INFANTRY HALL . . PROVIDENCE

Thirty-first Season, J9J1-J9J2

Boston i^jjittpljottg ©rdj^Htnt

MAX FIEDLER, Conductor

•programme of tty

Fifth and Last Concert

WITH HISTORICAL AND DESCRIP-

TIVE NOTES BY PHILIP HALE

TUESDAY EVENING, APRIL 2

AT 8.15

COPYRIGHT, 1911, BY C A. ELLIS

PUBLISHED BY C. A. ELLIS, MANAGER

Vladimir

De PachmannThe Greatest Pianist

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ON TOURIN THE

UNITED STATES

SEASON: 1911-1912

For generations the appearance of new stars on themusical firmament has been announced—then they camewith a temporary glitter—soon to fade and to be forgotten.

De Pachmann has outlived them all. With each returnhe won additional resplendence and to-day he is acknowl-edged by the truly artistic public to be the greatest exponentof the piano of the twentieth century. As Arthur Symons,the eminent British critic, says:

"Pachmann is the Verlaine or Whistler of thePianoforte the greatest playerof the piano now living."

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Sole Representative

MRS. LUCY H. MILLER28 GEORGE STREET - - PROVIDENCE, R.I.

INFANTRY HALL . . . PROVIDENCE

One Hundred and Twenty-fourth Concert in Providence

Thirty-first Season, 1911-1912

MAX FIEDLER, Conductor

FIFTH AND LAST CONCERT

TUESDAY EVENING, APRIL 2

AT 8.15

MAX FIEDLER'S FAREWELL APPEARANCE

PROGRAMME

Beethoven .... Overture, "Leonora/' No. 3, Op. 72

Chopin .... Concerto No. 2, F minor, for Pianoforte andOrchestra, Op. 21

I. Maestoso. _II. Larghetto.

III. Allegro vivace.

Wagner A "Faust " Overture

Wagner . " A Siegfried Idyl'

j

Wagner ....... Overture, "Tannhauser"

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Overture to "Leonora" No. 3, Op. 72. Ludwig van Beethoven

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

Beethoven's opera, "Fidelio, oder die eheliche Liebe," with text

adapted freely by Joseph Sonnleithner from the French of Bouilly

("Leonore; ou, l'Amour Conjugal," a "fait historique" in two acts

and in prose, music by Gaveaux, Opera-Comique, Paris, February 19,

1798), was first performed at Vienna, November 20, 1805, with AnnaPauline Milder,* afterward Mrs. Hauptmann, as the heroine. The first

performance in Boston was on April 1, 1857, with Mrs. Johannsen,Miss Berkiel, Beutler,! Neumann, Oehlin, and Weinlich as the chief

singers.

"Leonore" No. 2 was the overture played at the first performance

•Pauline Anna Milder was born at Constantinople, December 13, 1785. She died at Berlin, May 2Q,1838. The daughter of an Austrian courier, or, as some say, a pastry cook to the Austrian embassador atConstantinople, and afterward interpreter to Prince Maurojeni, she had a most adventurous childhood. (Thestory is told at length in von Ledebur's "Tonkiinstler-Lexicon Berlin's.") Back in Austria, she studied threeyears with Sigismund Neukomm. Schikaneder heard her and brought her out in Vienna in 1803, as Juno in

Stismayer's "Der Spiegel von Arkadien." She soon became famous, and she was engaged at the court opera,where she created the part of Leonora in "Fidelio." In 1810 she married a jeweller, Hauptmann. Shesang as guest at many opera-houses and was offered brilliant engagements, and in 181 6 she became a memberof the Berlin Royal Opera House at a yearly salary of four thousand thalers and a vacation of three months.She retired with a pension in 1831, after having sung in three hundred and eighty operatic performances.She was also famous in Berlin as an oratorio singer. She appeared again in Berlin in 1834, but her voicewas sadly worn, yet she sang as a guest in Copenhagen and St. Petersburg. Her funeral was conducted withpomp and ceremony, and it is said that the "Iphigenia in Tauris," "Alceste," and "Armide," her favoriteoperas, were put into her coffin,—a favor she asked shortly before her death.

t Mr. Beutler sang that night for the last time. He had a cold, and the physician warned him againstsinging, but the audience filled the theatre, and he was persuaded. He became hoarse immediately after theperformance, and, as his vocal chords were paralyzed, he never sang again. Mendelssohn, who had given himmusical instruction, praised his voice, but urged bim not to use it in opera, as it would not stand the wearand tear. Beutler them gave up the ambition of his life, but in the Revolution of 1848 he and other studentsat Heidelberg were obliged to leave the country. He came to the United States, and yielded to the temptationof a good offer from an opera manager. He became an understudy of Mario, then the misfortune befell him.I am indebted for these facts to Beutler's daughter, Mrs. Clara Tippett, of Boston.

PROVIDENCE MUSICAL ASSOCIATIONSEASON 1911=1912

STUDENTS' COURSEAT MEMORIAL HALL

THE FLONZALEY STRING QUARTET, TUESDAY, February 20, 8.30 p.m.

Mme. MAUD POWELL, Violin Recital . . Friday, March 1, 8.15 p.m.

Price: Single Concerts, $1.50.

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JOSEF LHEVINNE February 21

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in Vienna. The dpefa was withdrawn, revised, and produced a'gairf

on March 29, 1806, when "Leonore" No. 3, a remodelled form of No2, was played as the overture. The opera was performed twice, andthen withdrawn. There was talk of a performance at Prague in 1807,

and Beethoven wrote for it a new overture, in he which retained the

theme drawn from Florestan's air, "In des Lebens Friihlingstagen,"

but none of the other material used in Nos. 2 and 3. The opera wasnot performed, and the autograph of the overture disappeared. "Fi-delio" was revived at Vienna in 18 14, and for this performance Beet-hoven wrote the "Fidelio" overture. We know from his diary thathe "rewrote and bettered" the opera by work from March tc May 15

of that year.

The No. 3 begins, to quote Mr. Apthorp, "with one of Beethoven'smost daring harmonic subtleties. The key is C major; the strings,

trumpets, and kettledrums strike a short fortissimo G (the dominant of

the key), which is held and diminished by the wood-wind and horns,

then taken up again piano by all the strings in octaves. From this

G the strings, with the flute, clarinets, and first bassoons, now passstep by step down the scale of C major, through the compass of anoctave, landing on a mysterious F-sharp, which the strings thrice swell

and diminish, and against which the bassoons complete the chord of the

dominant seventh and at last of the tonic of the key of B minor. Fromthis chord of B minor the strings jump immediately back to G (domi-nant of C major), and pass, by a deceptive cadence, through the chordof the dominant seventh and minor ninth to the chord of A-flat major.Here we have in the short space of nine measures a succession of keys

—

C major, B minor, A-flat major—such as few men before Beethovenw.ould have dared to write; but such is the art with which this extraor-

dinary succession is managed that all sounds perfectly unforced andnatural." After the key of A-flat major is reached, clarinets and bas-

soons, supported by strings and two sustained notes for trombones,play the opening measures of Florestan's air, "In des Lebens Friih-

lingstagen" (act ii. of the opera). The buoyant theme of the Allegro,

C major, begins pianissimo in first violins and 'cellos, and grows in

strength until the whole orchestra treats it impetuously. The secondtheme has been described as "woven out of sobs and pitying sighs."

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THE MUSIC SCHOOL26 CABOT STREET - Corner MEETING STREET

ANNE GILBRETH CROSS, Director

Piano, Violin, Violoncello, Harmony, Analysis, MusicHistory, Choral Singing, Normal Training, German,English, Public Performance.

CLASSES:Harmony: Practice in the appreciation of scale relation, intervals, and

chords ..... Thursday, 3.30 p.m.

Music History : For young students . . Monday, 4.30 p.m.

Orchestral Class: Ensemble playing, string orchestra, Friday, 8 p.m.

Choral Class: Sight reading, correct breathing, part songs for

women's voices .... Saturday, ii a.m.

Recital Practice Class : To accustom players to public appearanceMonday, 2.30 p.m.

German Conversation: For practical experience in the spokenlanguage ..... Thursday, 8 p.m.

Telephone: Angell 1193

MARY ELLIS, Violin

Konigliche Hochschule, Berlin, 1904-1907

Pupil of Prof. Dr. Joseph Joachim and

Prof. Carl Markees

At the Music School, Tuesday and Friday

BERTHA I. KAGAN, GermanSpecial Courses in Phonetics and LiteratureDiction and Interpretation for Opera and

ConcertPupil of Ritter Ernst von Possart of Germany,and Kammersangerin Frau Louise Reuss-

Belce, Assistant Regisseur at Bayreuth.

At the Music School, Monday and Thursday

ANNIE SHATTUCK BLIVENPiano

Residence, 162 Albert Avenue, Edgewood

Edgewood Studio:Tuesday, Wednesday, Friday, and Saturday

At the Music School, Monday and Thursday

OLIVE WHITMAN STAFFORDPiano

Scholarship, 1908Certificate, 191

1

At the Music School daily except SaturdaySaturday at Pawtuxet

LEONARD SMITH, Violoncello

'Cellist in Manchester (England) Orchestra

Pupil of Carl Fuchs, Offenbach, Germany, and

of Alwin Schroeder

At the Music School, Tuesday and Friday

BERTHAWESSELHOEFT SWIFTSoprano

Pupil of Herbert Witherspoon, New York City

Butler Exchange, Room 511

Tuesday and Saturday

Choral Class at the Music School, Saturday,11 a.m.

ALZADA J. SPRAGUEPiano, Harmony, and Analysis

Residence, 22 Sycamore Street

Home Studio: Tuesday, Wednesday, Friday,and Saturday

At the Music School, Monday and Thursday

MARY SWEET WINSORPiano

Scholarship, 1909Certificate, 1910

At the Music School, Tuesday and FridayBarrington . Wednesday and SaturdayLaurel Hill . . Monday and Thursday

The working-out consists almost wholly in alternating a pathetic figure,

taken from the second theme and played by the wood-wind over anervous string accompaniment, with furious outbursts from the wholeorchestra. Then comes the trumpet-call behind the stage. The twice

repeated call is answered in each instance by the short song of thanks-giving from the same scene: Leonore's words are, "Ach! du bist

gerettet! Grosser Gott!" A gradual transition leads from this to the

return of the first theme at the beginning of the third part (flute solo).

This third part is developed in general as the first, and leads to a wildly

jubilant coda.

The overture "Leonore" No. 3 was first played in Boston at a concertof the Musical Fund Society on December 7, 1850. Mr. G. J. Webbwas the conductor. The score and the parts were borrowed, for theprogramme of a concert by the society on January 24, 1852, states

that the overture was then "presented by C. C. Perkins, Esq."

Mr. Josef Casimir Hofmann was born at Cracow, January 20, 1876.*

(The date January 20, 1877, is also given.) He was the son of CasimirHofmann, conductor, a composer of operettas, and teacher of harmonyand counterpoint at the Warsaw Conservatory.! Josef's mother wasa singer. The boy received his first music lessons from his father, andhe played in public when he was six years old at a charity concert in

•In Riemann's " Musik-Lexikon " (1909) the pianist's name is spelled "Joseph Hofmann."

t This statement is made by Grove's Dictionary. In Mme. Modjeska's Memoirs, Casimir Hofmann is

referred to as "formerly the leader of the orchestra in Cracow." Riemann's "Musik-Lexikon" says merelythat he was a conductor and composer of operettas. Mr. Hofmann died in 191 1.

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Warsaw. When he was nine years old, he gave concerts in Germany,Denmark, Norway, Sweden. After he had appeared in Vienna, Paris,

and London, he came to the United States, and made his first appear-ance in New York, November 29, 1887, when he played with orchestraBeethoven's First Concerto and solo pieces, among which were his ownBerceuse and Waltz. He gave ten concerts in Boston that season.

His first appearance was at Music Hall, December 23, 1887. HeleneHastreiter, Nettie Carpenter, Mrs. Sacconi, Theo. Bjorkstein, andDe Anna were associated with him. It is said that he gave fifty-two

concerts in two months and a half. Young Hofmann was then with-drawn from public life, chiefly through the agency of the late Alfred

Corning Clark, and went to Berlin, where he rested for a time andstudied counterpoint with Urban, the pianoforte with Moszkowski.He then studied with Rubinstein at Dresden for two years and a half,

until the death of that master. He also took lessons of d'Albert. In

1894 ne played in Dresden, London, and other cities, and in 1897 begana concert tour of Europe and America.He revisited Boston with the Chicago Orchestra, led by Theodore

Thomas, March 27, 1898, and played Rubinstein's concerto in D minorand a group of solo pieces. He gave recitals in Music Hall, March 28

and April 21, 1898. His next recital was on March 6, 1901, in Sym-phony Hall.

His first appearance with the Boston Symphony Orchestra in Bostonwas on November 30, 1901, when he played Rubinstein's concerto

and a group of solo pieces.

Recitals in Boston since the last-named date:

—

190 1, December 5 and 7, in Chickering Hall.

1904, November 5 and 15, in Steinert Hall.

1 9 10, November 14, in Symphony Hall.

Chamber Concerts:—1902, March 29, with Messrs. Kreisler and Gerardy, in Symphony

Hall (Rubinstein's Trio in B-flat, Op. 52, and solo pieces); April 5, with

the same colleagues (Beethoven's Trio in B-flat major and solo pieces).

1904, December 6, Kneisel Quartet concert (Brahms's piano quintet

in F minor).

He played at a concert of the Boston Symphony Orchestra in Boston,

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December 17, 1910, Rubinstein's concerto in D minor; and at a concertin aid of the Pension Fund of the Boston Symphony Orchestra April 9,

191 1 (Beethoven's concerto in G major, No. 4).

Mr. Hofmann has composed several piano concertos and smaller

piano pieces. He played the concerto in A minor, No. 3, with thePhilharmonic Society of New York, February 28, 29, 1908. He hascontributed to various periodicals, and published a book about pianotechnic.

Concerto No. 2, in F minor, for Pianoforte and Orchestra,Op. 21 Frisdijric Chopin

(Born at Zelazowa-Wola, near Warsaw, February 22, 18 10; * died at Paris,

October 17, 1849.)

The Concerto in F minor was composed before the Concerto in Eminor, Op. 11, but the latter was published in September, 1833, andthe former was not published until April, 1836.

The first mention of this concerto was in a letter written by Chopin,October 3, 1829, to Titus Woyciechowski : "Do not imagine that I amthinking of Miss Blahetka, of whom I have written to you; I have-perhaps to my misfortune—already found my ideal, which I worshipfaithfully and sincerely. Six months have elapsed, and I have notyet exchanged a syllable with her of whom I dream every night. Whilstmy thoughts were with her I composed the adagio f of my concerto."Chopin was then at Warsaw. This ideal was Constantia Gladkowska.Born in the palatinate of Masovia, she studied at the Warsaw Con-servatory. Chopin was madly in love with her. Henriette Sontag

*This is the date given by Riemann's Musik-Lexikon (ioog), and the one observed for the recent cente-tenary in Poland. Niecks, Huneker, and Grove's Dictionary (Revised Edition) prefer March i, 1809. filie

Poieree in his excellent biography of Chopin (Paris, s. d., Henri Laurens' Series " Les Musiciens Celebres")gives February 22, 1810.

t " The slow movements of Chopin's concertos are marked Larghetto. The composer uses here the wordAdagio generically,

—

i.e., in the sense of slow movement generally."

—

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11

heard her sing in 1830, and said that her voice was beautiful, but alreadysomewhat worn, and she must change her method of singing if she didnot wish to lose her voice within two years; but Chopin worshippedConstantia as a singer as well as woman. His sweetheart made herdibut at Warsaw as Agnese in Paer's opera in 1830. We learn fromChopin's letters that she looked better on the stage than in the parlor,

that she was an admirable tragic play-actress, that she managed hervoice excellently up to the high F and G, observed wonderfully thenuances. "No singer can easily be compared to Miss Gladkowska,especially as regards pure intonation and genuine warmth of feeling."

In this same year he was sorely tormented by his passion, and some of

his letters were steeped in gloom. At the concert October 11, 1830,she "wore a white dress and roses in her hair, and was charminglybeautiful. . . , She never sang so well as on that evening, except the aria

in 'Agnese.' You know 'O! quante lagrime per te versai.' The 'tutto

detesto ' down to the lower B came out so magnificently that Zielinski

declared this B alone was worth a thousand ducats." In 1831 he dinedeagerly with Mrs. Beyer in Vienna because her name was Constantia:"It gives me pleasure when even one of her pocket handkerchiefs or

napkins marked 'Constantia' comes into my hands." In a letter hesays of the young woman at Warsaw: "If W. loves you as heartily as

I love you, then would Con— No, I cannot complete the name, myhand is too unworthy. Ah! I could tear out my hair when I thinkthat I could be forgotten by her!" The next year he was still in love,

although he let his whiskers grow only on the right side. "On the left

side they are not needed at all, for one sits always with the right side

turned to the public." Constantia married Joseph Grabowski, a mer-chant of Warsaw, in 1832. Count Wodzinski tells another story,

—

that she married a country gentleman and afterward became blind.

In 1836 Chopin asked Maria Wodzinska to marry him. She refused

him, and said that she could not act in opposition to the wishes of

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her parents. Some time in the winter of 1836-37 Chopin met GeorgeSand.

Chopin wrote, October 20, 1829: "Eisner has praised the Adagio of

the concerto. He says there is something new in it. As for the Rondo,I do not yet wish to hear a judgment, for I am not satisfied with it

myself." This Finale was not completed until November 14.

A "Faust" Overture Richard Wagner(Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.)

While Wagner, conductor at Riga, was writing "Rienzi," he keptthinking of Paris as the one place for the production of his opera. Hearrived in Paris, after a stormy voyage from Pillau to London, in

September, 1839. He and his wife and a big Newfoundland dogfound lodgings in the Rue de la Tonnellerie. This street was laid outin 1202, and it was named on account of the merchants in casks andhogsheads who there established themselves. The street began at

the Rue Saint Honore, Nos. 34 and 36, and ended in the Rue Pirouette;

and it was known for a time in the seventeenth century as the Ruedes Toilieres. Before the street was formed, it was a road with a fewmiserable houses occupied by Jews. Wagner's lodging was in No.23,* the house in which the illustrious Moliere is said to have beenborn; and a tablet in commemoration of this birth was put into the

* Felix and Louis Lazare, in their " Dictionnaire des Rues de Paris" (Paris, 1844), give 5 as thejnumberof Moliere 's birth-house.

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wall in the Year VIII., and replaced when the house was rebuilt, in

1830. This street disappeared when Baron Hausmann improvedParis, and the Moliere tablet is now on No. 31 Rue du Pont-Neuf.

In spite of Meyerbeer's fair words and his own efforts, Wagner wasunable to place his opera; and he was obliged to do all manner of

drudgery to support himself. He wrote songs, read proofs, arrangedlight music for various instruments, wrote articles for music journals.

He himself tells us: "In order to gain the graces of the Parisiansalon-world through its favorite singers, I composed several Frenchromances, which, after all my efforts to the contrary, were consideredtoo out-of-the-way and difficult to be actually sung. Out of the depthof my inner discontent, I arrned myself against the crushing reaction

of this outward art-activity by the hasty sketches and as hasty com-position of an orchestral piece which I called an ' overture to Goethe's"Faust,"' but which was in reality intended for the first section of agrand 'Faust' symphony."He wrote it, according to one of his biographers, in "a cold draughty

garret, shared with his wife and dog, and while he had a raging tooth-ache." On the other side of the sheet of paper which bears the earliest

sketch is a fragment of a French chansonette.

Before this, as early as 1832, Wagner had written incidental musicto Goethe's drama and numbered the set Op. 5. These pieces were:Soldiers' Chorus, Rustics under the Linden, Brander's Song, two songsof Mephistopheles, Gretchen's song, "Meine Ruh' ist hin," and melo-drama for Gretchen. (This music was intended for performance at

Leipsic, where Wagner's sister, Johanna Rosalie (1803-37), the play-

actress, as Gretchen, was greatly admired.*It has been stated by several biographers that the overture to "Faust'

was played at a rehearsal of the Conservatory orchestra, and that the

players, unable to discover any purpose of the composer, held up handsin horror. Georges Servieres, in his " Richard Wagner juge en France,"

* Some preferred her in this part to Schroeder-Devrient. Thus Laube wrote that he had never seenGretchen played with such feeling: "For the first time the expression of her madness thrilled me to themarrow, and I soon discovered the reason. Most actresses exaggerate the madness into unnatural pathos.They declaim in a hollow, ghostly voice. Demoiselle Wagner used the same voice with which she hadshortly before uttered her thoughts of love. This grewsome contrast produced the greatest effect." Rosaliemarried the writer, Dr.. G. O. Marbach, in 1836.

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gives this version of the story. ''The publisher Schlesinger busied him-self to obtain for his young compatriot a hearing at the Societe* desConcerts. Wagner presented to the society the overture to 'Faust'which he had just sketched and which should form a part of a symphonyfounded on Goethe's drama. The Gazette Musicale of March 22, 1840,announced that an overture for 'Faust' by M. R. Wagner had just

been rehearsed. After this rehearsal the players looked at each otherin stupefaction and asked themselves what the composer had tried to

do. There was no more thought of a performance."Now the Gazette Musicale of March 22, 1840, spoke of Wagner's

remarkable talent. It is said that the overture obtained "unanimousapplause," and it added, "We hope to hear it very soon"; but it didnot give the title of the overture.

But Glasenapp, a lover of detail, says in his Life of Wagner thatthis overture was not "Faust," but the "Columbus" overture, whichwas written for Apel's play in 1835, and performed that same year at

Magdeburg, when Wagner was conductor at the Magdeburg Theatre.The overture to "Christoph Columbus" was performed at Leipsic(April 2, 1835), in the Gewandhaus; at Magdeburg (May 2, 1835), whenWagner conducted; at Leipsic (May 25, 1835); at Riga (April 1, 1838);and at Paris (February 4, 1841), at a concert of the Gazette Musicaleto its subscribers.

The first performance of the "Faust" overture was at a charity

concert in the pavilion of the Grosser Garten, Dresden, July 22, 1844.The programme was as follows: overture to Goethe's "Faust" (Part

I.), Wagner; "The First Walpurgis Night" ballad for chorus andorchestra, poem by Goethe, music by Mendelssohn; "Pastoral" Sym-phony, Beethoven. Wagner conducted it. The work was called" Berliozian programme music "

; and acute critics discovered in it tauntsof Mephistopheles and the atoning apparition of Gretchen, whereas, as

we shall see, the composer had thought oniy of Faust, the student andphilosopher. The overture was repeated with no better success

August 19, 1844. A correspondent of the Berlin Figaro advised Wagnerto follow it up with an opera "which should be based neither on Goethe's

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nor on Klingemann's 'Faust,' but on the sombre old Gothic folk-saga,

with all its excrescences, in the manner of ' Der Freischiitz. '

"

The manuscript score of the original edition is in the Liszt Museumat Weimar. The manuscript of the revised edition is, or was until avery recent date, at Wahnfried in Bayreuth.The first performance of the overture in Paris was at a Pasdeloup

concert, March 6, 1870.

The first performance in the United States was at Boston, January3, 1857, at a Philharmonic concert, Mr. Zerrahn conductor, in theMelodeon. The orchestra was made up of about thirty-five players.

The music was then praised by Mr. John S. Dwight as "profound in

sentiment, original in conception, logical in treatment, euphonious as

well as bold in instrumentation, and marvellously interesting to theend." "It seemed," wrote Mr. Dwight, "to fully satisfy its end; it

spoke of the restless mood, the baffled aspiration, the painful, tragic

feeling of the infinite amid the petty, chafing limitations of this worldwhich every soul has felt too keenly, just in proportion to the depthand intensity of its own life and its breadth of culture. Never didmusic seem more truly working in its own sphere, except when it pre-

sents the heavenly solution and sings all of harmony and peace." Andthis burst of appreciation was in 1857 and in the city of Boston.The first performance of the overture in New York was by the Phil-

harmonic Society, Mr. Eisfeld conductor, January 10, 1857.The overture is scored for piccolo, two flutes, two oboes, two clari-

nets, three bassoons, four horns, two trumpets, three trombones, basstuba, kettledrums, and strings.

The work, which is in the form of the classic overture, begins with aslow introduction, or exposition of almost the whole thematic material

to be treated afterward in due course. Sehr gehalten (Assai sostenuto),

D minor, 4-4. The opening phrase is given out by the bass tuba anddouble-basses in unison over a pianissimo roll of drums, and is answered

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by the 'cellos with a more rapid phrase. The violins then have a phrasewhich is a modification of the one with which the work begins, and in

turn becomes the first theme of the allegro. A cry from wind instru-

ments follows, and is repeated a fourth higher. After developmentthere is a staccato chord for full orchestra, and the main body of theoverture begins. Sehr bewegt (Assai con moto), D minor, 2-2. Thereis a reappearance of the theme first heard, but in a modified form. It

is given out by the first violins over harmonies in bassoons and horns,

and the antithesis is for all the strings. After a fortissimo is reachedthe cry of the wind instruments is again heard. There is a long develop-ment in the course of which a subsidiary theme is given to the oboe.

The second theme is a melody in F major for flute. The free fantasia

is long and elaborate. The first entrance of trombones on a chord of

the diminished seventh, accompanied fortissimo by the whole orchestra

and followed by a chord of the second, once excited much discussion

among theorists concerning the propriety of its resolution. The third

part of the overture begins with a tumultuous return of the first theme;the development differs from that of the first part. The coda is long.

"A Siegfried Idyi," Richard Wagner

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

Cosima Liszt, daughter of Franz Liszt and the Comtesse d'Agoult,

was married to Hans von Biilow at Berlin, August 18, 1857. Theywere divorced in the fall of 1869.

Richard Wagner married Minna Planer, November 24, 1836, at

Konigsberg. They separated in August, 1861, and she died at Dres-den, January 25, 1866.

Wagner and Cosima Liszt, divorced wife of von Biilow, were married

Mrs. Sidney A. Sherman PIANO

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18

at Lucerne, August 25, 1870. Siegfried Wagner, their son, was bornat Triebschen, near Lucerne, June 6, 1869.

Wagner wrote, November 11, 1870, to Ferdinand Prager: "My house,too, is full of children, the children of my wife, but besides there bloomsfor me a splendid son, strong and beautiful, whom I dare call Siegfried

Richard Wagner. Now think what I must feel, that this at last hasfallen to my share. I am fifty-seven years old." On the 25th of themonth he wrote to Prager: "My son is Helferich Siegfried Richard.My son! Oh, what that says to me!"But these were not the first references to the son. In a letter written

to Mrs. Wille, June 25, 1870, Wagner wrote: "Certainly we shall come,for you are to be the first to whom we shall present ourselves as manand wife. She has defied every disapprobation and taken upon herself

every condemnation. She has borne to me a wonderfully beautiful

and vigorous boy, whom I could boldly call ' Siegfried ' : he is now grow-ing, together with my work, and gives me a new, long life, which at last

has attained a meaning. Thus we get along without the world, fromwhich we have retired entirely. . . . But now listen; you will, I trust,

approve of the sentiment which leads us to postpone our visit until I canintroduce to you the mother of my son as my wedded wife" (Finck's

Wagner, vol. ii. p. 246).

The "Siegfried Idyl" was a birthday gift to the composer's wife. It

was first performed as a morning serenade, December 24,* 1871, on the

* Ramann says that Cosima Liszt was born at Bellagio, "at Christmas," 1837. Chamberlain andDannreuther give 1870 as the year of composition of the Idyl; but see Richard Pohl's statement in theMusikalisches Wochenblatt of 1877 (p. 245).

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steps of the villa at Triebschen, by a small orchestra of players collected

from Zurich and Lucerne. Wagner conducted. Hans Richter, whoplayed the trumpet in the performance, had led the rehearsals at Lucerne.The children of Cosima called the Idyl the "Steps Music."

Siegfried was born while the composition of the music drama, "Sieg-fried," was in progress. The themes in the Idyl were taken from themusic drama, all save one,—a folk-song, "Schlaf, mein Kind, schlaf'

ein"; but the development of the themes was new.The composition, which first bore the title " Triebschener Idyll," is

scored for flute, oboe, two clarinets, trumpet, two horns, bassoon, andstrings.

It begins quietly, E major, 4-4 (strings without double-basses), witha short introduction made out of portions of the so-called "Friedens-melodie," which is soon announced by the strings, the theme from the

love scene in the third act of "Siegfried," at Briinnhilde's words, "Ewigwar ich, ewig in suss sehnender Wonne—doch ewig zu deinem Heil!"(I have been forever, I am forever, ever in sweet yearning ecstasy—butever to thy salvation!) The development is wholly independent of

that in the music drama. The wood-wind instruments gradually enter.

The flute introduces as an opposing theme a phrase of the slumber mo-tive in the last scene of "Die Walklire." This phrase is continued byoboe and clarinet. There is a crescendo. The theme appears in the

basses, and reaches a piu forte.

A short theme of two descending notes—generally a minor seventhor major sixth, taken from Briinnhilde's cry, "O Siegfried! Siegfried!

sieh' meine Angst!" (O Siegfried! Siegfried! see my terror!) from the

same love scene in "Siegfried"—appears now in the basses, now in the

violins, while wind instruments give out chords in triplets. This short

theme is much used throughout the Idyl.

The cradle song, " Schlafe, Kindchen, schlafe" (Sleep, my little one,

sleep), is sung "very simply" by the oboe.

All these themes are worked up in various shapes until trills on the

first violins lead to the " World-treasure " motive in Briinnhilde's speechto Siegfried,—' ' O Siegfried, Herrlicher ! Hort der Welt !

" (O Siegfried,

thou glorious one! Treasure of the world!),—which is sung first by the

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wind, A-flat major, 3-4 time, afterward worked out by strings, and thencombined with preceding themes.There is a climax, and on an organ-point on G as dominant the first

horn gives out Siegfried's "motive," where he announces his intention

of going out into the world, never to return (act i.), but the form is thatassumed in the love scene. Flute and clarinet embroider this horn themewith hints at the bird song in the " Waldweben." There is a mass of

trills, and the strings play the accompanying figure to Siegfried's "Einherrlich Gewasser wogt vor mir" (A splendid sea surges before me),'cellos and violas, then violins. The music swells to forte, and, after

there is a modulation back to E major and a combination of the first

two themes, the climax of the Idyl is reached, and the trumpet soundsthe forest bird motive. The chief themes are further developed, alone

or in combination. The pace slackens more and more, and the first twothemes bring the end in pianissimo.

"A Siegfried Idyl" was performed at Mannheim in December, 1871,

and at Meiningen in the spring of 1877. The work was published in

February, 1878, and the first performance after publication was at aBilse concert in Berlin toward the end of February of that year. Ac-cording to Dr. Reimann the music drama "Siegfried" was then so

little known that a Berlin critic said the Idyl was taken from the secondact. So Mr. Henry Knight, a passionate Wagnerite, wrote verses in

1889, in which he showed a similar confusion in mental operation.

The first performance in Boston was at a concert of the HarvardMusical Association, December 19, 1878.

Overture to the Opera "Tannhauser" . . . Richard Wagner

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

"Tannhauser und der Sangerkrieg auf Wartburg," romantic opera

in three acts, book and music by Richard Wagner, was first performedat the Royal Opera House in Dresden, under the direction of the com-poser, on October 19, 1845. The cast was as follows: Hermann,

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Dettmer; Tannhauser, Tichatschek; Wolfram, Mitterwurzer; Walther,Schloss; Biterolf, Wachter; Heinrich, Gurth ; Reimar, Risse ; Elisabeth,

Johanna Wagner; Venus, Schroeder-Devrient; a young shepherd, MissThiele.

The first performance in the United States was at the Stadt Theatre,New York, April 4, 1859, and the cast was as follows: Hermann, Graff;

Tannhauser, Pickaneser; Wolfram, Lehmann ; Walther, Lotti; Biterolf,

Urchs; Heinrich, Bolten; Reimar, Brandt; Elisabeth, Mrs. Siedenburg;Venus, Mrs. Pickaneser. Carl Bergmann conducted. The New YorkEvening Post said that the part of Tannhauser was beyond the abili-

ties of Mr. Pickaneser: "The lady singers have but little to do in theopera, and did that little respectably."

** *

The coda of the overture was cut out, and the overture was connectedwith a new version of the first scene of the opera for the performanceof the work in a translation by Charles Nuitter into French at the

Opera, Paris, March 13, 1861. Some consider therefore the overture

in its original shape as a concert overture, one no longer authentically

connected with the opera.

The overture is scored for piccolo, two flutes, two oboes, two clarinets,

two bassoons, four horns, three trumpets, three trombones, bass tuba,

kettledrums, cymbals, triangle, tambourine, strings.

It begins with a slow introduction, Andante maestoso, E major,

3-4, in which the pilgrims' chorus, "Begltickt darf nun dich, o Heimath,ich schauen," from the third act, is heard, at first played piano by

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List of Works performed at these Concerts duringthe Season of 1911-1912.

BeethovenSymphony No. 3, in K-flat major, "Eroica," Op. 55 OctoberOverture, "Leonora," No. 3 April

BossiGoldonian Intermezzi, Op. 127 November

Chadwick"Aghadoe": Irish Ballade for Contralto Solo and Orchestra (MS.)

Miss LiLi/A Ormond, JanuaryChopin

Concerto No. 2, F-minor, for Pianoforte and Orchestra, Op. 21

Mr. Josef Hofmann, April

DebussyPrelude to "The Afternoon of a Faun" (after the Eclogue of Stephane

Mallarme) JanuaryAzael's Recitative, "These joyous airs," and Aria, "O time that is no

more," from the Lyric Scene, "The Prodigal Son"Miss Lhxa Ormond, January

FranckSymphony in D minor January

GilbertComedy Overture on Negro Themes (MS.) November

GriegConcerto in A minor, for Pianoforte, Op. 16

Miss Katharine Goodson, FebruaryLis?t

Symphonic Poem, "Tasso: lamento e trionfo" October

MendelssohnOverture to "A Midsummer Night's Drenm

;

" Op. 21 January

Saint-SaensConcerto in B minor for Violin and Orchestra

Miss Kathleen Parlow, October

SchumannSymphony in B-flat major, No. 1, Op. 38 November

Strauss"Till Eulenspiegel's Merry Pranks, after the Old-fashioned Roguish Manner,

( —in Rondo Form," Op. 28 January

TSCHAIKOWSKYSymphony in B minor, No. 6, "Pathetic," Op. 74 February

WagnerErda's Scene from "Das Rheingold," Scene IV.

Madame Schumann-Heink, NovemberWaltraute's Narrative from "Gotterdammerung," Act I., Scene 3

Madame Schumann-Heink, NovemberScene, "Just God!" and Aria, "My Life fades in its Blossom" from "Rienzi,"

Act III., No. 9 Madame Schumann-Heink, NovemberPrelude to "Lohengrin" FebruaryPrelude to "The Mastersingers of Nuremberg" FebruaryA "Faust" Overture April"Siegfried Idyl" AprilFuneral Music, Act. III., from "Dusk of the Gods" AprilOverture, "Tannhauser" April

WeberOverture to the Opera "Oberon" February

23

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SEASON --_-,. 1912-1913

BostonSymphony Orchestra

Dr. KARL MUCK, Conductor

During the season of 1912-1913, the Boston

Symphony Orchestra will give its usual series of

five concerts in Infantry Hall, Providence, on

TUESDAY EVENINGS

October 22, 1912

November 19, 1912

December 31, 1912

February 11, 1913

April 1, 1913

25

lower wood-wind instruments and horns with the melody in the trom-bones against a persistent figure in the violins, then sinking to a pian-issimo (clarinets and bassoons). They that delight in tagging motivesso that there may be no mistake in recognition call the first melodythe " Religious Motive" or "The Motive of Faith." The ascendingphrase given to the violoncellos is named the "Motive of Contrition,"and the persistent violin figure the "Motive of Rejoicing."The main body of the overture, Allegro, E major, 4-4, begins even

before the completion of the pilgrims' song with an ascending first

theme (violas), "the typical motive of the Venus Mountain."

"Inside the Horsel here the air is hot;Right little peace one hath for it, God wot;The scented dusty daylight burns the air,

And my heart chokes me till I hear it not."

The first period of the movement is taken up wholly with baccha-nalian music from the opening scene in the Venus Mountain; and themotive that answers the ascending typical figure, the motive for vio-

lins, flutes, oboes, then oboes and clarinets, is known as the themeof the bacchanal, "the drunkenness of the Venus Mountain." Thisperiod is followed by a subsidiary theme in the same key, a passionatefigure in the violins against ascending chromatic passages in the 'cellos.

The second theme, B major, is Tannhauser's song to Venus, "Dirtone Lob!" The bacchanal music returns, wilder than before. Apianissimo episode follows, in which the clarinet sings the appeal of

Venus to Tannhauser, "Geliebter, komm, sieh' dort die Grotte," thetypical phrase of the goddess. This episode takes the place of the free

fantasia. The third part begins with the passionate subsidiary theme,which leads as before to the second theme, Tannhauser's song, whichis now in E major. Again the bacchanalian music, still more frenetic.

There is stormy development; the violin figure which accompaniedthe pilgrims' chant returns, and the coda begins, in which this chantis repeated. The violin figure grows swifter and swifter as the fortis-

simo chant is thundered out by trombones and trumpets to full harmonyin the rest of the orchestra.

CLARA TIPPETTTeacher of Singing

Assistant, GRACE R. HORNE

26

312 Pierce BuildingCopley Square, Boston

PROVIDENCE MUSIC TEACHERS' DIRECTORY

MR. NEWELL L. WILBURPiano

'°rgan

'Theory

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PIANOFORTEMiss HARRIET E. WILLIAMS

478 LLOYD AVENUE„511 Butler Exchange - Thursdays

Telephone, 944-R Angell

Ethel Gardiner Tattersall

SOPRANO SOLOIST

TEACHER OF SINGINGStudio: Room 18, Conrad Building

TUESDAYS AND FRIDAYSResidence Studio: 74 Fort Ave., Pawtuxet Neck

TELEPHONE, BROAD 653-Y

Mrs. JENNIE M. CASE

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385 WESTMINSTER STREETMondays, Wednesdays, and Saturdays

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E. LINDSEY CUMMINGS

TENOR SOLOIST511 BUTLER EXCHANGE

Mrs. E. NORTHUP CUMMINGS

Contralto Soloist and Teacher

511 BUTLER EXCHANGE28

PROVIDENCE MUSIC TEACHERS' DIRECTORY

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Grundmann Studios, Boston

41 CONRAD BUILDING, Providence

EVANGELINE LARRYVIOLIN

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Telephone, Broad 1147-R

RUTH WILSONPIANIST

511 BUTLER EXCHANGEResidence - 119 Ohio Avenue

Telephone

VERA MAE DECKERVIOLINIST

56 Hillside Avenue - ProvidenceTelephone

Mrs. ERNST FISCHER

VOICE42 Conrad Building

GRACE ALICE RIPLEYPIANO

Diploma New England Conservatory of Music andPupil of Mme. Antoinette Szumowska

511 BUTLER EXCHANGE

Miss HOPE WILLIAMS SESSIONS

VOCAL TEACHERMondays, 2 to 5

42 CONRAD BUILDING

MISS MYRTIE C. FELTHAMTeacher of Pianoforte

17 HUDSON STREET, PROVIDENCETelephone, West 902-R

EVELYN COOK WILLIAMSContralto Soloist

Teacher

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REBECCA KENTFIELD GREENETeacher of Piano

Studio at

358 Friendship Street - - Providence, R.I.

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LOUIS P. WILLEMINPIANO and ORGANMondays and Thursdays, from 1 to 6

At No. 637 Butler ExchangeResidence Studio, 22 Portland Street

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JESSIE F. CHACEViolin

Studio

68 PROSPECT PAWTUCKET, R.I.

Pianoforte Instruction

ARTHUR GERSFormerly pupil Royal Conservatoryof Brussels, Belgium (1897-1901)

Also Organist and Accompanist

HUNTINGTON CHAMBERS - BOSTON

Miss Margaret Armstrong Gow

Vocal Instruction611 Butler Exchange - Providence. R.I.

Tuesdays

Room 35. Symphony Chambers, BostonWednesdays and Saturdays

29

MUSICAL INSTRUCTION

Miss CLARA E. MONGER

TEACHER OF SINGINGCentury Building

177 Huntington Avenue, Boston

Miss PRISCILLA WHITE

TEACHER OF Si/MGI/MG

602 Pierce Building

Copley Square, BOSTON

Hiss KATHERINE LINCOLN

SOPRANOManagement, Mrs. PAUL SUTORIUS

1 West 34th Street, New York

TEACHER OF SINGING514 Pierce Building

Copley Square, BOSTONSaturdays and Mondays in New YorkRepresenting Miss Clara E. Munger

Studio, 56 East 34th Street, New York City

BERTHA GUSHING CHILD

67 MOUNT VERNON STREET

TEACHING ATLANQ STUDIOS

6 NEWBURY STREET, BOSTON

FREDERICK N. WATERMAN

BARITONE SOLOISTand TEACBER OF SINGING

NEW CENTURY BUILDING177 HUNTINGTON AVENUE • BOSTO*

Room io

WILLIAM ALDEN PAULTEACHER OF SINGING

312 PIERCE BUILDING, COPLEY SQUARE, BOSTONMonday and Thursday P.M. and by appointment

Address, Instructor in Music, Episcopal Theological School

Telephone, 2816 R Cambridge

Howell School ol Lyric and

Dramatic Art

CAROLINE WOODS-HOWELL, Directress

De Reszke Method ofSINGING

30 Huntington Avenue, Boston518 Main Street, Worcester

At Boston Studio, Tuesday, Friday, Saturday

At Worcester Studio. Monday.Wednesday, Thursday

30

MUSICAL INSTRUCTION

ELLA 6AGKUS-BEHR

PIANISTSixty-nine West Eighty-eighth Street

NEW YORKAs Vocal Coach refers to

Mme. Louise Homer Mr. Bechtal Alcock andMrs. Merle THlotson-Alcock Mr. Frederic Martin

AMERICAN INSTITUTE OF

APPLIED MUSIC

METROPOLITAN COLLEGE OF MUSIC212 West 59th Street, New York City

Thorough instruction in all branches of musicPersonal attention to individual pupils.

Twenty-sixth year began Ootober 2, 1911.

KATE S. CHITTENDEN, Dean of the Faculty

FRANCIS ROGERSManagement, LOUDON CHARLTON

868 Carnegie Hall, New York

BARITONERECITAL, ORATORIO, CONCERTAlso a limited number of pupils in the art of singing

There is the real stuff in this singer.

—

Philip HaleMr. Rogers is a true artist.— W. J. Hendbrsom

(N. Y. Sun).

Address, 563 PARK AVENUE, NEW YORK

VIRGILPiano School and Conservatory

42 West 76th Street, New York

THE SCHOOL THAT MAKESPLAYERS

RESULTS TELLCatalogue on request

E. SHEFFIELD MARSH

TENORTone production and preparation for

public work

Studio, 815 Carnegie Hall . New York City

h'^sROBSARTEFormer Opera Tenor Voice Specialist

A. de Trabadelo, Paris, teacher of Melba, Gar-den, Farrar, Eames,Carasa,Gayarre, etc.. says:

"/ sincerely believe Mr. Robsarle has no equal amongAmerican instructors.

"

Voices tried gratis by appointment

From tone work to artistic finish. Traditionsand ac-tion of full opera repertoire—Concert and oratorio.

Teacher of Mme. Jungman, Prima Donna Contralto,

Hofopera, Vienna; Mile. Lillian Grenville, PrimaDonna Soprano, Milan, St. Petersburg, Nice, ChicagoOpera Co.; Signor Jacoletti, now singing in Naples;Miss Helene Travis, Mascagni Opera Co.

Residence Studio - Hotel Woodward, N.Y.

'PHONE, 5000 COLUMBUS

SIGHT PLAYING FOR PIANISTSIf you are a poor Sight Reader and have difficulty in reading

, NEW MUSIC AT FIRST SIGHTwrite for Booklet giving full particulars of our complete correspondence course

A Professor of Music in one of the largest Colleges in the United States, to whom reference is

permitted, says: "Your Course is worth the price to me evert week in the amount ofTIME IT SAVES ME ALONE

"

Address NEW YORK COLLEGE OF APPLIED MUSIC9208 METROPOLITAN TOWER . . . NEW YORK CITY

31

MUSICAL INSTRUCTION

Claude Maitland Grilleth

PIANO INSTRUCTIONStudio, 133 Carnegie Hall, New York

Mon. and Thurs. Afternoons

Pouch Gallery, BrooklynSEND FOR CIRCULAR

PERRY AYERILL

BARITONEPrepares Singers for the profession

Studio, 220 West 59th Street, New York'Phone 1097 Col.

ARTHUR D. WOODRUFFTEACHER OF SINGING

5 West 38th Street

NEW YOBS CITY

HiSS M. GRACE DASCHBACHIn charge of Vocal Department Teachers

College, Columbia University

SOPRANOTEACHER OF SINGING

401 Carnegie Hall . New York City

GEORGE HARRIS, Jr.

TENORSoloist with Boston Symphony Orchestra

Cecilia Societyand with New York Symphony Orchestra

Management:

M. H. HANSON, 437 5th Avenue, New York

MASTER MUSIC STUDIOS2789 Broadway, New York

Mrs. M. DUBLE-SCHEELEApply to Secretary, Master Music Studios

CATALOG Telephone Connection

STEINWAY PIANO USED

SUMMER CENTERSCHLOSS ORT, QMUNDEN, AUSTRIA

Study of music is optional

CARL E. DUFFT

BASSOVocal Instruction

1 East 40th Street . New York City

LESLEY MARTINBel Canto

Studio: 1425 Broadway, New "York

SINGERS— Suzanne Baker Watson, Cora Cross,

Nellie Hart, Willette Kershaw, Gertrude Hutcheaon.Ivy Scott, Marion Stanley, Estelle Ward, MabelWilbur, Flora Zabelle, Edward Foley, George Gilbert,

John Hendricks, Andrew Mack, Dr. Eugene WaltonMarshall, Fiske O'Hara, Umberto Sacchetti, Ellis

Rhodes. Albert Wallerstedt, and many other singers

now before the public in operatic and church work

32