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», , . ( Ticket Office, 1492 ) „ , _ Telephones-, . , . . ^. „_ _-_„ , Back Bay ^ Administration^ ' I Offices, 3200 \ TWENTY-SEVENTH SEASON, 1907-1908

DR. KARL MUCK, Conductor

Prngramm? of tij? Eighteenth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, MARCH 13 AT 2.30 O'CLOCK

SATURDAY EVENING, MARCH 14 AT 8.00 O'CLOCK

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1348 TWENTY-SEVENTH SEASON, NINETEEN HUNDRED SEVEN and EIGHT

Eighteenth Rehearsal and Concert*

FRIDAY AFTERNOON, MARCH 13, at 2.30.

SATURDAY EVENING, MARCH J4, at 8 o'clock.

PROGRAMME.

Balakireff . . . Symphony in C major. First time in Boston

I. Largo ; Allegro vivo. II. Scherzo: Vivo. Trio: Poco meno mosso. III. Andante.

IV. Finale : Allegro moderato ; Tempo di polacca.

Loeffler . . . "Pagan Poem" (after Virgil), Op. 14, for Orchestra, Pianoforte, English Horn, and Three Trumpets Obbligati Mr. Heinrich Gebhard, Pianist.

Chabrier .... Overture to the Opera "GwendoUne"

The Mason & Hamlin Pianoforte.

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

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

City of Boston, Revised Re|{ulation of AuiJust 5. 1898.— Chapter 3. relatin({ to the coverinii of the head In places of public amusement.

Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN, City Clerk. 1349 L. P. Hollander & Co.

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Symphony in C major .... Mily Alexeivich Balakireff

(Bom at Nishni Novgorod on January 2, 1837; now living at St. Petersburg.)

This symphony was performed for the first time at a concert in St.

Petersburg, April 23, 1898. The composer conducted it. The first performances in the United States were at concerts of the Theodore Thomas Orchestra in Chicago, January 25, 26, 1907. The Philadelphia Orchestra performed the symphony in Philadelphia, January 10, 11, 1908. The symphony is scored for three flutes (one interchangeable with piccolo), two oboes, English horn, three clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, a set of three kettle- drums, snare-drum, bass drum, cymbals, triangle, tambourine, harp, strings. It is dedicated to "The Friend of Russian Music, Tertius Philippoff, —respectful and grateful homage of M. Balakireff." The first movement begins with an introduction, L-argo, C major, 4-4 (8-8). The first measures contain the two chief themes in a condensed form. The former appears immediately (clarinet, bassoons, and strings), the second soon afterward (flutes and violas). These themes, especially the first, are treated briefly. The main body of the movement, C major, Allegro vivo, 2-4, begins with the first theme announced in full. There is a short development of this motive, and the second is announced by clarinet and violoncellos with a light accompaniment of the other strings and bassoon. The first section of the movement is repeated, but the structure is modified, the rhythm is changed occasijonally, and the instrumentation is not the same. New thematic material is introduced near the close of the repetition, a melody derived from the first theme and brought in by the

violoncellos and a longer theme for clarinet. There is a boisterous tutti; and the free-fantasia section follows with use of the thematic

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147 Tremont Street^ Boston* 1352 material already mentioned. There are relieving episodes. The free-fantasia section goes into a free conclusion, which takes the place of the traditional recapitulation section. II. The scherzo begins, A minor, vivo, 3-4. It is based on the lively theme played at the outset by first violins and violas. The Trio, D minor, poco meno mosso, is of a more quiet character, with an expressive melody played at first by violins. The repetition of the scherzo section is of a free character, and it diminishes in force to a piccolo phrase with gentle accompaniment of strings. III. Andante, 12-8. This lyrical movement begins in D-flat major, but there are shifting tonalities. It is built on two themes.

The first, after a prelude by wood-wind instruments, is given to the clarinet with accompaniment of harp and strings. The second is sung by the violoncellos. These are worked alternately until there is an impressive climax. Strains of the first theme alternate with brilliant passages for the harp, and without a pause the Finale is attacked. IV. The Finale, Allegro moderato, C major, 2-4, begins with a

Russian folk-tune (it is so characterized in the score), played by violoncellos and double-basses. The second motive (D major, 6-8) is of an Oriental nature, and is first sung by the clarinet. A third motive is given out by the violoncellos. These themes are treated somewhat in rondo fashion, sometimes in combination. The closing section, Tempo di polacca, is based on the first theme. * * * Balakireff's mother taught him the rudiments of music, but his youth was spent in the country house of Alexander Oulibischeflf (1794- 1858), diplomat and newspaper editor, whose biography of Mozart (1844) aiid "Beethoven, his Critics and Commentators" (1857) once

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*This opera was produced at St. Petersburg, December 9, 1842, and it was performed in all thirty-one times during the season of 1842-43. Glinka died at Berlin in 1857. According to Mrs. Newmarch, Balakireff must have met him at St. Petersburg in 1855. Glinka was then meditating another opera and trj'ing to solve the problem of the true harmonizfCtion of Russian folk-tunes. His visit to Berlin in 1856 was to secure the aid of Dehn, his old teacher.—P. H.

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1356 fitted for the task, possessing not merely extraordinary musical erudition and untiring zeal, but that persuasive and contagious enthusiasm which goes with true conviction. From 1861 Balakireff became the centre of a new musical movement." Cesar Cui, then a sub-lieutenant of engineers, met Balakireff in 1856, and he has given in his "Musique en Russie" (Paris, 1880) an elaborate account of the meetings and theories of "The Invincible Band," as they were called, "The Cabinet," — Balakireff, Cui, Borodin, Moussorgsky, and Rimsky-Korsakofif. A condensation of this account has been published in the programme books of the Boston Symphony Orchestra. Alexander Borodin met in 1856 Modest Moussorgsky. The former had just been appointed an army surgeon. The latter, only seventeen years old, was an ofl&cer in the Preobajensky regiment, a dashing blade, with aristocratic feet and hands, pleasingly combed hair, correct nails, who liked to quote French and play selections from Italian operas, a striking contrast to the Moussorgsky who, having left the army for music, was obliged later to enter a government bureau, fell victim to alcohol, and died in a hospital in 1881. Moussorgsky was acquainted with Balakireff in 1856, and in 1862 Borodin joined the little band, and|Balakireff became his teacher. Balakireff has himself described his manner of instruction in a letter written shortly after the death of Moussorgsky: "As I was not a theoretician, I could not teach Moussorgsky harmony as Rimsky- Korsakoff teaches it; but I made him understand the form of musical works. From 1857 to 1858 we played together all the symphonies of Beethoven, the works of Schumann, Schubert, Ghnka, and others. I explained their technical construction to him, and made him furnish analyses." Balakireff respected not authority of any sort. He

dissected a work and judged it without regard to tradition.

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For a time his word was law to his four associates. Moussorgsky never had a sound musical training. Rimsky-Korsakofif labored much by himself. Borodin wrote of him in 1875: "He is now working for the Free School: he is making counterpoint, and he teaches his pupils all sorts of musical stratagems. . . . Many have been pained to see him take a step backward and give himself up to the study of musical archaeology; but I am not saddened by it, I understand it. His

development was exactly contrary to mine ; I began with the ancients, and he started with Glinka, Liszt, and Berlioz. After he was saturated with their music, he entered into an unknown sphere, which for him has the character of true novelty." And Borodin wrote in the same year, describing the breaking up of the close intimacy of the five: "As long as we were eggs covered by the same hen (BalakirefF) we were all more or less alike, but, when the young chickens get out of the shell, each one has different feathers, and when they are grown up each goes its own way, to suit its pleasure. This absence of similar- ity in tendencies and in the character of our compositions is not, according to my view, the sad side of the afifair." Tschaikowsky was looked on with suspicion by the leaders of the neo-Russian school. In a letter to Mrs. von Meek (1877) he said: "All the young composers of St. Petersburg are very talented, but they are frightfully self-conceited, and are infected by the truly amateurish conviction that they tower high above all other musicians in the world.

Rimsky-Korsakoff is (of late years) an exception. ... As a youth he was told in a society which first assured him that he was a genius, and then persuaded him not to study, that schooling killed inspiration, withered creative force, etc. ... In the circle in which he moved each one was in love with himself and the others. Each one strove to imitate this or that work which came from the circle and was stamped

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by it as distinguished. As a result the whole circle fell into narrow- mindedness, impersonality, and affectation. Korsakoff is the only one of them who about five years ago came to the conclusion that the ideas preached in the circle were wholly unfounded; that the scorn of school and classical music and the denial of authorities and master-works were nothing else than ignorance." Then Rimsky- Korsakoff began to study, and in one summer he wrote sixty-four fugues and a mass of contrapuntal exercises. And Tschaikowsky described Balakireff in a letter to Mrs. von Meek as follows: "The most important individuality of the circle; but he has grown mute and has done little. He has an extraordinary talent, which has been choked by various fatal circumstances. After he had made a parade of his infidelity, he suddenly turned devote. Now he is always in church; he fasts, he prays to all sorts of relics —and he does nothing else. In spite of his extraordinary gifts, he has stirred up much mischief. It was he that ruined the early years of Rimsky- Korsakoff by persuading him that he had nothing to learn. He is the real inventor of the doctrines of this remarkable circle, in which is found much strength that is undeveloped, or falsely developed, or strength that prematurely went to waste." Yet Tschaikowsky had heeded respectfully the criticism of Balakireff on the early draughts of the "Romeo and Juliet" overture-fantasia. MARZO'5 PREPARATORY COURSE TO ART OF VOCALIZATION (In Press) By EDUARDO MARZO In six books, one for each of the following voices Soprano, Mezzo-soprano, Contralto, Tenor, Baritone, and Bass PRICE 75 CENTS EACH The success of the Marzo Art of Vocalization has. created a demand for the first-year course of study, which Mr. Marzo has met hy an admirable selection from the works of the A Series of GradedVocal standard writers of Vocalises in tlie first year of vocal study. Studies for all Voices, selected from the Vbrks DO NOT MISS THIS OFFER. We have made of Celebrated Masters, a special introductory price, until publication, of 40c. POSTPAID for each volume, cash and edited by ^SSMi^ with order. EDUARDO tlARZO Teacliers and Singers will run no risk in pur- SOPRANO TENOR chasing this series. It is simple, practical, Mf:ZZO-SOPRANO BARITONE ALTO BASS and complete. Volumes may be ordered by charge customers, but, to those who reside OLIVER DITSON COMPANY! outside of Boston, postage will be extra. ^^^M^tm^^s-^^s^-^m SEND YOUR ORDER NOW. Volumes will be forwarded as soon as issued.

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1359 which Balakireff had urged him to compose, and he profited by this criticism. At the same time he described him in a letter to Anatole Tschaikowsky, his brother, when Balakireff was living in Moscow (1869): "I must confess that his presence makes me rather uncom- fortable; he obliges me to be with him the whole day, and this is a great bore. It's true he is a very good man, and he is deeply interested in me; but—I don't know why—it is hard work for me to be intimate with him. The narrowness of his musical opinions and his brusque manner do not please me." He wrote a few jdays later: "Balakireff is still here. We meet often, and it is my firm belief that, in spite of all his virtues, his company would oppress me like a heavy stone, if we should live together in the same town. The narrowness of his views and the arrogance with which he holds them are especially disagreeable to me. Nevertheless, his presence has helped me in many ways." Still later: "Balakireff went away to-day. If he was in my opinion irritating and a bore, justice compels me to say that I consider him to be an honorable and a good man, and an artist that stands immeasurably higher than the crowd. We parted with true emotion."

Reading Balakireff's criticism of Tschaikowsky 's "Fatum" (1869), "Romeo and Juliet" (1869-70), and the letter in which Balakireff sketched a programme for Tschaikowsky's "Manfred" (1882, though the symphony was not composed until 1885), we must marvel at the acuteness of Balakireff 's views and the wit of his literary expression. It should be remembered that Tschaikowsky dedicated "Fatum," "Romeo and Juliet," and "Manfred" to Balakireff, and that he wrote to Mrs. von Meek in 1881: "As regards Balakireff's songs, I am quite of your opinion. They are actually little masterpieces, and I am passionately fond of some of them. There was a time when I could FRAY'S The Largest and Most Complete Stock in New En^landof Floor and Wall Coverings and Furniture

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1361 — not listen to 'Selim's Song' without tears in my eyes, and now I rank 'The Song of the Goldfish' very highly."

I have dwelt on Balakireff as a teacher and critic, for it is not impossible that posterity will rank him higher as an influence than as a composer. * * Balakireff, with the choral conductor Lomakin and the critic Stassov, founded the Free School of Music in St. Petersburg. He conducted the symphony concerts of this institution, and brought out works by Borodin, Cui, Moussorgsky, and, later, Glazounoff and Liadofif. In 1866 and 1867 he conducted performances of Glinka's operas at Prague. In 1869 he was appointed director of the Imperial Chapel and conductor of the Imperial Russian Musical Society. His programmes have been eclectic. Although devoted to the music of the "younger" Russian school, he was zealous in the propagation of the best music of all lands. For many years he has lived a life of seclusion, though from time to time he would play the piano in concerts for a charitable purpose. His travels in the Caucasus led him to write "Islamey." In February,

1 88 1, he was honored publicly in St. Petersburg, and there were speeches in his praise. Before that the public had complained of his fondness for music of Schumann, Liszt, and Berlioz, and of his reluctance to perform works by Rubinstein. Here are two interesting personal descriptions of the man. The first is by Mrs. Newmarch: "Balakirefif is not tall. I do not know his ancestry, but he is not at all of the tall, blonde type of Northern Russia. He is more oriental in ph5^siognomy. His head is small, his complexion dark, his manner somewhat sober and dispirited, but his eyes are full of sympathy and fire —the true eyes of a seer and epic bard. As he took his seat at the

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1363 — piano I was inevitably reminded of my past impression of von Billow.

There was something in his playing also to confirm this resemblance. . . . On hearing him play for the first time, the brilliancy of his performance is not the chief impression; neither does he carry all before him by the vitality of his emotion. . . . The most striking trait of Balakirefif's art is his sympathetic, intellectual character. He observes, he analyzes, he teaches, putting all in a clear light. His motto might be Stendhal's: 'To see clearly into realities.' Yet Balakireflf could never be described as a dry pedagogue. If he is a teacher, he is thoroughly illumined, an inspired and congenial interpreter, who constructs the period and personality of a composer, instead of substituting his own views on the subject." The other is in a letter written by Ivan Turgenef to Pauline Viardot from St. Petersburg early in 1871 : "In the evening I went to the house the of of Mr. J , brother the man whom you saw at Baden-Baden and is such a bore. This one is still handsomer—^he has a volcano of gray hair on his head—and he is a bigger bore. I found there several lights of the new Russian musical school (not Cui, unfortunately, but the great Balakirefif, who is recognized as their chief). The great Balakireff played very badly some fragments of an orchestral fantasy by Rimsky- Korsakoff. This fantasy, inspired by a bizarre Russian legend, seemed to me to have genuine fancy. Then the great Balakireff played very badly some reminiscences of Liszt and Berlioz, who is to these gentlemen, and especially to him, the Absolute and the Ideal.

I believe, after all, that Balakireff is an intelligent man. Kein Talent, dock ein Character."* * * Balakireff's chief works are as follows (some of the more important were composed long ago, revised, and published recently) :

* These German words are in the original letter, which is written in French.— P. H.

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' ' En Boh^me : Symphonic Poem on Themes of Three Czech Folk-songs." Overture on Spanish themes. This piece was composed, or at least sketched, in 1857. It was revised and published in 1869. BalakirefiF says of it: "The first theme is my own. It is written in the oriental style, to suit the programme which portrays the struggle between the Moors and the Spaniards and the victory of the latter with the aid of the auto da fe of the Inquisition. The second theme, the original theme of the Spanish March, was given to me by Glinka when I was twenty years old. Just before he went to Berlin, he proposed that I should write an overture on this theme, but he did not suggest the programme, which is wholly of my invention." In the latest catalogue of Balakireff's works there is mention of an "overture on a theme of a

Spanish march"; but this is the same overture. "Russ" (Russia), symphonic poem composed in 1862 for the one thousandth anniversary. "It is an orchestral epic," says Mrs. Newmarch, "built upon three national melodies, each of which characterizes a particular period in Russian history, while the finale, it is said, breathes a prayer for the future welfare of the country'." These three folk-themes are used in the attempt to tell the history of Russia in tones, —"Paganism," "Cossack Democracy," "Modem Russia." When the work was played at Paris (February 11, 1900), H. Barbadette askedjin his review: "And why should|the symphonic

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1367 poem not describe also the geography of the country', its agriculture, finances, flora and fauna?" "Tamara," symphonic poem, was suggested by a poem of Lermontoff. It was begun in 1867, abandoned, then taken up and completed in

1882. Balakireff wrote in 1869 of his composing part of it, as he "danced along" the street. The story is like that of Margaret of Burgundy and the Tower of Nesle. "In the narrow Dariel Pass, where the river Terek roars, covered with heavy mists, there rises an ancient tower, in which there lived Queen Thamar, an angel in beauty, a cruel, wily demon in thoughts, and yet at the same time divine. At her enchanting call the passing traveller entered the tower to take part in the banquet in progress there. Shouts and cries of revelry awakened echoes in the darkness, as if at a great feast a hundred young, pleasure-loving men and women were gathered, or as if in that great tower, erstwhile forbidding, the celebration of funeral rites were taking place. At the break of day gloomy silence again reigned, broken only by the foaming Terek as it hurried away a corpse. At this moment there appeared at the window a pale shadow. It waved from afar a last farewell to the loved one. That farewell breathed such tender ecstasy, the voice which uttered it was so sweet, that its every accent, filled with promise, seemed to tell of near, unspeakable happiness."* This symphonic poem was performed for the first time in America at Chicago by the Chicago Or- chestra, October 23, 24, 1896. It was performed again in Chicago, March 31, April i, 1905. It was performed in New York by the Rus- sian Symphony Society, February 13, 1908. The New York Sun of the following morning contained this criticism: "Tamara was a queen, and she dwelt by the river Terek in an ancient tower, where she was From Mr. Hubbard William Harris's notes to the programme book of the Chicago Orchestra (now the Theodore Thomas Orchestra), March 31, April i, 1905.

TT rwi -| G 1^ f T V\ f f ^ Fl F^ F^ l\ Y C. SCHIRMER, 35 UNION SQUARE, NEW YORK 5IDNEY HOMER Op. 19 SEVENTEEN LYRICS FROM "SING-SONG" Words by Christina Rossetti Price, $1.25 net Christina Rossetti's verses illumine the little daily incidents in a child's life with an artless and tender poesy. It is this key-note of home truth that Mr. Homer has so successfully caught in his music and that he maintains throughout the seventeen lyrics he has elected to set. The cycle shows great contrast and variety of mood. One number in particular that has all the charm of an old folk- the " song is " Love me— I love you." The little descriptive touches, as Postman's " knock " in the first number, the rooster's crow in Kookoorookoo," are introduced with natural and unobtrusive effect.

1368 : : m^ wmwmIMnfn v^^o

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1369 wont to indulge in nights A la Cleopatra Russe. In the mornings the dead bodies of her lovers went floating down the stream, while she sang exquisite love songs, just as if the lovers could be lured back. In the music of Balakirefif one could hear the river, which sounded much like the Rhine, even to suggestions of the Drachenfels. The riotous nights were perhaps less clearly indicated. Tliey were some- what repressed; muffled, as it were. Perhaps Tamara, out of con- sideration for the neighbors, used to shut the windows when she was liolding high jinks on the banks of the blue Terek in the Cauca- sus. But they had long nights up there, for the listener sitting out- side of the tower (in a hard orchestra chair) and waiting for the exquisite love song grew cold and stiff. And after all it was a mean little love song, because it had no tune, and it would not have lured a red-headed boy, let alone a dead man." Music to Shakespeare's tragedy, "King Lear." The overture and entr'actes were composed as far back as 1861, but the music has been published recently in a revised form. The entr'actes describe the quarrel between the sisters, the bitter wit and laughter of the Fool, a funeral march, combat, and apotheosis of Lear. The overture was performed on May 25, 1865, at the music festival of the fourth Tonkiinstler-Versammlung at Dessau. Balakireff wrote in October, 1869, to Tschaikowsky, at work on his "Romeo and Juliet" fantasia overture: "It strikes me that your inactivity proceeds from your lack of concentration in spite of your 'snug workshop.' I do not know your method of composing; mine is as follows. When I wrote my 'King Lear,' having first read the play, I felt inspired to compose an

overture (which Stassoff had already suggested to me) . At first I had no actual material, I only warmed to the project. An Introduction, maestoso, followed by something mystical (Kent's Prediction). The

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1372 —:

Introduction dies away, and gives place to a stormy allegro. This is Lear himself, the discrowned but still mighty lion. By way of episodes the characteristic themes of Regan and Goneril, and then a second subject —Cordelia, calm and tender. The middle section (storm, Lear and the Fool on the heath) and repetition of the allegro Regan and Goneril finally crush their father, and the overture dies away softly (Lear over Cordelia's corpse), then the prediction of Kent is heard once more, and finally the peaceful and solemn note of death. You must understand that, so far, I had no deiinite musical ideas. These came later and took their place within my framework. I believe you will feel the same, if once you are inspired oy the project. Then arm yourselves with goloshes and a walking-stick and go for a constitutional on the Boulevards, starting with the Nikitsky; let yourself be saturated with your plan, and I am convinced by the time you reach the Sretensky Boulevard some theme or episode will have come to you." (From Mrs. Newmarch's translation into English of Modest Tschaikowsky's Life of his brother Peter.) O^^erture to Lwoff's opera "Undine," orchestrated by Balakireff. A. F. Lwoff (1799 ?-i87o), army officer, violinist, director of the Imperial Court chapel, organizer of a string quartet, composed a violin concerto, three operas which met with little success ("Undine" was produced in 1846), church music, caprices for violin, etc., and is best known as the composer of the Russian National Hymn, "God save the Tsar" (183,3), words by Joukovsky. Chopin's Seventh Mazurka, arranged by Balakireff for strings.

VOCAL.

BalakireflF has not written an opera, though he worked for a time on one entitled "The Golden Bird." Cantata for soprano solo, chorus, and orchestra, for the dedication of Glinka's monument at St. Petersburg. Songs published between 1858 and i860, among them "Come to me," "Lead me, O Night," "Madness," "vSong of the Goldfish,"

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1374 "vSelim's Song," "Georgian Song." A book of ten songs published a few years ago. A collection of Russian folk-songs published in 1866 is not only highly valued : it exerted a marked influence over the young composers of the modem Russian school.

PIANOFORTE. "Islamey," a fantasia on Georgian themes. This famous piece was composed in 1868. It is said that an arrangement by Tschai- kowsky was published after the original appeared. One of the themes is Arabian in its character, and another is very like a Russian folk-song. Sonata in B-flat minor and many short pieces,—scherzos, mazurkas, waltzes, and pieces of a brilliant character. Transcriptions of his own orchestral pieces, "Russia," "King Lear" (four hands); transcription of Berlioz's "Harold in Italy" and "The Flight into Egypt," the cavatina from Beethoven's Quartet, Op. 130; Glinka's " Komarinskaya " and "Jota Aragonesa," "Lark"; and other transcriptions.

"En Boheme," symphonic poem, was performed in Boston at Mrs. R. J. Hall's concert in Jordan Hall, January 21, 1908, Mr. Georges Longy, conductor. "Islamey" has been played in Boston by Arthur Friedheim (April 29, 1891), Edward MacDowell (March 28, 1892), Carlo Buonamici (January 17, 1^98), Alexandre Siloti (March 12, 1898), Harold Bauer (December 8, 1900, April 12, 1902), Emil Paur (April 20, 1907). Balakireff's Scherzo in B-flat minor has been played in Boston by Mr. Bauer, December 4, 1905, and by Mr. F'elix Fox, November 25, 1907. Miss Lena Little sang Balakireff's "Song of the Goldfish" and "Selim's Song" at a concert in Boston, with Mrs. Emil Paur, November 30, 1897. Additions to this imperfect list will be gratefully received by the editor of these programme books.

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1376 ,

A Pagan Poem (AinrER Virgil), Op. 14, composed for Orchestra, Pianoforte, English Horn, and Three Trumpets Obbli- GATi Charles Martin Loeffler

(Bom at MUhlhausen-i.-R. (Alsace), January 30, 1861 ; now living at Medfield, Mass.)

This poem, now dedicated to the memory of Gustave Schirmer, was written originally in 1901 for performance as chamber music and for these instruments,—pianoforte, two flutes, oboe, clarinet, English horn, two horns, three trumpets behind the scenes, viola, and double-bass. It was afterward arranged for two pianos and three trumpets, and

performed at the house of Mrs. John L. Gardner, in Boston, April 13, 1903, with Messrs. Proctor and Gebhard as pianists. In 1905 and 1906 the work was remoulded and treated much more symphonically. A transcription for two pianofortes and three trumpets was made by the composer. This transcription was played at the house of Mr. Charles S. Bird, East Walpole, Mass., October 29, 1907, when Messrs. Gebhard and Fox were the pianists. The first performance of the present orchestral version was at a concert of the Boston Symphony Orchestra in Boston, November 23, 1907, when Mr. Gebhard was the pianist. The poem is scored for three flutes (one interchangeable with piccolo) two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, four trumpets, three trombones, bass tuba, a set of three kettledrums, antique cymbals,* tam-tam, harp, pianoforte, strings. * * *

* Small cymbals, as well as the large cymbals, were used habitually in the bands of the janizaries from the time of organization in the seventeenth century. The ancient ones found at Pompeii were of bronze, connected by a bronze chain of twenty-four rings. Mahillon says that the sound is pitched approximately to the first E above the treble staff. [F. A. Lampe thought it worth while to write a book of 429 pages, "De Cymbalis Veterum " (1703).] Berlioz speaks of them in his Treatise on Instrumentation: "I have seen some in the Pompeian Museum at Naples, which were no larger than a dollar. The sound of these is so high and so weak that it could hardly be distinguished without a complete silence of the other instruments. These cymbals served^ in ancient times to mark the rhythm of certain dances, as our modem castanets, doubtless. In the fairy-like scherzo of my 'Romeo and JuUet' symphony, I have employed two pairs of the dimension of the

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1376 —

This tone poem was suggested to Mr. Loeffler by certain verses in the eighth Eclogue of Virgil, which is sometimes known as "Phar- maceutria" (the Sorceress). The Eclogue, dedicated to PoUio, was written probably in 39 B.C. It consists of two love songs, that of Damon and that of Alphesiboeus. Each song has ten parts, and these parts are divided by a recurring burden or refrain. Alphesiboeus tells of the love incantation of a Thessalian girl, who by the aid of magical spells endeavors to bring back to her cottage her truant lover, Daphnis. Virgil helped himself freely here from the second Idyll of Theocritus, "The Sorceress," in which Simaetha, a Syracuse maiden of middle rank, weaves spells to regain the love of Delphis. The hues of Virgil that appealed particularly to Mr. Loeffler are these :*

"Fetch water forth, and twine the altars here with the soft fillet, and bum resinous twigs and make frankincense, that I may try by magic rites to turn my lover's sense from sanity; nothing is wanting now but the songs. "Draw from the city, my songs, draw Daphnis home.

largest of the Pompeian cymbals; that is to say, rather less than the size of the hand, and tuned a fifth one with the other." (They were tuned to B-flat and F above the treble staff.) "To make them vibrate well, the player should, instead of striking the cymbals full one against the other, strike them merely by one of their edges. They should be of at least three lines and a half in thickness." Chausson introduced antique cymbals in his symphonic poem " Viviane"; Debussy, in his "Afternoon of a Faun," etc. * Translation into English prose by F. W. Mackail (London, i88q).

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"Songs have J might, even, to draw down the moon from heaven: with songs Circe transformed the crew of Ulysses; by singing the cold snake is burst asunder in the meadows. "Draw from the city, my songs, draw Daphnis home. "Threefold first I twine about thee these diverse triple-hued threads, and thrice roimd these altars I draw thine image: an odd number is the gods' delight. " Draw from the city, my songs, draw Daphnis home. "Tie the threefold colors in three knots, AmaryUis, but tie them; and say, 'I tie Venus' bands.' "Draw from the city, my songs, draw Daphnis home. "As this clay stiffens and as this wax softens in one and the selfsame fire, so let Daphnis do for love of me. Sprinkle barley meal and kindle the brittle bay twigs with bitumen. Cruel Daphnis burns me; I bum this bay at Daphnis.* "Draw from the city, my songs, draw Daphnis home. "These herbs and these poisons, gathered in Pontus, Moeris himself gave me; in Pontus they grow thickest. By their might I have often seen Moeris become a wolf and plimge into the forest, often seen him call up souls from their deep graves and transplant the harvests to where they were not sown. "Draw from the city, my songs, draw Daphnis home. "Fetch ashes, AmaryUis, out of doors, and fling them across thy head into the running brook ; and look not back. With these I will assail Daphnis ; nothing cares he for gods, nothing for songs. "Draw from the city, my songs, draw Daphnis home. "See! the embers on the altar have caught with a flickering flame, themselves, of their own accord, while I delay to fetch them. Be it for good! Something there is for sure ; and Hylax basks in the doorway. May we beUeve ? or do lovers fashion dreams of their own ? "Forbear: from the city—forbear now, my songs—Daphnis comes."

Mr. Ivoeffler does not intend to present in this music a literal trans- lation of Virgil's verse into tones. The poem is a fantasy, inspired by the verses. The chief themes, with the possible exception of one, are not typical : they are only of musical significance. The refrain "Ducite ab urbe domum, mea carmina, ducite Daphnim"—is used sparingly, and is given to three trumpets behind the scenes, until Daphnis nears the door of the sorceress, when the final refrain, "Parcite,

* Compare Theocritus: "As I melt this wax by the help of the goddess, so may Myndian Delphis be presently wasted by love: and as this brazen wheel is whirled round, so may that man be whirled about by the influence of Aphrodite at my doors. Wheel, draw thou that man to my house!" See also Ovid, Met. III., 487 et seq.

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ab urbe venit, jam parcite, carmina, Daphnis," is suggested by the fanfare of three trumpets on the stage. The poem opens, Adagio, 2-2, with a short motive, which, with

an inversion of it, is much used throughout the work. The first chief theme is announced dolce, mf, by viola solo and three flutes. It may be called the theme of invocation. The latter half of it may be divided into two motives, the first a phrase descending in whole tones, the second a rising and falling wail. These two motives are used separately and frequently in all sorts of ways. After the exposition of this theme the pianoforte enters fortissimo with a harmonized inversion of the introductory motive; a crescendo follows with use of the foregoing thematic material, and a glissando for the pianoforte

leads to an Allegro, in which now famiUar thematic material is used until the second theme appears (first violins, harp, pianoforte). This theme is developed. A pianoforte cadenza built on thematic material leads to a Lento assai, 6-4, with a dolorous theme (No. 3) for the English horn. The trumpets behind the scenes give out the burden of the sorceress. The piii vivo section may suggest to some a chase of wolves ("I have often seen Moeris become a wolf and plunge into the forest"). Tranquillo: a fourth theme, 4-4, is given to the pianoforte.

Calando : the refrain is heard again from behind the scenes. Moderato

the second chief theme, 6-4, now appears, and it is used extensively. Largamente: the trumpets, now on the stage, announce the coming of Daphnis, and there is the suggestion of the barking Hylax. The ending is one fanfare of frantic exultation. * * * A NOTE ON WAXEN IMAGES.

Voltaire once said : "It is a singular fact that vampires are found only in Hungary." For years the old world believed that Thessaly was ANCgCKV

The Standard of Style and Excellence 420 WASHINGTON ST. 1379 ; the favorite dwelling-place of witches. What adventures did not Lucius Apuleius have in that far-off land, that country where the sun was at will restrained by the knowing from his natural race, where the moon vv^as compelled for some fell 'purpose to purge her skim upon herbs and trees! There dwelt the old women, greatly feared, who entered a stranger's room in the dark night, cut into his body, thrust in hands, and, plucking out the heart, replaced it with a sponge, so that the wound would open when the wretch drew nigh a river to drink, the sponge would fall into the water, the body would forever after be without life. Possibly in Libya, near the border of Ethiopia, there were more mysterious sorceries than those worked by the witches of Thessaly. The brother of Ophelion, who was killed by an embalmer jealous of her sister's love for the guest of a night, believed that Libya was the land to be more dreaded. As he tells his story through the mouth of Marcel Schwob, "It is indeed terrible to think that the incantations of women can make the moon descend into the box of a looking-glass; or plunge when it is full into a bucket of silver, with dripping stars; or fry as a yellow jellyfish in a stove, while the Thessalian night is black and men who change their skin are free to roam. All this is terrible but I should fear less these things than to meet again in the blood-hued desert the embalming women of Libya." "As this wax softens, ... so let Daphnis do for love of me." Was this spell ever worked in New England, which was once a land of witch- craft, where strange superstitions still survive in remote villages on sullen hills or by the conniving sea? This spell is a very old one, and many have been thought to die of it. The potency of it was believed by the ancient Greeks and Romans; the spell came down through the centuries; it is still worked, they say, even in English provinces. Father Charlevoix found North American Indians ("les Ilhnois") who made "petits marmousets" in the image of those whose lives they wished to shorten, images that they pierced to the heart. The French name the spell "envodtement," and the wax image itself of the man or woman who was to be brought back to lonely arms or killed by a wasting disease is called "vols" or

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1381 "voust." An image resembling the victim was fashioned. Sometimes hair or a shred of clothing of the human being ornamented the doll. If the figure were pierced in any place, the man or woman suffered in the same region. If the doll were melted, there was mysterious wasting away. Read the sane and pious Jeremy ColUer's account of Duffus, the seventy-eighth king of Scotland. There was a plot against Dufifus in the tenth century as a contemner of the nobility. "A club of witches at Forresse in Murray, did, by wasting his image in wax, so waste and torment him with continual pain and sweating, that he pin 'd daily, and no remedy could be found till the witchcraft was discovered, the image broke and the witches punished." It was believed that Protestant sorcerers, wishing to bring about the death of Charles IX. of France, who after Saint Bartholomew's Day saw bloody crows and other horrid visions, killed him by means of wax dolls made in his image. Cosmo Ruggieri, the Florentine astrologer who figured at the court of France with Catharine de Medicis as his patroness, was involved in the prosecution of la Mole and Coconas, accused, among other crimes, of employing sorcery in order to kill King Charles IX. "He persuaded la Mole and several others that he could make waxen images, some of which would inspire women with love; and others make any person they pleased die in a lingering condition." See the long and singular note of Pierre Bayle to the sentence, "Many reflections might be made on his applying himself to astrology and magic, though he did not

believe either God or Devil ; for it is a general opinion among Christians

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JOHN M. QRAHAM. President HENRY L. JEWETT, Secretary B. FARNHAM SMITH, Assistant Secretary 1382 that if there are Devils, there is a God ; and that those who do not believe the existence of a God, do not believe there are Devils," in the article, "Ruggieri," in Bayle's Dictionary. "He himself," says Bayle, "knew the vanity of his promises, and that his pricking the images with a needle were of no effect. It is not so certain that he was sensible of the vanity of astrology; a person of genius and learning is perfectly sensible that a piece of wax worked up into the shape of a man or woman and pricked in the heart is not capable of producing in a person at a distance, either a desire of marrying such a person, or any other kind of passion. He knows evidently that a piece of wax represent- ing Henry IV., and which is put near the fire in Nantes, or is pricked in different parts in the same city has not the power of infecting that monarch with a slow and mortal fever in Paris. And therefore every man of genius, sense, and learning, who is persuaded that these waxen images have the virtue in question, knows most certainly that their effects are produced by an invisible spirit, which acts immediately and physically on certain persons, whilst those images are in certain circumstances. Since therefore Ruggieri did not acknowledge any such spirit, he plainly knew that those images had no virtue of any kind. But it does not appear as evidently, that celestial bodies are incapable of producing a numberless multitude of effects on earth. It is known that persons who were looked upon as atheists, have been firmly persuaded of the efficacy of the influence of the stars, even with regard to the free actions of men, and what we call fortune, or contin- gent events. We therefore are not certain that Ruggieri knew the vanity of judicial astrology. I believe, however, that it would not be very rash to assert, considering the turn of Ruggieri's mind, that he only calculated nativities after the manner of cheats, without giving any credit to them, and only to get money."* The rest of the foot- note contains still more entertaining reading. In like manner the Duchess of Gloucester, Roger BoUngbroke, and Margerey Jourdain were accused of putting a wax image of Henry VI. over a slow fire, and for this the duchess was imprisoned, the conjuror* * I quote from the edition of Bayle's Dictionary— translated into English and edited by Bernard, Bircli, Lockman, and other hands (London, J 739). • P. H.

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1383 —

Bolingbroke hanged, and the witch Jourdain, or, as some call her, Gardemain, was burned alive. Then there was Enguerrand de Marigny of a noble Norman family, Prime Minister under Philippe-le-Bel and Minister under Louis X. His wife, Alix de Mons, and his sister, the Dame de Cantelen, were accused of having employed magical means to slay Louis, known as Hutin, Charles de Valois, and other barons, to ejffect the escape of Marigny, who had been thrown into prison. The women were charged with seeking the aid of Jacques Dulot, a notorious' sorcerer, who, jailed in consequence, killed himself in his cell. Marigny's wife and sister swore that De Marigny had hired Dulot to mould wax images of the king, then to run pins through them while magical incantations were recited. The images were shown to the king, and De Marigny in 13 1 5 was hanged from a gibbet which he himself, as Minister, had erected at Montfaucon. Ruggieri with his waxen images figures in French history and romantic novels. There are two striking instances of the use of super- stition in modern literature. One is Dante Gabriel Rossetti's poem, "Sister Helen," which begins:

"Why did you melt your waxen man, Sister Helen ? To-day is the third since you began." "The time was long, yet the time ran, Little Brother." (O Mother, Mary Mother, Three days to-day, between HeU and Heaven.)

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1384 The other is the passage in Thomas Hardy's "The Return of the Native," where Susan Nunsuch, wishing to protect her boy from the evil influence of Eustacia Vye, moulded an image from beeswax, put a red ribbon round the neck of the doll, and made with ink the semblance of sandal shoes. "To counteract the malign spell which she imagined poor Eustacia to be working, the boy's mother busied herself with a ghastly invention of superstition, calculated to bring powerlessness, atrophy, and annihilation on any human being against whom it was directed. It was a practice "well known on Egdon at that date and one that is not quite extinct at the present day." And, after she had fashioned this doll, the old woman pierced it with at least fifty pins "of the old long and yellow sort, whose heads (were made to come off at their first usage." She then held in the tongs the image of Eustacia over a glowing turf fire, and while it wasted slowly away repeated the Lord's Prayer backward. Did not King James, in his "Dgemonology," state: "The devil teaches how to make pictures of wax or clay, that by roasting thereof the per- sons that they bear the name of may be continually melted or dried away by continual sickness"? Did not Bishop Jewell in 1558, preaching before the queen, speak of the increase of this practice? "Your Grace's subjects pine away, even unto the death, their color fadeth, their flesh rotteth, their speech is benumbed, their senses are bereft." Was not a waxen image, with hair like that of the unfortunate Earl of Derby, found in his chamber after his death from an odd disease of constant retching ? On the other hand, the wife of Marshal d'Ancre was beheaded for a witch, for she enchanted the queen to dote upon

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her husband; "and they say the young king's picture was found in her closet, in virgin wax, with one leg melted away." Let us dismiss the fascinating subject with these lines from a sonnet of old Daniel :

"The slie enchanter, when to work his will And secret wrong on some forspoken wight, Frames waxe, in forme to represent aright ' The poore unwitting wretch he meanes to kill, And prickes the image, fram'd by magick's skill, Whereby to vex the partie day' and night."

Overture to the Opera "Gwendoline" . Emmanuel Chabrier

(Bom at Ambert (Puy-de-D6me), France, January i8, 1841 ; died at Paris, September 13, 1894.) The "Scene et Legende" irom the first act of "Gwendoline," opera in two acts, poem by Catulle Mendes, was performed with Mme. Mont- alba, soprano, at a Lamoureux concert, Paris, November 9, 1884. The Prelude of the second act was performed at a Lamoureux concert, November 22, 1885. Chabrier wrote from Membrolle to Paul Lacombe, May 11, 1885, that he had finished his "little score of 'Gwendoline,'" which was to be produced at the Monnaie* in December. "The Monnaie! So

* The palace of the d'Ostrevants, descendants of the Counts of Hainaut and of Holland, served for a mint when it was demolished, about 1531. The street or square of la Monnaie was constructed, and on this square were successively three theatres. The first of these was decreed in 1700 by the Elector of Bavaria.—P. H. MEET YOUR FRIENDS AT Hbe peacock 355 BOYLSTON STREET uuivoH Bors New and Unique Dishes Tables Reserved and Special Menus Prepared for Parties AFTBRINOOIN TBA The only Tea Room in Boston with a Continental atmosphere

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ELIAS HOWE CO., court street, Boston OLD VIOLINS VIOLAS. 'CELLOS, BASSES Over 600 in Stock Leather Cases. Fine Bows. Italian Strings. Gold and Silver G Strings., 2,000 New Violins in stock, ELIAS HOWE CO., 88 Court Street, Boston 1386 called by antiphrasis! Do you believe that we shall gain much at this trade? Ah! it is a charming vocation, as the bourgeois says. It seems that I now shall be numbered among the lucky dogs. At the age of forty-three I am coming a little to the front, so T have not the right to complain. To wait twenty years is more than the minimum. Let us call it a dream and say no more about it." He wrote in June of the next year: "As my opera was produced on April lo, and the

Monnaie closes always on May i , I could count only on a limited number

of performances. If the director (Verdhurdt) had not failed, I should have had two or three more; as it was, the opera was performed six times." In October, 1886, he wrote: "The orchestral score of 'Gwendoline' is not engraved, and it will not be probably for some time. The expense is great. If my piece is accepted at the Op6ra, perhaps my publishers will decide to do it. There is only my manu- script score, and Dupont conducted from it at Brussels." He wrote from Bayreuth in July, 1889: "I think that several theatres will produce my little 'Gwendoline.'" The opera was produced at the Monnaie, Brussels, April 10, 1886, with Mme. Thuringer as Gwendoline, Berardi as Harald, Engel as Armel. It was performed at Carlsruhe (1889), at Munich (1890), and even at Lyons before it was produced in Paris at the Opera, December

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27. 1 893. with Miss Berthet (Lucy Adeline Marie Bertrand), Renaud, and Vaguet as the chief singers.

The Prelude to act ii. was played in Boston at Symphony Concerts, October 13, 1894, and January 29, 1898. The overture was played in Boston for the first time at a Boston Symphony Orchestra Concert, October 24, 1896. It was played in Boston again, February 27, 1904. These preludes are something more than a preparation for the mood of each act. They are symphonic poems: the overture might be

entitled "Harald"; the prelude to act ii., "Gwendoline." * * * The argument of Mend^s's poem is as follows. Long ago on the coast of Britain there lived a petty king whose name was Armel. He had a gentle daughter Gwendoline, a maiden of sixteen years. There was peace in the land. The men fished. The women spun and looked after their homes, and one day, as they were a-gossiping, Gwendoline told a dream: that a Dane had borne her away over the sea. Her companions laughed at her, and as they laughed there was a great cr}'. The fishermen were seen running madly, pursued by Danes with Harald at their head. The young chief ordered Armel to hand over his treas- ure, and, as Armel refused, Harald would have slain the old man, had not Gwendoline thrown her body as a buckler before her father. Harald was sorely troubled. Not knowing that lips and braided hair are deadlier than "fire and iron and the wide-mouthed wars," he wished to be alone with Gwendoline. He asked her name; she told him; and he proclaimed his own in a tempestuous burst, and then he told her solemnly that once in battle, when he was about to be summoned to Walhalla, he saw in the sunlight the Valkyrie with her golden helmet; Gwendoline was also of dazzling beauty, but sweeter and more joyous. Harald helped her to gather flowers; he sat by

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1389 her spinning-wheel; she hummed a simple ballad; he sang of war, and his voice was as the clash of swords. "Sing my song, Harald," she said, and he was about to sing it when Danes and Saxons entered. Armel consented to his demand for her hand, that there might be peace; but Armel consented with treacherous heart, for it was his plan that the Saxons should butcher their foes at the wedding feast. At the marriage ceremony the old man blessed the couple, and gave secretly a knife to the bride, and he said to her: "If Harald should escape us, you must kill him as he sleeps in your arms." But Gwen- doline loved Harald; and, when they were alone, she warned him of o'erhanging danger, and begged him to leave the coast. Lost in love, he would not listen. Suddenly there were shouts and shrieks, and the Danes called to Harald for help. Gwendoline put in his hand the knife. One wild embrace, and he left her. The Danes fled in the darkness. Harald, wounded, fought with Armel and his men. Gwen- doline, who had escaped from her chamber, snatched the knife from Harald, stabbed herself, and in the burst of sunlight which announced the apparition of the Valkyrie the husband and wife of a night sang exultingly for the last time the ecstatic theme of Walhalla and of the Valkyrie, the divine promiser of the supreme paradise. * * *

The overture is scored for one piccolo, two flutes, one oboe, one English horn, two clarinets, one bass clarinet, four horns, three bassoons,

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1391 two cornets-k-pistons, two trumpets, three trombones, one bass tuba, kettledrums, bass drum, triangle, cymbals, two harps, and strings. Allegro con fuoco, C minor—C major, 2-2 and 6-4. The first theme is music of the Danish inroad; it ascends in 'cellos and wind instru- ments against an energetic rhythm of trumpets and violin triplets, and after the first repetition it rises higher each time by a minor third. In the chmax another motive associated with the furious Danes is used. A theme expressive of Gwendoline's anxiety concerning Harald's safety (act ii.) appears in the transition to the second theme, but it is drowned in musical Danish reminiscences. The second theme, in

D-flat major, is composed chiefly of the motive descriptive of Harald's first vision of the Valkyrie and the thought of Walhalla (English horn, horn, violas, with triplets in the wood-wind). In the free fantasia previously mentioned themes are introduced, and an abbreviated motive from Gwendoline's romance in combination with the beginning of the Walhalla song appears. Other themes and scraps of melody are treated with utmost wildness of rhythm. Finally the Walhalla theme, used as a gigantic cantus firmus, leads to an evolution of the

Legend motive. There is a hint at the Gwendoline motive. A power- ful harp glissando is followed by the cadence that ends the opera. * * * Alexis Emmanuel Chabrier's father was a IsLwyer; his mother was not interested in music. In 1856 Emmanuel went to Paris to complete his studies and to be admitted to the bar. In 1862 his father placed him with the Minister of the Interior, but Emmanuel spent his spare time in practising the pianoforte, in consorting with musicians, in playing chamber music. His favorite composers then were Bach, Mozart, Beethoven, Berlioz, Schumann. He had uncommon mechan- ical skill as a pianist, and his left hand was a wonder even to virtuosos.

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1393 He studied composition with Theophile Semet and Aristide Hignard and the pianoforte with Edouard Wolff, but he was chiefly self-taught. In 1879 Chabrier resigned his position to devote himself wholly to music. Hugues Imbert described him as amiable, gay, fond of a joke, a man of keen wit, with a hearty laugh which was not always without malice. He gathered about him artists and amateurs. There were Saint-Saens, with his prodigious musical memory and true Parisian playfulness; Massenet, "with his air of a repentant Magdalene"; the actors Grenier and Cooper; Manet, the painter; Tafifanel, the flute-player. There were performances of Schumann's symphonies; there were also delirious parodies, as when Saint-Saens impersonated Gounod's Marguerite. There were strange instruments, as a queer organ with strange stops, which set in motion cannon, drums, etc. One fine evening in spring the noise through the open windows drew a crowd in the street below, and some one shouted: "If I were your landlord, I should be too happy to ask you for rent." His opera-bouffe, "ly'Etoile," in three acts, was performed at the Bouffe-Parisiens, Paris, November 28, 1877, with Mme. Paola-Marie as the heroine. On the libretto by Leterrier and Vanloo the story of "The Merry Monarch," in which Mr. Francis Wilson disported himself, was based. A little piece, "L'Education Manquee," was produced at the Cercle de la Presse, Paris, May i, 1879. "Dix Pieces pitto- resques," for pianoforte, were published.

In 1 88 1 Lamoureux engaged Chabrier to drill the chorus and prepare with him works of Wagner, which for a long time the intrepid con- ductor had intended to produce in Paris. Chabrier was thus made thoroughly acquainted with Wagner's music dramas, and even then he was busy on his own opera, "Gwendoline." "Espana" was produced in 1883. The "Scene et Legende," from "Gwendoline," was performed with Mme. Montalba, soprano, at a Lamoureux concert, November 9, 1884. The prelude to the second

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1395 Delaquerri^re, and Bouvet, the chief singers. There were three per- formances, and the Opera-Comique was consumed by fire, May 25, 1887. The opera was mounted again, November 16, 1887, at the Chatelet. The same year, October 11, "La Femme de Tabarin," a tragi-parade in one act, by Mendes, music by Chabrier, with a story similar to that of Leoncavallo's "Pagliacci," was produced at the Theatre-Libre, Paris. Other compositions were "Suite Pastorale" (Idylle, Danse villageoise, vSous bois, Gigue), Prelude, Marche frangaise. Habanera,—all produced at the Popular Concerts, Angers; "Marche Joyeuse" (Lamoureux concert, Paris, February 16, 1890); "A la Musique," for soprano, female chorus, and orchestra (Colonne concert, Paris, March 27, 1891); Fantasia for horn and pianoforte; Romantic Waltzes for two piano- fortes (four hands); songs, among them "Credo d'amour," "Ballade de gros dindons," "Pastorale des petits cochons roses"; "Les plus jolies chansons du pays de France," selected by Mendes and with music noted by Chabrier and Armand Gouzien. It is said that he wrote the music for "vSabbat," a comic opera by Armand Silvestre; for a burlesque opera, "Vaucochard," text by Paul Verlaine; for an opera, "Jean Hunyade," which was abandoned; and that he contemplated an opera, "Les Muscadins," based on Jules Claretie's novel. The "Bourree Fantasque," composed for pianoforte, was orches- trated by Felix Mottl and first played at Carlsruhe in February, 1897. Mottl also orchestrated "Trois Valses Romantiques." "Briseis," an opera in three acts, libretto by Ephraim Mikhael and

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1387 Catulle Mendes, was left unfinished. Chabrier completed only one act, which was produced in concert form by Lamoureux, January 31, 1897. The first performance on the operatic stage was at the Royal Opera House, Berlin, January 14, 1899 (Hiedler, Gotze, Griining, Hoffmann, and Kniipfer were the chief singers). Richard Strauss conducted. The fragment was performed at the Opera, Paris, May 8, 1899. * * * Chabrier was described as exceedingly fat until disease shattered his body as well as his brain. His eyes were bright, his forehead was unusually developed. He delighted in snuff-colored waistcoats. Extracts from a letter written to the editor of the Revue d' Aujourd' hut (about 1890), who entreated Chabrier to serve as music critic for that magazine, will give some idea of his mad humor: "Reserve for me, if you are so inclined, a position as bashibazouk, an intermittent gentle- man; I give you full liberty to do this. I^ook for some one recta, a serious bearer of perfect copy—there are such competent persons; and, above all, a modern man, a fellow of hot convictions and fiery zeal. . . . Find a hairy slayer of the repertory, a slugger of opera man- agers, a nimble lighter of new street-lamps, and a radical extinguisher of the old ones; that's the ideal chap for you. But why look toward me for an3'thing good? When a man has little hair left, and that is white, he should stop playing the pianoforte in public." We learn from letters that Chabrier wrote to Paul Lacombe and others that he was very fond of Vincent d'lndy. A picture of the latter, young, with very long hair, which fell a little over the forehead, was near him in his study, with a medallion of Berlioz, a mask of

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GRACE'S NEW MILLINERY STORE II Summer Street, Boston, Mass. 1398 Wagner, ivy gathered on the tombs of Schumann and Liszt, portraits of Lamoureux, Hermann Levi, and Mottl. His admiration for C^sar Franck amounted to devotion. During the last and sad years of Chabrier's Hfe lie interested himself in the works of composers younger than he was, as "Le Reve"of Alfred Bruneau; and he begged Debussy, whose talent he admired greatly, to send him his quartet, so that he could see it before he died. His dislikes were equally strong. Robert Brussel and he were once driving to Cheret's studio. "Suddenly Chabrier hit the cabman a cannon-ball blow in the back and shouted, 'Stop.' Disturbed, I looked at Chabrier, whose eyes were rolling in anger. Clutching my arm, he said: 'Do you see that man who is walking there? That is that blackguard X., who makes such dirty music. Go on. Cabby!" Such was Chabrier. The unfortunate X. had done no other wrong, no doubt, than to write common, inexpressive music; but that was the worst thing he could possibly have done. Chabrier could never endure the quelconque in art. The walls of his parlor and his study were covered with canvases of his friends the innovators, —^Manet, Monet, Renoir, Sisley, Cezanne; and his comrades among the musicians were d'Indy, Faure, Duparc, Chausson—that is to say, artists who were struggling and toiling toward an unexplored horizon. The manufacturer of music was his pet aversion, and nothing was more amusing than a short encounter between Chabrier and

Ambroise Thomas. . . . One night at the Opera during a performance of 'The Valkyrie' he prevented me from hearing a note of the work, constantly elbowing me to draw my attention, analyzing the music for me, overpowering me with technical details, which he punctuated with interjections of admiration. The difficulty of restraining his enthusiasm was shown in his familiar books. His edition of Wagner, which I preser\^e preciously as a gift from his family, bears in the margins strokes of the admiring pencil: on each page there is an exclamation point, or 'How beautiful!' or 'Admirable,' and great lines made with the sweeping gesture that was characteristic of him enclose especially loved pages." He was an unlucky man. His "Roi malgre lui" was an instanta- neous success, but the Op6ra-Comique was destroyed by fire after

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38 ST., near St., "WEST Tremont 486 Boylston Street • BOSTON Tekphoce, Oxford 582. BOSTON In tht block of th« Braaswick Hot*) 1309 ! — three performances. "Gwendoline" was successful at the Monnaie, Brussels, but the managers soon after failed. Alfred Bruneau wrote: "They performed 'Gwendoline' too late in the Op^ra. No one was more overflowing with life, spirits, joy, enthusiasm; no one knew how to give to tone more color, to make voices sing with more exasperated passion, to let loose with more of a shock the howling tempests of an orchestra; no one was struck more cruelly, more directly, in his force than Chabrier. The good, jovial, tender, big fellow, who, changed to a thin, pale spectre, witnessed the performance, so long and so sadly awaited, without being able even to assure himself that he saw at last his work on the stage of his dreams, his work, his dear work ; the master musician, deprived of his creative faculties, whom the passion for art led, however, each Sunday to the Lamoureux concerts, frenetic applauder of his gods, Beethoven and Wagner, finding again at the occurrence of a familiar theme or at the appearance of an amusing harmony the flaming look, the hearty laugh, which each day, alas, enfeebled "The prodigious liveliness which individualizes to such a high degree the works of Chabrier was the distinctive mark of his character. The exuberance of his gestures, the solid frame of his body, the Auvergnian accent of his voice, which uttered the most varied remarks and punctu- ated them at regular intervals by inevitable exclamations, 'Eh! bonnes gens!' or 'C'est imbecile,' the boldness of his hats, the audacity of his coats, gave to his picturesque person an extraordinary animation. He played the pianoforte as no one ever played before him, and as no one will ever play again. The spectacle of Chabrier stepping forward, AQUAMARINES We are showing a wonderful collection of these exquisite sea-blue precious stones in unique Brooches, Pendants, etc., of our own make. EDWARD H. CLARKSON BOYLSTON STREET Opposite Arlington Street Church

Hiss n. Q. CLIFFORD, The Boston Symphony Orchestra MILLINERY. Programme For the twenty-four Boston concerts, with Historical inPORTER. DESIGNER. and Descriptive Notes by Philip Hale. Bound 739 Boylfiton Street, Room 225. copies of the Programme for the entire season can be had at (1.50 by applying before the last concert. Address all communications to Imported Models shown, and copied at F. R. COMEE, moderate prices. Symphony Hall, Bottoa.

DAVID W. EDWARDS. Jr. MISIC-EDICATION €atIor " Music teaches most exquisitely the art of development." D'Israbli. Removed to AoBoimcemeDts tent on applicatioa 420 Boylston Street CALVIN B. CADY Boston Linda Ekman villa Whttnar Whtta EUzabeth Fyffe HelM Howard WUting T»lephon«, Back Bay 3535-3 235 Newbury Street, aear FakffieU 1400 —

in a parlor thick with elegant women, toward the feeble instrument, and performing 'Espana' in the midst of fireworks of broken strings, hammers in pieces, and pulverized keys, was a thing of unutterable drollery, which reached epic proportions. "Because Chabrier possessed also, and to a supreme degree, charm and grace,—nor do I need to say, without any affectation,—he enwrapped certain types of womanhood, his voluptuous Sulamite, for example, and the tragic bride of Harald (Gwendoline) in delicious dress of sevenths, ninths, and appoggiaturas, which adorned them in exquisite manner. But he had, above all, originality, the gift of creation, and refusing to be a v^assal of any school, not being a pupil of any one, having acquired by patient study and repeated hearings of the masters the trade for which he had fashioned for himself his own tools, he allowed an admirable artistic temperament to develop itself in fullest liberty. . . . "Let us also report the pitiless and idiotic cruelty of things. Can one never attain the wished-for goal, and will it never be permitted to any one to accomplish wholly the work of his life? After years of struggles and pains, Chabrier, in the ultimate hope of better days, is struck by the frightful disease which destroys his thought and leaves unfinished the lyric drama ["Briseis"] which would have brought him glor}?- and added to the honor of French music. I take pleasure in remembering him as he was formerly in his gay lodgings, where pictures by Manet, Monet, Renoir, fastened to the walls, laughed in their joyous harmonies of colors. I remember him young, robust, jovial, enthusi- astic, playing for me the first act of 'Briseis.' With what fire he

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1402 declaimed the beautiful and sonorous verses of Mend^s! With what ardor hefsang at the poor thin pianoforte his magnificent orchestral hvmns! But I open a drawer and find there one of his letters, which brings to me the sad reality of the present moment. It is the last letter he wrote to me. The rude and firm characters of former days are changed into a hesitating and feeble penmanship. The letter ends as follows: 'You are very happy, for you can work for a long time.' "A too violent worker, because, having sacrificed his soul and his bodv to art, struck down by excessive cerebral expense, he was obliged to. interrupt his task and to look on—you may imagine with what despair—the shipwreck of his intelligence. I know of no martyrdom comparable to that which the poor man, a conscious witness of his misfortune, endured for long months, and I know of none more glorious." It has been said of Chabrier: "Although Chabrier was not a conserv- atory pupil, he had learned thoroughly counterpoint and fugue. The patient and meditative reading of the scores of great masters had familiarized him with the resources of each instrument,—the grouping, the accent, the tone color, and the compass,—and especially the adap-

tation of musical expression to the art of orchestration. . . . Perhaps at times he showed too much anxiety in the matter of rhythm; perhaps there are sonorities that are not agreeable and intervals that are dan- gerous to the human voice; but, as one has justly said: 'No one of the younger school possessed in the same degree the art of weaving a rhythmic theme and varying it and combining it.' He launched himself boldly into all the dangers of unexpected and new harmonies. He was a marv^ellous discoverer of sonorous combinations which had a penetrating accent. He was a man apart, an individuality carried by temperament toward extravagance. Pages of excessive character, loud in color, astonishing by the dash of rhythm and the violent shock of tones, are by the side of pages most delicate and tender in sentiment. His orchestration is especially curious, interesting, remarkable. He was particularly sensitive to strange combinations of timbres, and his 'Espaiia'is in this respect one of the most original pieces of modem orchestral music,"

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1404 Fifth orchestral trip next week. There will be no public rehearsal and concert on Friday afternoon and Saturday evening, March twentieth and twenty-first.

Nineteenth Rehearsal and Concert*

FRIDAY AFTERNOON, MARCH 27, at 2.30 o'clock.

SATURDAY EVENING, MARCH 28, at 8 o'clock.

PROGRAMME.

Halvorsen " Fossegrimen," Suite for Orchestra

(First time.)

Gustav Strube . Two Symphonic Poems for Orchestra with Viola Solo

a. Longing. b. Fantastic Dance (first time).

Beethoven Symphony No. i The FOURTH and last of the series of CHAMBER RECITALS BY FELIX FOX WILL BE GIVEN ON Monday Afternoon, April Sixth, at three o'clock Seats may be reserved now at the ticket office

THURSDAY, MARCH 26, at 8.15 CHAMBER CONCERT Miss Jessie Davis, Pianist ASSISTED BY

Mr. LEON RENNAY, Baritone Mr. HENRY EICHHEIM, Violinist PROGRAM Gabriel Fauri Senate for piano and violin in A major, Op. 13 Chantons les amours Weckerli7i (Arranged)/ A ,...o,,„-^ri\ J | Maman. dites-moi G. Ferrari Ecoutez-moi !Le secret G. Faure Nell Clair de lune

( Rondel Reynaldo Hahn ( La honne chanson Gluck-Brahins Gavotte Debussy Clair de lune

I Impromptu in F Chopin . I Valse in E minor

E. del' Acqua . Les etoiles filantes

Augusta Holmes . Hymne a Selen^ Fiere heaute Saitit-Saens J ( Suzette et Suzon Debussy Mandoline

Graham Peel . Three leaves from a Child's Garden (Words by Robert Louis Stevenson) Edward German The yeomen of England (from "Merrie England ") Tickets now on sale at the hall The Mason & Hamlin Piano The Third Son^ Recital BY STEPHEN TOWNSEND WILL BE GIVEN ON Wednesday Evening, March 25 At 8.15 o'clock

Tickets, 75c., $1.00, ^1.50, are now on sale at the hall. 1406 CHICKERING HALL

Thursday Evening, April 2, 1908, at 8.15

€oiitpo$ition$ of Paul JWkn

ARTISTS ASSISTING

LOTTIE E. WILLIAMS, Soprano MYRON W. WHITNEY, Jr., Bass FELIX WINTERNITZ, Violin JOSEF ADAMOWSKI, Violoncello

Tickets on sale at Chickering Hall DEBUCHY'S CONCERT Jordan Hall Next Friday, March 20, at 3.15 To be over at 5 BERLIOZ PROGRAMME

1. " Benvenuto Cellini," Ouverture 2. Menuet des Follets, from "Damnation de Faust" 3. Trio des Jeunes Ismaelites, from " L'Enfance du Christ" Mr. G. Barrere, Mr. Ch. K. North, flutes; Mrs. Regis Rossini, harp " 4. Un Bal, from " Symphonie Fantastique And Second Act o£ the Opera in Five Acts: "LES TROYENS A CARTHAGE" Miss N. F. Burns, Miss M. M. Glenn, Miss E. Igelmann

Messrs. C. B. Shirley, J. Rattigan, A. R. Frank, M. Bowdoin, E. Marshall Chorus of 60 Orchestra of 64 Under the direction of Mr. ALBERT DEBUCHY

Tickets (Floor, $2.00 ; Balcony, $1.00) on sale at Symphony and Jordan Halls 1407 MUSICAL ANNOUNCEMENTS

Chickering Hall, Monday Evening, March i6, at 8.15 SONG RECITAL Emilio de Gogorza The Popular Baritone

Tickets, $1.50, $1, and soc, at Symphony Hall. Program at box office

Jordan Hall, Wednesday Afternoon, March 18, at 3 Mme. CARRENO

Her only Piano Recital in Boston this season

Tickets, $1.50, $1, and 75c., at Symphony Hall. Program at box office

Jordan Hall Last Boston Piano Recitals Farewell American Tour Farewell Boston Appearances DE PACHMANN Saturday Afternoon, March 21, at 3

Saturday Afternoon, March 28, at 3

Tickets, $2, $1.50, $1, at Symphony Hall Entire Chopin Program, March 21

Chickering Hall, Tuesday Evening, March 24, igo8, at 8.15 Concluding Concert Flonzaley Quartette ADOLFO BETTI, First Violin ALFRED POCHON, Second Violin UGO ARA, Viola IWAN D'ARCHAMBEAU, Violoncello Program Quartet in E flat major, Op. 30 (To the memory of F. Laub) Tschaikowsky Sonata in G major for two violins and piano ..... Bach Quartet in D major, Op. 76, No. 5 Haydn

Tickets, $1.50, $1, and 50c., at Symphony Hall

Mall Orders for the above concerts should be addressed to L. H. Mndgett, Symphony Hall, accompanied by check. All mail orders are filled prior to public sale.

1408 THE KNEISEL QUARTET FRANZ KNEISEL, First Violin LOUIS SVECENSKI, Viola JULIUS ROENTGEN, Sicond Violin WILLEM WILLEKE, Violoncello TWENTY-THIRD SEASON, 1907-1908 CHICKERING HALL, HUNTINGTON AVE.

FIVE CONCERTS TUESDAY EVENINGS

at 8.15 o'clock

NOVEMBER 12, 1907 DECEMBER 10, 1907 JANUARY 14, 1908

FEBRUARY 18. 1908 MARCH 17, 1908

ASSISTING ARTISTS Mmb. OLGA SAMAROFF Mr. HAROLD BAUER Mr. HEINRICH GEBHARD Miss KATHARINE GOODSON Mr. RUDOLPH GANZ AND OTHERS

Single tickets for the fifth concert, March 17, 1908, are now on sale at

THE BOSTON MUSIC CO. (G. Schirmer, Jr.), 26 and 28 West Street.

Tickets will be forwarded on receipt of check or money order. Checks payable to order of Kneisel Quartet.

PROGRAM OF FIFTH CONCERT

Caetani Quartet, Op. 12. (New, first time)

Franck, C Piano Quintet in F minor

Haydn, J Quartet in G

ASSISTING ARTIST Mme. OLGA SAMAROFF

STEINWAY PIANO

1409 BOSTON THEATRE LINDSAY MORISON, MANAGER Grand Opera Season APRIL 6 TO APRIL 11 One Week Eight Performances

Monday Evening, April 6, Mascagni*s '* IRIS." First Boston Production.

Tuesday Evening, April 7, Puccini's ''LA BOHEME."

Wednesday, April 8, Afternoon, Verdi's "IL TROVATORE."

Wednesday, April 8, Evening, Wagner's "DIE WALKUERE." Thursday Evening, April 9, Mozart's " LE NOZZE DI FIGARO." Friday Evening, April 10, Puccini's "MANON LESCAUT." First Boston Production. Saturday, April 11, Afternoon, Wagner's "TRISTAN UND ISOLDE." Saturday, April 11, Evening, Thomas's "MIGNON." CONDUCTORS Messrs. Samuel Bovy, Alfred Hertz, Rodolfo Ferrari, and Gustav Mahler. ARTISTS SOPRANI Mmes. Bella Alten, Lina Cavalieri, Gina Ciaparelli, Emma Eames, Fely Dereyne, Geraldine Farrar, Rita Fornia, Olive Fremstad, Anne Girerd, Leffler-Burckard, Lucille Lawrence, Lucy Lee Call, Marie Mattfeld, Berta Morena, Marie Rappold, Marion Weed. MEZZ0=S0PRANI and CONTRALTI Mmes. Louise Homer, Josephine .Jacoby, Frida Langendorff, Kirkby-Lunn. TENORI Messrs. Julius Bayer, Alessandro Bonci, Alois Burgstaller, Carl Burrian, Enrico Caruso, Andreas Dippel, George Lucas, Riccardo Martin, Giovanni Paroli, Albert Reiss, Giuseppe Tecchi. BARITON! Messrs. Bernard Begue, Giuseppe Campanari, Eugene Dufriche, Otto Goritz, Adolf Muehlmann, Antonio Scotti, Riccardo Stracciari, Anton Van Rooy. BASSI Messrs. Raffaele Barocchi, Robert Blass, Marcel Journet, Vittorio Navarini.

All of the seats in the dress circle ($3), as well as all of the seats in the second balcony ($2), have been taken for the season by subscribers. Seats in the orchestra and the first two rows of the first balcony, at $5 each, may be subscribed for by mail until Saturday, March 21. Box office, season sale, March 23, 24, 25. Seat sale for any performances on and after Monday, March 30. All mail orders should enclose

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SOME SONGS (NEW AND OLD) BY CLAYTON JOHNS Will be sung by Miss LILLA ORMOND

On WEDNESDAY AFTERNOON, MARCH 25, at THREE O'CLOCK, in the HALL OF THE TWENTIETH CENTURY CLUB, 3 JOY STREET

Mr. JOHNS will accompany Miss ORMOND, and Mr. LOUIS bachne:r Will play Pianoforte Solos

Tickets, $1.50, at the office of the Twentieth Century Club, 3 Joy Street MUSICAL INSTRUCTION. TIPPETT-PAULL STUDIOS. THE ART OF SINGING AND THE CULTIVATION OF THE SPEAKING VOICE.

3J2 Pierce Building, Copley Square - - Boston

CLASA TIPPETT. WM. ALDEN PAULL. Assistant. GRACE R. HORNE. itn. Tipp«u twches in Portland^ Me., on Wednesdays, Baxter Building 1418 MUSICAL INSTRUCTION. VOCAL INSTRUCTION and SOPRANO SOLOIST. ^-""o. Av.nu.. Miss HARRIET S, WHITTIER, ^^* "-"'•^«"

hlxpoueot ot Che method of the late Charles K . Adam*. Portsmouth, New Hampahire, Moadays.

TEACHER OF SI/NGING.

Studio: Suite 14, Steinert Hall, 163 Boylstoa Mr. CHARLES B. STEVENS, Street, Boston, Mass.

Telephone, 133 1 Oxford. Brockton, Mass., Wednesdays.

Barytone Soloist and STEPHEN TOWNSEND, Teacher of Singing.

6 NEWBURY STREET, BOSTON.

PIA/NIST. Miss LAURA HAWKINS, No. 6 NEWBURY STREET.

Classes in Sight Reading MissGAROUNEM. SOUTHARD, (EIGHT HANDS). Advanced pupils follow the Symphony programmes TEACHER OF THE PIANOFORTE. as far as practicable. 22 Huntington Avenue - Boston

Concert and Oratorio. Miss GERTRUDE EDMANDS, Vocal Instruction.

The Copley, 18 Huntinstoo Avenue.

TEACHER of SI/NGING. 407 Pierce Building, Mrs. HALL MCALLISTER, COPLEY SQUARE. Musical Mlanagement.

Vocal mstruction by the Larapertt method to a Urn Ited number of pupUs. Oratorios taught tn accordance with traditional renderings under 8ii Michael Costa, MUe. AVIGLIANA Uacfarren, etc Highest references. Tenia on appli- cation at I Royal Italian Opera, Covent Qardcn), 137 Newbury Street mzt«en years ot foreign study and professiloiua lite DRAMATIC SOPRANO. m Urnnd Opera in It&ly and in Opera, oratorio, and Concert in £n{;land. Scotland, etc., have amply qnali- Concert, Oratorio, fled aUe. Angliana to prepare her pupils for any poBitlon.

Physical and Personal Culture, Rhythm, Poise, Breathing, Mrs, LUGIA GALE BARBER, Concentration, Relaxation, Normal Course. The Ludlow, Copley Sq., Boston PIANIST and TEACHER. Hemenway Chambers, Mrs. GAROLTN KING HUNT, \A^estland Avenue, Boston.

WALTER LOUD, FREDERICK BLAIR, Violinist, Violoncellit^, of the SCHUBERT STRING QUARTET. a2-34 BATAVI A STREET. Telephone, Back Bay 388S-4. VOICE CULTURE. SBRIQLIA METHOD. STUDIOS: Room 408, Pierce Building, Boston, Mass. EFFIE PALMER, Room 45, Chalifoux Building. Lowell, Mas*., Mondays. Room nog. Butler Exchange, Prnvidencp, R.I., Wednesdays.

Pianist and TeacHer. Hiss ELEANOR BRIGHAM, Trifvity Cou.rt.

TEACHER of SINGING. Organist and Conductor. E. COTTER, Jr, STUDIO, 6 NEWBURY STREET. Booklet. " Of Interest to those who Desire to Sing," mailed on request.

PIANIST and TEACHER. Miss JOSEPHINE COLLIER, 6 NEWBURY STREET.

THOMAS E. JOHNSON. JAMES C. BARTLETT. GEORGE H. REMELE, Manager. D. MARKS BABCOCK. ALBION QUARTETTE. Music for all occasions. Special arrangement of Hymns, Anthems, etc.

* 160 Boylston St. Tel., Oxford 1935-2. CONCERTS AND THE BRICE TRIO. MUSICALES. PEARL BRICE, VioUn PRIVATE KATHERINE HALLIDAY, Violoncello For Program address MARGARET QORHAM, Piano GARRISON HALL - - - Boston

Mrs. NELLIE EVANS PACKARD, STUDIO, 218 TREnONT STREET (Room 309), BOSTON. VOCAL INSTRUCTION. Mrs. Packard ia commended by Walker, Randegger (London), Marcbesi, Boohy, Trabadelo (Paris), Leooi (Milan), Vannnccioi (Florence), Cotogni, Franceschetti (Rome). 1415 . > TENOR- BARITONE. Pupil of Professor Jachman-Wagner, Berlin, and Professor Galliera, Milan, Italy. KARL DOERING, Training and Finishing of Voice. School for Qrand Opora and Oratorio STEINERT HALL. ROOM 37. Open Tuesday, October g. Send for new Proapectau. BARITONE SOLOIST and TEACHER Of SINGING. WILLIAM W. WALKER, (Soloint Boston Symphony Orchestra, 1 899-1 900. 149 a Tremoat Street, Boston.

PnpUs of Mr. List«- who had the foundaHon for their succesn laid under ROBERT N. LISTER, his nifthod: Mrs. \ioLt(CASip. Teacher of Singing BELL) XV vTERHousK. Soprano, Church of Uie PilKTims. iJrooldyn, K.Y.; Miss Isabel C. Melv lle. Con- tralto Rog-rs Memorial ( liurrti, FalrhaTen, Mass.; Mrs. ROBERT H. LISTER, Soprano Soloist Mrs. Robert N. Lister, Soprano. Piertmont Cliurch, Worciestcr. Mass.; E. M. WaterhotsE, Tenor, All Angels' Church, Kew York; Howard E. Wbitihs,- studio P Chambers, 246 Huntington Baritone, St. JanK-s's Ch a-r-h. i am bridge, Mass.; Henry CHEqrER, Bass, All ."«ouIs' Church, Boxbury, (corner Avenue Massachusetts Avenue), Boston. Mass.; L. Phillips Shawe, < ongregational Churca* Pawtucket, K.I. ; and many others. Miss Rose Stewart, CLAUDE MAITLAND GRirFETH, PIANO and HARMONY INSTRUCTION Vocal Instruction. 133 Carnegie Hall, New York City. 246 Huntington Avenue. Fourte.enth Season opened October i

BOSTON MUSICAL BUREAU. HENRY T. WADE, Eftaklished 1899. Supplies Schools, Colleges, and ConsarvatoriM PIANOFORTE. with Teachers of Music, etc.; also Churchas with Orcaniiitf, Directors, and Singers. 30 Steinert Hall, Boston. Address HENRY C. LAHEE, 25 Wesley Street, Newtoo. 'Phone, 475-1 Oxford. ji8 Tremont St., Boston.

Practical F. ADDISON PORTER, EDWIN LOCKHART, Finger Exercises, Pianoforte Instructor. BASSO. Manager, R. E. Op. 17. JOHNSTON, Address, Steinert or 1 for sale by Hall 133 Broadway, New Yerk. all music New England Conservatory of Music, ORATORIO and CONCERT. dealers. Boston, Mass. Vocal Sttidio, Carnegie Hall. New York. Miss IZETTA B. HOLWAY, Contralto Soloist and Clarence B. Shirley, Teacher of Voice. Tenor Soloist and Teacher. 8ta4io, Stainart Hall, 162 Boylston St, Boston. Residence, 19 Rnthven Street, Roxbury. CONCERT AND ORATORIO. Tuesday and Friday Afternoons. Studio, Huntington Chambers, Boston. Telephone. 1685-3 Roxbgr\'.

SINGING . HARMONY. Mrs. HIRAIVI MALU Specialty Restoration of voices injured by ineorT»ct methods and care of children's voice*. Pianist and Teacher. lastniction In Public School Music Director of Glee Clubs and Sinrtaf Sodatias. HARMONY BY MAlL 118 Charles Street. 447 Day Building, Worcester, Mats. 5 Vose Building, 160 Boylston Street, Boston.

Miss ANNA MILLER WOOD, MABEL ADAMS BENNETT, HEZZO-CONTRALTO SOLOIST COACH And c4CC0MPANIST. and TEACHER. Opera and Repertoire. For past four years Coach and Accompanist for Studio, Pierce Building, Copley Square. pnpils of M. Alfred Giraudet, of the National Boston. Conservatory and Grand Opera oi Paris. Telephone. B^k B«y 2736-1 TRINITY COURT, DARTMOUTH STRBET. 14]«