HARMANUS BLEECKER HALL . ALBANY

Thirtieth Season, J9J0-J9) i

MAX FIEDLER, Conductor

Programme

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

MONDAY EVENING, FEBRUARY 6

AT 8.J5

COPYRIGHT, 1910, BY C. A. ELLIS

PUBLISHED BY C. A. E L L I S, M A N A G E R .

OPERA AMERICA AND ABROAD Mr. H. WINFRED GOFF Frau CLARA WALLENTHIN- Miss EDITH DE LYS London Covent Garden STRANDBERG Stockholm London Covent Garden two seasons America Savage Grand Opera Royal Opera and Dresden Milan Florence Brussels Rome etc. Mrs. CLARA SEXTON- At present singing in Germany Mr. EARL W. MARSHALL CROWLEY Italy Florence Milan Miss LAURA VAN KURAN Italy Florence etc. Barcelona Now singing in America Italy Florence Now in America Now in Italy Mrs. ALICE KRAFT BENSON Mrs. LOUISE HOMER Mr. MYRON W. WHITNEY France Nantes At present with Aborn-Grand Opera Co. New York Paris London Brussels Now with Lilian Concert and Opera Boston Chicago Now singing in New York Metropolitan Opera Co. Nordica Co. Italy Mme. LENA ABARBANELL Miss FANNY B. LOTT Miss BLANCH FOX (VOLPINI) Austria Hungary Germany etc. Italy Palermo Rimini Pisa etc. Italy Venice Milan Vercelli etc. Metropolitan Opera Co. New York Now singing in Italy American Grand Opera Cos. New Now singing "Madam Sherry" N.Y. • Miss EDITH FROST STEWART York Chicago San Francisco etc. Mr. HENRY GORRELL To create title role in Victor Her- Miss MARY CARSON (KIDD) Italy Florence Genoa Torino etc. bert's new opera " When Sweet Six- Italy Milan etc. Now singing in Italy teen "now rehearsing in New York Now singing in Italy Mr. FLETCHER NORTON Miss BERNICE FISHER Miss ROSINA SIDNA Now singing in New York With the Boston Opera Co. Italy Spain "The Deacon and the Lady" Now singing in Australia Miss FLORA ZABELLE Mr. CHARLES BARRON Mr. STANLEY FORD (Mrs. Raymond Hitchcock) Aborn Grand Opera Co. Of the Woodland, Raymond Hitch- With Raymond Hitchcock Co Now singing in Italy cock and other companies America-Concert Recital Oratorio Lecture Etc.-Abroad Miss EDITH CASTLE Miss CHRISTINE MILLER Mrs. ETTA BURGESS NOBBES

U.S.A. Canada England Italy New York, Chicago, _ Pittsburg, New York Boston Montreal etc. Miss VIOLA VAN ORDEN Worcester leading societies Instructor Int. School N.Y. Instructor Int. School Boston Miss BERTHA CARLOTTA Miss GRACE L. BAUM Pacific Coast New England etc. KING New England New England Miss LUCY ALLEN Miss LOUISE ORMSBY Principal soprano soloist two years Paris London New York Miss MAUD REESE Sousa's Band Now singing in England Two years principal soprano soloist Miss CHRISTINE LABAR- Mrs. ALICE HUESTON Sousa's Band RAQUE Lawyer linguist singer STEVENS Mrs. CHARLOTTE WILLIAMS lecturer teacher (blind) Italy New York New England HILLS Miss EDITH STERLING Miss JEWEL GERALDINE Italy New York New England etc. NICHOLS Who has made a spe- McCUNE cial study under most favorable con- Of the Cleveland Detroit and St. Miss ROSE TYLER ditions of Neapolitan dialect songs Clair Popular Concerts New York New England etc.

Mrs. EDWIN J. DREYFUS So- Miss SARAH MAE RAYNOLDS Mrs. JESSIE MORSE BEREN- loist Max Heinrich, Gideon French Italy France U.S.A. SON and German Lecture E.ecitals Now in Italy Italy New England Miss ELMA IGELMANN Mrs. LAURA BRADFORD Mrs. ETHEL FRANK- New England New York Middle THOMPSON Of the Denman BRIGHAM West Thompson 'Old Homestead Co. Italy New England Miss PHYLLIS WOLFE Mrs. PARSON GOODRICH Miss THEO GOODRICH Milan Florence Concert church recital etc. New York and New- Concert Recital Entertainer Middle West England Miss NORAH FRANCES BURNS Miss KATHARINE MELLEY Mrs. FELIX FOX Contralto Church of the Immacu- Second season Staats Sextette Now of the Faculty of the Fox- late Conception Formerly instructor Int. School Buonamici Pianoforte School Miss ALMEDA ADAMS Singer Miss VERA CURTIS Member of Miss ERNESTINE HARDING teacher lecturer director (blind) Victor Maurel Opera Co. New York Soprano Tremont Temple

Miss ALENA G. EMERSON Miss S. MAUDE THOMPSON Instructor Penn. College Pittsburg Instructor N.E. Conservatory In- N.E. Conservatory of Music ternational School Florence Boston Wm.L. Whitney International School Now Phila. and N.Y. representative Mr. A. R. FRANK Mr. FRANCIS ROGERS Mr. HARRY F. MERRILL Italy, New England Music Festivals With the Sembrich Concert Co. Maine and Church Choir Festivals Commonwealth Ave. Baptist Church Mr. PAUL HASTINGS ALLEN England Italy New York New Eng. Mr. WALTER KNOWLES Paderewski Symphony Prize award Mr. SOKICHI KUZUOKA Italy New England HENRY H. HALL Japan New York New England etc. Mr. FREDERICK BANCROFT Instructor of Halifax Conservatory Mr. S. GRAHAM NOBBES Recital lectures, Songs of Scotland of Music Nova Scotia Chief voice instructor at the Ireland England Italy etc. Emma Willard College Troy N.Y. Rabbi CHARLES FLEISCHER Mr. RICHARD (Dick) GRANT Mr. WALTER JACKSON Instructor University of Minnesota RICHARD GRANT CALTHROP Mr. EDWARD ROYCE One of the chief exponents of the Mr. LOUIS BENNETT Italian in Director of Music at the Bryan Old Method New York Soloist with Pittsburg Orchestra Academy Texas Formerly Syracuse Univ. Fine Arts and other Orchestral Concerts Mr. LOUIS BLACK Mr. ARMAND FORTIN Mr. GEORGE YATES KELLS Director of Music W. Virginia Instructor (voice) N.E. Conser- Voice teacher W. L. W. Inter- University vatory national School *A REPRESENTATIVE LIST BOSTON YORK HART- \A/ri^ 1 \A/UITMCV NEW OF PUPILS OF W IVI L_. W n I I j\l C. Y FORD PORTLAND OF THE BOSTON INTERNATIONAL AND HARTFORD SCHOOLS OF MUSIC From time to time lists of professional singers, pupils of Mr. Whitney, will be published in this programme Boston Symphony Orchestra PERSONNEL

Thirtieth Season, 1910-1911

MAX FIEDLER, Conductor

Violins.

Witek, A., Roth, 0. Hoffmann, J. Theodorowicz, J. Concert-master. Kuntz, D. Krafft, F. W. Mahn, F. Noack, S. Strobe, G. Rissland, E Ribarsch, A. Traupe, W. Eichheim, H. Bak, A. Mullaly, J. Goldstein, H.

Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J.

Tischer-Zeitz, H. Kuntz, A. Werner, H. ; Goldstein, S. Kurth, R. Fabnzio, C.

Violas. Ferir, E. Heindl, H. Rennert, B. Kolster, A. VanWynbergen, C. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W.

Violoncellos. Keller, Belinski, Schroeder, A. J. Barth , C. M. Warnke, J. Wanike, H. Nagel, R. Nast, L. Hadley, A. Smalley, R.

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

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

Mueller, F. Stumpf, K. Helleberg, J. Mosbach, J.. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, O. Lorbeer, H. Gebhardt, W. Mann, J. Mausebach ,A

Hain, F. Hackebarth, A. Heim, G. Kenfield, L • Phair, J. Schumann, C. Merrill, C.

Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Rettberg, A. Senia, T. Kandler, F. Zahn, F. Burkhardt, H.

Organ. Librarian.

Marshall, J. P. Sauerquell, J. :

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mm HARMANUS BLEECKER HALL « ALBANY

Thirtieth Season, 1910-1911 MAX FIEDLER, Conductor

MONDAY EVENING, FEBRUARY 6

AT 8.15

PROGRAMME

Wagner Overture to the Opera, "The Flying Dutchman''

Dvorak . Symphony No. 5, in E minor, "From the New World," Op. 95

I. Adagio : Allegro molto. II. Largo. III. Scherzo. IV. Allegro con fuoco.

Liszt Concerto for Pianoforte and Orchestra, in A major, No. 2

Tschaikowsky Suite for Full Orchestra taken from the Score of the Ballet "Nutcracker," Op. 71A Ouverture miniature.

Danses caractSristiques: a. Marche ; b. Danse de la F6e Dragee; c. Trepak. danse russe; d. Danse arabe; e. Danse chinoise; f. Danse des mirlitons. Valse des fleurs.

SOLOIST Mme- YOLANDE MERO

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Retail Stores and Sales Agents Everywhere Overture to "The Flying Dutchman" Richard Wagner

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

The overture is scored for one p'ccolo, two flutes, two oboes, one English horn, two clarinets, four horns, two bassoons, two trumpets, three trombones one bass tuba, kettledrums, harp, str ngs. It opens Allegro con brio in D minor, 6-4, w.th an empty fifth, against which horns and bassoons give out the Flying Dutchman motive.

There is a stormy development, through which this motive is kept sounding in the brass. There is a hint at the first theme of the man body of the overture, an arpeggio figure n the strings, taken from the accompaniment of one of the movements in the Dutchman's first air in act i. This storm section over, there is an episodic Andante in F major in which wind instruments give out phrases from Senta's Ballad of the Flying Dutchman (act ii.). The episode leads directly to the main body of the overture, Allegro con brio in D minor, 6-4, which begins with the first theme. This theme is developed at great length with chromatic passages taken from Senta's Ballad. The Flying Dutch- man theme comes in episodically in the brass from time to time. The subsidiary theme in F major is taken from the sailors' chorus, "Steuer- mann, lass' die Wacht!" (act iii.). The second theme, the phrase from

Senta's Ballad already heard in the Andante episode, enters ff in the full orchestra, F major, and is worked up brilliantly with fragments of the first theme. The Flying Dutchman motive reappears ff in the trombones. The coda begins in D major, 2-2. A few rising arpeggio measures in the violins 1 ead to the second theme, proclaimed with the full force of the orchestra. The theme is now in the shape found in the Allegro peroration of Senta's Ballad, and it is worked up with great energy. * *

Phenomenal Success of Puccini's latest opera "THE GIRL OF THE GOLDEN WEST" (La Fanciulla del West)

Libretto founded upon the drama written by Music composed by DAVID BELASCO GIACOMO PUCCINI

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Write for interesting literature on the Hotel, Boston and New England Wagner wrote in "A Communication to my Friends" that before he began to work on the whole opera "The Flying Dutchman" he drafted the words and the music of Senta's ballad. Mr. Ellis says that he wrote this ballad while he was in the thick of the composition of "Rienzi." The ballad is the thematic germ of the whole opera, and it should be remembered that Wagner felt inclined to call the opera itself a dramatic ballad. "Der fliegende Hollander," opera in three acts, was performed for the first time at the Court Opera House, Dresden, January 2, 1843.

The cast was as follows: Senta, Mme. Schroeder-Devrient ; the Dutch- man, Michael Wachter; Daland, Karl Risse; Erik, Reinhold; Mary, Mrs. Wachter; the steersman, Bielezizky. Wagner conducted. The first performance in America was in Italian, "II Vascello Fan- tasma," at Philadelphia, November 8, 1876, by Mme. Pappenheim's Company. The first performance in Boston was in English at the Globe Theatre,

March 14, 1877: Senta, Clara Louise Kellogg; Eric, Joseph Maas; Daland, George A. Conly; the steersman, C. H. Turner; Mary, Marie Lancaster; Vanderdecken, the Dutchman, William Carleton. *

It was undoubtedly due to the dramatic genius of Mme. Wilhelmine Schroder-Devrient (1804-60) that a poor performance was turned the first night into an apparent triumph. It is said that in the part of Senta she surpassed herself in originality; but Wagner wrote to Fischer in 1852 that this performance was a bad one. "When I recall what an extremely clumsy and wooden setting of ' The Flying Dutch- man ' the imaginative Dresden machinist Hanel gave on his magnificent stage, I am seized even now with an after-attack of rage. Messrs. Wachter's and Risse's genial and energetic efforts are also faithfully stored up in my memory." Wagner wished Senta to be portrayed as "an altogether robust Northern mad, thoroughly naive in her apparent sentimentality."

READY FOR- 1812 THE DICKENS CENTENARY— 1912 LELAND POWERS . . IN . . FOUR GREAT DICKENS PROGRAMS DAVID COPPERFIELD BLEAK HOUSE A CHRISTMAS CAROL SHORT SCENES FROM DICKENS* STORIES For terms and dates address Secretary LELAND POWERS SCHOOL - New Century Building, Boston, Mass. SEND FOR CIRCULAR 9 He wrote: "Only in the heart of an entire y naive girl surrounded by the idiosyncrasies of Northern nature could impressions such as

' those of the ballad of the Flying Dutchman ' and the picture of the pallid seaman call forth so wondrous strong a bent, as the impulse to redeem the doomed: with her this takes the outward form of an active monomania such, indeed, as can only be found in quite naive natures. We have been told of Norwegian maids of such a force of feeling that death has come upon them through a sudden rigor of the heart. Much in this wise may it go, with the seeming 'morbidness' of pallid Senta." * *

Wagner revised the score in 1852. "Only where it was purely superfluous have I struck out some of the brass, here and there given it a somewhat more human tone, and only thoroughly overhauled the coda of the overture. I remember that it was just this coda which always annoyed me at the performances; now I think it will answer to my original intention." In another letter he says that he "con- siderably remodelled the overture (especially the concluding section)." *

Wagner's contract with Holtei, the manager of the Riga Theatre, expired in the spring of 1839. He was without employment; he was

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10 in debt. He determined to go to Paris, but on account of his debts he could not get a passport. His wife went across the border dis- guised as a lumberman's wife. Wagner himself was hid in an empty sentry-box till he could sneak through the pickets on the frontier line. Composer, wife, and dog met at Pillau, where they embarked on a sailing-vessel bound for London. The voyage was violently stormy, and it lasted three and a half weeks. Once the captain was compelled to put into a Norwegian haven. At Riga Wagner had become ac- quainted with Heine's version of the Flying Dutchman legend. The voyage, the wild Norwegian scenery, and the tale, as he heard it from the sailors, exerted a still greater influence. In Paris Wagner became acquainted with Heine, and they talked together concerning an opera founded on the legend. The opera was written at Meudon in the spring of 1841. All of it except the over- ture was completed in seven months. Prager says that the work was composed at the piano. "This incident is of importance, since for several months he had not written a note, and knew not whether he still possessed the power of composing." ^How a French libretto was made for the production of the work at the Paris Opera, how Wagner suspected treachery and sold the sce- nario for 500 francs, how "Le Vaisseau Fantdme, paroles de Paul Foucher, musique de Diestch," was produced at the Opera, November 9, 1842, and failed, —there were eleven performances,—all this has been told in Programme Books of these concerts. Music was set by Ernst Lebrecht Tschirch (1819-52) to Wagner's libretto about 1852. Cle-

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11 — ; ment and Larousse say that this work was performed at Stettin in 1852 Riemann says it was not performed.

Heine's "Aus den Memoiren des Herrn von Schnabelewopski" was published in 1833. The story of the play seen by Schnabelewopski is in chapter vii. I here use the translation by Mr. Charles Godfrey Iceland : " My old grand-aunt had told me many tales of the sea, which now rose to new life in my memory. I could sit for hours on the deck, recalling the old stories, and when, the waves murmured it teemed as if I had heard my grand-aunt's voice. And when I closed my eyes I could see her before me, as she twitched her lips and told the legend of the Fly- ing Dutchman. . . . Once by night I saw a great ship with outspread blood-red sails go by, so that it seemed like a dark giant in a scarlet cloak. Was that 'the Flying Dutchman'? But in Amsterdam, where— I soon arrived,"—Herr von Schnabelewopski sailed from Hamburg, "I saw the grim Mynheer bodily, and that on the stage. "You certainly know the fable of the Flying Dutchman. It is the story of an enchanted ship which can never arrive in port, and which, since time immemorial, has been sailing about the sea. When it meets a vessel, some of the unearthly sailors come in a boat and beg the others to take a packet of letters home for them. These letters must be nailed to the mast, else some misfortune will happen to the ship, above all if no Bible be on board, and no horse-shoe nailed to the foremast. The letters are always addressed to people whom no one knows, and who have long been dead, so that some late descendant gets a letter addressed to a far-away great-great-grandmother, who has slept for centuries in her grave. That timber spectre, that grim gray ship, is so called from the captain, a Hollander, who once swore by all the devils that he would get round a certain mountain, whose name has escaped me, in spite of a fearful storm, though he should sail till the Day of Judgment. The devil took him at his word; therefore he must sail forever, until set free by a woman's truth.* The devil, in his stupid-

• In the legend as originally told there was no salvation for Vanderdecken, who had tried to make the Cape of Good Hope in a storm, and had sworn with horrid oaths that he would weather Table Bay though he should beat about till the Day of Judgment.—P. H. CHROMATIC CONCERTS TROY, N.Y. WEDNESDAY, FEBRUARY 8 Young Men's Christian Association Hall, 8.15 P.M. THE BARRERE ENSEMBLE Flutes Clarinets Bassoons t Mr. George Barrere Mr. Henry Leon Leroy Mr. Ugo Savolini Mr. Rocco Guerriere Mr. Tony Sarli Mr. Emile Barbot Oboes French Horns Mr. Irving Cohn Mr. Josef Franzel

Mr. Narcis Purkrabek Mr. J. Heyer t THURSDAY, APRIL 20 Young Men's Christian Association Hall, 8.15 P.M. Piano Recital - - Mme. YOLANDA MERO TICKETS, $1.50 12 1

ity, has no faith in female truth, and allowed the enchanted captain to land once in seven years and get married, and so find opportunities to save his soul. Poor Dutchman ! He is often only too glad to be saved from his marriage and his wife-saviour, and get again on board. "The play which I saw in Amsterdam was based on this legend. Another seven years have passed; the poor Hollander is more weary than ever of his endless wandering; he lands, becomes intimate with a Scottish nobleman, to whom he sells diamonds for a mere song, and, when he hears that his customer has a beautiful daughter, he asks that he may wed her. This bargain also is agreed to. Next we see the Scottish home; the maiden with anxious heart awaits the bridegroom. She often looks with strange sorrow at a great, time-worn picture which hangs in the hall, and represents a handsome man in the Netherlandish Spanish garb. It is an old heirloom, and according to a legend of her grandmother is a true portrait of the Flying Dutchman as he was seen in Scotland a hundred years before, in the time of William of Orange. And with this has come down a warning that the women of the family must beware of the original. This has naturally enough had the result of deeply impressing the features of the picture on the heart of the romantic girl. Therefore when the man himself makes his appearance, she is startled, but not with fear. He too is moved at beholding the portrait. But when he is informed whose likeness it is, he with tact and easy conversation turns aside all suspicion, jests at the legend, laughs at the Flying Dutchman, the Wandering Jew of the Ocean, and yet, as if moved by the thought, passes into a pathetic mood, depicting how terrible the life must be of one condemned to endure

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unheard-of tortures on a wild waste of waters,—how his body itself is his living coffin, wherein his soul is terribly imprisoned—how life and death alike reject him, like an empty cask scornfully thrown by the sea on the shore, and as contemptuously repulsed again into the sea—how his agony is as deep as the sea on which he sails-—his ship without anchor, and his heart without hope. "I believe that these were nearly the words with which the bride- groom ends. The bride regards him with deep earnestness, casting glances meanwhile at his portrait. It seems as if she had penetrated his secret; and when he afterwards asks: 'Katherine, wilt thou be

' true to me? ' she answers : True to death.' And then the attention of Herr von Schnabelewopski was diverted by an extraordinary amatory adventure. "When I re-entered the theatre, I came in time to see the last scenes of the play, where the wife of the Flying Dutchman on a high cliff wrings her hands in despair, while her unhappy husband is seen on the deck of his unearthly ship, tossing on the waves. He loves her, and will leave her lest she be lost with him, and he tells her all his dreadful destiny, and the cruel curse which hangs above his head. But she cries aloud, ' I was ever true to thee, and I know how to be ever true unto death ! t "Saying this, she throws herself into the waves, and then the enchant- ment is ended. The Flying Dutchman is saved, and we see the ghostly ship slowly sinking into the abyss of the sea. "The moral of the play is that women should never marry a Flying Dutchman, while we men may learn from it that one can through women go down and perish—under favorable circumstances!" Was Heine moved to write his fantastic story by Fitzball's foolish play?

HAENSEL & JONES, New York PRESENT

Mr. FRANCIS MACMILLEN VIOLINIST

SEASON 1910-1911

14 —

Symphony in E minor, No. 5, "From the New World," Op. 95. Anton Dvorak

(Born at Muhlhausen (Nelahozeves) near Kralup, Bohemia, September 8, 1841; died at Prague, May i, 1904.)

This symphony was performed for the first time, in manuscript, by the Philharmonic Society of New York on Friday afternoon, December

J 5» I ^93- The first performance in Boston was by the Boston Sym- phony Orchestra, Mr. Paur conductor, on December 30 of the same year. The work aroused a controversy in which there was shedding of much ink. The controversy long ago died out, and is probably forgotten even by those who read the polemical articles at the time and expressed their own opinions. The symphony remains. It is now without asso- ciations that might prejudice. It is now enjoyed or appreciated, or possibly passed by, as music, and not as an exhibit in a case on trial. Yet it may be a good thing to recall the circumstances of its origin; and, as Mr. Henry E. Krehbiel was deeply interested in the conception and birth of the symphony, it is better to quote his words:* "Last spring the eminent Bohemian composer published his belief that there was in the songs of the negroes of America 'a sure founda- tion for a new National School of Music,' and that an intelligent cul-

" •From a little pamphlet, Antonin Dvorak's Quartet in F major, Op. y6" (New York, 1894J.

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tivation of them on the part of American composers might result in the creation of an American School of Composition. His utterances created a deal of comment at the time, the bulk of which was distin- guished by flippancy and a misconception of the composer's meaning and purposes. Much of the American criticism, in particular, was based on the notion that by American music Dr. Dvorak meant the songs of Stephen C. Foster and other contributors to old-time negro minstrelsy, and that the school of which he dreamed was to devote itself to the writing of variations on 'The Old Folks at Home' and tunes of its class. Such a blunder, pardonable enough in the popular mind, was yet scarcely venial on the part of composers and newspaper reviewers who had had opportunities to study the methods of Dr. Dvorak in his published compositions. Neither is it creditable to them, though perhaps not quite so blameworthy, that they have so long remained indifferent to the treasures of folk-song which America contains. The origin of that folk-song has little to do with the argu- ment, if it shall turn out that in it there are elements which appeal to the musical predilections of the American people, and are capable of utilization in compositions in the higher form. As a matter of fact

that which is most characteristic, most beautiful, and most vital in our folk-song has come from the negro slaves of the South, partly be-

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NEW YORK HERALD: " The feature of the evening was Senor Ceruelos's playing, which awoke the enthusiasm of the audience, who demanded three encores." NEW YORK PRESS: "The audience went wild with enthusiasm over the wonder- fully brilliant technic of Don Ceruelos, the piano virtuoso, who was forced to respond to three encores." BOSTON HERALD :" Senor Ceruelos, the pianist, at once established himself as a popular favorite. He belongs to the limited class of players who seek to make the piano an instrument for giving pleasure to all music-lovers, and his success in this line of effort is most pronounced. "His touch is delightfully clear, and he gets effects which few modern-day pianists produce." 16 "

cause those slaves lived in the period of emotional, intellectual, and social development which produces folk-song, partly because they lived a life that prompted utterance in song, and partly because as a race the negroes are musical by nature. Being musical and living a life that had in it romantic elements of pleasure as well as suffering, they gave expression to those elements in songs, which reflect their original nat- ure as modified by their American environment. Dr. Dvorak, to whom music is a language, was able quickly to discern the character- istics of the new idiom and to recognize its availability and value. He recognized, too, what his critics forgot, that that music is entitled to be called characteristic of a people which gives the greatest pleasure to the largest fraction of a people. It was therefore a matter of in- difference to him whether the melodies which make the successful ap- peal were cause or effect; in either case they were worthy of his at- tention. "He has not said these things in words, but he has proclaimed them in a manner more eloquent and emphatic: he has composed a sym- phony, a quartet, and a quintet for the purpose of exemplifying his theories. The symphony he wrote in New York, the chamber music in Spillville, la., a village which contains a large Bohemian popula- tion." * * * It was said by some in answer to these statements that, while the negro is undoubtedly fond of music, he is not inherently musical; that this has been observed by all careful observers of the negro in Africa, from Bosman to Sir Richard F. Burton, who wrote in his chapter, "Of the Negro's Place in Nature":* "The negro has never invented an alphabet, a musical scale, or any other element of knowledge. Music

• Chapter xix. of "A Mission to Gelele, King of Dahome. SECOND SEASON

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For full particulars, addres* the New York Offict MUSICOLONY, 1 EAST 42nd STREET 17 and dancing, his passions, are, as arts, still in embryo"; that the Amer- ican negro, peculiarly mimetic, founded his "folk-songs" on sentimen- tal ballads sung by the white woman of the plantation, or on camp- meeting tunes; that he brought no primitive melodies with him from Africa, and that the "originality" of his "folk-songs" was misunder-

standing or perversion of the tunes he imitated ; that, even if the negro brought tunes from Africa, they could hardly, even after long usage, be called "American folk-songs," any more than the tunes of the ab- original Indians or Creole ditties can be called justly "American folk- songs"; that it would be absurd to characterize a school of music based on such a foundation as an "American school"; that, if "that music is entitled to be called characteristic of a people which gives the great- est pleasure to the largest fraction of a people," then German folk- songs are characteristic of the city of New York, and Irish folk-songs are characteristic of the city of Boston. * * * The subject, duly labelled and dated, now rests on the shelf, and for some time it has not been taken down and dusted. Yet the dis- cussion was no doubt healthful and profitable, for without fierce dis- cussion art is stagnant. Mr. MacDowell's " Indian" suite was sketched before Dvorak's symphony was announced; but the controversy led to still more careful investigation, especially into the character of the North American Indians' music. Mr. Krehbiel has studied carefully this music and discussed it in articles of permanent value. Mr. Fill- more, who began like study in 1888, Miss Alice C. Fletcher, Mr. Fred- C H A M BE R MUSIC Clara and David The MANNES BARRERE SONATA RECITALS ENSEMBLE FOR OF VIOLIN AND PIANO WIND INSTRUMENTS Founded February, 1910, by George BarrSre New York Times: York Sun: This series of recitals is of particular value New There is certainly a field .for the new organ- to the student. Mr. and Mrs. Mannes have ization. Its concerts have been thoroughly attained a degree of finish in ensemble playing artistic And unquestionably interesting. that makes their work a delight. New York World: To play this intricate music requires a real Boston Herald: virtuosity from each performer, which was sup- plied in full measure by all concerned, for the The perfection of their ensemble, their ab- finish of detail, balance of tone and elegance of solute sympathy and accord in interpretation, is phrasing displayed were really remarkable. rare and refreshing. Reginald Db Koven. FOR DATES AND TERMS APPLY TO

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18 erick R. Burton, and others have made valuable contributions to this branch of musical inquiry. * * *

The symphony is scored for two flutes (one of which is interchange- able with piccolo), two oboes (one of which is interchangeable with Eng- lish horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, cymbals, and strings. The first movement opens with a short introduction, Adagio, E minor, 4-8, which, as all admit, -is not characterized by "folk-song." The strings, pianissimo, are promptly answered by the wood-wind. There is a sudden fortissimo, in which a figure in all the strings is answered by kettledrums. There is development, in which the orchestra grows stronger and stronger. The first portion of the chief theme of the main body of the first movement, Allegro molto, E minor, 2-4, is given out by two horns in unison; the second, by the wood-wind. This theme is developed at length, and modifications suggest occasionally a new and contrasting subject. Folk-lorists have called attention to the species of syncopa- tion known as the "Scotch snap," that distinguishes this chief theme, and also pointed out the five-note, or pentatonic, scale, from which the theme is derived. In a subsidiary theme announced by flutes and oboes there is a use of the flat seventh, a use that is common to Ori- ental races as well as the negro of the camp-meeting. The second theme, G major, is given out by the flute, and was, no doubt, derived from the familiar melody, "Swing Low, Sweet Chariot." The violins

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19 take up this theme. There is some development, but less than that of the first; and there is the traditional repeat. In the free fantasia the thematic material of the first part is worked out; and then there is a return of the first theme in the tonic at the beginning of the third part, which is in general a regular reproduction of the first, with changes of tonalities. The brilliant coda is built chiefly on the. first theme. In the second movement, Largo, D-flat major, 4-4, Dvorak is said to attempt the suggestion of the mood in the story of Hiawatha's wooing, as told by Longfellow. The chief and romantic theme is sung by the English horn over a soft accompaniment of strings. The development is extended. After the theme is sung by two muted horns there is a change to C-sharp minor, un poco piu mosso, and a short transitional passage on a contrasting theme leads to the second theme in the wood- wind over a bass in counterpoint and pizzicato. There are several melodies in this movement; but, while the sentiments are diverse, there is no abruptness in contrast. There is a return to the first theme in the English horn. The movement ends pianissimo with a chord in the double-basses alone. Third movement, Scherzo: Molto vivace, E minor, 3-4. It opens with a theme, for flutes and oboes, which appears as a rule in imitations. The second theme, in E major, poco sostenuto, also for flutes and oboes, is of more song-like character. The trio, C major, opens with a lively theme for wind instruments. This is followed by a second theme for strings. A reminiscence of the opening theme of the first movement is heard just before the trio, and also in the coda. The Finale, Allegro con fuoco, E minor, 4-4, opens with a few intro- ductory measures. The first theme is given 0141 fortissimo by horns and trumpets against staccato chords in the rest of the orchestra. The development is first in the strings, then in the full orchestra. After the development of subsidiary matter the clarinet sings the second theme. In the development that follows are recollections of the open- ing theme of the first movement, the English horn melody of the second, and the opening phrase of the scherzo. There is a tumultuous coda, based on the union of the chief theme of the first movement with the first theme of the finale.

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20 Concerto for Pianoforte, No. 2, in A major . . Franz Liszt

(Born at Raiding, near Odenburg, Hungary, October 22, 181 1; died at Bayreuth, July 31, 1886.)

This concerto, as well as the one in E-flat, was probably composed in 1848. It was revised in 1856 and in 1861, and published in 1863. It is dedicated to Hans von Bronsart,* by whom it was played for the

first time January 7, 1857, at Weimar. The first performance in Boston -was at a concert of Theodore

Thomas's Orchestra, October 5, 1870, when Anna Mehlig f was the pianist, and this performance is said to have been the first in the United States. The autograph manuscript of this^ concerto bore the title "Concert symphonique," and, as Mr. Apthorp once remarked, the work might be called a symphonic poem for pianoforte and orchestra, with the title "The Life and Adventures of a Melody." \ The concerto is in one movement. The first and chief theme binds the various episodes into an organic whole. Adagio sostenuto assai,

A major, 3-4. The first theme is announced at once by wood-wind instruments. It is a moaning and wailing theme, accompanied by harmonies shifting in tonality. The pianoforte gives in arpeggios the

* Hans Bronsart von Schellendorf, pianist and composer, was born at Berlin, February 11, 1830. He studied at the Berlin University, and he also studied composition with Dehn. He lived several years at Weimar as a pupil of Liszt, gave concerts at Paris, St. Petersburg, and in the chief cities of Germany, conducted the Euterpe concerts at Leipsic (1860-62), succeeded von Bulow as conductor of the concerts of the Society of Friends of Music, Berlin (1865-66). In 1867 he was made Intendant of the Royal Theatre at Hanover, and in 1887 General Intendant of the Court Theatre at Weimar. He retired in 1895, to devote himself to compo- sition. Among his chief works are an opera, "Manfred"; a trio in G minor; a pianoforte concerto in F-sharp minor; symphony with chorus, "In den Alpen" (1896); Symphony No. 2, in C minor; "Fruhlingsphantasie," for orchestra; a cantata, "Christnacht"; a sextet for strings. He married in 1862 the pianist and composer Ingeborg Starck.

t Anna Mehlig Falk was born at Stuttgart, July 11, 1846. She was a pupil of Lebert and Liszt. She played with much success in European countries and in the United States. Her first appearance in Boston was at a concert of the Harvard Musical Association, March 3, 1870, when she played Chopin's Concerto in F minor, No. 2. She appeared in New York for the first time at a concert in the Academy of Music, December 18, 1869, when she played a concerto by Hummel, and had as companions Antoinette Sterling, contralto, and Jules Levy, cornetist. Since her marriage she has lived in Antwerp.

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21 first transformation of this musical thought and in massive chords J:he second transformation. The horn begins a new and dreamy song. After a short cadenza of the solo instrument a more brilliant theme in D minor is introduced and developed by both pianoforte and orchestra. A powerful crescendo (pianoforte alternating with strings and wood-wind instruments) leads to a scherzo-like section of the concerto, Allegro agitato assai, B-flat minor, 6-8. A side motive fortis- simo (pianoforte) leads to a quiet middle section, Allegro moderato, which is built substantially on the chief theme (solo 'cello). A sub- sidiary theme, introduced by the pianoforte, is continued by flute and oboe, and there is a return to the first motive. A pianoforte cadenza leads to a new tempo, Allegro deciso, in which rhythms of already noted themes are combined, and a new theme appears (violas and 'cellos), which at last leads back to the tempo of the quasi-scherzo. But let us use t)ie words of Mr. Apthorp rather than a dry analytical sketch: "From this point onward the concerto is one unbroken series of kaleidoscopic effects of the most brilliant and ever-changing descrip- tion; of musical form, of musical coherence even, there is less and less.

It is as if some magician in some huge cave, the walls of which were covered with glistening stalactites and flashing jewels, were revealing his fill of all the wonders of color, brilliancy, and dazzling light his wand could command. Never has even Liszt rioted more unreservedly in fitful orgies of flashing color. It is monstrous, formless, whimsical, and fantastic, if you will; but it is also magical and gorgeous as any- thing in the 'Arabian Nights.' It is its very daring and audacity that save it. And ever and anon the first wailing melody, with its unearthly chromatic harmony, returns in one shape or another, as if it were the dazzled neophyte to whom the magician Liszt were showing all these splendors, while initiating it into the mysteries of the world of magic

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until it, too, becomes magical, and possessed of the power of working wonders by black art."

This concerto is scored for solo pianoforte, three flutes (one inter- changeable with piccolo), two oboes, two clarinets, two bassoons, horns, two trumpets, three trombones, bass tuba, kettledrums, cymbals, strings. It has been played at these concerts in Boston by Mr. Baermann, February 23, 1884, April 22, 1899; Mr. Joseffy, February 22, 1890;

Mr. Busoni, April 1, 1893; Mr. Godowsky, March 16, 1.901 ; Mr. Joseffy, March 26, 1904; Mr. Liitschg, October 21, 1905.

Suite for Full Orchestra taken from the Score of the Ballet,

"Nutcracker," Op. 71a ...... Peter Tschaikowsky

(Born at Votkinsk, in the government of Viatka, Russia, May 7, 1840; died at St. Petersburg, November 6, 1893.)

Tschaikowsky wrote music for the ballet "The Nutcracker" (" Der Nussknacker," "Casse-Noisette") in 1891. The suite was performed for the first time at the ninth Symphony concert of the Russian Musical Society in St. Petersburg, March 19, 1892. Tschaikowsky conducted. The ballet was not produced until December 17, 1892. The history of the composition is told later in this article. The scenario of the ballet was based on "Histoire d'un Casse-Noi- sette," a translation into French by Alexandre Dumas, the Elder, of E. T. A. Hoffman's story "Nussknacker und Mausekonig," the sixth story in the collection entitled "Die Serapions Briider." The scenario is as follows: HOTEL IROQUOIS BUFFALO, N.Y.

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23 Act I. A Christmas tree in the house of President Silberhaus. The guests assemble, and the candles are lighted. Entrance of the children. After they • have all received their presents, Councillor Drosselmeyer arrives, and with him brings dolls which can move about as though they were alive. He gives also to his favorite, Marie, the daughter of the President, an ordinary nutcracker, and this nut- cracker pleases her better than all the other presents. Her brother

Fritz and the other boys snatch it away from her and break it. Marie bursts into tears, caresses the poor nutcracker, busies herself over it as though it were sick, puts it to bed and rocks it to sleep. The party is at an end and the guests go home. The candles on the tree are put out. Marie cannot sleep, and she thinks constantly about the nut- cracker. At last she leaves her little bed, and steals downstairs, only to have a look at him. It is midnight. She suddenly hears a noise as though mice were clattering out from all sides. Then a wonderful thing happens. The fir-tree grows and grows; all the playthings and the honey cakes come to life. Even the spoiled nutcracker wakes up and moves about. A fight begins between the playthings and the mice. The latter, led by their king, easily defeat the honey-cake soldiers; but the tin soldiers, under the command of the nutcracker, rush to help their comrades. A fierce battle ensues. The nutcracker fights with the king of the mice. Just at the moment when the king seems to be getting the upper hand, Marie throws her shoe at him. He dies, and the mice are defeated. The nutcracker is transformed into a handsome prince. He thanks his rescuer and takes her to his magic kingdom. They fly over a forest in winter, and each snowflake seems to Marie a living being. Act II. The mountain of sweetmeats, the kingdom of lollipops

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24 and goodies. The Fairy Dragee,* the ruler of the mountain of sweet- meats, and her whole court await the arrival of Marie and the nut cracker. When the two enter, all extol Marie's heroic deed. Then the dances of the sweets begin. Only the overture miniature in this suite may be said to bear any relation to Hoffman's tale. The other pieces are musical illustrations of scenes in fairy-land, and in the original tale there is little or no allu- sion to the dances provided for the entertainment of Marie and her prince. *

Ouverture miniature. Allegro giusto, B-flat major, 2-4. The over- ture is a prelude to a fairy story. It is lighter and fantastic. There is no fundamental bass, for violoncellos and double-basses are not used, and violas, horns, and bassoons do not go below the tenor range. The overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, triangle, violins, and violas. The overture is built practically on a chief theme with its subsidiary, and there is no "development section." The chief theme enters at once, played pp by violins and violas. A flute adds the second portion of the chief thought. Strings and wind instruments in alternation have the third section. A theme in F major is given to strings, and is repeated with the aid of wood-wind instruments. March. Tempo di marcia viva, G major, 4-4. This march is the second number of the first act. It is scored for three flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, cymbals, and the usual strings. Clarinets, horns, and trum-

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mi pets have the first theme, which is repeated with almost childlike enjoyment. There is a short section in H minor. Danse de la F£e-Dragee. This dance is taken from the Pas de deux (No. 4) in the second act of the ballet. It is there entitled simply "2nd Variation." The first is a Tarantella. Both are for solo dancer. Andante non troppo, E minor, 2-4. The music is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bas- soons, four horns, celesta* (or pianoforte), four first violins, four sec- ond violins, four violas, two double-basses. The strings begin, pizzi- cati and pp, four introductory measures, and the celesta has the chief theme. This period of eight measures is repeated; the second modu- lates back to E minor. There is a "side section," after which a solo cadenza for celesta leads back to the chief theme. The use of the bass clarinet in this strikingly original little piece is especially noteworthy. Danse Russe, Trepak. This and the next three dances are taken from the Divertissement (No. 12), in the second act of the ballet. The order of these dances in the ballet is as follows: (a) Chocolat, (b) Cafe,

(c) The, (d) Trepak, (e) Danse des Mirlitons. It would seem, then, that in the ballet the three drinks, or possibly plants, were charac- terized by dancers. In the suite "Chocolat" is dropped, "Cafe" is merely "Danse arabe," and "The" becomes "Danse chinoise." The Trepak is a genuine national dance of Russia, of lively and stormy char- acter, with short rhythms and persistence of form. Tschaikowsky scored it for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, tambourine, and the usual strings. Tempo

*The celesta was invented by Victor Mustel, of Paris, in 1886. It is a keyboard instrument usually made with a compass of four octaves from C to C'"" (Mahler has written for it as low as D). Tone is produced by striking with the hammers small plates of steel. (In the typhophone, also a keyed instrument much like the celesta, the hammers strike tuning-forks. D'Indy has used the typhophone in "Le Chant de la Cloche." I believe the typhophone was also invented by Mustel.) As a rule, notes written for the celesta are an octave below the actual sounds, but in Tschaikowsky 's dance they are written at their actual pitch, for the part is to be played by a pianoforte, if a celesta is not- at hand. Gustave Charpentier wrote for the celesta in his " Cbanson du Chemin" (1895). Glazounoff introduced it in his suite from the ballet "Raymonda" played in Boston at a concert of the Boston Symphony Orchestra, January 25, 1902. My recollection is that the celesta was not used at this concert, but it was heard in F. S. Converse's "Jeanne d'Arc: Dramatic Scenes," played at a concert of the Boston Symphony Orchestra in Boston, March 7, igc8. Tschaikowsky uses the celesta in his "Voyvode." LEIGHTON HOUSE Winthrop Highlands, Mass.

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Continuous Hot Water, Electric Lights, and Baths. Every Convenience for Transient as well as Permanent Guests. Send for rates. L. E. RICHEY, Prop. 27 di Trepak, molto vivace, G major, 2-4. The chief section is built on repetitions of a period of eight measures. The instrumentation ot the second half of the section is the stronger and the more brilliant. The subordinate section is in D major, and the basses have the melody. There is a short coda with increasing tempo till the end///". Danse arabe. Commodo, G minor, 3-8. The music is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, tambourine, and the usual strings. This dance is melodi- cally, harmonically, and rhythmically exotic. Muted violas and vio- loncellos begin with a figure that is repeated. The clarinet sings the melody, and the English horn is used. Violins then have a song, which is more florid in the repetition. The first section is repeated, and the bassoon takes the place of the clarinet. In a third section which is rhythmically like the second, both melody and harmonies are freshly thought out. This is material of which this dance is made. Danse chinoise. Allegro moderato, B-flat major, 4-4. The music is scored for piccolo, two flutes, two clarinets, bass clarinet, two bassoons, one horn, Glockenspiel, and strings. This charmingly grotesque dance is only thirty-two measures long. The bassoons, with double basses pizzicati, have a peculiar figure, which they maintain. A flute is answered by the strings. In the second portion of the period the melodic figure is inverted. The first measures are for two flutes, and the continuation is again for the strings. Toward the end tonic and dominant are both on an organ point. Danse des Mirlitons. A mirliton is "a tube of wood or cardboard with the two ends covered with a membrane and having a triangular hole cut in the tube a short distance from each end. By singing into one of the holes, a sound is produced not unlike that obtained by singing against a comb enveloped in thin paper. Another toy instru- ment on the same principle is known as a Kazoo."* Andantino, D major, 2-4. The music is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trum- pets, three trombones, bass tuba, a set of three kettledrums, cymbals, and the usual strings. The dance consists of a chief section in D major and a subordinate section in F-sharp minor, which are followed by a

* In French a mirliton is also a sort of side dish, "patisserie d'entremets."

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28 repetition of the chief section with an altered ending. The first theme of the chief section is played by flutes, lightly assisted by strings and the entrance of a bassoon. The second theme of this section is given to the English horn, -while the flutes have a figure in sixteenths taken from the first section. The brass, drums, and cymbals enter in the subordinate section. Valse des Fleurs. This waltz is No. 13 in the second act of the ballet. The waltz is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, a set of three kettledrums, triangle, harp, and the usual strings. Tempo di valse, D major, 3-4. There is an introduction based on passages in the first part of the waltz. A cadenza for harp leads to the dance itself. The waltz consists of four independent parts, which are repeated in differing order and at last make room for the concluding part. The first motive is given to the horns; the latter section of this motive is for clarinet. The second part, of true waltz character, is also in D major. The third, G major, modulates toward B minor. Flute and oboe phrases have a running figure for two violins; the harp marks the waltz rhythm, and clarinets and bassoon have sus- tained harmonies. The fourth part is not repeated, and the melody is in the tenor. The coda, after a use of foregoing material, ends brilliantly with the introduction of a new section.

ANTON WITEK The famous violin soloist and teacher of Berlin, now concert-master Boston Symphony Orchestra, and VITA WITEK The eminent pianist and teacher of Berlin, TEACH IN NEW YORK EXCLUSIVELY EVERY WEEK AT THE VON ENDE VIOLIN SCHOOL 58 West 90th Street. New York

Distinguished faculty in all branches of music includes Albert Ross Parsons, Antoinette Ward (piano) , Herwegh von Ende. J. Frank Rice (violin), Adrienne Remenyi, Jacob Massell (singing), Harry Rowe Shelley, Edgar Still- man-Kelley (organ, theory, composition, lectures). Send for free prospectus.

Music teaches most exquisitely the art of development.— D'Israeu MUSIC EDUCATION CALVIN B. CADY, 15 Claremont Avenue, New York Pianoforte, Harmony, etc., and Normal Courses Address Teachers College, Columbia University, New York, for Syllabus of Course in Music Education. Address Clayton P. Lummy Co., Chicago, 111., for Poetic Folk Dances, Books I. and II., Folk Songs for Ten Fingers, First Home Studies, Music Education, An Outline. Books I. and II. MUSICAL INSTRUCTION

38 BABCOCK ST., BROOKLINE TEACHING AT Bertha Cushing Child LANG STUDIOS 6 NEWBURY ST., BOSTON

R TA R ANIST e. russell vHllUvlllISANRQRN T3 3 HHuntingtonh? ?Chambersh b BOSTON

Large four-manual studio organ for use of students 29 MUSICAL INSTRUCTION

TEACHER OF SINGING

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

Teacher of Singing MiSS nniOnil I A III S 1 1 Tr 602 Pierce Building PRISCILLA WHITE COPLEY SQUARE, BOSTON

T 8 Miss KATHERINE LINCOLN "£SL?LS" OUri^rtl^lU BOSTON SOPRANO Saturdays and Mondays in NEW YORK Management, Mrs. PAUL SUTORIUS Representing Miss Clara E. Munger

1 West 34th Street, NEW YORK Studio, 1425 Broadway, Cor. 40th Street

PIANIST and TEACHER

miss MARY INGRAHAM Lang studios 6 Newbury Street, Boston

TEACHER OF SINGING Assistant, GRACE R. HORNE (PI AR A TIPPPTT ULHlUl. I III C I I 312 pierce Building, Copley Square BOSTON, MASS. josephine KNICHT ""sssLaa* Personal Address Management, Q.W. STEWART «r^I3K>p A lXJr~* 4 Haviland Street ^*JI- h£Ar>HJ 120 Tremont Street - BOSTON

Management, ST « JAMES BUILDING d c inHNCTrtw 26th ST. and BROADWAY LILLA ORMOND R.E.JOHNSTON NEW YORK SOLOIST WITH BOSTON SYMPHONY ORCHESTRA BARITONE -\™A FREDERICK N. WATERMAN ™LZS" Room zo 177 HUNTINGTON AVENUE . BOSTON

30 —

MUSICAL INSTRUCTION

STUDIO: 434 FIFTH AVENUE VAN YORX Corner 39th Street TENOR TELEPHONE 3701-MURRAY HILL

EDITH=— SOPRANO ORATORIO RECITAL CHAPMAN GOOLD 2314 Broadway 'Phone 1630 River

Soloist with Boston Symphony Orchestra and Cecilia Society. Mr. GEORGE HARRIS, Jr. Pupil of Jean de Reszke, and authorized teacher of his method. Management, M. H. 437 Fifth l ** HANSON, TENOR* ^ ^ Avenue, New York.

CHILD GARDEN MUSIC SCHOOL Normal Course. Pianoforte Instruction. Kindergarten System. Harmony Course. Branches of School in West and South. For catalogue, address JOSEPHINE A. JONES, 505 Huntington Chambers - BOSTON, MASS.

rKANllIu nUbtKb Recital, Oratorio, Concert

Management, LOUDON CHARLTON, 868 Carnegie Hall, New York

. . Also a limited number of pupils in the art rru ... ' _.. ,,. , K v There is the real stuff in this singer. Philip^ Hale„

' » »' P" Mr. Rogers is a true artist.— W.J.Henderson (N Y Sun) 7 West 43d Street, New York ' '

NATIONAL OPERA COMPANY (Incorporated) REHEARSING DEPARTMENT C. de Macchi. Musical Director The only practical GRAND OPERA COURSE for artists wishing to combine the study of repertory, acting, diction, routine, and public experience. Special course for teachers. Forthcoming Grand Opera Seasons: April, London. May, Turin. June, Rome. .... As we have said, the performance ran a vivacious course, and Mr. de Macchi, who conducted from mem- ory, and had his instrumental force well under control, is to be congratulated upon the success which attended his efforts and those of the talented artists whose services he has retained. (London Daily Telegraph.)

.... There are hundreds of Grand Opera Students to whom the opportunity hereby offered by the National Opera Co. would mean success instead of an almost hopeless struggle cr moral degradation. Send for pamphlet with criticisms of opera seasons in Europe. Address: C. de Macchi* 1425 Broadway. New York

31 MUSICAL INSTRUCTION

WithMme. Tetrazzini's Concert Co., Season 1910-11 With Mme. Lehmann, Season iqoq-io FREDERICK HASTINGS With Mme. Nordica, Season igoS-og *. Mr. Hastings studied with FRANK E. MORSE, Steinert Hall, Boston BARITONE Mr. Morse and his assistants give special foundational training for singers. BASS WILLARD 160BoylstonSt. FLINT Soloist witH Handel and Haydn Society (Boston) seven times

Formerly of Boston VOICE CULTURE and ETTA EDWARDS REPERTOIRE in Los Angeles until May, 1911

MARGARET CONTRALTO CONCERTS, ORATORIO, RECITALS Management, Quintan Agency

KEYES I WEST 34TH STREET NEW YORK

PIANIST, TEACHER, VOCAL COACH, ACCOMPANIST ELLA BACHUS-BEHR Reference Mme. Louise Homer, Mr. Frederic Martin Address, 69 West 88th Street, New York SOPRANO Distinguished Academician of Royal Philharmonic Academy of Rome DOROTHY TEMPLE ORATORIO CONCERT RECITAL

Address, Winchester, Mass. Tel. 406-5

Mr. and Mrs. VOCAL ARTHUR J. HUBBARD INSTRUCTION 246 Huntington Avenue BOSTON, MASS.

Three Departments SCHOOL of ENGLISH SPEECH ELOCUTION ENGLISH PIERCE BLDG.. COPLEY SQUARE ROOM 418 and EXPRESSION MARIE WARE LAUGHTON. Prls. PHYSICAL TRAINING CLASS AND PRIVATE LESSONS INCLUDED IN EACH COURSE. SEND FOR CIRCULAR BAERNSTEIN-REGNEAS 336 W. 58TH STREET, NEW YORK CITY VOCAL INSTRUCTOR Teacher of Mme. Sara Anderson, Prima Donna Soprano, Opera and Concert, Germany and America; Mme. Nevada van der Veer, Prima Donna Contralto; Leon Rice, Tenor; Andrea Sarto, Baritone, formerly of Metro- politan Opera Co., now with Hammerstein; Hon Bergere, Whitney Opera Co.; Alice Raynaud, Hammersteiii Opera Co., and many others. 32 MUSICAL INSTRUCTION PIANIST RICHARD PLATT u steinert hall boston Mason & Hamlin Piano

If! aa *8 — 0% f 0± &k 9^ Mezzo-Contralto, Soloist and Teacher Soloist; Boston Symphony Orchestra mlSS lUI i 1 £ O Ml I I i m f Chicago Symphony Orchestra ft IVI I I 1 r K. WW I - I 111 Anna Kneisei q*^> niHIQ III ILLLSlBM 13 * IIV UUtl^r ^"F BaF . » » , | studio pierC€ B d Cop ey Sq# Boston

Pierce Building, Copley Square BOSTON From Rudiments to Professional attainment. Special course for FREDERICK W. WODELL teachers. Correspondence for out- of-town solicited. Conductor TEACHER OF SINGING a^^vSZ^:

TEACHER OF SINGERS Atelle Building, ELEANOR McLELLAN 33 West 67th Street, New York Phone, 4225 Columbus

Teacher of Singing ARTHUR D. WOODRUFF 5 West 38th Street New York City

1524 Chestnut Street, Philadelphia Mondays and Thursdays Mrs. WILLIAM S. NELSON 589 Main Street, East Orange, N. J. Wednesdays Vocal Instruction, Accompanist 1425 Broadway, Metropolitan Opera House .... . Building, New York MUSlcales Arranged Tuesdays and Fridays WILLIAM ALDEN PAUL INSTRUCTOR OF VOICE CULTURE Episcopal Theological School, Brattle Street, Cambridge Telephone, Cambridge 2816-1 and 2 PRIVATE LESSONS BY APPOINTMENT ALVAH GLOVER SALMON PIANOFORTE INSTRUCTION Concerts and Lecture Recitals (Russian Music) the result of per- sonal investigation and study in Moscow and St. Petersburg. Critical reviews of these recitals from American, English, French, German, Russian,, and Australian journals forwarded on request.

Addrm all canvaalcatlass to AlVAR 6L0VEI SALMON. Ciratfli Ball. Raw Tarl City

Pariaiait stadia adorns Caxaatla Ball. N.T. Bastai, Mats. (Butlaftai Clasltrs). Tuasdays. 33 MUSICAL INSTRUCTION

EMERSON COLLEGE of ORATORY HENRY LAWRENCE SOUTHWICK. President

Largest school of expression in the United States. Seventy teachers placed last year in positions ranging from high schools to universities. Courses in literature, oratory, pedagogy, physical culture, voice, dramatic art, etc. Send for catalog to

HARRY SEYMOUR ROSS, Dean, Chickering Hall, Huntington Avenue, Boston

Ziegler Institute of Normal Singing Incorporated 1425 BROADWAY (Metropolitan Opera House) SUMMER SESSION IN COUNTRY NEAR NEW YORK

MOTTO: " Know thy work, and do it" Director, Mme. ANNA E. ZIEGLER PIONEER FOR CORRECT SINGING An established agency is paid by the Institute for placing graduates of the Institute in professional work

THE SAWYER MUSICAL BUREAU ANTONIA SAWYER, Manager HIGH CLASS ARTISTS

Metropolitan Opera House Building, 1425 Broadway, New York Cable Address, ** Antonina ** Phone Bryant 5685

EDUCATION FROM B > Mfe &*. m m 20TH SEASON BEG, T " S ° I/ 1 1 RESULTS ! R Send for G Booklet VIRGILW 'It %^l 1 & UNSURPASSED PIANO SCHOOL AND CONSERVATORY

Mrs. A. M. VIRGIL, Director School removed to 42 West 76th Street, NEW YORK

Art of Singing in all Branches

A. CARBONE Voice Production, Interpretation Thirty years' experience. Late with the Metropolitan Opera. Circular — Carbone's Breath Controller — sent on application. CARNEGIE HALL, NEW YORK

Bonci, the famous tenor, says: "Signor Carbone is a Master in the Art of Singing not second to any other teacher in America or in Europe. I recommend him heartily as a true, competent exponent of the Italian Bel Canto." 34 MUSICAL INSTRUCTION

TEACHER of SINGING

Pupil and Assistant of Francesco Lamperti Mme. LENA DORIA DEVINE Studios, 1425 Broadway, Metropolitan Opera House Building, New York

TEACHER of SINGING iRiccardo Martin's Opinion: "He has the real secret and knows how to WILFRIED KLAMROTH teach it." STUDIO, 11 1-2 WEST 37th STREET NEW YORK PIANO INSTRUCTION Studio, 133 Carnegie Hall, New York Claude Maitland Griffetn Instructor for six years in the Virgil Piano School Pupil of Barth and Moszkowski Monday and Thursday afternoons, Pouch Gallery, Brooklyn, 345 Clinton Avenue

SINGERS — Suzanne Baker, Cora Cross, Pauline LESLEY MARTIN Fredecks, Nellie Hart, Marion Stanley, Estelle Ward, George Bemus, George Gillet, John Hendricks, Dr. Eugene Walton Marshall, Fiske O'Hara, Horace Bel Canto Wright, Mabel Wilbur, Winfred Young, Edward Foley, Albert Wallerstedt, and many other singers now before Studio: 1425 Broadway, New York the public in opera and church work. TENOR Voice Culture and Artistic Sinking Victor Templeton Streator 862-863 CARNEGIE HALL NEW YORK

Cornfcflle Hall - - - Manhattan 400 Washington Avenue. Brooklyn, N.Y- Mrs. Henry Smock Boice Classes formed in German, Italian, and French Instruction in the SUSAN S. BOICE, Soprano ART OF SINGING Assistant French Lyric Diction a specialty

A SCHOOL FOR VOICE 70 CARNEGIE HALL, NEW YORK THE fflEHAN STUDIOS John Dennis Mehan Caroline E. Mehan President Secretary BASSO €ARL E. DUFFT Vocal Instruction

1 East 40th Street - New York City

35 :

MUSICAL INSTRUCTION

METROPOLITAN COLLEGE OF MUSIC 212 West 59th Street, New York City AMERICAN INSTITUTE OF Thorough instruction in all branches of music Personal attention to individual pupils. APPLIED MUSIC Twenty-fifth year began October 3, 1910. KATE S. CHITTENDEN, Dean of the Faculty SUMMER COURSE MASTER MUSIC STUDIOS GMUNDEN, AUSTRIA RESIDENCE, SCHLOSS ORTH 2789 Broadway, at 108th Street . New York OPPOSTUNITY FOR TEACHEIS AND SEBIOBS STODENTS M. DUBLE-SCHEELE, Director Music Season in London and Paris. Return vis Mediterranean route. Catalog. STEINWAY PIANO USED Telephone. Riverside 6836 CONSERVATORY, COLLEGE HELEN ALLEN HUNT and SCHOOL positions secured for TEACHERS of MUSIC CONTRALTO SOLOIST Also CHURCH CHOIR engagements for SINGERS and ORGANISTS Teacher of Singing HENRY C. LAHEE No. 509 Pierce Building Boston 218 Tremont Street (Phone Oxford 475 -*) Boston Musical and Educational Bureau

MAY SLEEPER RUGGLES Fo ADDISON PORTER (CONTRALTO) Teacher of Pianoforte Liederheim School of Vocal Music New England Conservatory of Music AUBURNDALE. MASS. Private Studio, 31 Steinert Hall Boston Studio Pierce Building. Send for Prospectus. BOSTON CHARLES LEE TRACY EUGENE HEFFLEY Pianoforte Instruction PIANIST and TEACHER Certificated Teacher of the Leschetisky Method Studio, Carnerfie Hall New York City CARNEGIE HALL NEW YORK

WALTER L. BOGERT ANNIE LOUISE DAVID BARITONE Concerts JJA.RPIST MusicaleS Instruction Teacher of Singing Lectures and Recitals Management: Haensel & Jones, 1 E. 42dSt. 644 Madison Avenue, New York Personal address: 3505 Broadway, New York Telephone 5430 Plaza Tel. 3230 Audubon

john c. ELLEN LEARNED DEMPSEY MEZZO CONTRALTO BASS -BARITONE Concert Oratorio Recital And VOCAL INSTRUCTOR Teacher of Sinking 206 West 106th Street - - New York Studio. 5 West 38th Street. NEW YORK Telephone 3852 Riverside

MADAME ANNA ARNAUD EBEN H. BAILEY Former director of the French Opera School at the Metropolitan Opera ORGANIST Art of Slntftntf Opera School Concerts and Lecture Recitals Voice Training Piano and Harmony Studio: 30 Ave., Boston Critical reviews of these recitals from France aad Huntington America forwarded by request. Two new Sacred Songs "Lord of All Life" and " Faith and Patience" Address all communications to MME. ANNA ARNAUD The latter also arranged as a duet for Studio, 140 W. 93th Street . New York Soprano and Baritone 36