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UMS Concert Program, May 11, 12, 13, 1899: Sixth Annual May Festival Of The University Of Michigan -- The Choral Union

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Season: 1898-1899
Concert: TENTH
Complete Series: LXXIX
University Hall, Ann Arbor, Michigan

University of Michigan
University Hall, Ann Arbor, Michigan
11, 12, 13, 1899
University School of Music
Albert A. Stanley
Emil Mollenhauer
Wilhelm Richard Wagner
Giuseppe Campanari
Johannes Brahms
Sara Anderson
Clarence Shirley
Elsa von Grave
Madame Sembrich
GrusEPPE Verdi
Anna Lohbiller Charles Camille Saint-Saens
Hermann A. Zeitz
Blanche Towle
Myron W. Whitney, Jr.
George Hamlin
Mrs. Josephine Jacoby
Gwylim Miles
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The Choral Union
Board of Government
PAUL R. de PONT ' President
Thursday, May 11, 8 P. M.
REQUIEM (Two Movements) ... 'Brahms
MOTETT, "GALLIA" ... Gounod
Symphony Concert
Friday, May 12, 3 P. M.
Sembrich Concert
Friday, May 12, 8 P. M.
Popular Concert
Saturday, May 13, 2:30 P. M.
Miss ANNA LOHBILLER, Soprano Miss BLANCHE TOWLE, Contralto
"Samson and Delilah "
(Camille Saint-Saens) Saturday, May 13, 7:30 P. M.
DELILAH Mrs. Josephine Jacoby
SAMSON ...... Mr. George Hatrdin
The High Priest of Dagon Mr. Owyiim swues
Abimelech, Satrap of Gaza
AN OLD HEBREW Mr. Myron W. Whitney, Jr.
Philistine Messenger
Boston Festival Orchestra
First Violins
Second Violins
French Horns
Bass Drum, Triangle Cymbals
All Concerts
begin on Local Time, which is Twenty-five Minutes faster than Standard Time
(No. LXXV Complete Series)
Thursday Evening, May 11, 8 o'clock
REQUIEM (Two Movements) Brahms
MOTETT, "GALLIA" .... Gounod
Miss Sara Anderson, Soprano Signor Giuseppe Campanari, Baritone
Mr. Emil Molienhauer, Mr. Hermann A. Zeitz, Conductors
Mr. Llewellyn L. Renwick, Organist
1. Overture to "Die Meistersinger" ..... Wagner
2. Hymn to St. Cecilia ... .... Gounod
3. Aria, "Farewell Ye Hills," from "Joan of Arc " . Tschaikowski
4. Aria, " Vision Fugitive," from " Herodiade " Massenet
5. Requiem ......... Brahms
(a) Poco Andante
(b) Moderate, in modo di Marcia
6. Two Movements from the Suite d'Orchestre ... Moszkowski
(a) Theme and Variations
(b) Perpetual Motion
7. Prologue to " Pagliacci" -----Leoncavallo
8. Motett, " Gallia" -------Gounod
The audience is requested to remain seated until the very end, that the effect of
the music be not lost. The next Concert in this Series will be given Friday, May J 2, at 3:00 P. M.
( No. LXXVI Complete Series )
Friday Afternoon, May 12, 3 o'clock
Miss Sara Anderson, Soprano Mr. Clarence Shirley, Tenor
Miss Elsa von Grave, Pianist Mr. Emil Mollenhauer, Conductor
1. Overture, "Faust" -------Wagner
2. Aria, " Cielo e Mare," from "La Gioconda " ... Ponchielli
3. Fantasie, "Romeo and Juliet" -----Svendsen
4. Hungarian Fantasie -Liszt
5. Aria, "Pleurez mes Yeux," from " Le Cid " ... Massenet
6. Symphony No. 3, " Im Walde" -----Raff
Part I. In the Daytime
Impressions and Sensations; Allegro ( F major)
Part II. At Twilight
( a) Revery : Largo ( A-flat major)
(b ) Dance of Dryads ; Allegro assai ( D minor)
Poco meno mosso ( A major )
Part III. At Night
Silent rustling of the woods at night. Entrance and exit of the Wild Hunt with Frau Holle (Hulda) and Wotan. Daybreak : Allegro ( F major)
Mason & Hamlin Pianoforte used.
The next Concert in this Series will be given this evening at 8 o'clock.
( No. LXXVII Complete Scries)
Friday Evening, May 12, 8 o'clock
Madame Marcella Sembrich Mr. Myron W. Whitney, Jr.
Mr. Emil Mollenhauer, Mr. Hermann A. Zeitz, Conductors
1. Overture, " Benvenuto Cellini"
3. Aria, " Ca9ta Diva," from "Norma" MME. SEMBRICH
4. Stabat Mater
5. Aria, "Ella giammai m'amo," from "Don Carlos"
6. Songs : ( a) Die Forelle ....
(b) Vergebliches Stiindchen
7. (a) Prelude to 3d Act of " Herodiade " (b) Introduction to 3d Act of "Lohengrin"
8. Waltz, "Voce di Primavera "
9. Grand Polonaise in E
Schubert Brahms
Liszt The next Concert in this Series will be given Saturday, May (3, at 2:30 P. M.
(No. LXXVIII Complete Series)
Saturday Afternoon, May 13, 2:30 o'clock
Popular Concert
Miss Anna Lohbiller, Soprano Miss Blanche Towle, Contralto
Mr. Emil Mollenhauer, Conductor
1. Overture, "Hansel and Gretel" 2. Ronde d'Amour -----3. Villanelle ------MISS LOBHILLER
4. Three Movements from the "Rustic Wedding Symphony"
Wedding March : Moderato molto ( E-flat major) In the Garden : Andante ( G minor ) Dance : Allegro molto ( E-flat major)
5. Ballet Music from "Coppelia" ( a ) Valse il la Poupee ( b ) Czardas
6. Aria, "O Don fatal," from "Don Carlos"
7. Liebesgefluester ------STRINO ORCHESTRA
8. Overture, "Robespierre" ("The Last Day of Terror)"
Dell' Acqua
Delibes Verdi
Steck Litolff
PLEASE NOTICE that the performance of "Samson and Delilah," the final Concert in the Series, will commence promptly at 7:30 this evening. A half hour earlier than the other evening Concerts.
(No. LXXIX Complete Scries)
Saturday Evening, May 13, 7:30 o'clock
Samson and Delilah
Mrs. Josephine Jacohy
Mr. George Hamlin
Mr. Gwvr.iM Milks
Mr. Myron w. Whitney, Jr.
MR. HERMANN A. ZEITZ, Conductor.
Thursday Evening, May 11
OVERTURE, "Die Meistersinger" Wagner
THE only humorous work Wagner has left is "Die Meistersinger." For this reason, as well as for others, it occupies a peculiar place among his music dramas. It well illustrates the composer's great leitmotif system; that is, having a certain specific phrase for every personage in the drama, and also for the elements that enter into the emotional texture. This phrase is always used to announce the entrance of the corresponding idea or person, and one who accustoms himself to listening for the distinctive phrases throughout the performance, experiences a sense of balance and unity.
Wagner's critics from the first corriplained of a lack of melody in his music. He retorted that they were judging by a very primitive kind of melody, one in which the cadence must fall at frequent and never varied intervals, while what he wrote was '' endless melody.'' With perhaps an idea of showing that he could write as beautiful melodies as the Italians, "Die Meistersinger" was produced. A singing contest in which Walter, a knight who has entered the list in order to win as a prize the lovely Eva, offers an admirable opportunity for the composer's defense, and also for such a ridiculing of his critics-(whom he represents in the person of Beckmesser, a stupid and jealous competitor of Walter) as his heart delighted in.
" Die Meistersinger von Niirnberg," the text and music by Richard Wagner, was first given under Hans von Bulow's direction at the Court Opera in Munich, on June 21, 1S68.
The prelude opens strongly and broadly with the first theme of the Master Singer's March, treated contrapuntally -in evident allusion to the old school of musical art which the master singers represent in the comedy. The exposition of this first theme is followed by a subsidiary -the second theme of the same march, also known as the King DAViD-motive ( David was the tutelary patron of Master Singers' guild ) -which is followed by a return of the first theme, now elaborately developed by the full orchestra. This strong climax is followed by some phrases taken from Walther's '' Preislied '' and '' Werbelied,'' leading to a modulation to E-flat major and a burlesque parody on the first theme, given out staccato by the wood-wind, and worked up contrapuntally against a droll little counter-figure taken from the crowd's jeers at Beckmesser in the singing contest in the third act. This burlesque counterpoint goes on until it becomes sheer "cats' music," when it suddenly debouches into an exceedingly ingenious and beautiful passage; the first violins, 'celli, and some wind instruments play the melody of the third verse of Walther's " Preislied,"--which here becomes the real second theme of the prelude -while the wood-wind play the first subsidiary in diminution, and the double-basses and bass-tuba give out the first theme, note for note, as a ponderous bass ; the second violins surround this combination of
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three separate themes with an elaborate contrapuntal embroidery in sixteenth notes. The working-out goes on apace, growing stronger and stronger, until the first subsidiary returns fortissimo in the wind, against surging figuration in the strings, and a resplendent coda closes the movement.
"Joan of Arc" ... Tschaikowski
Miss Anderson
God's will be done !
Joan must yield obedience to the heavenly mandate !
Yet why this fear arising in my breast,
That breaks my heart and fills my soul with anguish
Farewell 3-e hills, and all ye fertile valleys, Ye lovely peaceful plains, a long farewell. Joan no more among your shades will linger,
The hour has come, the hour for her to say,
Farewell !
Ye meadows fair, ye trees which I have cherished, Ah ! when I am gone, your flowers will open still ! My grotto cool, my brooklet swiftly flowing, From you I pass, I never more may see you ; Joan departs, her life with you is ended. Ye quiet scenes where peaceful pleasures blended, No more shall I your pleasant ways behold. My scattered flocks will wander undefended : The shepherdess is driv'n to leave her fold. For other flocks by her must now be tended, When murd'rous war's tremendous plains unfold. 'Tis thus the voice of God to me hath spoken, No low ambition tempts me by her token. Madonna ! To thee my heart is wholly open, 'T is filled with sorrow, it throbs with anguish. Farewell forever more!
ARIA, "VISION FUGITIVE," from " Herodiade," Massenbt
" Herodiade," opera in three acts, was first given at the Thc'fitre de la Monnaie, in Brussels, Dec. 19, 1881. It had a success of a season ; but when given at the Opera-Italien in Paris on Jan. 30, 1884, after being partly rewritten by the composer, it failed completely. The literal translation of the air sung in this concert is as follows:
Herod :
'T is a dream that my spirit so lonely entrances,
Could I now as of old her fair beauty behold,
That gave me bliss untold to repay my fond glances.
All my hope it enhances. This vision I 'd ne'er lose, it is so sweet to me, "Vain illusion, though I well know it be !
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Vision sweet! I would follow thee though
thou art fleeting.
Angel of my sad life, my soul giveth thee greeting. Ah ! 't is thee ! joy of my heart, my love and hope
ever thou art!
I would fold thee so near that thy heart-beat I 'd hear, And with my own reply ; gladly then would I die, In that blest dream so joyous, love for thee showing. Ah ! with no fear or regret, on thee my whole
soul bestowing.
Thou joy of my heart and my hope ! Vision sweet and blest joy of my heart! Fond illusion so fleeting, Ah ! thou art my only love and my hope !
REQUIEM (Two Movements) Brahms
{a) Poco Andante (6) Moderate, in modo di Marcia The Choral Union
The " German Requiem," so called, is not a requiem in its sentiment, nor in any sense a religious service. The poem is full of consolation for the mourner, of assurances of joy hereafter, of warnings against the pomps and vanities of the world, and closes with the victory of the Saints over death and the grave. It might with more propriety be called a "sacred cantata." The work has seven numbers -two baritone solos and chorus, soprano solo and chorus, and four separate choruses. It was first performed at Bremen on Good Friday, 1S68, and in 1S73 was first heard in England. It was also given at the Cincinnati Festival of 1S84, under Mr. Thomas's direction.
The opening chorus, " Blessed are they that go mourning," is beautifully written, and is particularly noticeable for the richness of its accompaniment. In the Funeral March, which follows, a very graphic resemblance to the measured tread of the cortege is accomplished by the use of triple time. In this, as well as in numerous other instances, the composer cuts loose from ordinary methods, and in pure classical form, and by the use of legitimate musical processes, achieves what others seek to effect by sensuous or purely imitative music.
It was the '' German Requiem '' which first made Brahms famous ; it confirmed all that Schumann had said of him. Its great difficulties require an extraordinary chorus and orchestra ; but when these can be had, the power and beauty of the work will always be conceded. _____
Blessed are they that go mourning, for the Lord He shall give them comfort. Seed in sorrow scattered yieldeth a joyful harvest. For he that goeth weeping and beareth seed so precious, shall come back rejoicing and bringing sheaves in plenty.
Behold, all flesh is as the grass, and all the goodliness of man is as the grass and flowers. The grass it doth wither, and the flower it decayeth.
Now therefore be patient, brethren, unto the coming of Christ.
See how the husbandman waiteth for the excellent fruit of autumn, and hath long patience for it, until he receive the rains of the morning and evening showers.
Behold, all flesh is as the grass, and all the goodliness of man is as the grass and flowers. The grass it doth wither, and the flower decayeth.
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So then be patient; God's word enduretli ever, yea, in eternity. The redeemed of the Lord shall return with singing unto Zion, coming rejoicing. Gladness eternal shall be upon them for aye ; gladness and rapture, these shall be their portion ; and tears and sighing shall flee from them.
TWO MOVEMENTS from Suite No. i in F
in F Major, Op. 39 . . . Moszkowski
III. Tema con variazioni: Andante (A major) 2-4
V. Perpetuum mobile : Vivace (F major) 4-4
Moritz Moszkowski was born at Breslau, on Aug. 23, 1S54. He first studied music in his native city, then at the conservatorium in Dresden. Thence he went to Berlin, where he entered Stern's Conservatorium and Kullak's Akademie, at which latter establishment he continued for some years as teacher of the pianoforte, after his own course of studies was completed. He gave his first public concert in Berlin in 1873, and lJas since appeared there as a pianist, as well as in Paris, Warsaw, and other cities.
The suite from which the two movements played at this concert are taken is dedicated to the London Philharmonic Society. The theme of the first of the movements given (the third in the suite itself) reminds one strongly, if not quite by its melody, yet by its rhythm and general character, of a once famous Russian song known throughout Germany as " Der rothe Sarafan," on which Thalberg wrote one of his earliest sets of variations for the pianoforte. It is an excellent example of Moszkowski's characteristic melodic style, and of a certain chromatic element in his harmony which reminds one somewhat of Spohr.
The second of the two movements given {Vac finale of the suite) adds one more to the already long list of "Perpetual Motion" movements. Paganini wrote one, and Weber wrote one. As its title implies, it is pervaded almost throughout by a restless, scurrying figure in sixteenth notes, now in the strings, now in the wood-wind, and anon in both. It is a favorite bravura show piece for virtuoso orchestras.
" Pagliacci," drama in two acts, was first brought out at the Teatro dal Verme in Milan on May 21, 1892. Victor Maurel sang the part of Tonio. The opera was first given in this country in the Grand Opera-house in New York on June 15, 1893, with Mr. G. Campanari as Tonio. The English translation of the text is as follows : -Tonio (passing his head through the curtain): May I (Comingforward) May I (Bowing over the prompter's box) Ladies,-Gentlemen ! I pray you hear why alone I appear !
I am the Prologue !
Our author loves the custom of a prologue to his story And, as he would revive for you the ancient glory, He sends me to speak before you ! But not to prate as once of old, That the tears of the actor are false, unreal ! That his sighs and cries, and the pain that is told, He has no heart to feel! No ! no our author to-night, a chapter will borrow from life with
its laughter and sorrow ! Is not the actor a man with a heart like you So 't is for men that our author has written,
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And the story he tells you is true !
A song of tender mem'ries, deep in his listening heart one
day was ringing ;
And then with a trembling heart he wrote it, And he marked the time with sighs and tears.
Come then, here on the stage you shall behold us in human fashion, And see the sad fruits of love and passion, Hearts that weep and languish, cries of rage and anguish, And bitter laughter! Ah, think then, good people, when ye look on us clad in our
motley and tinsel,
Ours are human hearts, beating -with passion, We are but men like you, for gladness or sorrow, 'Tis the same broad heaven above us, The same wide lonely world before us ! Will ye hear, then, the story How it unfolds itself surely and certain Come then ! ring up the curtain !
MOTETT, "Gallia" Gounod
Miss Anderson, The Choral Union, Orchestra, and Organ
Gallia is the ancient Latin name of France ; and this work was composed by Charles Gounod at the close of the Franco-Prussian war when his country was conquered by the Germans, and his beloved Paris was in the hands of the invader. He could find no words better suited to express the depth of his feeling than those of the mournful prophet.
Solitary lieth the city, she that was full of people! How is she widowed she that was great among nations, Princess among the provinces, how is she put under tribute Sorely she weepeth in darkness, her tears are on her cheeks, And no one offereth consolation, yea, all her friends
have betrayed her, They have become her enemies, they have betrayed her.
Soprano Solo and Chorus
Zion's ways do languish, none come to her solemn feasts : Soprano Solo
All her gates are desolate : her priests sigh, yea, her virgins are afflicted and she is in bitterness.
Is it nothing to all ye that pass by
Behold, and see if there be any sorrow that is like unto my sorrow,
Now behold, O Lord, look Thou on my affliction,
See the foe hath magnified himself.
Soprano Solo and Chorus
Jerusalem, Jerusalem, O turn thee to the Lord thy God, O turn thee, O turn thee unto thy God.
Friday Afternoon, May 12
OVERTURE, "A Faust Overture" Wagner
THIS work is not to be taken in any sense as an overture to Goethe's " Faust; " it was written in Paris in January, 1S40, as the first movement of a "Faust" symphony. This may account for its being more in the sonata-form than any of Wagner's other overtures, except those to "Rienzi" and " Tannhiiuser." Wagner once wrote that he had taken Faust's " Entbehren sollst du, sollst cntbehren! " (Thou shalt forego, shalt do without!) as the motto of this movement; he also insisted that the movement had to do with the character of Faust, and Faust alone ; that there was no reference to Gretchen in it. Like Liszt, in his "Faust" symphony, he meant to reserve another whole movement for Gretchen, and probably also another for Mephisto. But the plan of the " Faust " symphony was definitively abandoned, and this single movement given to the public under its present title, " Eine Faust-Overture." It was not originally in its present form, and Wagner's affirmation that there "was no Gretchen in it" has probably given rise to some misconception. It was long and generally known that Wagner rewrote and remodelled the work in Zurich in 1855 at Liszt's earnest instigation. But it was only on the publication of the Liszt-Wagner correspondence that it was discovered that Liszt, on this occasion, had earnestly advised his friend "to put some Gretchen into it " -for the sake of musical form and contrast. So the melodious second theme of the wood-wind may refer to Gretchen after all.
ARIA, "CIELO EMARE," from " La
Gioconda" Ponchiblli
Mr. Shirley
Amilcare Ponchielli was born in Cremona, Sept. 1, 1834. His first compositions were quite successful, and he was particularly fortunate in that he very early caught the favor of the Italian opera-going public. He died Jan. 16, 1886, and at that time, and for some years previous, enjoyed a position in Italy second only to Verdi, whose successor he was generally regarded as being.
"La Gioconda" was first brought out at La Scala, Milan, April 8, 1876. In England it was first produced at Covent Garden, May, 1883. It was first given by Abbev's famous Italian opera company in New York, and later in the season, in Boston with Nilsson and Fursch-Madi in the leading roles.
Ocean and Sky,
The blue vault ethereal,
Like a holy altar shines.
Will my angel come from Heaven
Will she come from ocean's billows
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Here I wait her ; for warmly blows the breeze to-day
that love doth hold. Ah, what heart for you out-reaching Would disturb you, O bright dream, O dream of gold
Thro' the mist's glooming,
There 's no land, no mountain looming;
Wavelets kiss the pale horizon.
On the billows where I am waiting with a
pulse that scarce doth move, Come, O my darling, Come, take the kiss of Life's sweet bliss, Sweetest boon of life and love, Come, O darling, here I wait thee, with a pulse
that scarce doth move.
FANTASIE, " Romeo and Juliet " Svendsen
, ¦ Miss von Grave
This Fantasie, based on Hungarian popular songs, is considered one of the most important works of Franz Liszt. Hungarian by birth, he, more than other composers, felt and expressed the sweet and quaint melodies, and the fire of these folk-songs. The work is dedicated to Hans von Biilow, and was a favorite of that famous pianist.
"Le Cid " ... Massenet
Miss Anderson
" Le Cid," opera in four acts, was brought out at the Academie Nationale de Mu-sique in Paris, Nov. 30, 18S5. The opera did not hold the stage long, but some of the airs from it have maintained their place in concert repertory. The air sung in this concert is in the part of Chimene, the heroine.
The literal prose translation is:-I come out of this frightful combat with my soul broken. But at lafst I am free, and can sigh without restraint, and suffer without witnesses.
Weep, weep, weep my eyes. Fall, sorrowful dew, that 110 ray of sunshine shall ever dry. If I have a hope left, it is to die soon. Weep, weep, my eyes, weep all your tears. But who has ordained the eternity of tears O dear buried ones, do ye find such delight in bequeathing implacable sorrow to the living Alas! I remember ! He said, "With thy sweet smile thou canst never lead on but to glorious paths, and blessed ways." Ah, my father ! Alas !
"In the Woods," Op. 153 Raff
Joseph Joachim Raff was born at Lachen, on the Lake of Zurich, on May 27, 1S22, and died in Berlin on June 26, 1SS2. His education was begun at Wiesenstetten, in Wiirtemberg; and he afterward entered the Jesuit Lyceum at Schwyz, where he won prizes in German, Latin, and mathematics. He also studied music, but extreme poverty soon compelled him to abandon taking lessons; he turned schoolmaster, but still continued studying music without a teacher, and made considerable progress on
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the pianoforte and violin, and also in composition. In 1843, being twenty-one years old, he sent some of his MS. compositions to Felix Mendelssohn in Leipsic, who gave him a letter of introduction to the firm of Breitkopf & Hiirtel; this led to the publication of some of his works. From that time Raff continued to be an indefatigable producer up to his death.
Raff was indubitabl}' one of those geniuses to whom almost constant, and at times extreme, poverty was a real and lasting evil. He was a man of the highest and, for his time, somewhat new aims in art; notwithstanding his rather fragmentary professional education, he was conspicuously a master of the technique of composition,-in fact, very few of his contemporaries possessed his enormous facility in conquering contrapuntal difficulties, nor his often astonishing ease of style. He was a man of truly poetic nature, of warm and genial feeling, and was doubtless more profoundly in earnest than he often seemed to be. He was a real force in his day, and his influence upon German music and musical thought was conspicuous. He stood well in the front rank of composers of his time. Of his works, the "Lenore" symphony is probably the most widely popular, though the " Im Walde " is most admired by musicians.
This symphony, like Beethoven's "Pastoral," verges on the confines of pure symphonic writing, closely approaching the domain of "program-music." Yet, descriptive and picturesquely suggestive as much of it is, it never quite becomes pure "program-music." Indeed, it adheres so closely to the form of the sj'mphony that one of the earliest criticisms on it in Germany was to the effect that, in the last movement (where there is a famous suggestion of daybreak), " the composer, out of deference to the symphonic form, had made the sun rise twice on the same morning."
The first movement, Allegro in F major (3-4 time), is headed: " In the Daytime; Impressions and Sensations." It begins with some rather vague preluding in the strings, horn, and bassoon, the 'celli and double-basses coming in at one time with a hint at the first theme, which is soon to follow ; a flicker or two of light comes from the flutes and oboe,--like sunshine through the branches,-and soon (at the twenty-sixth measure) all this dreamy vagueness crystallizes into shape, and the first theme is duly announced in the strings in the tonic, F major, at first piano, but soon swelling to forte, as the development proceeds. Just as thebrie is reached, a sudden change to pianissimo, with the entrance of the trombones on the chord of D-flat major, heralds the coming of the first subsidiary, a phrase partaking of the nature of passage-work, beneath which the basses bring in once more the first theme. This subsidiary theme is developed at some length with lightly skipping passages in the wood-wind, which remind one a little of the first theme, until the strings modulate by themselves to the subdominant, B-flat major, and the second theme enters in that key. This theme is developed first by the strings, then by the horns against a waving figural variation in the violins and occasional trills and running passages in the flutes. The conclusion-theme sets in in 9-8 time,-it is really a development of the figure already heard in the violins at the sudden pianissimo just before the entrance of the first subsidiary,-and is developed at considerable length, thus closing the first part of the movement in B-flat major. There is no repeat.
The free fantasia is long and elaborately worked out, and ends with a vigorous climax, leading back to the re-entrance of the first theme in the tonic (beginning of the third part of the movement), given out forte by the full orchestra. This third partis in the regular relation to the first, only that the second theme is now in the dominant, C major, instead of in the tonic. The movement ends with a very long and elaborate coda.
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The second movement, Largo, in A-flat major (2-4 time) is headed: " In the Twilight ; Revery." After some free preluding in the clarinet and horn, accompanied by the strings, the principal theme is given out by all the strings in full harmony, against a sort of obbligato in the bassoon,-or, rather, it were more accurate to say that this passage is really in five-part harmony, the bassoon playing one of the parts. This calm, tender melody is followed by some more florid work in the clarinet and horn, and then the theme sets in again in the horns and violas, against a pizzicato accompaniment in the strings, and rapid running passages in the flute and other wooden wind instruments. Then follows an elaborately developed second theme {Con molo) in E major, which, in its turn, makes way for a dreamy, mysterious conclusion-theme in F major -flutes accompanied by the muted violins -and then the principal theme comes back in the tonic, A flat major, played by the second violins and a 'cello solo against a hushed accompaniment in the other strings con sordini and syncopated triplets in the flutes. The theme returns for the last time, as a coda, in the strings, against which the clarinet plays florid, recitative-like phrases.
The third movement, Allegro assai in D minor (3-4 time), is still in the twilight, and is headed, "Dance of Dryads." It is the Scherzo of the symphony, and is elaborately worked out in the regular scherzo form, with a Trio in A major, in which the orchestral effect of the high harmonics and trills of the violins, against a melody in the wood-wind, seems to have been suggested by the corresponding part of Berlioz's " Romeo and Juliet " symphony.
The fourth movement, Allegro in P major (4-4 time), is headed: "At Night. Silent murmuring of the woods at night. Entrance and exit of the Wild Hunt, with Frau Holle (Hulda) and Wotan. Daybreak." It opens with a mysteriouspianissimo theme in the 'celli and double-basses alone, which is forthwith made the subject of the exposition of a four-part fugue " of imitation,"--the voices entering as follows: I, 'celli and basses ; 2, second violins and violas ; 3, first violins ; 4, horn,-andleads to the entrance of the " Wild Hunt " theme in the strings, clarinets, and bassoons. This "Wild Hunt" is worked out with great elaboration and vigor ; it swells to fortissimo, then dies away again in the distance, to make way for a most poetically picturesque orchestral picture of the gray morning dawn and sunrise, with a return of the opening theme of the movement in the horns, and at last a return of the second theme of the first movement. Unfortunately, Raff has stopped his sunrise half-way, and then gone back to darkness again and a return of the " Wild Hunt," only to have a new dawn and sunrise when the wild hunters have again disappeared. This repetition is, however, generally omitted in performances of the symphony nowadays ; not so much for the sake of meteological accuracy, perhaps, as because the movement, in its original shape, is excessively long.
Hulda, or Ilolda, was the Venus of Northern mythology; her other name was Freia. She was primarily the goddess of Spring, and then of love. It was she who enticed Tannhiluser into the Venus Mountain. After the introduction of Christianity, Hulda soon got to he regarded as an evil spirit, and was associated with nocturnal storms, like other witches, and called Frau Holle.
Friday Evening, May 12
OVERTURE, " Benvenuto Cellini" Berlioz
'' FUTTERWOCHEN,'' String Orchestra,
Flutes, Bells, and Harp Styx
ARIA, "CastaDiva," from " Norma" Bellini
Mme. Sembrich
Aria Gentle Goddess, softly spreading
Through this sacred grove thy light, Cast thy tender veil upon us, Cool all wrath and give us peace ; Drive hot anger from our bosoms, Cause all doubt and fear to cease.
The Chorai, Union
This is the second of " Quattro Pezzi Sacri," a series of four works of a religious character. They are among the latest publications of the composer, not having beeii copyrighted until late in 1898. The text is the familiar Latin hymn, which Verdi has treated in a modern yet original manner, displaying throughout in the movement of the vpices his mastery of vocal color.
STABAT MATER. By G. Verdi For Chorus and Orchestra.
Stabat Mater dolorosa Juxta crucem lacrymosa, Dum pendebat Filius.
Cujus animam gementem Contristatam et dolentem Pertransivit gladius.
O quam tristis et affiicta Fuit ilia benedicta Mater Unigeniti.
Qu£E moerebat et dolebat Pia Mater, dum videbat Nati poenas inclyti.
Quis est homo, qui non fleret, Matrem Christi si videret In tanto supplicio
Third Concert 23
Quis non posset contristari, Chnsti Matrem contemplari Dolentem cum Filio
Pro peccatis suse gentis, Vidit Jesum in tormentis, Et flagellis subditum.
Vidit suum dulcem Natum Moriendo desolatum, Dum emisit spiritum.
Eja Mater, fons amoris, Me sentire vim doloris, Fac, ut tecum lugeam.
Fac ut ardeat cor meum In amando Christum Deum, Ut sibi complaceam.
Sancta Mater, istud agas, Crucifixi fige plagas Cordi meo valide.
Tui Nati vulnerati, Tarn dignati pro me pati, Poenas mecum divide.
Fac me tecum pie flere, Crucifixo condolere Donee ego vixero.
Juxta crucem tecum stare, Et me tibi sociare In planctu desidero.
Virgo virginum praeclara, Mihi jam non sis amara, Fac me tecum plangere.
Fac ut portem Christi mortem, Passionis fac consortem, Et plagas recolere.
Fac me plagis vulnerari, Fac me cruce inebriari, Et cruore Filii.
Flammis ne urar succensus, Per te, Virgo, sim defensus In die judicii.
Christe, cum sit hinc exire, Da per Matrem me venire Ad palmam victorias.
Quando corpus morietur Fac ut animiE donetur Paradisi gloria. Amen.
24 Official Program Book
ARIA, "Ella giammai m'amo," from Don Carlos Verdi
Mr. Whitney
The scene of this aria, the introduction to the fourth act of the opera, is laid in the stud}' of King Philip in Madrid, who, as the curtain rises, is discovered leaning in deep meditation against a table, covered with documents. Two candles are burning out. Dawn is lighting the windows.
King Philip: She never loved me ! 'Gainst me her
Heart is barred ! Still do I see her sad look Of the day she came from France. Where am I The dawn lights the terrace ! Too slowly do my days pass ! O Heaven,
Bring sleep to my eyes ! Alone will I sleep in my roj-al mantle, When the evening of my day shall come ; Alone under the dark vault In the tomb of the Escurial. Oh, that the chaplet the power might bring me Of reading in that heart What Heaven alone can see ! When the prince sleeps, the traitor watches. Alone will I sleep in my royal mantle, When the evening of my day shall come.
SONGS: (a) Die Forelle, Schubert
(b) Vergebliches StHndchen Brahms
Mme. Sbmbrich
(a) PRELUDE to 3D Act of " Herodiade" Massenet
(b) PELUDE to 3D Act of " Lohengrin" Wagner
Prelude to Act III of " Lohengrin"
This introduction to the third act is supposed to be the ball-room music played at Lohengrin and Elsa's wedding. It begins, Sehr lebhaft {Motto vivace} in G major (2-2 time), with the jubilant first theme given out and briefly developed in fortissimo by the full orchestra. This soon makes way for the resounding second theme, in the same key, given out in fortissimo by the 'celli, horns, and bassoons in unison against harmony in repeated triplets in the strings, and repeated by all the brass and 'celli against a similar accompaniment in the rest of the orchestra. Then comes a softer, more march-like episodic theme, still in G major, given out and for the most part developed by the wind instruments. Then the first and second themes return, very much as at first, if with more variety in the way of modulation, the movement ending with the close of the second theme.
WALZ, " Voce di Primavera " Strauss
Mme. Sembrich
Saturday Afternoon, May 13
OVERTURE, " Hansel und Gretel " Humperdinck
ii T_J ANSEL UND GRETEL," Fairy Opera in three tableaux, was first given at 11 the Court Theatre in Weimar, on Dec. 23, 1893. Its success was immediate,
and soon became so universal as to be comparable only with that of Mascagni's
" Cavalleria Rusticana " and Leoncavallo's " Pagliacci." The prelude is quite free in form.
RONDE D'AMOUR Westerhotjt
Miss Lohbiher
I 've seen the swallows pass by me Cleaving the light clouds on high, The)" spread their wings and are sailing, Where the bright sun ne' er is failing. I have follow'd with my eyes Many swallows trav'ling eastward, And my soul was wafted heav'nward Following them with glad surprise, Ah ! to fair lands up in the sky. And my heavy heart was lighten'd Following them so far on high. I 've seen the swallows pass by me Into space, far above me.
THREE MOVEMENTS from "The Rustic Wedding," Gold-mark Symphony No. 1, in E-Flat Major, Op. 26
It is not quite easy to understand why Goldmark called this composition a symphony ; the sonata-form is nowhere apparent in it, and it seems more like a suite of characteristic tone-pictures than a symphony. It was first given in Vienna, on March 12, 1876, eleven years after the composer's "Sakuntala" overture. Like the overture, it soon made its way over the musical world -excepting France, for it was not given in Paris till the season of 1S90-91 -and became a stock piece in the repertory of almost all noted orchestras.
The first movement, "Wedding March," Moderate molto in E-flat major (2-4 time), is in the form of a theme with variations. The theme is first given out unaccompanied, by the 'celli and double-basses in octaves ; a certain resemblance it bears to the Portuguese Hymu, " Adeste, fideles," may or may not have been intentional. There are thirteen variations. It is said that Goldmark, in writing this movement, had in mind the numerous groups of wedding guests marching up to the church and disappearing one after another into the church itself.
The third movement, "In the Garden," Andante in G minor and G-flat major (4-4 and 12-8 time), is plainly meant for a love-scene. It opens with a tender melody
26 Official Program Book
--which begins in G minor, but modulates almost immediately to B-flat major-sung at first by the clarinet, then taken up by the violins in octaves. This theme is followed by a more passionate one in G-flat major, which is elaborately developed as a quasi-operatic love-duet; the tenor part is sung by the 'celli and horns, and the soprano by the violins and higher wooden wind instruments. Toward the end of the movement the first G minor and B-flat major melody returns in the clarinet, and the close is hushed and quiet as the beginning.
The fourth movement, "Dance," Allegro molto in E-flat major (2-2 time), is based on the jolliest of dance-tunes. It is elaborately worked up, with ever-increasing spirit and furious energy, interrupted for a moment at one point by a return of the tender clarinet theme of the garden-scene.
BALLET MUSIC from "Coppelia" Delibbs
(a) Valse (b) Czardas
Leo Delibes was born in 1S36 at St. Germain du Val (Department of Sarthe). In 1S48 he entered the Paris Conservatoire, where he obtained several prizes. He became the pupil of Adam in composition, and has written numerous comic operas and ballets which show great ability and refinement, among which we would mention the operas " Le Roi l'a dit " (1873) and " Lakme " (1SS3), and the ballets " Coppelia " and "Sylvia." He has also written numerous songs which show great delicacy and refinement, and in many cases a delightful originality.
The ballet "Coppelia," from which the orchestra this afternoon will play a Waltz and Czardas, was first given in New York by the National Opera Company, March n, 1887. It belongs to the most popular compositions of its class, and has long been one of the admired entertainments in the opera-houses of Europe.
ARIA, "O Don Fatal," from "Don Carlos" Verdi
Miss Towle
0 fatal dower, O cruel gift,
With which my fate in anger array'd me ; Thou, that so vain, so proud hast made me,
1 loath and curse thee, my beaut}' rare. Now tears alone for me remaining,
A hopeless life I must endure. Ah, so abhorrent my crime, so staining No grief can make my conscience pure. I loathe and curse thee, my beauty rare.
0 queen beloved I sacrificed thee To the revolt of this wild heart:
In a lone cloister from earth secluded,
1 may conceal my guilt apart.
Oh Heav'n ! Carlo, the scaffold tomorrow will ascend.
Ah, one day remaineth, sweet hope smiles upon me !
Ever blest be Heav'n, his life I '11 save !
String Orchestra
OVERTURE, "Robespierre" ("The Last Day
of Terror") ... Litolff
Saturday Evening, May 13
"SAMSON AND DELILAH," Opera in 3 Acts, Saint-Saens
DELILAH,......Mrs. Jacoby
SAMSON,......Mr. Hamun
AN OLD HEBREW, I Mr. Whitney
THE CHORAL UNION Mr. ZeiTz, Conductor
Charles Camille Saint-Saens is unique among French composers in that he has made his mark in every field of composition. He is an accomplished pianist, a clever organist, the greatest French symphonist, and an operatic composer of great distinction. The great reputation enjoyed by many bizarre compositions like the " Dance of Death," " Le rouet d' Omphale," and " Phaeton," has made him known to concert audiences, but his fame rests more securely on his symphonies, piano concertos, and operas, which also enjoy great popularity. He employs classic forms with ease, and has been influenced but little by ultra-modern tendencies, is, in fact, one of the most uncompromising opponents of the Wagnerian style. To say that he has not been influenced in his writings by the spirit which dominates music at this time would be to deny him the possession of the fundamental qualities of a great composer, but he has strenuously objected to that lawless use of modern freedom of style which characterizes the works of many of the younger men, whose enthusiasm has not been tempered by experience and observation. The " Samson and Delilah " is justly considered one of his greatest works. The present school of composition is in man}' ways a reaction against former practises, and will surely justify its promises if its representatives are guided by the principles which find their most perfect expression in the works of Camille Saint-Saens.
The following sketch of the Saint-Saens opera is translated freely from Les Annales die Thddtrc et de la Musique, by Noel and Stouling, 1892 : -'' The prelude is singular. There is a darting phrase which is developed, and mingled with this phrase is a chorus of Hebrews, sung behind the curtain. The lamenting captives ask deliverance of God. The fugal form of the number, which continues until the rise of the curtain, indicates at once the severe and classic nature of the work. Samson arouses the courage of his co-mates, and prepares the revolt which the insolence of Abimelech hastens to fury. Samson kills the Satrap of Gaza, and the Israelites exeunt at the right of the stage. The High Priest of Dagon descends, attended, from the temple, and curses Samson. The return of the triumphant Hebrews is one of the most ingenious numbers of the opera. There is a chorus of basses, to which liturgic color and rhythm give astonishing breadth, and they emphasize the more strongly the fresh chorus of the women of Philistia, ' Now Spring's generous hand.' The charming phrase will be found again in the temple-scene, the last tableau, as will the melodic design of the great duet of the second act, but ironically, in the orchestra, while Delilah insults the blinded hero. The Dance of the Priestesses of Dagon, which follows the chorus, is of delightful inspiration, and it prepares effectively the grandeur of the drama that follows. Delilah looks earnestly at Samson and sings to him, and Samson listens, not heeding the old man near him who says, ' The powers of hell have created this woman, fair to the eye, to disturb thy repose.'
"The second act is in the valley of Sorek. Delilah's house is at the left. It is surrounded with Eastern and luxuriant plants. Night is coming on. Delilah sings a passionate appeal to Love, invoking his aid. Then comes the duet with the High Priest who, deceived by the feigned love of Delilah, begs of her to deliver Samson to him; Delilah reveals her real hatred in a dramatic burst. The duet of Samson and the temptress is, as one knows, the chief number of the work. It is impossible to paint better the hesitations of Samson, as he stands between love and religious faith. The great phrase of Delilah is a superb expression of passion. The orchestral storm hastens the action on the stage, and when the elemental fury is at its height, Delilah enters her dwelling. Samson follows her; and the curtain falls on the appearance of the Philistines to master their foe. 38
Fifth Concert 29
'' The first tableau of the third act is a lament of remarkable intensity. Samson mourns his sin and a chorus of Hebrews behind the scenes reproach him and despair. The style is here rather that of the oratorio than the opera. An exquisite chorus follows, ' Dawn now on the hilltops,' which brings to mind the chorus of Philistines in the first act. Then comes the ballet so well known in concerts. From this moment until the fall of the curtain there runs in the orchestra a hurried motive, which is heard with rhythmic effect in the evolutions of the sacred dance; which gives the measure to the bitter mockings of Delilah and the sacrificial ceremonies; which, constantly quicker and more impetuous, accentuates the movement of the final chorus. The motive is feverish, mystical; its rapid pulsations give the idea finally of the religious madness of the Philistines inspired by the madding rites at the shrine of Dagon. The ballet is cut in two by a phrase of great breadth sustained by arpeggios of the harp, and thus is a strange solemnity given to the dance of the priestesses. After the irony of Delilah, and the supplication of Samson to the Lord, is a skilfully made canon, sung by Delilah and the High Priest. There is a sonorous chorus of great brilliancy, in which effect is gained by simple means. Samson pulls down the temple, and the curtain falls with a few measures of orchestral fury."
ACT I --Scene I
Public place in the city of Gaza in Palestine. At i,., the portal of temple of Dagon. At the rising of the curtain a throng of Hebrews, men and women, are seen collected in the open space, in attitudes of grief and prayer. Samson is among them.
Chorus :
God! Israel's God!
To our petition hearken! Thy children save! As they kneel in despair Heed Thou their prayer,
While o'er them sorrows darken! Oh, let thy wrath Give place to loving care!
The Women :
Since Thou from us
Hast turned away Thy favor
We are undone,
In vain thy people fight.
[Curtain rises."] Chorus:
Lord, wilt Thou have That we perish forever -The nation that alone Hath known
Thy light Ah! all the day Do I humbly adore Him:
Deaf to my cry
He gives me no reply,
Yet still I bow before Him
And implore Him That He at last To my aid may draw nigh!
The Hebrew Men:
By savage foes our cities have been harried;
Gentiles Thine altar with shame Have profaned;
Our tribes afar To dire slavery carried
All scattered are;
Scarce our name Hath remained! Art Thou no more
The God of our salvation, Who saved our sires From the chains that they wore Lord! hast thou forgot
Those vows, sworn to our nation In days of yore When Egypt hurt us sore
Samson (emergingfrom the throng ats..):
Pause and stand
O my brothers, And bless the holy name
Of the God of our fathers! Your pardon is at hand,
And your chains shall be broken! I have heard in my heart
Words of hope softly spoken: Official Program Book
'T is the voice of the Lord
That through His servant speaketh; He doth His grace afford:
Your lasting good He seeketh; Your throne shall be restored!
Brothers! now break your fetters! Our altar let us raise To the God whom we praise!
Chorus :
Alas! vain words he utters.
Freedom can ne'er be ours! Of arms our foes bereft us;
How use our feeble powers Only tears are left us!
Is your God not on high
Hath He not sworn to save you He is still your ally
By the name that he gave you! ' T was for you alone
That He spake through His thunders! His glory He hath shown
To you by mighty wonders! He led through the' Red Sea
By miraculous ways, When our fathers did flee
From a shameful oppression!
Past are those glorious days,
God hath venged our transgression;
In His wrath He delays, Nor hears our intercession.
Wretched souls! hold your peace!
Doubt not the God above you! Fall down upon your knees!
Pray to Him who doth love you! Behold His mighty hand,
The safeguard of our nation! With dauntless valor stand
In hope of our salvation! God the Lord speeds the right;
God the Lord never faileth! He fills our arms with might,
And our prayer now prevaileth!
Lo! the Spirit of the Lord
Upon his soul hath rested! Come! our courage is restored;
Let now His way be tested! We will march at His side;
Deliverance shall attend us, For the Lord is our guide,
And his arm shall defend us!
Scene II
The same. Abimelech, satrap of Gaza, eiiers at i,., followed by a throng of warriors and soldiers of the Philistines.
Who dares to raise the voice of pride
Do these slaves revile their masters Who oft in vain our strength have tried.
Would they now incur new disasters Conceal your despair
And your tears!
Our patience will hold out no longer; You have found that we are the stronger; In vain your prayer,
We mock your fears:
Your God, whom ye implore with
anguish, Remaineth deaf to your call;
He lets you still in bondage languish, On you His heavy judgments fall!
If He from us desires to save you, Now let him show His power divine,
And shatter the chains your conquerors
gave you! Let the sun of freedom shine!
Do you hope in insolent daring
Our God unto yours will yield, Jehovah with Dagon comparing,
Who for us winneth the field Nay, your timid God fears and trembles
When Dagon before Him is seen; He the plaintive dove resembles;
Dagon the vulture bold and keen.
Samson [inspired):
O God, it is Thou he blasphemeth!
Let Thy wrath on his head descend, Lord of hosts!
His power hath an end. On high like lightning gleameth
The sword sparkling with fire; From the sky swiftly streameth
The host burning with ire: -Yea! all the heavenly legions
In their mighty array Sweep over boundless regions,
And strike the foe with dismay. At last cometh the hour
When God's fierce fire shall fall: Its terrible power
And His thunder appall.
SOLO AND CHORUS OF ISRAELITES: Lord before Thy displeasure
Helpless the earth shall quake; Thy wrath will know no measure
When vengeance Thou shalt take!
Give o'er! rashly blind! Cease thy railing,
Wake not Dagon's ire, death entailing!
Samson and Chorus : Israel! break your chain!
Arise! display your might! Their idle threats disdain!
See, the day follows night!
Jehovah, God of light,
Fifth Concert 31
Hear our prayer as of yore,
And for Thy people fight!
Let the right Win once more!
Lord, before Thy displeasure
Helpless the earth shall quake; Thy wrath will know no measure
When vengeance Thou shalt take! Thou the tempest unchainest;
The storms Thy word obey; The vast sea Thou restrainest;
Be our shield, Lord, to-day!
Israel! break your chain! etc.
Israel! now arise!
{Abimelech springs at Samson, stvord in hand, to strike him. Samson ztrenches the sword away and strikes him. Abimelech falls, crying, "Help." The Philistines accompanying the satrap would gladly aid him, but Samson, brandishing the sword, keeps them at a distance. He occupies the R. of stage, the greatest confusion reigns. Samson and the Hebrews exeunt r. The gates of Dagoti's temple open; the High Priest, followed by a throng of attendants and guards, descends the steps of the portico; he pauses before Abime-lech's dead body. The Philistines respectfully draw back before him.)
Scene III
The same, the High Priest, Attendants, Guards.
High Priest:
What see I
Abimelech by slaves struck down and
dying! Oh, let them not escape!
To arms! Pursue the flying! Wreak vengeance on your foes!
For the prince they have slain! Strike down beneath your blows
These slaves who flee in vain!
First Philistine:
All my blood, it was fated,
Turned to ice in my veins; Methought my limbs were weighted
With heavy load of chains!
Second Philistine:
My arms are unavailing,
My strength is like the flax; My knees beneath me failing -And my heart melts like wax.
High Priest:
Cowards! with hearts easily daunted, Ye are filled with foolish alarm!
Have ye lost all your boldness vaunted, Do you fear their God's puny arm
Scene IV The same.
Philistine Messengers:
My Lord! the band by Samson guided To revolt, with furious wrath
Across our land by fear divided March, leaving woe in their path.
0 fly from the threatening danger! Come! why should we perish in vain
We '11 leave the town unto the stranger, And the sheltering mountains gain.
High Priest:
Curse you and your nation forever, Children of Israel!
1 fain your race from earth would sever, And leave no trace to tell!
Curse him, too, their leader! I hate him!
Him will I stamp 'neath my feet! A cruel doom must now await him;
He shall die when we meet! Curse her, too, the mother who bore him,
And all his hateful race! May she who faithful love once swore him
Prove heartless, false, and base. Cursed be the God of his nation,
That God his only trust; His temple shake from its foundation,
His altar fall to dust!
Messengers and Philistines:
In spite of brave professions,
To yonder mountains fly; Leave our homes, our possessions,
Our God, or else we die.
{Exeunt L., bearing Abimelech's dead body. Just as the Philistines leave the stage, followed by the High Priest, the Hebrews, old men and children, enter r. is broad daylight.)
Scene V
The Hebrew Women and Old Men; then Samson and the victorious Hebrews.
Hebrew Old Men:
Praise ye Jehovah! Tell all the wondrous
Psalms of praise loudly swell! God is the Lord! In His power and His
He hath saved Israel! Through him weak arms have triumphed o'er the masters,
32 Official Program Book
Whose might oppressed them sore; Upon their heads He hath poured dire
disasters, They will mock Him no more!
(The Hebrews, led by Samson, enter r. ) An Aged Hebrew:
His hand in anger stern chastised us,
For we his laws had disobeyed; But when our punishment advised us,
And we our humble prayer had made, He bade us cease our lamentations-" Rise in arms, to combat! " He cried, " Your God shall provide
Your salvation;
In battle I am by your side! "
Hebrew Old Men:
When we were slaves, He came our
chains to sever, We were ever his care; His mighty arm was able to deliver,
He hath turned our despair! Praise ye Jehovah! Tell all the wondrous
Psalms of praise loudly swell! God is the Lord! In His power and His
glory He hath saved Israel!
Scene VI
Samson, Delilah, the Philistines, the Hebrew Old Men. The gales of Da-gon's temple open. Delilah enters, followed by Philistine Women holding garlands of flowers in their hands.
The Philistine Women:
Now spring's generous hand Brings flowers to the land;
Be they worn as crowns By their conquering band!
With light, gladsome voices. 'Mid glowing roses,
While all rejoices, Sing, sisters, sing -Your tribute bring! Come, deathless delight, Youth's springtime bright,
The beauty that charms The heart at the sight,
The love that entrances And new love wakens
With timid glances! My sisters, love Like birds above!
Delilah {addressing Samson):
I come with a song for the splendor Of my love who won in the fray ! I belong unto him for aye.
Heart as well as hand I surrender !
Come, my dearest one, follow me
To Sorek, the fairest of valleys, Where murmuring, the cool streamlet
dallies! Delilah there will comfort thee.
f Samson :
O God ! who beholdest my trial, Thy strength to thy servant impart, Close fast mine eyes, make firm my heart.
Support me in stern self-denial!
Delilah :
My comely brow for thee I bind
With clusters of cool, curling cresses,
And Sharon's roses sweet are twined Amid my long tresses.
The Old Hebrew :
Oh, turn away my son, and go not
there !
Avoid this stranger's seductive devices ; Heed not her voice, though softly it
entices ; Of the serpent's deadly fang beware !
Samson :
Hide from my sight her beauty rare, Whose magic spell with right alarms
Oh, quench those eyes whose brightness charms me, And fills my heart with love's despair!
Delilah :
Sweet is the lily's perfumed breath ;
Sweeter far are my warm caresses ;
There awaits thee, Love, joy that
blesses, And all that bliss awakeneth !
Open thine arms, my brave defender ! Let me fly to thy sheltering breast; There on thy heart I will sweetly rest,
Filling thy soul with rapture tender,
Come, oh come !
Samson :
Oh, thou flame that my heart oppresses, Burning anew at this hour, Before my God, before my God give
o'er thy power!
Lord, pity him who his weakness confesses !
Thb Old Hebrew :
Accursed art thou, if 'neath her charm
thou fallest, If to her voice, if to her honeyed
voice thou givest heed : Ah ! then thy tears are vain, in vain
thou callest
On Heaven to save thee from the fruits of thy deed !
Fifth Concert 33
( The young girls accompanying Delilah dance, waving the garlands of flowers which they hold in their hands, and seem to be trying to entice the Hebrew warriors who follow Samson. The latter, deeply agitated, tries vainly to avoid Delilah's glaices. His eyes in spite of all his efforts follow all the enchantress's movements as she takes part in the voluptuous postures and gestures of the Philistine Maidens.)
Dance of the Priestess of Dagon. Deuuh :
The spring with her dower Of bird and of flower
Brings hope in her train ; Her scant laden pinions From Love's wide dominions
Drives sorrow and pain. Our hearts thrill with gladness For spring's mystic madness
Thrills through all the earth. To fields doth she render Their grace and their splendor -Joy and gentle mirth.
In vain I adorn me
With blossoms and charms! My false love doth scorn me,
And flees from my arms ! But hope still caresses
My desolate heart -Past delight yet blesses !
Love will not depart !
(Addressing Samson, with her face bent upon him.)
When night comes star-laden, Like a sad, lonely maiden, I '11 sit by the stream. And mourning I '11 dream. My heart I '11 surrender
If he come to-day, And still be as tender As when Love's first splendor
Made me rich and gay : -So I '11 wait him alway.
Hebrew Old Man :
The powers of hell have created this
Fair to the eye, to disturb thy repose ; Turn from her glance, fraught with fire
not human :
Her love is a poison that brings countless woes!
Delilah :
My heart I '11 surrender
If he come to-day, And still be as tender As when Love's first splendor
Made me rich and gay : -So I '11 wait him alway !
{Delilah, still singing, again goes to the steps of the portico and casts her enticing glances at Samson, who seems wrought upon by their spell. He hesitates, struggles, and betrays the trouble of his soul.)
[end of act i]
ACT II --Scene I
The stage represents the valley of Sorek in Palestine. At l., Delilah's dwelling, which has a graceful portico, and is surrounded with Asiatic plants and luxuriant tropical creepers. At the rising of the curtain, night is coming on, and becomes complete during the course of the action.
{She is more richly appareled than in the first act. At the rising of the curtain, she is discovered sealed on a rock near the portico of her house, and seems to be in a dreamy mood.)
Delilah (alone):
To-night Samson makes his obeisance, This eve at my feet he will lie !
Now the hour of my vengeance hastens-Our Gods I shall soon glorify!
0 Love ! of thy might let me borrow ! Pour thv poison through Samson's
heart !'
Let him be bound before the morrow -A captive to my matchless art !
In his soul he no longer would cherish The passion he wishes were dead ;
Can a flame like that ever perish, Evermore by remembrance fed
He rests my slave ; his feats belie him ; My brothers fear with vain alarms ;
1 only of all -I defy him.
I hold him fast within my arms !
O Love ! of thy might let me borrow !
Pour thy poison through Samson's
heart ! Let him be bound before the morrow -A captive to my matchless art!
When Love contends, strength ever
E 'en he, the strongest of the strong, Through whom in war his tribe prevaileth ; Against me shall not battle long !
{Distantflashes of lightning.)
Scenk II Delilah ; the High Priest of Dagon.
Official Program Book
High Priest :
I have climbed o 'er the cheerless Mountain-peaks to thy side ;
'Mid dangers I was fearless ; Dagon served as my guide !
Delilah :
I greet you worthy master ;
A welcome face you show, Honored e'er as priest and pastor !
High Priest:
Our disaster you know ! Desperate slaves without pity
Rose against their lords, They sacked the helpless city -None resisted their hordes.
Our soldiers fled before them
At the sound of Samson's name ; The pangs of terror tore them,
Like sheep they became! A menace to our nation,
Samson had from on high A strength and preparation
That none with him can vie.
A vow hath bound him ever,
He from birth was elect To concentrate endeavor,
Israel's glory to effect.
Delilah :
I know his courage dares you,
Even unto your face ; He endless hatred bears you,
As the first of your race.
High Priest :
Within thine arms one day
His strength vanished away ;
But since then
He endeavors to forget thee again.
' T is said, in shameful fashion
His Delilah he scouts ; He makes sport of his passion,
And all its joy he doubts.
Delilah :
Although his brothers warn him,
And he hears what they say, They all coldly scorn him
Because he loves astray ; Yet still in spite of reason,
He struggles all in vain ; I fear from him no treason,
For his heart I retain ! ' Tis in vain he defies me,
Though so mighty in arms ; Not a wish he denies me ;
He melts before my charms.
High Priest : Then let thy zeal awaken, Use thy weird magic powers,
That unarmed, overtaken,
He this night may be ours ! Sell me this redoutable thrall, Nor then shall thy profit be small; Naught thou wishest could be a burden Priceless shall be thy well-earned guerdon !
Do I care for thy promised gold Delilah's vengeance were not sold For all a king's uncounted treasure ! Thy knowledge, though boundless in
Hath played thee false in reading me! O'er you he gained the victory, But I am still too powerful for him ; More keenly than thou, I abhor him!
High Priest:
Thy design and thy deathless hate I
should have guessed; To hear thy wily words my heart with
pleasure trembles! Yet, art thou sure of him Will thy
power stand the test Hast thou measured his cunning Maybe he, too, dissembles.
Thrice, indeed, have I failed to accomplish my plan -I have sought for the key to the strength
of the man; I have kindled his love with the hope
that by yielding, I might spoil the mysterious might he is
Thrice hath he foiled my plan, disappointed my hope ; His secret still he holds -with him no
one can cope!
In vain I emulate all the fire he expresses ; Though I thought that I might gain that
knowledge by caresses! This haughty Hebrew slave oft hath
hurried away
From my sweetest embraces to engage in the fray.
But to-day Have no fear, my might will overwhelm ;
Pale grew his face once stern, He shook when last I saw him. So I know That our foe
His friends once more will spurn ; He will yearn For my love. We shall see him return.
The victory shall be mine, I am ready to
meet him ; One last weapon is left me -my tears
shall defeat him!
Fifth Concert 35
High Priest:
Oh, may Dagon, our God, by thy side
deign to stand! I I 'T is for him thou art fighting; thou
winnest by his hand.
That vengeance now at last may find him, Delilah's chains must firmly bind him! May he by his love yield his power, And here at my feet meekly cower.
High Priest:
That vengeance now at last may find him, Delilah's chains must firmly bind him! May he by his love yield his power, And here at thy feet meekly cower.
Delilah :
That vengeance now at last may find him, etc.
High Priest:
In thee alone my hope remaineth, Thy hand the honored victory gaineth,
That vengeance, etc. We two shall strike the blow -Death to our mighty foe!
My hand the honored victory gaineth, That vengeance, etc. We two shall strike the blow -Death to our mighty foe!
High Priest:
To-night didst thou not tell me Samson is awaited
Delilah : He will come! High Priest:
Then I go, lest he find me belated ;
But soon by secret paths I bring the
avenging band, Now the fate of thy land Is lodged within thy hand. Unveil his secret heart,
And rob him of his treasure ; Make him tell where resides
That force which none can measure.
[Exit. Delilah: {approaches the portico, l., and
stands leaning in a dreamy attitude
against one of the pillars): Ah! can it be And have I lost the sway
That I held o'er vay lover
The night is dark, without a ray ;
If he seeks me now, how discover Alas! The moments pass!
Scene III
Delilah; Samson. He seems to be disturbed, troubled, uncertain. He glances about him. It grows darker and darker. {Distant flashes of lightning.)
Once again to this place
My erring feet draw nigh! I ought to shun her face,
No will have I ! Though my passion I curse,
Yet its torments still slay me. Away! away from here, Ere she through stealth betray me!
Delilah {advancing toward Samson):
'Tis thou! 't is thou whom I adore!
In thine absence I languish: In seeing thee once more
Forgot are hours of anguish! Thy face is doubly welcome.
Ah! cease that wild discourse ;
At thy words all my soul Is darkened with remorse!
Delilah :
Ah! Samson, my best beloved friend, In thy heart dost thou despise me
Is 't thus thy love hath an end, Which once above all jewels did prize me
Thou hast been priceless to my heart, And never canst thou be discarded! Dearer than life art thou regarded!
In my love none hath greater part!
By my side dost thou fear some disaster
Dost thou doubt that I love thee still
Do I not fulfill all thy will Art not thou my dear lord and master
Alas! Jehovah heard my vow -To obey Him is my bounden duty! Farewell, I must leave thee now,
Ne'er again behold thy matchless
beauty. No more to joyful love give way!
Israel's hopes revive by this token ; For the Lord hath decreed the day
Which shall see our chains surely broken!
He hath spoken to me His word: Among thy brethren thou art elected
To lead them back to God their Lord: Ending all the woes whereby they are afflicted!
36 Official Program Book
What careth mjT heart all forlorn For Israel's fate or her glory
When joy from me brutally torn,
Sums up for me the wretched story.
When I in thy promise believed
My peace of mind was forever ended ;
Each false caress that I received Was in my veins a poison blended.
Forbear to rack my soul with woe!
I must yield to a law above thee ; Tenfold my grief when my tears flow -Delilah! Delilah! I love thee!
{Distant flashes of lightning.')
Delilah :
A God far more might}' than thine,
My friend, through me his will proclaimeth; 'T is the God of Love, the divine,
Whose law thy God's small scepter
shameth! Recall blissful hours by my side,
If thou from thy mistress wilt sever! Thou'st broke the faith that should abide!
I alone remain constant ever!
Thou unfeeling! To doubt of my heart!
Ever of my love all things tell me! O, let me perish by God's dart,
Tho' God's lightning should overwhelm me!
(The thunderstorm approaches.)
I struggle with my fate no more, I know on earth no law above thee!
Yea, though Hell hold my doom in store, Delilah! Delilah! I love thee!
My heart at thy dear voice
Opens wide like a flower, Which the morn's kisses waken ; But that I may rejoice,
That my tears no more shower, Tell thy love, still unshaken!
Oh, say thou wilt not now Leave Delilah again!
Repeat with accents tender Every passionate vow, Oh, thou dearest of men! Ah! to the charms of love surrender! Rise with me to its height of splendor!
Delilah! Delilah! I love thee!
Delilah :
As fields of growing corn In the morn bend and sway,
When the light zephyr rises, E'en so my heart forlorn Is thrilled by passion's play. At thy voice's sweet surprises!
Less rapid is the dart
In its death-dealing flight
Than I spring to my delight, To my place in thy heart!
Ah! to Love's delight surrender!
Rise with me to its height of splendor !
I '11 dry thy tears
By charm of sweet caresses, And chase thy fears
And the grief that oppresses! Delilah! Delilah! I love thee!
(Flashes of lightning. Violent crash of thunder.)
But no! . . . the dream is o'er! Delilah trusts no more!
Words are idle pretenses! Thou hast mocked me before, In oaths I set no store,
Too flagrant thy offenses!
When I dare to follow thee now Forgetful of God and my vow -The God who hath sealed my existence With strength divine, that knew no resistance
Ah! well, thou shalt now read my heart!
Know why thy God I have envied,
hated -Thy God by whose fiat thou art,
To whom thou art consecrated! Oh, tell me this vow thou hast sworn -How thy mighty strength is redoubled! Remove the doubts whereby I am torn,
Let not my heart be longer troubled!
( Thunder and lightning in the distance.)
Delilah what dost thou desire
Ah! let not thy distrust rouse mine ire!
If still I have power left to move thee, Whereby in the past I was blessed, This hour I would put it to test:
Firm trust in me would now behoove thee!
(Lightning and thunder nearer and
Fifth Concert 37
Alas! the chain which I must wear
Maketh not nor marreth thy joyance! For my secret why dost thou care
Tell me thy vow! Assuage the pain I bear!
Thy power is vain; vain thy annoyance!
{Lightning Tvithout thunder.)
Yea, my power is vain,
Because thy love is bounded! My desire to disdain,
To despise my spirit, wounded By the secret unknown ;
And to add without reason, In cold insulting tone
Charges of latent treason!
With a heart in despair
Too immense to be spoken, I raise to God my prayer
In a voice sad and broken!
For him I have displayed
All my beauty's decoration! And how am I repaid
What for me but lamentation!
All-powerful God, I call on thee for aid!
To see thy stern face
My sad forebodings waken ; Samson, flee from this place
Ere I die, thy love forsaken.
Samson : Say no more!
Delilah: Tell thy vow! Samson: Ask me not! Delilah:
Tell me now
I implore -The vow which thou
Hast taken.
{Lightning without thunder.)
The storm is rising fast
To rend the hill asunder And the Lord's wrath will blast
The traitor with his thunder!
I fear not by thy side! Come!
Say no more!
At His wrath cast defiance!
Vain is my self-reliance. 'T is the voice of God!
Coward! you loveless heart! I despise you! Away!
{Delilah runs toward her dwelling; the storm breaks in all its fiery; Samson, raising his arms to heaven, seems to call upon God. Then he springs in pursuit of Delilah, hesitates, and finally enters the house. Philistine soldiers enter r. , and softly approach Delilah's dwelling. A violent crash of thunder.)
Delilah [appearing at her window):
Your aid, Philistines, your aid!
I am betrayed!
(The soldiers rush into the house.) Curtain.
[end of act ii]
First Tableau.-A prison at Gaza. Scene I
Samson; the Hebrews. Samson, in chains, blinded, with his locks shorn, is discovered turning a hand-mill. Behind the scenes a chorus of captive Hebrews.
Look down on me, O Lord! Have mercy on me!
38 Official Program Book
Behold my woe! Behold, sin hath undone
me! My erring feet have wandered from Thy
And so I feel the burden of Thy wrath! To Thee, O God, this poor wrecked life
I offer!
I am no more than a scorn to the scoffer! My sightless eyes testify of my fall ; Upon my head Hath been shed Bitter gall !
Samson, why thy vow to God hast thou
broken What to us doth it token
Alas! Israel, loaded with chains,
From God's holy face sternly banished, Every hope of return hath vanished, And only dull despair remains! May we regain all the light of Thy favor! Wilt Thou once more Thy protection
accord Forget Thy wrath at our reproach, O
Lord -Thou whose compassionate love doth not waver.
God meant thou shouldst take the command
To lead us back to fatherland.
Samson! why thy vow to God hast thou broken
What to us doth it token
Brothers, your complaint voiced in song Reaches me as in gloom I languish, And my spirit is torn with anguish
To think of all this shame and wrong!
God! take my life in expiation!
Let me alone Thine anger bear; , Punishing me, Thine Israel spare!
Restore Thy mercy to our nation!
He for a woman sold his power!
He to Delilah hath betrayed us! Thou who wert to us like a tower -Why hast thou slaves and hopeless made us
Contrite, broken-hearted I lie, But I bless Thy hand in my sorrow! Comfort, Lord, let Thy people borrow,
Let them escape! Let them not die!
{The Philistines enter the prison and take Samson out. Transformation.')
Second Tableau.-Interior of the temple of Dagon. Statue of the god. Sacrificial table. In the midst of the fane two marble columns apparently supporting the edifice.
Scene ii
The High Priest, Delilah, the Philistines. The High Priest of Dagon is surrounded by Philistine princes. Delilah, followed by Philistine maidens crozoned with flowers, zvith mine-cups in their hands. A throng of people fill the temple. Day is breaking.
Chorus of Philistines:
Dawn now on the hilltops heralds the
Stars and torches in its light fade away! Let us revel still, and despite its warning Love till the morning!
It is love alone makes us bright and gay ! The breeze of the morn puts the shades to
They hasten away like the mist-veil light! The horizon glows with a rosy splendor ;
The sun shines bright
On each swelling height, And each treetop tender !
Scene III High Priest :
All hail the judge of Israel, Who by his presence here,
Makes our right doubly splendid ! Let him be by thy hands,
Fair Delilah, attended, Fill high for thy love the hydromel! Now let him drain the beaker with songs
for thy praises, And vaunt thy power in swelling phrases !
Samson, in thy pleasure we share !
We praise Delilah, thy fair mistress ! Empty the bowl and drown thy care !
Good wine maketh less deepest distress!
Samson (aside) :
Deadly sadness fills my soul!
Lord, before Thee, humbly I bow me, Oh, by Thy will divine allow me
To gain at last life's destined goal!
Deulah (approaching Samson with a wine-cup in her hand) :
By my hand, love, be thou led ! Let me show thee where thy feet may tread !
Fifth Concert 39
Down the long and shaded alley Leading to the enchanted valley, Where often we used-to meet, Enjoying hours heavenly sweet! Thou hadst to climb craggy mountains
To make thy way to thy bride, Where by the murmuring fountains,
Thou wert in bliss at my side ! Tell me now thy heart still blesses All the warmth of my caresses !
Thy love well served for my end. That I my vengeance might fashion
Thy vital secret I gained, Working on thy blinded passion !
By inj' love thy soul was lured ! 'T was I who have wrought our salvation!
'T was Delilah's hand assured Her god, her hate, and her nation.
'Twas thy hand that assur'd Our God, our hate, and our nation.
Samson (aside):
Deaf to thy voice, Lord, I remained,
And in my guilty passion's blindness, Alas! the purest love profaned
In lavishing on her my kindness.
High Priest:
Come now, we pray, sing, Samson, sing!
Rehearse in verse thy sweet discourses, Which thou to her wert wont to bring
From thy eager love's inmost sources! Or, let Jehovah show his power,
Light to thy sightless eyes restoring! I promise thee that self-same hour
We all will thy God name, adoring. Ah! He is deaf unto thy prayer,
This God thou art vainly imploring! His impotent wrath I may dare
And scorn His thunder's idle roaring.
Hearest Thou, O God, from Thy throne How this impudent priest denies Thee, And how his hateful troop despise Thee,
With pride and with insolence flown!
Once again all Thy glory show them! Once more let Thy man-els shine, Let Thy light and Thy might be mine,
That I again may overthrow them!
Ha! ha! ha! ha!
We laugh at thy furious spite!
Us thou canst not affright.
With idle wrath thou ragest; The day is like the night! Thine eyes lack their sight,
A weaklingVwar thou wagest! Ha! ha! ha! ha!
High Priest:
Come, fair Delilah, give thanks to our god,
Jehovah trembles at his awful nod. Consult we now
What his godhead advises, E'en while we bow
The sacred incense rises.
{Delilah and the High Priest turn to the sacrificial table, on which are found the sacked cups. Afire is burning on the altar, which is decorated with fiowers. Delilah and the High Priest, taking the cups, pour a libation on the fire, which flames, then vanishes, to reappear at the third strophe of the invocation. Samson has remained in the midst of the stage with the boy who led him. He seems overwhelmed with grief, and his lips are moving in evident prayer.)
Delilah :
Dagon be ever praised!
He my weak arm hath aided, And my faint heart he raised
When our last hope had faded.
High Priest:
Dagon be ever praised!
He thy weak arm hath aided, And thy faint heart he raised
When our last hope had faded.
Both :
Oh, thou ruler over the world,
Thou who all stars createst, Be all thy foes to ruin hurled!
Over all gods thou art greatest!
Thy blessing scatter
With mighty signs! Let flocks wax fatter,
More rich our vines! Let every village with wealth o'erflow, Keep thou from pillage
Our hated foe!
Deuuh and High Priest:
Accept, O lord sublime,
Our victim's grand oblation, For e'en our greatest crime
Take them in expiation.
Chorus: Dagon we praise!
Dexilah and High Priest: Reveal to thy priest's wondering eyes,
Who alone can behold thy glory,
All the future's dark, mystic story, Which behind Fate's veil hidden lies! God hear our prayer
Within thy fane! Make us thy care!
Let justice reign! Success attend us '
40 Official Program Book
Whene'er we fight! Protection lend us Both day and night!
Deui.ah, High Priest, and Chorus:
Dagon shows his power! See the new flame tower!
Burning bright
Amid smoldering ashes, Our Lord of light,
Descending, o'er us flashes ! IO ! the god we worship now appeareth. All his people fear his nod !
High Priest (to Samson) :
That fate may not in favor falter,
Now, Samson, come, thine offering pour
Unto Dagon there on his altar, And on thy knees his grace implore !
(To the boy.)
Guide thou his steps ! Let thy good care
enfold him That all the people from afar behold him!
Now, Lord, to Thee do I pray ! Be Thou once more my stay ; Toward the marble columns, My boy, guide thou my way.
(The boy leads Samson between the two pillars.)
Chorus :
Dagon shows his power, etc., as above.
God hear our prayer, etc., as above.
Thou hast vanquished the insolent
Children of Israel,
Strengthened our arm,
Our heart renewed,
Kept us from harm,
And by thy wonders
Brought these people to servitude,
Who despised thy wrath
And thy thunders !
God, hear our prayer, etc., as above.
Glory to Dagon ! Glory !
Samson (standing between the pillars and endeavoring to overturn them):
Hear Thy servant's cry, God, my Lord, Though he is sore distressed with blindness ! My former force once more restore.
One instant renew thy gracious kindness !
Let Thine anger avenge my race. Let them perish all in this place.
(The templealls, amid shrieks and cries.)
(The curtain falls.)
Clara A. Armbruster Louise Ashton Mrs. Julia Beebe Mrs. Cecille Berrymau Amelia M. Breed Katherine Brewster Alice Brooks Lucy M. Brooksbank Mrs. Flora Buck Ella Burrell Nora Burrell Elsie Cairns Minnie B. Caldwell Lelia M. Childs Mrs. Mary S. Cole Mrs. Wirt Cormvell Mrs. Myrtle Cranston Edith Crego Mrs. W. F. Dains Nina M. Davison Clara S. Dean Genevieve Derby Martha M. Drake Frances J. Dunbar Ruth Durheim Mrs. E. H. Eberbach Ottilie Eberbach Leila H. Farlin Babette Fischer Anna E. Fisher Ethel Zoe Fisk Hettie Fox Ola Gates Helen D. George Antoinette Gillette Ella M. Glazer Mrs. O. S. Gorsline Mrs. R. E. Hathaway S. Blanche Hedrick Mabel Heywood Eugenia Hobbs Nellie Holzhehner
Maud Hudson Laura Hull Estelle Jenney Ruth Adelaide Kapp Mrs. H. F. Keen Mrs. G. F. Key Nella A. Kingman Clara Kingsley Mrs. M. R. Kinsey Cornelia C. Koch Flora Koch Idabel Lathrop Annette M. LaVigne Nellie S. Loving Blanche Lurton Rose Me Clurkin Mrs. Charles W. Mickens Jessie C. Mighell Mrs. Glen V. Mills Mary E. O' Connor Mrs. F. Ohlinger Bertha M. Palmer ' Mrs. M. C. Peterson Emily J. Purfield Mrs. Lina Rainey Mrs. L. L. Renwick Amanda E. Reyer Kate M. Reynolds Ruby Richardson Julia Rominger Alice E. Rothruan Edith Schleede Sophie M. Schwarz Lucie Sill Lena R. Smith Leslie G. Smith Mabel Spencer Ora Sperry Mrs. A. R. Taylor Mella Taylor Mrs. W. L. Taylor Bertha M. Todd
42 Official Program Book
Estelle J. Vaughan Mary Vincent Ella S. Wagner Agnes Waite Carrie L. Watts Margaret Weidemann Sara Whedon
Lida V. White Mabel Whittemore Mrs. C. J. Williams Florence Wilson Mrs. M. W. Wimer Cora Woodmansee Mrs. H. M. Woods
Elizabeth Wylie
Frances J. Allen
Emma Elizabeth Bach
Mrs. W. H. Butts
Anna Carpenter
Dula N. Chandler
Mrs. W. K. Childs
Arvilla Clark
Grace Clark
Martha C. Clark
Ina Clawson
Mrs. A. L. Davis
Mrs. Adelaide Dayton
Elizabeth Dean
Minna C. Denton
Carrie S. Dicken
Katharine Diehl
Ida M. Durkee
Alice Gates
Mabel F. Greene
A. Katharine Haller
Mrs. J. P. Hamilton
Maud E. Hess
Mary H. Himes
Katharine J. Hine
Harriet Hull
Malvina Koch
Myrtle E. Lare
Nellie LaVigne
Mrs. Edith K. Mac Arthur
Mrs. Hugh Me Carroll
Louise McKenzie
Rachel McKenzie
E. Rose Maier
Blanche Mallory
Mrs. E. A. Martindale
Elizabeth Mogk
Mrs. W. R. Moss
Cora J. Parkhurst
Olive May Pepper
Nancy Phelps
Adelia M. Randall
Edith W. Randall
Winifred Robinson
Augusta E. Samp
Julia Schoettle
Mrs. E. M. Smith
Lottie S. Smith
Marian Smith
Evelyn St. James
Clara Stonebraker
Olive E. Swisher
Elizabeth Thorpe
Mrs. George Vandawarker
May Vincent
Nettie E. Wagner
Selah B. Warren
Helen G. Wetmore
Anna B. Wilsey
Ida M. Wimer
Cora M. Wise
Jessie E. Wise
Blanche Wood
Kate Wright
Lulu Young
Lucius E. Allen Frank E. Andrews Frederick R. Austin Wm. H. Belknapp J. Rowland Bibbins August E. Bjork N. H. Boardman
Frank E. Bryant Herbert W. Carpenter Homer S. Can-Richard R. Clippinger Harry N. Cole R. Howard Daniels Arthur h. Davis
Choral Union 43
Alfred M. Durham Amos C. Erdman Benjamin E. Ewald John A. Ferguson Geo. W. Furrey Clarence S. Gorsline Charles G. Hampton, Jr. Fred W. Hartsburg Henry W. Harvey John H. Hauberg Geo. S. Hill Burton B. Johnson George F. Key George B. l,ake George E. Maim
Louallen F. Miller Win. R. Moss Oscar R. Myers Thomas E. Newcomer Roy E. Pettit James B. Pollock W. Gilbert Povey George B. Rhead Joseph L. Robbins J. F. Sortore Jas. S. Taylor Frank Vandeburg Henry Van Slooten Fred. M. Washburn H. Orlando Wilcox
Mario C. Wood-Allen
Guy Albright Emanuel Anderson Howell L. Begle George N. Bentley John Bigham Charles J. Borchardt Jacob Breid Dr. E. D. Brooks Oscar J. Campbell Tracy Y. Cannon James W. Clift Leon J. Cole Francis W. Copley Wyatt E. Cranston P. R. de Pont Carl Erb Chas. J. Ewald Geo. R. Fish Colman D. Frank Burdette S. Frary Harry L. Goodbread Herbert C. Gore Earl R. L. Gregg Lloyd Hamilton Robert E. Hathaway Herbert Hawley Scott F. Hodge Robert M. Hopkins
Ernest H. Jacobs H. Arthur Johnson Albert J. Knapp Eugene J. Koch Ineson J. Kohler W. Oliver Lee Norman F. Me Carty Kenneth S. Markham Ernst H. Mensel David A. Mills Dr. Chas. B. Nancrede Gustavus A. Ohlinger Daniel K. Ortmeyer Stanle}' Partridge David W. Paton Thomas W. Paton Chas. E. Roblin Ashley D. Rowe Oliver Rye Elisha S. Sevensma John S. Stewart J. Edward Stoffer Arthur O. Taylor Foster D. Tower D. Warren Webster Oswald Whalley Levi D. Wines Henry C. Wood
Theodore Zbinden
ALBERT A STANLEY, A. M., Director,
Offers systematic Courses of Instruction in Piano, Organ, Voice Culture, Violin, Violoncello, and Orchestral Instruments, Harmony, Counterpoint, Canon and Fugue, Composition, and History of Music. The work is organized in three distinct Departments of Study, all being under the direct charge of Heads of Departments.
J. Introductory Course, or General Musical Instruction. 2. High-School Course. 3. Course Leadingto a Diploma.
Albert A. Stanley, A. M., Director.
(Leipsic, 1S71-75.) Professor of Music in the University of Michigan. Harmony, Counterpoint, Orchestration, Organ.
Alberto Jonas. (Graduate of Brussels Conservatoire. Pupil of Gevaert and Rubinstein.) Head of Pianoforte Department.
Gardner S. Lamson. (A. B., Harvard.) (Pupil of Georg Henschel and Luigi Vannuccini.) Head of Vocal Department.
Singing and Voice Culture.
Hermann A. Zeitz. (Graduate of Royal High School, Berlin.) Head of Orchestral Department. Violin, Pianoforte, and Ensemble Playing.
Elsa von Grave. (Graduate of Munich Conservatory. Pupil of Hans von
Alice G. Bailey. (Pupil of George J. Parker, Boston, Professor Fiirstenber-ger, and Professor Giirtner, Vienna.) Slaging and Voice Culture.
Frances S. Taylor.
Slaglog and Voice Culture.
Emma Fischer. (Graduate of University School of Music.) Pianoforte.
Llewellyn L. Ren wick. (Graduate of University School of Music. Pupil of Stanley and Widor.) Organ.
Emma Q. McAIIaster. (Graduate of University School of Music.) Sight Singing.
Lucy K. Cole.
Public School Music
Frederic L. Abel. (Pupil of Cossmann, Urspruch, and Raff.)
Frederic Me Omber. ' Flute.
For Calendars and Further Particulars address -THOMAS C COLBURN, Secretary,

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