THE CHORAL UNION SERIES

THE CHORAL UNION SERIES

Announcements Made for the Fifteenth Season

MAY FESTIVAL SERIES

Five Concerts Will Be Given - "Dream of Gerontius" Will Be Principal Choral Composition

The University Musical Society offers the following announcement of the Choral Union Series for the present season, feeling confident that it will meet with the approval of the lovers of music in this community.

In its general features the present course of concerts will follow the plan of previous years and will maintain the highest standards of excellence. The educational significance of the concerts will be given prominence as demanded by the fundamental aim of the organization under the auspices of which they are given, but it is believed that they will prove no less attractive for this reason.

LIST OF CONCERTS.

1 - November 6, 1903 - David Bispham, Song Recital.

II - December 14, 1903 - Choral Union, assisted by Mrs. Jennie Osborn-Hannah, Soprano.

It has been several years since the Choral Union has been heard in a program made up of part songs and smaller works. This is due to the fact that the University Musical Society has felt that the community should be given opportunity to become acquainted with the larger and more important choral masterpieces. In deference to the expressed wish of many patrons of this series, such a program will be offered for the second number of the course.

Included in the evening's program are Mendelssohn's "Forty-second Psalm," and "Narcissus," by Massenet, and several shorter selections suggestive of the approaching Christmas-tide. From the rich repertoire of Christmas music two most interesting compositions by Michael Praetorius (1571-1621), the celebrated old German carol "Joseph, tender Joseph mine," Sethus Calvisius (1556-1615) and a modern carol by Osgood have been chosen. A lovely madrigal by Luca Marenzio (1550-1599) and a motette by Johann Eccard (1553-1611) will complete a unique and attractive group of songs of days long past. Several modern part songs will be sung, and we can but feel that a program so replete with variety and charm cannot fail to be of interest.

The soloist of the evening, Mrs. Jennie Osborn-Hannah, is easily the leading soprano of the West. Her successes during an extended Western festival tour last year were so pronounced that she has been re-engaged in nearly every city in which she appeared. She possesses a rich vibrant voice of wide range, and sings with authority and in excellent style. Besides taking part in the two larger works, she will be heard in a group of solos.

III - January 15, 1904 - The Kneisel Quartette. Franz Kneisel, 1st violin; J. Theodorowicz, 2d violin; Louis Svecenski, viola; Alwin Schroeder, violoncello.

Much of the artistic successes of the famous Boston Symphony Orchestra in the past may be attributed to the forceful personality of its famous Concertmeister Franz Kneisel. It seems wellnigh impossible to think of that famous organization with another man at the head of its famous first violins, but Mr. Kneisel's wonderful power in another field has been so universally recognized that he as been forced to withdraw from the orchestra in order that he might devote himself to the interests of the famous string quartette known by his name.

The reputation of the Kneisel Quartette is truly international. It is doubtful whether its superior exists, and one will be obliged to look far to find its equal. This is at once a compliment to the organization and a tribute to the increasing appreciation of music in this country. No more accurate test of the musical taste of a community can be applied than its attitude toward music of the character given by a fine string quartette, and no combination exacts more of its members than this. Virtuosity must exist as a means, not an end, for the first essential in quartette playing is that perfect ensemble possible only when the individual artist sinks himself in the combined effort. Such an ensemble can be reached only by continuous, well-directed study, and it is probable that Mr. Kneisel and his colleagues - all of whom are rare solo artists - take as great pride in this smaller organization as in that great concert orchestra to the success of which they have contributed so much.

IV - February 17, 1904 - Pittsburgh Orchestra; Victor Herbert, Conductor.

The wonderful development of music in the United States during the last two decades has displayed itself in no more encouraging manner than in the attention paid to symphonic music, and in the fact that the desirability of establishing permanent orchestras has impressed itself on so many communities.

The broad philanthropic spirit of the founder of the Boston Symphony Orchestra has borne rich fruit in like efforts in other parts of the country, as witness the support given that greatest of conductors, Theodore Thomas in Chicago, and the establishment of the Pittsburgh and Cincinnati Orchestras. While it is true that these latter organizations are neither endowed nor even on such a basis as the Boston Symphony Orchestra, it is an open question whether these manifestations of pubic spirit, and, above all, of a true appreciation of the value of such a means for culture, on the part of associations of business men, does not mean more for the future of our country in a musical way than individual generosity, be it never so wisely directed.

Prominent among the permanent orchestral organizations of the country stands the Pittsburgh Orchestra. Under the careful guidance of its genial and gifted conductor, Victor Herbert, it has steadily increased in artistic efficiency until it stands as representative of the best standards of orchestral performance. In offering a concert by this orchestra the University Musical Society feels that it is giving its patrons a concert which will appeal to the discriminating and musically intelligent audience for which Ann Arbor is noted.

V. - March 11, 1904 - Adele Aus der Ohe, Pianist.

There are some artists whose art never loses its freshness and whose hold on the public remains unchanged in spite of the appearance of other candidates for the suffrages of music lovers. Such an one is Adele Aus der Ohe, who has always represented the purest ideals of pianoforte playing. She was the first pianist in the Choral Union Series, and her comparatively recent appearance was a delight to those who were so fortunate as to hear her. She makes no sensational appeal, but wins by the simplicity, earnestness, and unobtrusiveness of her art. Her style is noble, chaste, and yet not lacking in fire - while she possesses the magnetism without which a virtuoso cannot hope to succeed. Much of her power is without doubt due to the fact that she has undoubted talent in the field of composition, and has written some delightful music in which one may see many of the qualities displayed in her interpretations. Miss Aus der Ohe will play at five concerts of the Boston Symphony Orchestra, and will also be heard with several other symphonic organizations during the present season. No pianist is surer of a warm welcome from those who appreciate rare artistic pianoforte playing than she And after all the artist who wins by a straightforward, honest appeal contributes more to the establishment of sound musical taste than the one who, relying upon sensational methods, dazzles rather than convinces.

An organization whose professed aim is "to foster an appreciation of the best music" can in no way more worthily fulfill its mission than to present an artist of such ideal attainment and purpose as Adele Aus der Ohe.

VI - The Eleventh Annual May Festival.

The Eleventh Annual May Festival will consist of five concerts given on Thursday evening. Friday afternoon and evening, and Saturday afternoon and evening. Dates will be announced as soon as definitely fixed.

The success of Edward Elgar's "Caractacus," performed for the first time in America at last year's Festival, has determined the choice of the principal choral composition. This will be the "Dream of Gerontius," by the same composer. This work is held by some eminent authorities to be the "greatest choral composition of the nineteenth century." Such praise may seem extravagant, but the impression produced by the two performances of the work in this country, as well as the tremendous euthusiasm it evoked in Germany would seem to justify the most daring statements regarding its power. The "Dream of Gerontius" will be given on Friday evening. The afternoon concerts will be devoted mainly to orchestral works, and several important novelties will be included in these programs, which will be of a character worthy of the most ideal standards. The Festival will close with a production of Bizet's "Carmen" in concert form. Such soloists will be chosen as will perfectly satisfy the demands of so exacting a program, and the standards of former years will be rigorously maintained.

The price of the entire course will remain as last year - three dollars and fifty cents - but the tickets will be sold so as to enable purchasers to pay for them in two or three payments.

Tickets will be sold at the following prices: $2.50, $3.50, $4.50, and $5.50. The $2.50 ticket admits to the first five concerts of the Choral Union Series only, but by paying $1.00 additional, on January 16, 1904, or any time thereafter, a ticket will be given in exchange for it that will admit the bearer to the five concerts of the May Festival. On the payment of another dollar, or on the payment of two additional dollars, a reserved seat will also be issued to the holder of such $2.50 ticket.

The $3.50 ticket admits to the ten concerts of the Choral Union and May Festival series, and by paying one dollar or two dollars additional January 16, or any time thereafter, a ticket will be issued in exchange for it which will secure the holder one admission and one reserved seat for the May Festival.

The $4.50 ticket admits to the ten concerts of the Chora Union and May Festival Series and also secures a one dollar seat for the May Festival. By the payment of one dollar more a two dollar seat ticket will be issued to the holder of such $4.50 ticket.

The $5.50 ticket admits to the ten concerts of the Choral Union and May Festival Series and also secures the holder a two dollar reserved seat.

Reserved seats for the May Festival will be sold at the School of Music Saturday morning, January 16, 1904.

On Friday night, January 15, 1904, at 10 o'clock, three lines will be formed for the purpose of issuing numbers fixing the order of the sale of reserved seats Saturday, January 16, 1904.

A $5.50 ticket will entitle the holder to a position in the first line; a $4.50 ticket will entitle the holder to a position in the second line, and a $3.50 ticket will entitle the holder to a position in the third line. These lines will be formed Saturday morning, January 16, 1904, at 9 o'clock, at the University School of Music.

Numbers will be issued to those in line in this order: One may choose a number in the main floor or gallery line. The holder of a number in a given line will not be allowed to reserve seats for a different price than that indicated by the ticket or tickets in his possession, nor in another section of the hall.

One thousand reserved seats will be sold at $2.00, the remainder at $1.00.

Tickets for entire series (10 concerts, $3.50.

Tickets may be secured acording to plan given above.)

Tickets for May Festival (5 concerts), $3.50.

Single tickets, $1.00.

Reserved seats for May Festival Series, $2.00 and $1.00 extra.

Reserved seats for single concert for May Festival Series, 50 cents and 25 cents.

Tickets on sale at Brown's drug store, Ann Arbor Music Co., Calkin's drug store, F. J. Schleede's, Quarry's drug store, and University School of Music, Ann Arbor; Normal conservatory and C. W. Roger's, Ypsilanti.

Sale of reserved seats, at both prices, Jan. 16, 1904, 9 a. m., University School of Music.

Parties desiring to order tickets or reserved seats by mail, will please address (including P. O. order) C. K. Perrine, Secretary University School of Music.

The enormous expense attending the series makes it imperative that a large number of tickets should be sold.