannibal! My heart with pride is swelling, Roma! Rome eternal! (She dies.) All past bitterness has fled; Thus Queen Dido descends To the realms of the dead! CHORUS OF CARTHAGINIANS (turning (She stabs herself.) to the sea with gestures of imprecation) . CHORUS (hastening to the Queen.) Ah, help! The queen herself has wounded! Hatred eternal to the race of ..£neas! See, from a deep wound bleeding Maya war, never ending and relent- Our good queen dies I Is it true? less, be waged What horror! Day of woe! By our sons against their sons! Whenever our ships in combat meet, ANNA. May their vessels in deepest ocean My queen! Be ruthlessly destroyed! 'Tis I, 'tis thy sister who calls tll,ee! That both on land and sea,

DIDO. Our last descendants, enraged, Ah! The Fates are our foes! In battle fierce and bloody All our hopes are in vain I May sweep them from the earth, Carthage will fall! To our glory for ever!

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112 FESTIVAL CHORUS

FIR.ST SOPRANOS. Abernethy, Cora Griffiths, Mrs Jeanette Merk, Katherine Amann, Mrs Maud Haendel, Lillian Miller, Mrs. Kathleen Angert, Adele M. Hamilton, Alice Minton, Josie A. Appel, Mrs Rose Hans. Anna A. . Morgan, Mrs. L. Armstrong, Mrs Elmer Harwood, Mrs. Amelia W. Mosenmeier, Marie C. Arnold, Mrs. Clyde R. Herrlinger, May E. Otte, Mrs. Chas. W. Becker, Emma Hopkins, C. J. Parker, Mrs. Jessie I. R. Bertelsman, Clara B. James, Mrs. Elden R. Paschen, Anna Bittmann, Johanna Jones, Mrs. Davidson Roetken, Carrie H. Blum, Ella Kapfer, Olga Marion Rolandelli, Blanche Bohl, Flora Kirkpatrick, Agnes Shumard, Mrs. Howard M. Bowdle, Catherine D. Kirkpatrick, Mrs. Stewart Small, Hulda Cherrington, Annalou Koch, Mrs. Geo. Smith, Mrs. Wm. C. Deck, Alma Koenig, Emma Stegemeyer, Mrs. G. F. Dougherty, Elizabeth M. Krehbiehl, Lillian Steiner, Sadie Draper, Ruth Krollman, Mrs. Geo. F. Storey, Grace A. Easton, Mrs. Dora Kunnen, Katherine Sullivan, Ella Edwards, Mrs. Alice Lamping, Eloise Terry, Mrs. C. B. Fairchild, Mrs. B. F. Laudt, Mrs. Josephine Von Lepel, Marguerite Fairchild, Helen F. Lewton, Pearl Von Unruh, Anna M. Faye, Mrs. Julia Sage Littlejohn, Katherine D. Walsh, Julia C. Ferguson, Kinney A. Lockman, Viola May Wheatley, Mabel Folger, Mrs. Gene McGarry, Mrs. Elsa B. Willis, Mabel G. Funck, Emma J. McKibben, Mrs. N. Winkelman, Mrs. Wm. Gehred, Bertha O. MacKnight, Anna Wydman, Jeannette D. Green, Olive R. Mahoney, Mary

SECOND SOPR.ANOS. Allsup, Kathleen L. Hayes, Fannie K. Mathews, Adonna Alter, Essie V. Hirst, Bessie Moeller, Florence, Anderson, Gussie L. Hodge, Anna T. Nehls, Carrie Angebrandt, Helen Keen, Myrta Maddox Niemeyer, Alma Bailey, Mrs. Samuel C. Kellogg, Dorothy Parrott, Mrs. Sallie Blunden, Lou Kerber, Isabel C. Phares, Mary E. Bohl, Mathilda King, Mrs. A. Stanton Rader, Stella Brockman, Estelle C. King, Elizabeth G. Reed, Mrs. R. G. Dickerson, Virginia Korfhagen, Lily Richey, Clementine Doughty, Jeanette Kramer, Elise Roseboom, Mrs. H. K.· Draper, Nellie M. Kramer, Mathilda Rueble, Louise Duerigen, Carrie Lampe, Stella E. Schaefer, Cora L. Engelhardt, Edna McDougall, E. Hazel Schmidt, Emma D. Ernst, Clara J. McNelly, Nanabel Schnieders, Stella M. Flerlage, Myrtle H. McWethy, Leola Belle Schroeder, Lillie C. Guggenheim, Mrs. A. Mannen, Mrs. Lorena Seymour, Ada Hawthorne, Mrs. Olinda W. Masterson, Mrs. R. R. Shay, Bridget 113 THE OHORUS.

SECOND SOPRANOS-Continued. Shepard, D. Mayme Van Briggle, Neva Wulfman, Selma. Snyder, Pearl Vogt, Anna Elizabeth Young, Kathetine Stammel, Martha. Wiemann, Norma Louise Unkraut, Etta Wuest, Lillian C.

FIRST ALTOS. Adams, Anna Harper, Hazel Niehus, Clara Barnes, Stella Heckman, Amanda L. Pfister, Edna Beard, Lida Hempel, Mathilda Pletz, Olga Bertelsman, Isabell M. Higdon, Mrs. Cora Pumphrey, Emma F. Betts, Gertrude Hill, Edith Aline Richard, Bertha M. Brockman, Elsie A. Hill, Susie Lee Rose, Harriet N. Brockman, May M. Hirst, .Alice H. Schmitt, Louise Buchanan, Jessie Hollander, Mina Schroder, Else Burger, Emma Hummel, Ada Sponagel, Theodora Butler, Nellie W. Hummel, Stella Tappin,. Mrs. Dora Carroll, Mollie Hunnicutt, Mrs. Gertrude Van Slyck, Agnes Clark, Julia Jantz, Jennie A. Van Slyck, Mrs. Martha Clawson, Ethel Grace King, Stella E. Von der Halben, Amelia Clement, Fanny M; Knuwener, Winnie Wolcutt, Berry Curless, Luella M. Koenig, Isabel Weber, Elizabeth Eger, Emily Kropf, Emma Weber, Katherine Ernst, Olive M. Leroy, Mrs. H. Werthmiller, Janie Fox, Carrie Lincoln, C. E. Wieber, Clara Fredin, Aline McConaha, Grace Williams, Mrs. Rosette Guinchighani, Edna M~Cubbin, Lilley M. W oIke, Flora Greif, Mary J. McCue, Mrs. Ida W. Wuest, Ida B. Groeninger, Minnie McGhee, Caroline S. Hain, Alice Mergenthal, Lillian

SECOND ALTOS. Akels, Mary Love Eger, Mary Reinke, Caroline E. Albray, Clara M. Funck, Minnie L. Schaefer, Bessie Armstrong, Lucy M. Graessle, Stella Schmit, Marie Arnetz, Lena Granger, Mrs. Harry Schoepfel, Cora Baucom, Grace Groene, Clara Spears, Florence G. Bay, Grace Hardebeck, Ida SterrittJ Bessie Beerman, Gertrude Harris, Edith Stiedel, Eleanor C. Bronson, Jesse Imbus, Clara Stiedel, Nettie Clark, Stella. Jackson, Mrs. Hall N. Vogt, Mrs. Wm. Cramer, Augusta King, Minnie West, Annie A. Darby, Mrs. Jessie W. Klump, Minnie P. Wiggins, Mrs. Elizabeth Doll, Henrietta G Koetter, Louise Wurster, Emma R. Dreifus, Matilda Kuhlmann, Mathilde Driege, Emma B. Peltz, Ruth

FIRST TENORS. Boebinger, Walter G. Deye, Jos. Harrod, Jas. Curl, Wm. A. Dusenberry, Horace S. Haverbusch, Herman S. Deck, Wm. V. Hampton, J os. F. Kaufmann, W. H. 114 THE OHORUS.

FIRST TENORS-Continued. Knabe, Arthur SchoepBe, Solomon C. Streicher, Gustav R. Miller, Julius A. Schultze, Jos. F. Proctor, Fred. Motteram, Horace G. Schupp, John Winkleman, Wm. Nielson, Hougard Smith, Ben. Schmitt, Frank J. Jr. Squibb, Alexander

SECOND TENORS. Bauersfeld, R. Masterson, R. R. Schmitthenner, Chas. Burkhardt, Wm. G. Meyers, Edw. F. Scott, Merritt Chubb, Richard Roberts, Hugh R. Shanzebecher, A. Engelhardt, Jacob P. Roberts, Wm. J. Swing, H. A. Gormley, P. J. Robinson, Chas. H. Katterjohn, Otto H. Schmitt, Chas. J.

FIRST BASSES. Askren, Stanley M. Jones, Geo. H. Remde, Albert Bonhajo, Geo. H. Kleinschmidt, Chas. F. Riddell, Frederick S. Crawfurd, Donald H. Kunkel, Oscar P. Roberts, G. P. Ellis, Frank R. Masten, R. J. Rodenbeck, Arthur C. Felix, Ralph Molengraft, Jos. A. Root, Wm. Winthrop Fritsche, T. E. Otte, Chas. W. Stegemeyer, G. J. Grischy, Oscar P. Pierson, Arthur E. Wagner, Arthur W. Hartzel, Alfred Plogstedt, Harry J. Weber, Edwin Huenefeld, Walter E. Pumphrey, Clarence Wigbels, Louis

SECOND BASSES. Bamhom, Louis Oppenheimer, Samuel Seitz, Hans Baughman, Stanley Reinke, J. G. Shauzenbecker, O. H. Beckett, Howard Richardson. Julius A. Startzman, Harry D. Crawford, Robt. S. Roberts, Frank H. Stotler, Raymond Donovan, John C., Jr. Rogers, D. Walter Thiele, E. H. Eckert, J. K. Rohan, Arthur Von del' Haar, Wm. Griese, Karl Ruppelt, Clarence Winans, Wm. B. Hoffman, Albert Satzinger, Wm. Kaefer, Wm. Schnicke, Albert

Sopranos ...... 138 Altos ...... 107 Tenors ...... 38 Basses ...... 52 TotaL ...... •.·,335

115 THE OHORUS.

SOLO CHOIRS IN THE CHILDREN'S CRUSADE. MYSTIC VOICES. FIRST SOPRANO. FIRST ALTO. Boehm, Helen Betscher, Ida Conrey, Mary Imbus, Clara Shaffer, Mrs. W. J. Meyers, Rose Shealor, Mrs. Estelle Ratterman, Hilda Workum, Mrs. Theo. Rosenthal, Blanche SECOND SOPRANO. SECOND ALTO. Brown, Helen Fleichman, Maude Picket, Marie N ees, Mrs. Charlotte C. Rosenberg, Mrs. Bessie Sherwood, Mrs. Amy N. Thomson, Jessie L. Smith, Mrs. Rose Fisher

WOMEN (SOPRANOS) Brennan, Nellie Rendigs, Mrs. Ethel Irwin Conrey, Dorothy Schehl, Hildegarde Fahrenbruck, Alma Sutkamp, Monica Lerch, Mrs. Anna Winkelman, Mrs. W. H. Mueller, Edith SOLO CHORUS IN THE TROJANS IN CARTHAGE. Members of THE MOZART CLUB, J. ALFRED SCHEHL, Director. SOPRANOS. Wegener, Emma TENORS. Wellinghoff, Florence Burkart, A. C. Albers, Anna Wimberg, Frances Cavanaugh, V. Beck, Camille Jacob, Wm. Druhman, Minnie Kleimeyer, Larry C. Enneking, Mathilda ALTO. Litzman, Wm. Haltrick, Flora A. Mees, Chas. Hartung, Anna Beck, Alma Mees, Fred Ireland, Mazie Bronner, Magdelen Roebel, Chas. Jacob, Mrs. Edw. T. Geile, Flora Rolfes, Frank Kemme, Rose T. Gillenbeck, Helen Klaphake, Emma Griffith, Irene Wurster, Oscar Mack, Bertha Groene, Ella MacKnight, Anna Holthaus, Mrs. C. Phll. BASSES. Perra, Anna Memmel, Flora Aufdembrinke, O. Rohan, Ethel Meyer, Mrs. Fred J. Brunsman, W. J. Schehl, Martha R. Nolan, Mary Deye, Chas. E. Schilowsky, Anna Schehl, Alma Geile, Aug. H. Jr. Schomaker, Florence Schehl, Clara R. Gottschalk, Chris. Schomaker, Viola Schilowsky, Laura Kayser, Louis Schapp, Clara Schmitz, Rosalia E. Krummen, Wm. H. Schrander, Mary Schomaker, Emily Meyer, Jos. Thelen, Laura Schopp, Eleanore Overbeck, Wm. O. U dry, Bertha Tennbrunsel, Anna Plogman, Harry Udry, Emma Terra, Geneva Richter, F. r~. Von der Brink, Catherine Van Gulpin, Eda Schehl, F. Jos. Von Unruh, Anna Van Gulpin, Minna Seissiger, Geo. Toepfert, Robt. G. 116 CHOIR OF 300 BOYS FROM THE PUBLIC SCHOOLS IN JUDAS MACCABEUS

WALTER H. AIKEN, Supervisor of Music.

FIRST INTERMEDIATE SCHOOL E. W. WILKINSON, Principal. GUSTAV CLEMENS, Teacher of Music. Adler, Max Knietmeier, Elmer Rumstetter, Carl Burns, Clifford Kantor, Hyman Reis, Wm. Block, Meyer Keiser, Clifford Reichert, Carl Braun, Sam Lobitz, Leonard Saatkamp, Arthur Brading, Stephen Lowenthal, Alex Stevens, J os. Browsky, Emil Lucas, Sam Summerfield, Harry Cantor, Louis Lerman, Edward Schwartz, Sidney Clark, Clifford Levine, David Silverstein, Sam Cohn, Harry Liberman, Erwin Schlieper, Ernst Culver, Wm. Menger, Roy Schrank, Wm. Fialko, Chas. Moore, Fred Sebel, Louis Fegelman, Joseph Moore, Hubert Stargardt, Roy Fogel, Eli Maierson, Morris Sparks, Leonard Frisch, Philip Mellman, Morris Unger, Fred Graszus, Walter Miller, Wm. Van Burkalow, Rob. Glenn, Martin Nathan, Nat Vail, Horace Glueck, Nathan Novak, Sol. Vigransky, Sol. Janson, Elmer Ostrovsky, Louis Wallace, Wm. Haas, Milton Philipps, Ben White, Russel Heines, Hyman Rogers, Herman Weiskatell, Earl Hershkowitz, Jacob Romer, Louis Wise, Louis Kessler, Fred Rappaport, Max Wright, Wm. FIRST DISTRICT SCHOOL O. M. PATTON, Principal. VICTOR GRONEWEG, Teacher of Music. Brand, Edward Lewis, Wallace Strampfer, Otto Delmonico, Toni Miller, Will Stuewe, Will Gallahue, Walter Ottis, George Suedhoff, Herman Krueger, Walter Shirike, Carl Tenner, August ELEVENTH DISTRICT SCHOOL w. C. WASHBURN, Principal. JOSEPH SURDO, Teacher of Music.

Babel, William Boehmer, Russel Corey, Robt. :Barkley, Rudolph Burke, Sam Daiker, Louis Beyer, Arthur Conrady, Edgar Evans, Joseph 117 THE OHORUS.

Fishbeck, Edw. Lankhoff, Fred Smith, Luther Fledderman, Robt. Lewis, Pearl Staub, Harold Gillespie, Lawrence Malott, Raymond Stockum, Fred Goldberg, Harvy Mather, Fred Swearingin, Albert Haunstein, Jacob McKinley, Elmer Sweitzer, Louis Harding, Leroy Meitus, Morris Tedesche, Stanley Helbig, Henry Payler, Louis Thompson, Hallam Heninghaus, Thos. Ramsey, Walter Waldmar, Samuel Hollister, Wm. Roehm, Earl Wasserman, Isadore Holtkamp, Harry Reuter, Martin Weigand, Carl Hulswitt, Blaine Reuter, Edwin Windmiller, Clifford Koodish, Morris Shapiro, Jacob Work, George Kohlbrand, Richard Slutzky, Hyman Zaple, Christian Kruse, George Smith, Chas. FIFTEENTH DISTRICT SCHOOL LOUIS ROTHENBERG, Principal. VICTOR GRONEWEG, Teacher of Music. Adam, Carl Gau, Emil Renner, Arthur Brunner, Henry Grad, George Selzer, Andrew Braun, Andrew Grosse, William Simson, Aaron Bentel, Lester Halker, Will Schindler, Theo. Boyle, Ray Huthacker, H~rbert Schneider, Walter Carr, Leslie John, Gustav Schlenker, Milford Conners, Robert Kloecker, Frank Stark, Will Deinlein, Fred Kruse, Edward Stutt, Layton Dorn, Fred Lutz, Karl Smith, Ralph Deluse, Alfred Landers, Evert Troxell, Arthur Dietrich, Ray Menzel, Leonard Tremmel, Alfred Dreher, Earl Mohr, Otto Ulmer, Cliff Elbert, Walter Nordman, Lester Unkebiehler, Elmer Ehrlich, Otto Phillips, August Wilhelm, Ernst Fischer, Richmond Prell, John Yetter, Chas. Fassnacht, George Rahn, Edward TWENTY-SEVENTH DISTRICT SCHOOL LA FAYETTE BLOOM, Principal. VICTOR GRONEWEG, Teacher of Music. Boyer, Fred Glazier, Carl Rybolt, George Drave, Fred Kappner, Joseph Renn, Walter Etter, Peter Lind, Edward Schmidt, Walter Frantzreb, Cliff Lovett, Cliff Trinkle, Carl Galle, Will Metzger, Herbert Twitchell, Ernst Gauggel, Robt. Poole, Elmer Zachritz, George Goodall, Harry Retzsch, Otto HOFFMAN SCHOOL D. L. RUNYAN, Principal. W. A. HASTIE, Teacher of Music. Abrams, Sidney Bennett, Walter Bloch, John Arata, James Berger, Joe Bridgeford, Ben .Beatty, John Bickler, Edgar Brown, Davie 118 THE OHORUS.

Brown, Lewis Hamman, Walter Pachoud, Lawrence Cheney, Evans Hastie, Charlie Pawling, Roland Clauss, William Hastie, John Porter, Lawrence Cleaveland, Douglas Hillhouse, Loudon Quarters, Bernard Cloke, Alfred Hinsch, William Quinn, Richard Costello, Walter Hines, Paul Rossiter, Arthur Cremering, Joseph J uekling, Hugo Roth, Louis Dreifus, Philip Knox, Marshall Roth, George Dreifus, Meyer Koehler, Christopher Shields, Edward Drucker, Irvin Law:less, Howard Smith, Oliver Emmich, Walter Lueders, Robert Stevens, Allen Evans, Edmund Luhan, Andrew Stickler, Joseph Fahrer, George Malter, Ernest Swarz, Sam Foote, Willie Manheimer, Milton Vach, Otto Gerrmann, Meredith May, Alfred Wiebell, William Grau, Fritz May, Lewis Wode, Louis Grumbacher, Stanley Mode, Leonard Womacks, John Groll, Walter Morgan, Stewart Zeph, Hyman Hambrick, Elmer Nickerson, Eugene KIRBY SCHOOL EDWARD S. PEASLEE, Principal. JOHN C. DONOVAN, JR., Teacher of Music. Aichele, Elmer Harrison, Clayton Papner, Fred Applegate, James Haskins, Robt. Ralston, Ralph Becker, Geo. Hemen, David Robinson, Cecil Bittman, Edward Hornweck, Warren Schaner, Neil Cannon, Earl Hollaender, Walter Schledorn, Kennon Davis, Edwin Johnson, Lloyd Shaffer, LeRoy Drake, Robt. Kern, Irwin Streng, Walter Felter, Lloyd Kromer, Martin Sweed, Robt. Frank, Clifford Krumpe, Hermann W emberg, Joseph ' Furgason, Eugene Lauck, Cliff Weiss, Herbert Gaul, Ralph Lauder, Julius Wessel, Howard Gilfillen, Burton Marshall, Clarence Wilmink, Clarence Gutwiller, Alfred Magrish, Harry Young, Harley Haenssler, Frank Magrish, David Haigh, Mason McClellan, Geo. NORTH FAIRMOUNT SCHOOL JOHN lAKELS, Principal. GUSTAV CLEMENS, Teacher of Music. Ammann, Chas. Flynn, Christie Rigby, Geo. Berger, Walter Gebke, Edwl:I.rd Reade, Geo. Brokow, August Geis, Leroy Streicher, John Bauer, Ralph Garling, Edward Sinkhorn, Raymond Bueche, Frank Knauf, Frank Schurter, Geo. Chiseck, Harry Kuhn, Albert Theil, Julius Chiscck, Rob. Metzger, Walter Tschudi, Erwin Clency, John Overbeck, Chas. Webb, Arthur Dolle, Clarence Pflug, Raymond Willsey; Harry 119 THE OHORUS.

SHERMAN SCHOOL W. S. STRICKLAND, Principal. JOSEPH SURDO, Teacher of Music. Aaron, I. Harris, Albert Rockford, Sidney Abrams, Harry Israel, Jesse Roosa, S. Addison, Jesse Mark, Julius Sacher, Wm. Carmel, Abe Meara, Edw. Sebel, WID. Daulton, L. Minkovscky, Max Skirnn, James Fletcher, C. Naefach, Wm. Thomas, Willie Franz, Willie Pfau, Clifford Whitamyer, Chas. Friedman, Leo Reid, C.

WASHINGTON SCHOOL G. W. BURNS, Principal. JOSEPH SURDO, Teacher of Music. Abel, Frank Jacobs, Richard O'Hara, John Albert, Raymond Kain, Robert Pierson, Ennis Ball,Carl Koenig, Geo. Roelker, L. Bauer, Milton Kimpel, Fred Rumpke, Edw. Bishop, Wm. Kistner, WID. Sautter, Chas Bruetting. Wm. Klahm, Gustave Schott, Louis Buchtman, Alvis Klayer, Bernard Schlueter, Harry Busser, Geo. Koopmann, Albert Schreiner, Walter Fahrenkamp, Fred Kornman, Ed. Schroth, Irving Fisher, John. Laib, Michael Schwaegerle, Geo. Frank, John Light, Frank Seyffer, Chas. Giesler, Wm. Le Pere, WID. Steiger, "T alter Goetz, Oscar Lubke, Albert Strietelmeier, Arthur Gerhardt, Wm. Luebbert, Ernst Steinle, Louis Gradolf, Milton Mantach, Milton Steinweis, Arthur Grieser, John McCann, Clif. Ward, Elmer Graf, John Mergard, Elmer Weiss, James Green, Thomas Mohs, Clifford White, Arthur Henke, Chas. Mueller, Richard Woehrman, Walter Hill, Albert Mueller, Wilbur Hornikel, Clifford N aderman, Elmer

120 CHORUS OF 700 CHILDREN FROM THE PUBLIC SCHOOLS IN THE CHILDREN'S CRUSADE

WALTER H. AIKEN, Supervisor of Music.

Prepared by ALFRED HARTZEL, Teacher of Music in the Public Schools.

C. H. PORTER ...... Raschig School, Tenth District} J. B. SCHEIDEMANTLE ...... Thirtieth District School GEORGE F. SANDS ...... Third Intermediate School Principals S. T. LOGAN ...... •... Fourth Intermediate School EDWARD D. ROBERTS •...... •. Whittier School

RASCHIG SCHOOL

mR.L5-PIR.ST. Kaurish, Marie Mitschy, Henry McKibben, Nina Sacco, Chas. Allee, Ethyl Pollak, Clara Schulte, Erich Arnold, Ellamay Scheuerle, Helma Sefferino, Clifford Becker, Sylvia Stradtman, Myrtle Technow, Otto Beyrer, Helen Wagner, Frieda Walz, Albert Bradford, Dorothy Weich, Eugene Brueggeman, Irma BOYS-SECOND. Weber, Edward Colabuono, Cesarina Welsh, Clarence Creed, Helen Brueggemann, Wm. Frankenberger, John Day, Eleanor mR,LS-fiR.OUP I. Dempsey, Naomi Hucke, Charles Karrick, Emory Geenberg, Frieda Blinn, Fern Metsch, Raymond Geenberg, Goldie Buente, Thelma wry , Frank Gelman, Bessie o Bulling, Olga Petzhold, Cornelius Hafford, Lilly Cannon, Anna Headley, Margaret Petzhold, John Clark, Nettie Hopf, Ida Smith, Willard Cooley, Elizabeth Kolitz, Ida Strohm, Willis Cox, Ethel McKibben, Ethel Van Tress, Ben Daniels, Ruth Meier, Helen Zahneis, Clifford Deer, Letha Moore, Gertrude Farkas, Wilma ~.~ BOYS-THIR.D. Van Tress, Lillian Fischer, Wilhelmina Williamson, Callie Artz, Robert Frank, Olga Bartsch, Henry Hamlin, Dorothy Campbell, Chas. Heinz, Margaret mR.LS-SECOND. Fullmer, John Hopf, Hilda Anthony, Charlotte Gilsey, Robert Jennings, Ethel Berman, Hazel Headley, Leroy Klumpp, Margaret Bowman. Sarah Hill, George Langdon, Grace{ Clark, Edna Lauber, Arthur Ludescher, Anna Fusara, Maggie Marzinzek, Karl Mairioni, Agnes Jennings, Sadie Meyer, Theodore Marshall, Ruth 121 THE OHORUS.

Menegotti, Katie Hooven, Raymond Joseph, Joyce Perkins, Margaret McGuire, Everett Kemen, Marie Portwood, Mabel Mersman, Robert Simpkins, Loretta Sacco, Lillian Ruff, Norman Steding, Ethel Schoenfeldt, Edna Schoeppel, Walter Weiss, Mary Schuermann, Verena Trout; Howard Westerkamp, Bernice Schuermann, Luella Volz, Raymond Silverstein, Clara Wayman, David BOYS-GROUP II. Tedesco, Marie Wolverton, Guy Burgheim, Robert White, Clara Zinsmeister, Clifford Day, George Woodbury, Alvina Gutzweiller, Edwin GlR.LS-GROUP II. Grimes, Wm. BOYS-GROUP I. Baier, Clara Hodtum, Clarence Barnett, Ralph Beck, Alma Horst, Thomas Braum, Arthur Beyrer, Ethel Joseph, Harvey Butler, Richard Brennen, Florence King, George Carcifero, Joe Cassity, Myrtle Leppert, Edward Crawford, Blaine Clayton, Della Meyer, Robert Deubel, George Clephane, Olive Naylor, Joe Farrell, Harry Derrickson, Esther Roehm, Philip Fritsche, Louis Grimes, May Smith, Samuel Fugazzi, Raymond Headltly, June Stradtman, Wm. Grassmann, Henry Jones, Marguerite Underwood, Ralph

THIRTIETH DISTRICT SCHOOL

Alexander, Luella McCarren, Jeanette Friederich, Rosa Beyersdorfer, Thea Maier, Anna Greilich, Amelia Boenker, Idella Miller, Carrie Georg, Alma Bauer, Frieda Moores, Minnie Hubing, Edna Burwell, Beatrice Mentz, Bertha Hoffman, Helen Becker, Marguerite Ohe, Ella Halblaub, 'Matilda Boenker, Ethel Pouton, GladYB Kruse, Edna Dahling, Irene Pitrosky, Frieda Knoechel, Augusta Drake, Lucille Pfeifer, Emma Kettler, Helen Etzel, Elsie Riehl, Louette Lobitz, Ruth Eichler, Edith Randall, Ruth Roos, Anna Euphrat, Dorothy Rebmann, Barbara. Schroeder, Irma Fisher, Elsie Schmidt, Olga Toepfer, Alice Geisler, Marg. Schmidt, Lillie Wuest, Hilda Grah, Anna Sickinger, Lillian Zehler, Gretchen Gross, Irma Tietig. Doris Henneke, Ethel Voight, Helen BOYS-SECOND. Heil, Louise Waldvogel, Erna Bach, Albert Helmers, Irene Westerman, Clara Boettger, Carl Johnston, Julie Haefner, Emil Jung, Bertha GIRLS-SECOND. Hess, Wm. Jordan, Ida Hamer, Carroll Kasekamp, Marie Baier, Cora Kienker, Carl Kampf, Helen Becker, Emma Lerch, Ralph Koetter, Ruth Blair, Helen McCarren, Lester Leiman, Esther Dahling, Lillian Rheinhardt, Henry 122 THE OHORUS.

Strecbfuss, Elmer Hoffmann, Mary Goosman, Mildred Stokes, Edward Hoffelder, Lydia Geiger, Juliet Walke, Nelson Hilbert, Elmira Haering, Elanor White, Dewey Johnson, Gertrude Holzwarth, Frieda Wuestenfeld, Karl Joseph, Ruth Hamer, Amanda Leicht, Elsie Helmers, Irma BOYS-THIl~D. Maier, Freida Johntges, Hilda Maier, Norma Koehl, Anna Baiter, Raymond Rahn, Alice Koester, ~llanora Burkhardt, Erwin Sand, Eleanor Lobitz, Pearl Bepler, Eugene Stammel, Edna Lobitz, Flora Drake, Gordon Suter, Elizabeth Luxenberger, Lillian Deneke, Walter Toepfer, Louisa Maurer, Laura Dinkelacker, Henry Wuestenfeld, Evaline Plohr, Gladys Eisenschmidt, Harry Winchester, Ruth Staub, Bertha Ellman, Joseph Delatron, Anna Shroder, Flora Funk, Edwin Mischler, Edna Schneller, Hilda Grottlish, George Kimenan, Charlotte Vornberg, Arline Gross, Carl Vornberg, Helen Haller, Hugo BOYS-OR.OUP I. Vogt, Hannah Helmers, Edgar Waag, Luella Hertzel, Arnold Ball, Wm. Waaser, Norma Haering, Adolph Baiter, Alex. Wuest, J ohnaetta Kuhn, Emil Bantz, Oscar Whyrich, Helen Maier, Alfred Bayer, Ernst Polster, Oscar Eyrich, Albert BOYs-GR.OUP II. Roeder, Howard Fahrenbruck, Ray Schoner, Elmer Felix, Clilford Basler, Philip Schmadel, Richard Hammond, Robt. Bludau, Albert Schoenbaechler, Theo. Hammann, Arthur Deschner, Walter Scholl, Daniel Jung, Clif. Fox, Harry Staderman, Wallace Klemme, Raymond Gross, Eitel Schumacher, George Knecht, Arthur Hoffman, Carl Sauer, Harry Krause, Carl Haller, Carl Schoner, Chas. Lobitz, James Hande\, John Theis, Daniel Pettit, Albert Hoffman, Glen Wagner, Edward Pitrosky, Harry Kelsch, Ralph Wagner, Albert Rahn, Harry Klank, Geo. Schwartz, Alb. Reiss, John Klein, Fred Stokes, Robt. Rilfelmacher, Carl Mallet, Harold Seitz, Richard Miller, Robt. Suter, Geo. OIR.LS-OR.OUP I. Lauther, Arthur Smith, Harry Aspenleiter, Minnie OIR.Ls-GR.OUP II. Schlenker, John Basler, Alma Storch, Walter Baldauf, Caroline Aspenleiter, Ervina Schmidt, John Bepler, Clara Beyer, Rosa Tiemeyer, Herbert Bubbe, Virginia Bohlender, Ruth Thuman, Edward Engert, Elsie Blank, Dorothy Vogt, Ernst Geisler, Sylvia Ellermann, Gretchen Hidinger, Margaret Ewald, Lillian

123 THE OHORUS.

THIRD INTERMEDIATE SCHOOL BOYS-SECOND. om.LS-PIR,ST. Truschell, Emma Vogt, Edna Becker. Edward Askren, Norma Walker, Blanche Becker, Charles Becky, Alma Wiebe, Frieda Betz, Otto Bentley, Bertha Woelfel, Elizabeth Burckhardt, Carl Bichsell, Norma Zehler, Edna Frankenberger, Fred Bierman, Margaret Haslinger, William Braun, Lillian OIR.LS-SECON D. Klumpp, John Busch, Flora Kopp, Clifford Bose, Edna Chrabkow, Elsie Maier, Ferdinand Chaliff, Bertha Cohan, Rose Mills, William Ehlers, Norma Decker, Estelle Obermann, William Essel, Florence Essel, Alice Runge, Leroy Goddard, Lillian Fairchild, Esther Warren, Earl Gratsch, Estelle Fetzer, Alma Weller, Henry Harper, Mabel Ganzert, Hazel Wunderlich, Edgar Galligar, Ethel Hoehn, Clara Girard, Lorraine Huppertz, Edna Gottman, Myrtle Jelleff, Lillian BOYS-THIl~D. Heinbach, Hilda Knauft, Marguerite Becky, Walter Heithacker, Mabel Kuhl, Johanna Bertram, Walter Hoeb, Elsie Lang, Emma Brenner, Sam Laux, Laurena Lang, Hazel Buhr, Robert Lilley, Grace Lehmann, Vera Cirino, Frank Lohrey, Marcella Lewin, Jeanette Dell, Ed ward McGee, Olive Loehmann, Elmira Federmann, Charles Meixner, Hazel Lux, Elsie Fischer, Herbert Menke, Luella Marsh, Ethel O. Frueaufi, Carl Meyer, Sophia Marshall, Minnie Haas, Albert Miess, Luella Meyer, Helen Harbrecht, Henry Roehner, Gertrude Mittendorf, Ethel Leurs, Raymond Ritter, Frieda Powers, Helen Louden, Thomas Schaefer, Hilda Schilderink, Helen Maienschein, Erwin Schneider, Alice Schilds, Viola Miller, John Sedelke, Elsie Sievers, Eunice Osterbrock, Louis Seipel, Stella Silbermann, Minnie Reeder, John Siefert, Norma Smith, Helen Rembold, Harold Smith, Eva Spreng, Helma Rieder, Arthur Stockmann, Anna Stifel, Goldie Schlenter, Stanley Suedhof, Elsie Suttmiller, Marie Schoennebaum, John Tegeler, Martha Troxell, Ruth Von Schichten, Carl Timmers, Alice Ziegler, Norma Wieman, Raymond

FOURTH INTERMEDIATE SCHOOL

OIR.LS-PIR.ST. Beisse, Florence Bock, Hazel Backmann, Emma Beisse, Mary Brauch, Alma Barrick, Dorothy Berger, Norma Braun, Alma Bartling, Della Berry, Mildred Dieckman, Elsie Bauer, Alma Berryman, Beatrice Eberle, Amelia Bayer, Irene Bieler, Amanda, Engel, Marjorie 124 THE OHORUS.

Evel, Hilda Bartel, Alvina Robinson, Ray Eyster, Florence Brand, Edna Schaechter, August Fisher, Elvera Brauch, Nellie Schroeder, Harry Flagge, Hattie Dilg, Mildred Schuster, George Foerster, Marcella Du Bar, Marie Stenglein, George Forthman, Bertha. Crawford, Margaret Telscher, Wm. Gambs, Pearl Foerste, Esta Vanderbilt, George Gassert, Esther Frederick, Irene Weber, Arthur Gillespie, Roslyn Guenther, Dora Wirth, Arthur Greilich, Frieda Hirschberger, Lillie Hauck, Helen Johnson, Ruth BOYS-THIRD. Hendricks, Mabel Kutzleb, Aurelia. Herman, Helen Lechner, Hazel Abbott, Hartzell Hoehn, Amelia McKenzie, Helen Babst, Charles Hugenschmidt, Elsie Mithoefer, Laura Barrick, Walker Hugenschmidt, Helen Niemiller, Alvina Berry, Charles Hust, Helen Purcell, Bertha Boorom, Fred Johnson, Nora Raab, Mildred Braun, Bertrand Kaelin, Lillian Schmidt, Gertrude Bruening, Clarence Kraemer, Hazel Schultz, Amelia Best, Charles Lakamp, Clara Schwab, Lillie Cone, Thomas Linville, Dorothy Sedler, Amelia Decker, Edward Littell, Edith Simon, Lillie De Witt, Frank Manthey, Martha Sponagel, Elsie Erhardt, Erwin McAllister, Loretta Springer, Anna Fahrenbruck, Carl Meyer, Myrtle Stedefeld, Flora Foerstel, George Meyer, Ruth Stout, Bertha Franklin, Elmer Miller, Sylvesta Weber, Elsa Franke, Albert Parks, Blanche Wendt, Hilda Funk, George Rennemeyer, Ruth Whiteman, Marion Ganzmiller, Howard Rohrer, Adele Giessen, William Schaechter, Elsie BOYS-SECOND. Gerichten, Wm. Heaton, Carl Schaefer, Elsa Benner, Fred Helle, Walter Schalk, Clara Brodbeck, Chas. Hill, Carl Schrader, Leonore Brower, Hugo Karg, Nicholas Sicke, Alma Erbacher, Walter Karst, August Sneider, Amelia Essell, George Keller, Harry Sparenburg, Hilda Franke, George Tottleben, Viola Krems, Louis Gillick, Melvin Kurtz, August Trinkle, Emma Goertemoeller, Clarence Ky Ie, Vernon Ultsch, Irma Goertemoeller, Clarence Lang, Chas. Von Bargen, Corinne Reepke, Edward Von Hagen, Rose La Sance, Arthur Hoffman, Walter Link, Edward Willey, Mary Holtkamp, Howard Wimmer, Luella Linville, Ralph Hunsche, Wm. Luichinger, Alfred Witzigman, Lulu Kispert, Walter Wiegand, Norma Meder, Franklin Kuhn, George Meyer, Hadyn Yeager, Carrie Lothes, George Moore, Francis Zahn, Norma Luikart, Alvin Maschmeyer, Robert BOYS-THIR.D. GIRLS-SECOND. Mertz, Robert Allgeyer, Stella Meyer, Nicholas Morhardt, Alphonse Armbrust, Geneva Miller. Clifton Muller, Milton Backman, Lillian Morhardt, Edwin Muth, Clifford 125 THE OHORUS.

Mutschler, George Schwartz, Albert Voegtle, Wm. Nunneker, Chas. Schultze, George Weis, Robt. Panzer, Andrew Sess, Albert Wiederecht, Erwin Rehm, Fred Tieman, Louis Wilkens, Albert Richter, Dewey TrickIer, Frank Schindler, Michael Valentiner, Ellis

WHITTIER SCHOOL

GIRLS-FIRST. Geisler, Frieda McMahon, Robert Jordan, Margaret Miller, Ormand Apfel, Ida Kuhlman, Irene Powell, Hobart Dixon, Isabella Klausmeyer, Norma Riley, George Dixon, Margaret Konrad, Erna Swepston, Clyde Evers, Marguerite Lang, Lorena Swepston, Harry First, Hazel Murdock, Edith Schubert, George Freis, Vera Rodgers, Naomi Sturm, Nelson Feger, Marie Romer, Helen Stevens, Lawrence Gloystein, Edna Seurig, Gertrude Toms, Homer Gustetter, Margaret St. Clair, Ethel Taylor, Clifford Gustetter, Adelaide Schmidt, Florence Vail, Wilbert Harwood, Hazel Taylor, Leona Wehmeier, Fred Hauck, Helen Tomlin, Nellie Waldo, Howard Hyatt, Beatrice Vordenburg, Lulu Harper, Ruth BOYS-GROUP II. Howell, Alice BOYS-SECOND. Beebe, Clifford Jansen, Myrtle Ellif, Paul Keyt, Mary Becker, Elliot Goepper, Forrest Kerley, Rosanna Hausfeld, Edwin Grabenstetter, Gordon Lindsay, Marion Howell, Stanley Herrlinger, Robt. Louther, Henrietha Hutzler, Fred Horton, Robt. Luth, Ethel Karpe, Gustave McAvoy, Irene Loesche, Arthur Jacobs, David Meeds, Lillian Mahler, Frank Lowman, Lawrence Perry, Edith McKinney, Arthur Lipke, Edward Peirce, Bertha Russell, Richard :Mathews, Litton Remke, Beatrice Vance, Shelby Oyler, Paul Rodgers, Esther Wegert, Edgar Schearing, Milton Star, Helen Schneider, Erwin Ulrecht, Harriet D. BOYS-THIRD. Williams, Archie Van, Olive GIRLS-GROUP II. Walker,Ruth Bell, Robert Wilson, Dorothy Channel, Lovette Ahlers, Ruth • Ward, Lillian Chambers, Edwin Barnes, Frances Cook, Milton Waldo, Marguerite Becker, Lida Christen, Anthony Benjamin, Dorothy Frohmiller, Edwin GIRLS-SECOND. Franke, Thelma Fay, Fred Houghton, Marguerite Branch, Ethel Haley, Edward Krebs, Mame Bemeier, Alma Holmyard, Harold Kratz, Marguerite Caldwell, Leora Jones, Charles Lowml;Ul, Lillian Cole, Katherine Kerley, Ernst Murphy, Dorothy Chambers, Pearl Keyt, Robert Richey, Mary Elizabeth Dayhoff, Eva Leibolt, Joe Stratemeyer, Irene 126 ORCHESTRA

FIR.ST VIOLINS. Mittelstaedt, F. PICCOLOS. Strobach, C. Letz, H. (Principal) Yolk, F. Furman, J. Becker, L. Andauer, E. Schroeter, R. Krauss, A. Seidel, R. VIOLONCELLOS. OBOES. Marx, L. Culp, S. Steindel, B. (Principal) Barthel, A. Van der Voort, A. Unger, W. Stiegelmayer, K. Nurnberger, L. Brueckner, C. Weisbach, H. Ambrosius, R. ENGLISH HOR.NS. Roehrborn, O. Corell, L. Schulz, M. Felber, H. Starke, F. Chapek, J. Klammsteiner, C. Hesselbach, O. Braun, H. Clusmann, E. Mangold, R. Kalas, J. CLA R.I NETS. Itte, F. Heinickel, A. Schreurs, J. Uterhart, C. Hofmeester, T. DOUBLE BASSES. Busse, A. SECOND VIOLINS. Jiskra, V. (Principal) Hillmann, C. (Principal) Klemm, L. BASS CLAR.INET. Silberstein, J. Parbs, H. Barker, O. Glass, R. Meyer, C. Woollett, W. Wolf, O. Novak, L. Maedler, R. BASSOONS. Busse, A. Speckin, W. Singer, W. Sauter, W. Kruse, P. Ulrich, A. Otte, F. Rabe, H. Biehl, J. Schon, J. Woelfel, P. HARPS. Meinken, C. CONTR.A BASSOON. Fitzek, R. Tramonti, E. Friedrich, L. Du Moulin, G. Singer, W. Fitzek, J. Demuth, F. OR.GAN. HORNS. Konrad, W. Durst, Sidney C. de Mare, L. Pottag, M. VIOLAS. BACH CLAVIER.. Frank, W. Esser, F. (Principal). Schehl, J. Alfred Albrecht, C. Dasch, G. Meyer, G. FLUTES. TR.UMPETS. Nurnberger, H. Schroeter, R. Quensel, A. Schubert, O. Hesselbach, O. Baumbach, C. Handke, P. 12'4' OROHESTRA.

COR.NETS. TENO~ TUBA. PER.CUSSIONS. Ulrich, A. Andauer, E. Wintrich, M. Felber, H. Wagner, E. BASS TUBA. Mittelstaedt, F. TR.OMBONES. Otte, F. Strobach, C.

Stange, G. TIMPANI. LIBR.AR.IAN. Zeller, W. Nicolini, J. Zettelmann, J. McNicol, T.

SUMMARY

First Violins...... 16 Bass Clarinet...... 1 Second Violins...... 16 Bassoons ...... • 3 Violas...... 10 Contra Bassoons...... 1 Violoncellos ...... 10 Horns...... 4 Double Basses...... 9 Trumpets...... 2 Harps...... 2 Cornets...... 2 Organ ...... 1 Trombones...... 3 Bach Clavier...... 1 Tenor Tuba...... 1 Flutes...... 2 Bass Tuba...... 1 Piccolos...... 2 Timpani...... • 1 Oboes...... 2 Percussions...... 4 English Horns...... 2 Librarian...... • 1 Clarinets...... 3

TotaL ...... 100

128 ttbe (Cincinnati festt"aIs.

PRINCIPAL WORKS AND SOLOISTS.

First Festival, 1873. BEETHOVEN ...... Symphony No.5, Ope 67. Symphony No.9, Ope 125. GLUCK ...... Scenes from Orpheus. HANDEL ...... Dettingen Te Deum. MENDELSSOHN ...... The First Walpurgis Night, Ope 60. SCHUBERT ...... Twenty-third Psalm. SCHUMANN ...... Symphony No.2, Ope 61. Gypsy Life, Ope 29.

SOLOISTS.-Mrs. E. R. Dexter, Mrs. H. M. ~mith, Miss Annie Louise Cary, Mr. Nelson Varley, Mr. Myron W. Whitney, Mr. J. F. Rudolphsen. Mr. Arthur Mees, organist. Carl Barus and Otto Singer, chorus masters.

Second Festival, 1875. BACH ...... Magnificat in D. BEETHOVEN ...... Symphony No.7, Ope 92. Symphony No.9, Ope 125. BRAHMS ...... Triumphal Hymn, Ope 55. LrszT ...... Prometheus. MENDELSSOHN ...... Elijah. SCHUBERT ...... Symphony No.9. WAGNER ...... Scenes from Lohengrin.

SOLOISTS.-Mrs. H. M. Smith, Miss Abbie Whinnery, Miss Annie Louise Cary, Miss Emma Cranch, Mr. Wm. J. Winch, Mr. H. Alex. Bischoff, Mr. Myron W. Whitney, Mr. Franz Remmertz. Mr. Dudley Buck, organist. Otto Singer, chorus master.

129 THE OINOINNATI FESTIVALS.

Third Festival, 1878. BEETHOVEN ...... Symphony No.3, Eroica, Op. 55. Symphony No.9, Op. 125. BERLIOZ ...... Dramatic Symphony, Romeo and Juliet, Op. 17. GLUCK ...... Scenes from Alceste. HANDEL ...... The Messiah. LISZT ...... Missa Solennis. OTTO SINGER ...... Festival Ode.

SOLOISTS.-Mme. Eugenie Pappenheim, Mrs. E. Aline Osgood, Miss Emma Heckle, Miss Annie Louise Cary, Miss Emma Cranch, Mr. Charles Adams, Mr. Christian Fritsch, Mr. Hartley Thompson, Mr. Myron W. Whitney, Mr. F. Remmertz, Sig. G. Taliapietra. Mr. Geo. E. Whiting, organist. Otto Singer, chorus master.

Fourth Festival, 1880. BACH ...... Oantata, A Stronghold Sure. BEETHOVEN ...... Missa Solennis, Op. 123. Symphony No.5, Op. 67. DUDLEY BUCK ...... Prize composition, Scenes from Longfellow's Golden Legend. HANDEL ...... Jubilate. Coronation Anthem, Zadok the Priest. MOZART ...... Symphony, C major. SCHUMANN ...... Symphony No.4, Op. 120.

SOLOISTS.-Miss Amy Sherwin, Miss Annie B. Norton, Miss Annie Louise Cary, Miss Emma Cranch, Sig. !talo Campanini, Mr. Fred Harvey, Mr. Myron W. Whitney, Mr. J. F. Rudolphsen. 'Mr. Geo. E. Whiting, organist. Otto Singer, chorus master.

130 THE OINOINNATI FESTIVALS.

Fifth Festival, 1882. BAOH ...... St. Matthew Passion. BEETHOVEN ...... Symphony No.7, Ope 92. Symphony No.8, Ope 93. BERLIOZ ...... Scenes from The Fall of Troy. GILOHRIST ...... Prize Composition, Forty-sixth Psalm. HANDEL ...... Dettingen Te Deum. LISZT ...... A Symphony to Dante's Divine ;Comedy. MOZART ...... Requiem Mass. SOHUBERT ...... Symphony in C, No.9. SOHUMANN ...... Scenes from Goethe's Faust (Part III). WAGNER ...... Wagner Matinee.

SOLOISTS.-Frau Friedrich Materna, Mrs. E. Aline Osgood, Miss Eliza­ beth Hetlich, Miss Elenora Kopp, Miss Adah B. Wilson, Miss Annie Louise Cary, Miss Emma Cranch, Mr. Wm. Candidus, Mr. Theodore J. Toedt, Mr. Georg Henschel~ Mr. T. J. Sullivan, Mr. Franz Remmertz, Mr. Myron W. Whitney. Mr. Geo. E. Whiting, organist. Arthur Mees and Carl Barus, chorus masters.

Sixth Festival, 1884. BEETHOVEN ...... Symphony No.5, Ope 67. Symphony No.9, Ope 125. BRAHMS ...... A German Requiem, Ope 45. GoUNOD ...... The Redemption. HANDEL ...... Israel in Egypt. MOZART ...... Symphony in G minor. WAGNER ...... Scenes from Tannhauser. Scenes from Tristan and Isolde. Wagner Matinee.

SOLOISTS.-Frau Friedrich Materna, Mme., Christine Nilsson, Miss Emma. Juch, Mrs. Annie Norton-Hartdegen, Miss Emily Winant, Mr. Theodore J. Toedt, Mr. Victor H. Lindau, Herr Hermann Winkelmann, Mr. Franz Rem­ mertz, Mr. Max Heinrich, Herr Emil Scaria, Mr. Herman J. Gerold. Mr. Arthur Mees, organist and chorus master.

131 THE CINCINNATI FESTIVALS.

Seventh Festival, 1886. BACH ...... Mass in B minor (Kyrie and Gloria). BEETHOVEN ...... Symphony No.3, Eroica, Ope 55. ~ymphony No.7, Ope 92. Music to Goethe's Egmont. BE:~LIOZ ...... Damnation of Faust. Symphonie Fantastique. H.AYDN .... " ...... The Creation. RUBlNSTEIN ...... The Tower of Babel. SCHUBERT ...... Symphony No.8 (unfinished). SCHUlfANN ...... Symphony No.2, Ope 61. WAGNER ...... Scenes from Die Meistersinger (Act III). Wagner Night. SOLOIST.-Miss Lilli Lehmann, Miss Emma Juch, Mme. Helene Hast­ reiter, Miss Emma Cranch, Mr. William Candidus, Mr. Theodore J. Toedt, Mr. William Ludwig, Mr. Alonzo E. Stoddard, Mr. Myron W. Whitney. Arthur Mees, chorus master.

Eighth Festival, 1888. BEETHOVEN ...... Symphony No.5, Ope 67. Symphony No.6, Pastoral, Ope 68. DVORAK ...... The Spectre's Bride. GOLD MARK ...... Symphony, Landliche Hochzeit. MENDELSSOHN ...... St. Paul. PAINE ...... Song of Promise. RUBINSTEIN ...... Paradise Lost. SAINT-SAENS ...... Symphony No.3, Ope 78. WAGNER ...... Wagner Night. WEBER ...... Hymn, In Seiner Ordnung, Ope 36. SOLOISTS.-Frau Lilli Lehman,n-Kalisch, Mme. Giulia Vald'a, Mrs. Corinne Moore-Lawson, Miss Elizabeth ~etlich, Miss Emma Cranch, Mr. Theo. J. Toedt, Herr Paul Kalisch, Mr. Edward Lloyd, Mr. Myron W. Whitney, Mr. Alonzo E. Stoddard, Mr. A. F. Maish. Mr. Arthur Mees, organist, Louis Ehrgott, chorus master.

132 THE OINOINNATI FESTIVALS.

Ninth Festival, 1890. BACH ...... St. Matthew Passion. BEETHOVEN ...... Symphony No.4, B-flat, Op. 60. Symphony No.7, A major, Op. 92. DVORAK ...... Stabat Mater, Op. 58. HANDEL ...... The Messiah. SAINT-SAENS ...... The Deluge, Op. 45. SCHUBERT ...... Symphony No.9, 0 major. SCHUMANN ...... Symphony, E-flat, Op. 97, Rhenish. VERDI...... Requiem. WAGNER ...... Selections from The Flying Dutchman, Die Walkiire, Die Gotterdammerung, and Die Meistersinger. SOLOISTs.-Mlle. Clementine de Vere, Mrs. Theodore J. Toedt, Mrs. Corinne Moore-Lawson, Miss Emily Winant, Mr. Edward Lloyd, Mr. Theo­ dore J. Toedt, Mr. A. F. Maish, Mr. -Myron W. Whitney, Herr Emil Fischer. Mr. Arthus Mees. organist. Louis Ehrgott, chorus master.

Tenth Festival, 1892. BACH ...... Ohristmas Oratorio (Parts I and II). ALBERT BECKER ...... Cantata, Op. 50. BEETHOVEN ...... , . Symphony No.3, Eroica, Op. 55. Symphony No.8, in F, Op. 93. Fidelio, Selections. BRAHMS ...... Symphony No.3, in F, Op. 90. ANTON BRUCKNER ...... Te Deum. DVORAK ...... Requiem Mass, Op. 89. GLUCK ...... Scenes from Alceste. MENDELSSOHN ...... St. Paul. SCHUMANN .... _...... Symphony No.1, in B-flat, Op. 38. TSCHAIKOWSKY ..... , ...Symphony No.5, E minor, Op. 64. WEBER ...... Euryanthe (Act I). WAGNER ...... selections from Die Meistersinger. Parsifal, Gotterdammerung, and Tannhauser.

SOLOISTS.-Mme. Antonia Mielke, Mlle. Clementine de Vere, Mrs. Corinne Moore-Lawson, Mme. Marie Ritter-Goetze, Miss Ida M. Smith, Mr. Edward Lloyd, Mr. Andreas Dippel, Mr. William Ludwig, Mr. A. F. Maish, Mr. George Ellsworth Holmes. Mr. Arthur Mees, organist. W. L. Blu­ menschein, chorus master. 133 THE CINCINNATI FESTIVALS.

Eleventh Festival, 1894. BEETHOVEN ...... Symphony No.4, B-flat, Op. 60. Symphony No.9, Op. 125. BERLIOZ ...... Requiem Mass, Op. 5. BRAHMS ...... Symphony No.4, E minor, Op. 98. Song of Destiny, Op. 54. DVORAK ...... Symphony No.2, D minor, Op. 70. GoETZ ...... 137th Psalm, By the Waters of Babylon, Op. 14. MENDELSSOHN ...... Elijah. PARKER, H. W ...... Hora N ovissima, Op. 30. RUBINSTEIN ...... Moses, Op. 112 (Third and Fourth Ta- bleaux) . SCHUBERT ...... Symphony, B minor (Unfinished). WAGNER ...... Selections from Die Meistersinger and Tann- hauser. SOLOISTS.-Mrs. Emma Eames-Story, Miss Antoinette Trebelli, Mrs. Carl Alves, Miss Ida M. Smith, Mr. Ben Davies, Mr. Wm. H. Rieger, Mr. Watkin Mills, Mr. Plunket Greene. Mr. Arthur Mees, organist. W. L. Blu­ menschein, chorus master.

Twelfth Festival, 1896. BEETHOVEN ...... Symphony No.7, A major, Op. 92. Symphony No.9, Op. 125. DVORAK ...... Symphony, From the New World, Op. 95. HANDEL ...... Judas M'accabeus. SAINT-SAENS ...... Samson and Delilah. SCHUMANN ...... Symphony No.1, B-flat, Op. 38. THOMAS, A. GORING .... The Swan and the Skylark. TrNEL ...... Francis (an Oratorio), Op. 36. TSCHAIKOWSKY ...... Symphony, Pathetique, No.6, Op. 74. WAGNER ...... Selections from Tristan and Isolde, Tann- hauser, Die Meistersinger, Die Walkiire, and Die Gotterdiimmerung. SOLOIsTs.-Mme. Lillian Nordica, Frau Katerina Lohse-Klafsky, Mme. Medora Henson, Mrs. Corinne Moore-Lawson, Miss Marie Brema, Mr. Ben Davies, Mr. Geo. J. Hamlin, Mr. Ffrangcon Davies, Mr. Plunket Greene, Mr. Watkin Mills, Mr. Charles H. Robinson, Mr. Albert F. Maish, Mr. Charles L. Garner. Mr. Arthur Mees, organist. W. L. Blumenschein, cho­ rus master. l!H THE OINOINNATI FESTIVALS.

Thirteenth Festival, I8g8. BEETHOVEN ...... Symphony No.5, Op. 67. Missa Solennis, Op. 123. BERLIOZ ...... Damnation of Faust, Op. 24. BRAHMS ...... Symphony No.2, D major, Op. 73. GRIEG ...... Scenes from Olaf Trygvasson, Op. 50. MOZART ...... Symphony, G minor (Koechel, 550). SCHUMANN ...... Symphony No.4, D minor, Op. 120. Paradise and the Peri, Op. 50. WAGNER ...... Selections from The Flying Dutchman and Parsifal.

SOLOISTS.-Miss Margaret Macintyre, Mrs. Corinne Moore-Lawson, Miss Helen Wright, Miss La Nora Caldwell, Miss Gertrude May Stein, Mrs. Josephine S. Jacoby, Mr. Ben Davies, Mr. George J. 1;Iamlin, Mr. David Bispham, Mr. Joseph S. Baernstein. Mr. Arthur Mees, organist. Edwin W. Glover, chorus master. B. W. Foley, Director of the Apollo Club.

Fourteenth Festival, IgOO. BEETHOVEN ...... Symphony No.9, Op. 125. BERLIOZ ...... Te Deum, Op. 22. BRAHMS ...... A German Requie:m, Op. 45. FRANCK, CEsAR ...... Symphony, D minor. LISZT ...... A Faust Symphony. MENDELSSOHN ...... St. Paul. STANFORD ...... Ode, East to West. TSCHAIKOWSKY ...... Symphony, after Byron's Manfred. WAGNER ...... Selections from Die Meistersinger, Die Wal- kiire and Parsifal.

SOLOISTS.-Mme. Marcella Sembrich, Mrs. Hissem De Moss, Mme. Ernes­ tine Schumann-Heink, Mr. Ben Davies, Mr. David Bispham, Mr. Louis Ehr­ gott. Mr. Wilhelm Middelschulte, organist. Edwin W. Glover, chorus master. 135 THE CINCINNATI FESTIVALS.

Fifteenth Festival, 1902. BACH ...... Mass in B minor. BEETHOVEN ...... Symphony No.3, Eroica, Op. 55. BERLIOZ ...... Requiem Mass, Op. 5. BRAHMS ...... Serenade No.1, D major, Op. 11. FRANCK, CESAR ...... The Beatitudes. GLUCK ...... Scenes from Orpheus. WAGNER ...... Scenes from Die Meistersinger (Act III), and selections from Die Walkiire, Sieg­ fried, and Gotterdiimmerung.

SOLOISTS.-Mrs. Marie Zimmerman, Miss Clara Turpen, Mme. Gertrude May Stein, Mr. Ben Davies, Mr. Ellison Van Hoose, Mr. Andrew Black, Mr. Gwilym Miles. Mr. Wilhelm Middelschulte and Mr. J. Fred Wolle, organists. Edwin W. Glover, chorus master.

Sixteenth Festival, 1904. BACH ...... Suite No.2, B minor. Mass in B minor. BEETHOVEN ...... ~ . Missa Solennis, Op. 123. Symphony No.8, Op. 93. Symphony No.9, Op. 125. BERLIOZ ...... Hymn, Op. 26. BRUCKNER ...... Symphony No.9, D minor, (Unfinished). ELGAR ...... The Dream of Gerontius, Op. 3S. MOZART ...... Symphony, E flat, Kochel, 543. WAGNER ...... Selections from Talmhiiuser, Die Meister- singer, and Tristan and Isolde.

SOLOISTS.-Miss Agnes Nicholls, Mme. Ernestine Schumann-Heink, Miss Muriel Foster, Mr. William Green, Mr. Watkin Mills. Organist, Mr. Wilhelm Middelschulte. Mr. Edwin 'N. Glover, chorus master.

136 TI-IE OINOINNATI FESTIVALS.

Seventeenth Festival, 1906. BACH ...... Cantata, God's Time is the Best. BEETHOVEN ...... Symphony No.9, Op. 125. BENOIT ...... Children's Cantata, Into the World. BRAHMS ...... A German Requiem, Op. 45. ELGAR ...... The Dream of Gerontius, Op. 3S. The Apostles, Op. 49. SCHUMANN ...... Symphony, No.1, B flat, Op. 3S. TSCHAIKOWSKY ...... , ..Symphony, Pathetique, No.6, B minor, Op. 74. VAN DER STUCKEN ..... Pax Triumphans, a Festival Prologue; Op. 26.

SOLOISTS.-Mme. Johanna Gadski, Mrs. Corinne Rider-Kelsey, Miss Janet Spencer, Mr. John Coates, Mr. D. Ffrangcon Davies, Mr. Charles W. Clark, Mr. Herbert Witherspoon. Organist, Mr. Adolph H. Stadermann. Sir Edward Elgar conducted The Dr~am of Gerontius and the Apostles.

Eighteenth Festival, 1908. BACH ...... St. Matthew Passion. BEETHOVEN ...... Symphony No.7, Op. 92. BRAHMS ...... Symphony No. 3 in F, Op. 90. DEBUSSY ...... The Blessed Damozel. GRIEG ...... Olaf Trygvasson. HAYDN ...... The Seasons. LISZT ...... Psalm XIII. PIERNE ...... The Children's Crusade.

SOLOISTS.-.Mme. Johanna Gadski, Mrs. Corinne RiderKelsey, Mrs. Edith Chapman-Goold, Mrs. VVerner-West, Mme. Ernestine Schumann­ Heink, Miss Janet Spencer, Mr. Daniel Beddoe, Mr. Edward Johnson, Mr. Dalton Baker, Mr. Herbert Witherspoon, Mr. Tom Daniel, Mr. Hans Seitz.( Organist, Mr. Adolph H. Stadermann.

137 THE OINOINNATI FESTIVALS.

Nineteenth Festival, IgIO. BEETHOVEN ...... Missa Solennis, Op. 123. Symphony No. 51 Op. 67. BERLIOZ ...... The Trojans in Carthage. HANDEL ...... Judas Maccabeus. PIERNE ...... The Children's Crusade. SCHUMANN ...... Symphony No.4, Op. 120. STOCK ...... Symphony, C minor.

SOLOIS'l.'s.-Miss Emmy Destinn, Mrs. Corinne Rider-Kelsey, Mme. Mariska Aldrich, Mrs. Edith Chapman-Goold, Mrs. Werner-West, Mme. Louise Homer, Mme. Ernestine Schumann-Heink, Miss Janet Spencer, Mr. Daniel Beddoe, Mr. Evan Williams, Mr. N. Hougaard Nielsen, Mr. Herbert Witherspoon, Mr. Claude Cunningham. Rhapsodist, Mr. Joseph O'Meara. Organist, Mr. Sidney C. Durst.

Theodore Thomas was musical director from the beginning until his death, on January 4, 1905, during which period he conducted every concert of every festival. . Frank Van der Stucken succeeded him as musical director, and conducted the Seventeenth, Eighteenth and Nine­ teenth Festivals, and personally trained the chorus for those festivals. Frederick A. Stock was associate conductor of the Eighteenth and Nine­ teenth Festivals.

138 lRepertor\2 of tbe lRtneteen jfestt"ala.

[Roman numerals indicate the Festival or Festivals at which the performance occurred.]

AUBER-Fra Diavolo~ Overture •...... 1 Masaniello, Slumber Song ...... IV BAcH-Passion :Music, according to the Gospel of St. Matthew.V, IX, XVIII Mass in B minor ...... VII, XV, XVI Christmas Oratorio (Parts I and II) ...... X Magnificat· in D (first time in America) ...... II Cantata, A Stronghold Sure ...... IV Chorale and Chorus ...... XIII Cantata, God's Time is the Best ...... XVII Suite No.2, B minor ...... XI, XVI Suite No.3, in D major ...... I, VIII, XV Air ...... IV Prelude, Choral and Fugue ...... III Fugue, A minor ...... IX Concerto, Brandenburg, No.3, in G ...... V, XVII Toccata (transcribed for Orchestra) ...... VI Toccata in F (for organ) ...... XIV Prelude and Fugue in B minor (for organ) ...... XV Venetian Boatman ...... I BECKER, ALBERT-Cantata, Op. 50 ...... X BEETHoVEN-Symphony No.3, Eroica, Op. 55 ...... III, VII, X, XV Symphony No.4, B fiat, Op. 60 ...... IX, ,Xl Symphony No.5, Op. 67 ...... 1, IV, VI, VIII, XIII, XIX Symphony No.6, Pastoral, Op. 68...... VIII Symphony No.7, Op. 92 ...... II, V, VII, IX, XII, XVIII Symphony No.8, Op. 93 ...... V, X, XVI Symphony No.9, Op. 125, I, II, III, VI, XI, XII, XIV, XVI, XVII Missa Solennis, Op. 123 ...... IV, XIII, XVI, XIX Septet, Op. 20 ...... IX Music to Goethe's Egmont, Op. 84 ...... VII

139 REPERTORY OF THE FESTIVALS.

Overture, Coriolanus, Op. 62 ...... I, III, XIII Overture, Leonore No.2, Op. 72 ...... II, VI Overture, Leonore No.3, Op. 72. I, IV, VI, X, XII, XVII, XVIII Overture, Consecration of the House, Op. 124 ...... II Minuet and Finale, String Quartet in C, No.9 ...... VI Ruins of Athens-Turkish March ...... IV March and Chorus, Twine ye the Garlands ...... VI Aria, Deign, Great Apollo ...... VII Scene and Aria, Ah! Perfido, Op. 65 ...... I, VI, XII, XIX. Fidelio, Scene and Aria, AbscheuIicher, III, V, VII, X, XII, XVI, XVIII, XIX Scenes ...... X Trio, Tremati, empi, tremate, Op. 116 ...... II, VI Arietta, In questa tomba ...... II, V Vesper Hymn ...... I Song, Creation's Hymn ...... XIV BELLINI-Norma, Casta Diva ...... XIV BENOIT-Children's Cantata, Into the World ...... XVII BERLIoz-Dramatic Symphony, Romeo and Juliet, Op. 17 ...... III Ball Scene . . " ...... V Requiem Mass, Op. 5 ...... XI, XV Te Deum, Op. 22 ...... XIV Damnation of Faust, Op. 24 ...... VII, Xln March Rakoczy ...... IV, X Romance ...... XII The Fall of Troy .... '...... V Recitative and Aria, Unhappy King ...... XIII The Trojans in Carthage ...... XIX Symphonie Fantastique, Op. 14 ...... VII Overture, King Lear, Op. 4 ...... IV Benvenuto Cellini, Overture ...... XI Duo ...... V Le Carnaval Romain, Op. 9 ...... XII Hymn, Opus 26 ...... XVI BRAHMS-A German Requiem, Op. 45 ...... VI, XIV, XVII Symphony No.2, D major, Op. 73 ...... XIII Symphony No.3 in F, Op. 90 ...... X, XVIII Symphony No.4, E minor, Op. 98...... XI Serenade No.1, D major, Op. 11 ...... XV Triumphal Hymn, Op. 55 ...... II

140 REPERTORY OF THE FESTIVALS.

Song of Destiny, Ope 54 ...... XI Rhapsody, Ope 53 ...... XIV, XVI, XIX Part-Songs for Women's Voices, Ope 17 ...... VII Tragic Overture, Ope 81 ...... V Overture, Academic Festival ...... ~1I1 Hungarian Dances • • • ...... II, XI Hungarian Dances, for Orchestra, by Dvorak ...... IX Variations, Theme by Haydn, Ope 56 ...... IV, XII BOCCHERINI-J\1:inuet • . • ...... III BOUGHTON-Songs . • ...... XVII Fair is our Lot, Song of the Dead, The Price of Admiralty. BOITo-Mefistofele, L'altra notte ...... XIII BRucH-Odysseus, Aria, Penelope Weaving a Garment .... ~ ...... III, V BRUCKNER, ANToN-Te Deum ...... X Symphony No.9, D minor, Unfinished ...... XVI BUCK-Scenes from Longfellow's Golden Legend. Prize Composition .... IV CHABRIER-Rhapsodie Espana ...... •...... IX CHERUBINI-Anacreon, Overture ...... XIV, XIX CHOPIN-Funeral March (transcribed for Orchestra) ...... VIII, X, XI Polonaise, A-flat (transcribed for Orchestra) ...... XII CORNELIUS-Song, Ein Ton ...... XI DEBUSSy-The Blessed Damozel ...... XVIII DONIZETTI-Lucia, Sextet ...... III DUKAS-SCHERZO, L'Apprenti Sorcier ...... XIV, XIX DVORAK-The Specter's Bride, Ope 69 ...... VIn Recitative and Aria, Where are thou, father dear? ...... XIII Stabat Mater, Ope 58 ...... IX Requiem 'Mass, Ope 89 ...... X Symphony No.2, D minor, Ope 70 ...... XI Symphony, From the New World, Ope 95 ...... XU Slavonic Rhapsody No.3, Ope 45 ..... '...... IV Overture, Husitzka, Ope 67 ...... VII, XVll Scherzo, Capriccioso, Ope 66 ...... VII, Xl Symphonic Variations, Ope 78 ...... IX

141 REPERTORY OF THE FESTIVALS.

Carnival Overture, Op. 92 ...... XI Overture, Nature, Op. 91...... XIn ELGAR-COncert Overture, Cockaigne ...... XV. XVIII

SonaI:! , The Pipes of Pan ...... X V The Dream of Gerontius, Op. 38 ...... XVI, XVII The Apostles, Parts I and II, Op. 49 ...... XVII Variations, Op. 36 ...... XVI, XIX Concert Overture, In the South, Op. 50 ...... XVII Introduction and Allegro, Op. 47 ...... XVII March, Pomp and Circumstance, Op. 39 ...... XVI Grania and Diarmid, Op. 42, Incidental Music and Fu- neral March ...... XVI Sea Pictures, Op. 37 ...... XVI FA.URE-The P·alms ...... III, VII FEscA.-Song, Springtime ...... II FRANCK, CESAR-Symphonic Poem, Les Eolides ...... XIII Symphony, D minor ...... XIV The Beatitudes ...... XV GILCHRIST-Forty-sixth Psalm. Prize Composition ...... V GLucK-Scenes from Orpheus (Chorus, Orchestra and Solo) ...... I, XV Scenes from Alceste . (Chorus, Orchestra and Soli) .... III, X Alceste, Ihr G5tter ew'ger Nacht ...... VIII, XVI Overture ...... XVI I phigenia in Aulis-Overture ...... IV Scene 1. Diane impitoyable ...... IV Iphigenia in Tauris, Our hearts in childhood's morn ...... X 4,rmide-Scene, Enfin il est dans ma puissance ...... VII Aria, Ah, si la liberM ...... XI GoETz-137th Psalm, By the Waters of Babylon, Op. 14 ...... XI GouNon-The Redemption ...... VI Irene, Aria, She alone charmeth my sadness ...... VIII Nouvelle Meditation ...... II Song, The Valley ...... III La Reine de Saba, Lend me your aid ...... IX, X Plus grand dans son obscurite ...... XII Sapho, Aria, 0 Harp immortal ...... XIX GOLDMARK-Symphony, Llindliche Hochzeit ...... VIII Wedding March and Variations ...... IV 142 REPERTORY OF THE FESTIVALS.

Overture, Sakuntala, Op. 13 ...... III Overture, Sappho, Op. 44 ...... XI Scherzo, Op. 45 ...... XII GRAEDENER-Capriccio, Op. 4 ...... 111 GRIEG-Scenes from Olaf Trygvasson, Op. 50 ...... XIII, XVIII HALEvY-La Juive, Cavatina, Se pel rigor ...... , ...... III Oh, Rachel ...... IX HANDEL--The Messiah • ...... III, IX Israel in Egypt ...... VI Duet, The Lord is a Man of War ...... XVII Judas Maccabeus ...... XII, XIX Aria, Sound an Alarm ...... I, VIII Chorus, See, the Conquering Hero Comes ...... I Recitative and Aria, From Mighty Kings ...... VI Dettingen Te Deum ...... I, V Jubilate ...... IV Zadok the Priest, Coronation Anthem ...... IV Xerxes, Largo ...... III Saul, Chorus, Welcome, Mighty King ...... 1 Acis and Galatea, Aria, Oh, Ruddier than a Cherry ...... J, II Aria, Love in Her Eyes ...... XIV Semele, Recitative and Aria, Awake Saturnia ...... III, IV, X Ezio, Aria, N asce il bosca ...... III Joshua, Aria, Shall I in Mamre's Fertile Plain ...... IV Jephthah, Recitative and Aria, Waft her, Angels .... XI, XIII Orlando, Aria, Sorge Infausta ...... XV HAYDN-The Creation ...... VII Aria, With Verdure Clad ...... XIV The Seasons ...... XVIII Duo, Ye Gay and Painted Fair ...... I Ariadne auf Naxos ...... VII Spirit Song ...... II HOLLANDER-Song, Winternacht ...... XI KAUN, HUGo-Festival March and National Hymn ...... XIII KORBAY, FRANCIs-Three Hungarian Songs ...... XI Mohac's Field, Whm'e the Tisza's Torrents Swell, Shepherd, See Thy Horse's Foaming Mane.

143 REPERTORY OF THE llESTIVALS.

LASSEN-Festival Overture ...... II LIszT.,.-Missa Solennis ...... 111 Cantata, Prometheus ...... II Psalm XIII ...... XVIII A Symphony to Dante's Divina Commedia ...... V A Faust Symphony ...... Xl V Symphonic Poem, Mazeppa ...... X Symphonic Poem, Tasso ...... I, I V Symphonic Poem; FestkHinge ...... VII Symphonic Poem, Les Preludes ...... XI, XVII Rhapsody No.2 ...... 11, VIII Polonaise No.2 ...... - ...... IX Song, Die Lorelei ...... III, XVII Der Tanz in der Dorfschenke (Mephisto Waltz) ...... VII, XII Character Picture, Gretchen (after Goethe) ...... XII Mignon .•...... VII The Three Gypsies ...... XIII, X VI LOEFFLER-Symphonic Poem, The Death of Tintagiles ...... XVII MAcDowELL-SymphoniQ Poem, Lancelot and Elaine, Op. 25...... XIV MARSCHNER-Hans Heiling, An jenem Tag ...... XIII, XVll MAssENET-Le Cid, No torments now ...... X Esclarmonde, Aria ...... X Herodiade, Arht, II est doux: ...... X V MEHUL-Morning Hymn ...... 1 Joseph, Ach, mir Hichelt umsonst ...... VIII ltIENDELSSoHN-Elijah, Op. 70 ...... II, XI St. Paul, Op. 36 ...... VIII, X, XIV The First 'Walpurgis Night, Op. 60 ...... 1 Reformation Symphony, Scherzo ...... II Music. to A Midsummer Night's Dream. Overture ...... III Scherzo ...... IV Scherzo and March ...... I Overture, Melusine, Op. 32 ...... VII, IX Overture, Calm Sea and Prosperous Voyage, Op. 27 ...... IV Overture, Fingal's Cave, Op. 26 ...... Xi Chorus, The Cold Frost Came ...... I Song, I'm a Roamer ...... II, IV Concert Aria, Infelice, Op. 94 ...... II Duo, 0 Would That My Love ...... V

144 REPERTORY OF THE FESTIVALS.

MEYERBEER-L'Etoile du Nord. A'ria, prayer and b arcaroII e ...... I Aria with Flutes obligato ...... II, IX Dinorah, Shadow Song ...... I Hugenots, Aria, No, no ...... 1 Aria, Vaga donna ...... II The Prophet, Aria, Pieta, Pieta ...... II Robert Ie Diable, Cavatina, Robert toi qui j'aime ...... III Romanza, Vane, Vane ...... IV

MOZART-Requiem Mass ...... V Cantata, Praise of Friendship ...... II Symphony in G minor ...... VI, XIII Symphony in C major ...... IV Symphony in E-flat ...... XVI Ave verum ...... ; ...... 1 Concert Aria No.3, Misero! 0 Sogno ...... I Idomeneo, Chorus, To Our Immortal Leader ...... 1 Magic Flute-Overture ...... I, XII Aria and Chorus, 0 Isis and Osiris ...... I Aria, In di~sen heil'gen Hallen ...... III Cleinenza di Tito, Parto ma tu ben mio ...... II Recitative and Aria, Nie wird mich Hymen. XVI, XIX Marriage of Figaro-Overture ...... IV, V Aria, Non piu andrai ...... V Canzona, Voi che sapete ...... V Recit. and Aria Dove Sono ...... II, V, XI, XIX Aria, Deh Vieni ...... IV Don Giovanni-Overture ...... VIII Schone Donna ...... IX Aria, II mio tesoro ...... IV Recit. and Aria, Du kennst den Verr~ther .... VIII Recit. 'and Aria, Non mi dir ...... X, XI, XVII Recit. and Aria, In quali eccessi...... XVIII II re pastore, Dein bin ich ...... IX

NICOLAI-~erry Wives 'of Windsor, Overture ...... I

PAINE, J. K.-Cantata, Song of Promise ...... VIII

PARKER, H. W.-Hora N ovissima, Op. 50 ...... XI A Northern Ballad, Op. 46 ...... XIV

PARRy-Duet, Flow Gently, Deva ...... I 145 REPERTORY OF THE FESTIVALS.

PIERNE-The Children's Crusade ...... ········ . XVIII, XIX PONCHIELLI-La Gi()conda, Romanza ...... XIII PUCITTA-Chorus, Strike the Cymbal ...... II RAFF-Symphony, Leonore, march tempo ...... III RANDEGGER-Trio, I Naviganti ...... 1 Fridolin, Aria, Repose in Peace ...... III REINHoLD-Prelude, Menuet, Fugue, Op. 10 ...... IV RIMSKY-KoRSAKoFF-Symphonic Suite, Scheherazade, Op. 35 ...... XIII ROSSINI-William Tell, Overture ...... 1, II, III Trio, Allor che scarre ...... II Recit. and Aria (Arnold), Act IV ...... II Romanza, Selva Opaca ...... IV Chorus, Night's Shades no Longer ...... II Stabat Mater, Aria, Cujus animam ...... III, VIII RUBINSTEIN-The Tower of Babel, Op. 80 ...... VII Paradise Lost, Op. 54 ...... _...... VIII Moses, Op. 112, Tableaux 3 and 4 (first time in America) .. XI Morceau Symphonique, La Russie ...... VIII Valse 'Caprice ...... IV Der Damon, Aria, Taglich eilen wir im Fluge ...... VIII SAAR, LOUIS V.-Ganymede ...... XIV SAINT-SAENs-Symphony No.3, C minor, Op. 78 ...... VIII Symphonic Poem, Danse Macabre, Op. 40 ...... III Symphonic Poem, Phaeton, Op. 39 ...... IV Symphonic Poem, Le Rouet d'Omphale ...... XIII

The Deluge, Opo 45 ...... 0 •••••••••••••••••• 0 .IX

Samson and Delilah . 0 •••••••••••••••••••••••••••••••• XII Aria, My Heart at Thy Dear Voice ...... XVIII SCHUBERT-Symphony No.8, B minor (Unfinished) .. III, VII, XI, XIV

Symphony No.9 ...... 0 •••• II, V, IX Twenty-third Psalm ...... I, VII

Song, Am Meer ...... 0 •••••• V, XII Song, Die Allmacht ...... II, XIV, XVII Song, Wer sich der Einsamkeit ergiebt ...... XI

Song, The Young Nun ..... 0 ••••••••••••••••••••••• 0 0 XVIII

146 REPERTORY OF THE FESTIVALS.

Song, Death and the Maiden ...... XVIII Song, The Erlking ...... XVIII Serenade ...... III Gretchen am Spinnrad ...... VIII, XI Der Doppelganger ...... XII Aria, Der Hirt auf dem Felsen ...... XIII Rosamunde, Entr'Acte, B minor ...... XVI SCHUMANN-Scenes from Goethe's Faust (Part III) ...... V Gypsy Life, Op. 29...... I Paradise and the Peri ...... XIII Symphony No. I, B flat, Op. 38 ...... X, XII, XVII Symphony No.2, C major, Op. 61 ...... I, VII Symphony No.3, E-flat, Op. 97, Rhenish ...... IX Symphony No.4, D minor, Op. 120 ...... IV, XIII, XIX Overture, Genoveva, Op. 81 ...... V Manfred, Overture, Interlude, Invocation of the Alpine Fay. III Overture, Op. 115 ...... VIII Traumerei ...... I, III Song, The Two Grenadiers ...... IV, X SCHUMANN, G.-Overture, Liebesfriihling ...... XVIII SINGER, OTTo-Festival Ode ...... III SMETANA-Overture to a Comedy, Prodana nevesta ...... XIII SOMERVELL, ARTHUR-Song, All through the Night ...... Xl By the Waters of Babylon ...... , ...... XII SpOHR-Faust, Die stille Nacht entweicht ...... IV, VII, VIII STANFORD, DR. C. VILLIERS-Song, Prince Madoc's Farewell ...... XI Arrangement of Old Irish Melodies ...... XI The Lament for Owen Roe O'NeiL ...... XI Sweet Isle ...... XI The March of the Maguire ...... XI My Love's an Arbutus ...... XII 0, Ye Dead ...... XII The Veiled Prophet, There's a bower of roses ...... XII Ode, East to West ...... XIV STocK-Symphony No. I, C minor ...... XIX STRAuss-Waltz, On the Beautiful Blue Danube ...... 1

Waltz, Life Let Us Cherish 00 00 ...... 00 00 00 ...... 00 00 .. 001

Waltz, Wine, Women and Song ..... 00 00 .. 00. 00.00 00.00 •• 1

147 REPERTORY OF THE FESTIVALS.

Polka Schnell ...... I Devil's Darningneedle ...... II Pizzicato Polka ...... IV Voce di Primavera ...... , ...... XIV STRAUSS, RICH.-Till Eulenspiegel's Merry Pranks, Ope 28. XII, XVI, XIX Tone Poem, Thus Spake Zarathustra ...... XIII Tone Poem, Ein Heldenleben ...... XIV Tone Poem, Don Juan, Ope 20 ...... XV, XVIII Tone Poem, Death and Transfiguration, Ope 24 ...... XVI Love Scene, Feuersnot ...... XV, XVII Salome, Dance of the Seven Veils ...... XVIII Hymnus, Ope 33 ...... XV 1 Serenade for wind instruments, Ope 7 ...... XVII SUK, JOSEPH-Suite, A Fairy Tale, Ope 16 ...... XV TAYLOR, S. COLERIDGE-Hiawatha's Wedding Feast ...... XIV Onaway! Awake, Beloved! THOMAs-Mignon, Aria, Non conosci quel suola ...... II Recitative and Polonaise, Je suis Titania ...... XI Hamlet, Mad SCEllIle ...... IX THOMAS, A. GORING-The Swan and the Skylark ...... XII TINEL-Francis, an Oratorio, Ope 36 ...... XII 'JJilCHAIKOWSKY-Symphony No.5, E minor, Ope 64 ...... X Symphony, Pathetique, No.6. B minor, Ope 74 .... XII, XVII Symphony, After Byron's Manfred ...... XIV Overture, Romeo and Juliet ...... Xl Overture, 1812, Ope 49 ...... XU, XVI Cappriccio Italien ...... XIV VAN DER STUCKEN-PaX Triumphans, A Festival Prologue, Ope 26. XVII VERDI'--Requiem ...... IX Quartet, Unde, seben rummentorni ...... II Don Carlos, Aria, 0, don fatale ...... III, IV Ballo in Maschera, Scene and Quintet ...... III Aida, Romanza, Celestial Aida ...... IV La Traviata, Ah, Fors' e lui ...... XIV W AGNEB-Lohengrin, Vorspiel and Scenes (Chorus, Orchestra, Soli) ... II Vorspiel ...... III, V, VI, VIII, XIV Introduction and Duo, Act III ...... VI

148 REPERTORY OF THE FESTIVALS.

Lohengrin's Farewell ...... III, VIII Prayer and Finale ...... VIII Tannhiiuser, Overture and Scenes (Chorus, Orchestra, Soli) . VI Overture ...... II, III, VIII, XI, XIV Tannhiiuser's Pilgrimage ...... XI Elizabeth's Prayer ...... XI, XII, XIII Bacchanale and Duo ...... VIII Bacchanale ...... XII, XVI Dich, Theure Halle ...... XII, XVII, XVIII March and Chorus ...... I Romanza, Evening Star ...... II, IX, X, XI Act III (Soli, Chorus and Orchestra) ...... X Die Meistersinger, Act III (Chorus, Orchestra and Soli) VII,XV Vorspiel I, II, V, VIII, XI, XII, XIV, XV, XVI, XVII, XVIII Introduction, Act III ...... II, V Prize Song ...... II, V, VIII, XI, XV "\iVach auf ...... III, X, XI, XIV, XV Monologue ...... III, XI, XV Quintet ...... III, X, XI, XV Cobbler's Song ...... III, IV Gathering of Mastersingers ...... V Pogner's Address ...... V, XIV Am stillen lIerd ...... XIII Fanget an ...... XIII The Flying Dutchman-Overture .... VI, VII, IX, XIII, XIX Duo, Like to a Vision ...... VII, IX, XIII Spinning Chorus and Ballad, Act II .. VI, IX, XIII The Term's Expired ...... XIII Tristan and Isolde-Prelude, Act I, VI, VII, XII, XVI, ::f(VII, XVIII Love Duo and Finale, Act II ...... VI Finale, Liebestod ..... VII, XII, XVI, XVII, XVIII Brangane's Warning ...... XVIII Das Rheingold-Scene II. Before Walhalla ...... V Loge's Tidings ...... V Grand Closing Scene ...... V Die Walkiire-Prelude, Act I ...... V, XII, XIV Act I, Schliifst du, Gast? (to end of act) .... XIV Ride of the Valkyries, III, IV, V, VI,IX,XII,XIV,XV Siegmund's Love Song ...... IV, V, XII, XIV

149 REPERTORY OF THE FESTIVALS.

Scene, War es so schmahlich ...... XII Wotan's Farewell and Magic Fire Scene, II, V, VI, IX, XII, XIV, XV Siegfried-Finale, Act III, Siegfried's Wooing ...... VI Waldweben ...... VII, XVIII Finale, Act I ...... XV Gotterdammerung-Act III, Scenes 1 and 2 ...... IV Duo, Zu neuen Thaten ...... VII Siegfried's Rhine ,Journey ...... VII, XVIII Siegfried's Death, III, V, VI, VII, VIII, IX, X, XII, XV, XVII Finale ...... III, V, VIII, X, XII, XV, XVII Parsifal-Vorspiel ...... VI" X, XIII, XIV Act 1. Transformation Music and Finale ..... XIV Good Friday's Spell ...... , ...... VI, X, XIII Funeral Procession ...... VI, XIII Finale, Glorification ...... XIII Rienzi-Gerechter Gott ...... X, XIV Eine Faust Ouvertiire ...... I, VIII, XIV Kaiser-Marsch ...... I, XI Huldigungs-Marsch ...... II, V, XIV Centennial Inauguration March ...... IV 1m Treibhaus ...... X Traume ...... X

WEBER-Hymn, Ope 36, In seiner Ordnung schafft der Herr ...... VIII J ubel Overture ...... I Invitation to the Dance ...... III, XIII, XIV, XIX Oberon-Overture ...... II, X, XII Quartet, Over the dark, blue waters ...... II Aria, From boyhood trained ...... III Scena, Ocean, thou mighty Monster! V, X, XII, XVI, XVII Oh, 'Tis a Glorious Sight ...... IX Der Freischiitz, Aria, Durch die Walder ...... Ill, XI Scene, Wie nahte mir der Schlummer ...... XIII Overture ...... XI, XIV Abu Hassan, Aria, 0, Fatima ...... 1II Euryanthe-Overture ...... I, V, IX, X Romanza, Unter blUhenden Mandelbaumen ..... V, X Cavatina, GlOcklein im Thale ...... V, X Scena and Aria, Wo berg' ich mich .. " V, IX, XVII

150 REPERTORY OF THE FESTIVALS.

Act I (Soli, Chorus and Orchestra) ...... X Recitative and Rondo, Ja, der Augenblick erscheinet .... VIII

lUSCELLANEOUS. Song, Das lIaidlein, old German Minnelied (1540) ...... XI Song, Drink to me only with thine eyes, Old English...... XIV

(FIRST AND SECOND FESTIVAL-CHORUS OF CHILDREN.) My Country, 'Tis of Thee. Star-Spangled Banner. America. Land of our Fathers.

151

SUBSCRIBERS TO SEASON TICKETS FOR THE FESTIVAL

Ach, Lee Edward Blaine, E. R. Cross, Dr. Frank B. Addy, Mrs. Matthew Blaine, J. E. Cunningham, B. S. Adler, Clarence Block, Jos. E. Aiken, Herbert P. Boswell, Wm. Dana, George F. Albert, Miss Louise S. Bosworth, Chas. A. Davenport, Fred Alden, F. H. Bourgard, Caroline B. Davidson, Mrs. W. A. Allen, Samuel E. Bowler, Mrs. Robert B. Dal;by, Thos. H. Allen, Mrs. T. H. C. Bradford, Miss Blanche DeCamp, Mrs. J. M. Allen, Thos. W. Bradford, Miss Eleanor DeGolyer, G. H. The Alms & Doepke Co. Breed, W. D. Diem, Albert Alms, William H. Bremfoerder, Mrs. Henry Dieterle, Geo. F. Alter, Franklin Brinkman, Mrs. E. H. Dittmann, George W. American Book Co. Brown, Miss Helen Doepke. W. L. Anderson, Mrs. Charles Brown, H. A. Doherty, Miss Mary Anderson, Mrs. Larz Brown, H. W. Dohrmann, Theodore S. Anderson, V. W. Brown, W. W. Donnelly, Miss A. M. Anderson, W. H. Brunsman, A. G. Dow, M. C. Anderson, W. P. Bullock, James W. Dreses, Henry 1. Andrew, Chas. Burchenal, J. J. Drewry, Mrs. L. D. The Loring Andrews Co. Burton, C. H. Dunlap, Anthony B. Andrews, Mrs. W. W. Business Men's Club Durrett, Mrs. Martin M. Ashbrook, Claude Dwight, E. E. i Assur, Samuel Callahan, Dr. J. R. Atkins, C. H. M. Campbeil, B. W. Eagle White Lead Co. Atlas National Bank Carew, J. T. Easton, W. R. Ault, L. A. Central Trust & S'fe D't Co. Eaton, Frank M. Chalfant, W. A. Ebbert, Edward S. Bachelor, F. J. Champion, Mrs. A. B. Eberhard, W. N. Bahlman, F. E. Chase, Chas. C. Eckstein, Mrs Agnes D. Ballmann, F. H. Chatfield, A. H. Egan, Si P. Bahmann, Wm. ,Chatfield & Woods Co. Egan, T. P. Baker, Chas. W. Church-Beinka~p Co. Ellis, Frank R. Baker, G. D. Church, John Co. Emery, Mrs. Thos. J. The Baldwin Co. Cist, Miss L. H. Erdman, H. Balke, R. F. Citizens National Bank Ernst, Richard P. Bardes, Edw. H. Clark, J. R. Errett, Miss J. B. Barnard, Robert C. Clark, Mrs. Alex. Eustis, Geo. D. Baur, Miss Clara Clement, John B. Ezekiel & Bernheim Co. Bechtel, Miss Nellie Cleneay, H. Q. Beneker, H. N. Cleveland, Mrs. Frances L. Fechheimer, S. Marcus Berry, Geo. F. Colston, Edward Field, Miss Elsie Biggs, Miss Frances F. Conroy, A. J. Field, Miss Fanny Billing, Mrs. Henrietta Cooder, Mrs. Wm. C. Fifth-Third National Bank Black, L. C. Crabbs, Mrs. G. D. First National Bank Black, W. O. Crane, C. Fleischmann, Mrs. Chas. 153 SUBSORIBERS.

Fleischmann, Julius Harvey, Wm. T. Klein, Alex. H. Fletcher, Miss Clara B. Hauck, Louis J. Koehler, Dr. Max. Fletcher, Dr. M. H. Haven, Miss Sarah P. Krehbiel, C. J. Foley, B. W. Heine, Mrs. Emelie L. Krippendorf, Mrs. Albert Foote, H. B. Henkel, Andrew P. Krippendorf, Charles H. Foraker, J. B. Henshaw, G. & Sons Co. Kroger, B. H. Ford, Mrs. Seabury Herschede, Frank Kruse, Mrs. Chas. Ford, Dr. Starr Hersh, John C. Kruse, Miss Ethel Foster, Miss J. R. Hibben, Belle K. Kuhlman, O. S. Frank, Martha Hickenlooper, Smith Kuhn, E. C. Frazer, Mrs. Elizabeth McG. Hinkle, A. Howard Kupferschmid, Hugo Freiberg, Albert H. Hinkle, Thornton M. Freiberg, Bernard Hobart, W. N. LaBoiteaux, Mrs. C. L. Freiberg, Julius W. Hofer, Mrs. C. F. Freiberg, Maurice J. Hollister, H. C. Lackman Brewing Co. Freiberg, J. Walter Hollister. Miss Laura S. Lackman Albert Friedlander, Edgar Holmes, Mrs. C. R. Langdon, Miss Harriet N. Friedlander, W. J. Holmes, Mrs. D. H. Langdon, Mrs. Perin Frenkel, Mrs. Jonas B. Holmes, John R. Lange, Louis Fries, Gus. R. Holterhoff, Ralph Lawrence, F. D. Fritsche, T. E. Hooven, J. C. Laws, Miss Alice Hooper, H. R. Laws, Miss Annie Hopkins, Lewis G. Gamble, James N. Laws, Harry L. Howe, W. W. Gates, John Lawson, F. H. Hunt, W. Lloyd German National Bank LeBlond, John A. Hunter, Dr. Frank Geis, Charles LeBlond, R. K. Huntington, L. F. Gibson & Perin Co. LeBoutillier, Geo. Gidding, J. M. Hutton, W. E. Lehmer, Chas. Hyndman, Mrs. Mary E. Glessner, J. J. Leidy, Miss B. Goepper, Edward Lemmon, W. A. Goldman, Louis J. Ingalls, M. E. Lent, Loui A. Goodhue, Frank D. Iredell, J. W. Levy, Harry M. Goodman, W. A. Irwin Ballmann Co. Lincoln, Miss Charlotte E. Gordon, Harry L. Lincoln, John Ledyard Goshorn, E. C. James, Eldon R. Livingood, Chas. J. Goshorn, Miss E. 1. J eike, Ferdinand Longworth, Mrs. Nicholas Gray, Mrs. George S. J elke, Miss Isabel Loomis, H. T. Graydon, Mrs. T. W. Jones, Frank J. Luhrman, Henry Green, James A. Jones, Walter St. John Lunkenheimer Co. Greve, Chas. T. Joseph, Arthur Lunkenheimer, Mrs. L. H. Griffith, G. P. Joseph, Mrs. Joseph Joseph, Maurice Mabley & Carew Co. Julian, W. A. Mack, Harry K. Haas, Marc Mack, Millard W. Hafer, Mrs. Geo. F. Mackenzie, J. C. Hall, John H. Kahn, Miss Helen R. Macy, J. W. Hallam, Miss Alice L. Kaufmann, W. H. Males, H. W. Harrison, C. L. Keys, John B. Mannon, A. A. Harrison, E. P. Kilgour, Bayard L. Marcus, Mrs. M. Harrison, Mrs. L. B. Kinney, C. D. Marfield, Mrs. Elliott Harrison, Mrs. Charlotte Kinsey, Geo. Market National Bank Harrison, Miss Mary T. Kittredge, Miss Anna Marmet, Mrs. Sarah Hartlieb, C. E. Klausmeyer, A. Matthews, C. B. 154 SUBSORIBERS..

Matthews, Mortimer Pollak, Bernard C. Shoemaker, M. M. Mattioli, Lino Pounsford, Harry G. Shuff, John L. Maxwell, Lawrence Powell, Douglass Simmons, Robert C. Meacham, D. B. Pritz, Carl E. Sinton Hotel Meader, L. D. Pritz, Sidney E. Skees, Mrs. Robert R. Mecke, Robert Procter & Gamble Company Smith,The Chas. E. Sons Co. Mees, Miss Mary Puchta, Geo. Smith, Han'ison B. Melish, Wm. B. Smith, Dr. Henry A. Menderson, J. Queen City Supply Co. Smith, Leonard S. Miller, Mrs. Chas. H. Smith, Luke W. Miller, R. T. Ramsey, Robert Smith, Mrs. Rufus B. Miller, Mrs. H. Thane Randall, M.rs. S. H. Sohn, J. Edward Miller, Mrs. Thomas Ransohoff, Dr. Joseph Spencer, F. A. Mitchell, A. H. Spencer & Craig Ratterman, Mrs. Bernard Mitchell, Mrs. Helen H. Springer, Dr. Alfred Rawson, Joseph Mitchell, Richard H. Rawson, Edward Sprowls, C. W. Mitchell, P. R. Squibb, Alexander Raymond, Mrs. Helen B. Moerlein Brew'g Co., The C. Stearns, Wm. S. Reakirt, L. B. Moffett, T. J. Stettinius, Henry Reynolds, Robert Morris, George M.. Stephens, Chas. H. Rhodes, D. W. Morris, Geo. MeG. Stone, Mrs. Geo. N. Roberts, Edward D. M.osler, Mrs. William Stokovski, Leopold Roberts, J. A. Muhlhauser, Mrs. Henry, Jr. Strader, Benj. W. Roberts, W. J. Murdock, E. H. Straus, Henry Roberts, W. G. Murdock, Mrs. James R. Strauss, Samuel Robertson, W. F. Murray, D. L. Strobel, Miss Mary D. Robinson, J. 1\1. Muth, Aug. E. Strobridge Lithograph'g Co. Roedter, Miss Emma L. Symmes, Mrs. W. W. Myers, Lindol R. Roelker, Annie L. McAlpin, The Geo. Co. Rover, August Taft, Chas. P. McGill, Miss Mary Rowe, W. S. McLaughlin, S. T. Taylor, W. W. Thalheimer, W. B. Neff, R. W. St. Nicholas Hotel Thorp, Abner Neare, C. J. Sage, John D. Thasber, A. B. Newton, Miss Ella H. Sattler, Dr. Robert Thuman, J. Herman Scarborough, Miss Alice Toe Water, F. R. O'Connell, John G. Schell, Albert W. Oliver, D. S. Schmidlapp, J. G. Union Savings Bank & Trust Omwake, John Schmidt, Chas. W. Co. Orr, J. P. Schmidt, H. B. Oskamp, Henry Schwab, Louis Van Ness, Mrs. Anna Ostendarp, Miss Schwill, Albert Jr. Voorheis, A. B. Otterbein, H. C. Seely, Mrs. W. W. Seeman, George Waite, Morison R. Palmer, Dr. Dudley Senior, Edward Walter, L. F. Paulus, Eugene Shannon, W. T. Walker, Miss Annie Parker, M. C. Sherlock, Mrs. John C. W alsh, James & Co. Perin, Mrs. Frank L. Shillito, The John Co. Warrington, John W. Perkins, Mrs. J. H. Shinkle, A. Clifford Watts, Miss Amelia L. Peters, G. M. Shipley, Caleb W. Wayne, Mrs. J. W. Pfaff, Frank L. Shipley, Edward E. Weber, John B. Phipps, L. F. Shockley, Albert D. Weiss, Alexander Pogue, The H. & S. Co. Shockley, Harry K. Wells, Miss Florence 155 SUBSORIBERS.

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Total Subscriptions, 1538 Tickets.

156 Springer ball

PLAN OF SEATS " ,~GROUND FLOOR ~_

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