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UMS Concert Program, May 11, 12, 13, 1905: Twelfth Annual May Festival Of The University Of Michigan -- The Choral Union

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Season: 1904-1905
Concert: TENTH
Complete Series: CXL
University Hall, Ann Arbor, Michigan

University of Michigan
University Hall, Ann Arbor,
May , 12, 13, 19 OS
University School of Music
Theodore Thomas Frederick A. Stock Albert A. Stanley I,illian French Read Alfred Shaw Daisy Force Scott Herbert Witherspoon Gertrude Stein-Bailey Ellison van Hoose Lillian Blauvelt . Henri Ern .... Jeannette Durno-Collins Vernon d'Arnalle Bruno Steindel David Bispham
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The Choral Union
SIXTEENTH SEASON J 9 0 4 1 9 0 5
D. WINES treasurer
Mrs. E. H. Eberbach Miss Clara E. Starr Miss Carrie L. Dicken Miss Eugenia Sage
E. Franklin Shull Lawrence M. Marshall Dr. E. D. Brooks
Chester S. Carney
List of Concerts and Soloists
" ST. PAUL," An Oratorio
Mrs. I,iiaiah French Read, Soprano
Mrs. Daisy Force-Scott, Contralto
Mr. Alfred D. Shaw, Tenor Mr. Herbert Witherspoon, Bass
Mr. Fred Daley, Mr. Earle G. Killeen, Witnesses
The Choral Union Mr. August Schmidt, Organist Mr. Albert A. Stanley, Conductor
Mrs. Gertrude Stein-Bailey, Contralto Mr. Frederick A. Stock, Conductor
Mme. Lillian Blauvelt, Soprano
Mr. Ellison van Hoose, Tenor Mr. Henri Ern, Violinist
Mr. Frederick A. Stock, Conductor
Mrs. Jeanette Durno-Collins, Pianiste Mr. Vernon d'Arnalle, Baritone
Mr. Frederick A. Stock, Conductor
Overture, " Coriolanus " Beethoven
"Arminius," An Epic Cantata Bruch
Priestess Siegmund Cheruscans, Frisians, Romans, etc.
Mr. David Bispham
Mrs. Gertrude Stein-Bailey
Mr. Ellison van Hoose
Choral Union
Mr. August Schmid, urganisi Mr. Albert A. Stanley, Mr. Frederick A. Stock, Conductors
The Theodore Thomas Orchestra
KRAMER, L., Principal.
KUEHN, B., Principal.
STEINDEL, B., Principal.
BEOKEL, J., Principal.
The Theodore Thomas Orchestra will take part in all Festival Concerts.
First May Festival Concert
Oratorio ST. PAUL "
Felix Mendelssohn-Barthoi.dy
Mrs Lillian French Read, Soprano Mrs. Daisy Force Scott, Contralto
Mr. Alfred Shaw, Tenor
Mr. Herbert Witherspoon, Bass
Mr. Fred Daley, Mr. Earle G. Killeen, The Witnesses
Mr. Albert A. Stanley, Conductor
Mr. August Schmidt, Organist
Chorus. Lord, Thou alone art God.
Chorai,. To God on high.
Recitative. And the many that believed.
Chorus. Now this man ceaseth not.
Recitative. And all that sat in the council.
Recitative. Men,brethren, and fathers.
Chorus. Take him away.
Air. Jerusalem, thou that killest the prophets.
Recitative. Then they ran upon Aim.
Chorus. Stone him to death.
Recitative. And they stoned him.
Choral. To Thee, O Lord.
Recitative. And the witnesses.
Chorus. Happy and blest are they.
Recitative. And Saul made havoc.
Aria. Consume them all.
Recitative. And he journeyed.
Arioso. But the Lord is mindful of His own.
Recitative. And as he journeyed.
Chorus. Saul, Saul, why persecutest thou me
Chorus. Rise ! up ! arise !
Chorai,. Sleepers, wake, a voice is calling.
Recitative. And his companions.
Aria. O God, have mercy.
Recitative. And there was a disciple.
Soi,o. Iptaise Thee, O Lord.
Chorus. The Lord, He is good. Recitative And Ananias went his way. Chorus. Ogreat is the depth.
Recitative. And Paul came to the congregation.
Duet. Now we are ambassadors. Chorus. How lovely are the messengers. Recitative. So they, being filled. Arioso. will sing of thy great mercies. Recitative. But when the Jews. Chorus. Thus saith the Lord. Recitative. And there was a man at
Chorus. The gods themselves. Recitative. And they called Barnabas,
Chorus. O be gracious, ye immortals. Recitative. Now when the Apostles. Recitative. O wherefore do ye these
Recitative. Then the multitude. Chorus. This is Jehovah's temple. Recitative. And they all persecuted
Cavatina. Be thou faithful unto death. Recitative. And Paul sent and called
the elders. Recitative. What mean ye thus to
Recitative. And though he be offered. Chorus. Not only unto him
Second May Festival Concert
OVERTURE, " Academic Festival," Op. 80 Brahms
RECITATIVE AND ARIA, From " Ies Troyens " Beruoz
Mrs. Gertrude Stein-Bailey
SYMPHONY, No. 4, B flat major, Op. 60 Beethoven
Adagio-Allegro vivace; Adagio;
Allegro vivace ; Allegro ma non troppo.
THEODORE THOMAS Born at Esens, E. Frieslaud, October 11, 1835; died at Chicago, January 4, 1905.
HYMNUS, Op. 33, No. 3
Richard Strauss
Mrs. Gertrude Stein-Bailey
TONE-POEM, " Death and Transfiguration, Op. 24" Richard Strauss
Third May Festival Concert
Miscellaneous Concert
MR. HENRI ERN, Violinist MR. FREDERICK A. STOCK, Conductor
OVERTURE, " Carnival," Op. 92 Dvorak
THEME and VARIATIONS, from Symphony, " Rustic
Wedding," Op. 26 Goldmark
ARIA, " Una voce poco fa," from " II Barbiere " Rossini
ALLEGRETTO SCHERZANDO, from Symphony, Op. 4 Svendsen
ARIA, " Voir Griselidis " from "Griselidis" Massenet
Mr. Ellison van Hoose
CONCERTO, E. minor, Op. 64 Mendelssohn
Allegro molto appassionato; Andante-Allegro moito vivace
Mr. Henri Ern
Mme. Blauvelt
LARGO, from Symphony, "New World," Op. 95 Dvorak
DUET, " Va ! je t'ai pardonne," " Romeo et Juliette" Gounod
Mme. Blauvelt and Mr. van Hoose
VORSPIEL, " Meistersinger " Wagner
Fourth May Festival Concert
Miscellaneous Concert
MR. BRUNO STEINDEI,, Violoncellist MR. FREDERIC A. STOCK, Conductor
OVERTURE, "Solonelle," Op. 73 Glazounow
ARIA, "An jenem Tag," from " Hans Heiling" Marschner
Mr. Vernon d'Arnalle
CONCERTO, G minor, Op. 22 Saint-Saens
Andante sostenuto ; Allegretto scherzando; Presto.
Mrs. Jeanette Durno-Colwns
ANDANTE CANTABIIE, from Symphony, E minor,
PIZZICATO OSTINATO, from Symphony, F minor,
Gesang Weyla's Wolf
" O liebliche Wangen " Brahms
Daheim Kaun
Schifierliedchen Weingartner
Hunnold Singruf Weingartner
Mr. Vernon d'Arnalle
Orchestra, Op. 23, Boellmann
Mr. Bruno Steindel
SYMPHONIC POEM, " Les Preludes " Liszt
The Piano used is a Steinway.
Fifth May Festival Concert
OVERTURE, " Coriolanus," Op. 62 Beethoven
"ARMINIUS," An Epic Cantata in Four Parts Bruch
CAST Arminius Mr. David Bispham
Priestess Mrs. Gertrude Stein-Bailey
Siegmund Mr. Ellison van Hoose
Romans, Cheruscans, Frisians, Etc. The Choral Union
Mr. Albert A. Stanley, Mr. Frederick A. Stock, Conductors
Mr. August Schmidt, Organist
PART I.--" The Roman Invasion "
Chorus--" What looms like thunder cloud
afar " Recit. and Chorus--" These are the hosts
of Latium."
"Behold, in serried ranks they come.'' CHORUS--"We are the sons of Mars the
Mighty." Recit., Duet and Chorus--" We freeborn
sons of Wotan."
PART II.--" In the Sacred Forest " Scene--" Through the grove a sound of
warning." Recit. and Chorus---" Through the oak
tree's sacred branches."
Chorus--" Ye Gods dwelling high in Valhalla."
PART III.--" The Insurrection "
Recit. and Chorus--" Oh must live!" Recit. and Aria--" Oh days of grief and desolation!"
Chorus--"Mine eyes have seen their fate." Scene-Recit. and Aria--" Shall we submit to disgrace " Solo and Chorus--"To arms! to arms!"
PART IV.-" The Battle"
Recit and Air -"Hollow thunders the storm"
Chorus--" With roar as of torrents."
Recit, and Chorus -" Freya gracious mother."
Scene-Recit. and Chorus--"Ah me, what darkness!"
" Raise him aloft."
Chorus--" Hark ! there comes a shout of victory! "
Recit.--" No thanks to me ! "
Finale-Solo and Chorus--" Germany's sons shall be renowned"
Descriptive Programs
Concerts Begin on Standard Time
Thursday Evening, May 11, 1905
"ST. PAUI,," An Oratorio in Two Parts, Mendelssohn
Chords, Soloists, Orchestra, and Organ
FELIX BtENDELSSOHN-BARTHOLDY Born at Hamburg, February 3, 1S09; Died at Leipzig, November 4, 1S47
No composer since Handel and Bach has so thoroughly satisfied the demands made upon creative genius by the oratorio as Felix Mendelssohn-Bartholdy. Of all the great composers of the century just passed he was best fitted by training, genius and character, to work in this form. The precocious youth, who, at twelve years of age, had written compositions, not simply prophetic of future achievement, but in themselves admirable in their power and inspiration--who, four years later, crowned the long list of works that attested the growth of his genius by his first symphony (C minor)--who had displayed such richness of imagination, such gifts as a performer, such a sense of the dignity of his art, and such command over the materials of composition, that on his fifteenth birthday, February 3, 1824, his master, Zelter, adopting masonic phraseology, raised him from the grade of "apprentice" to that of "fellow," "in the name of Mozart, Haydn, and Bach"--who at the age of seventeen composed that wonderful overture, "Midsummer Night's Dream,"--in his mature lv.anhood created two imperishable oratorios, "St. Paul" and "Elijah." The world, after these works appeared, called him "master." Although Mendelssohn in his early life was captivated by the stage, although he wrote several works replete with charm in the operatic form, yet the peculiar gifts of dramatic expression he undoubtedly possessed were more adapted for the oratorio.
"St. Paul" was produced at the Lower Rhein Music Festival at Duesseldorf, May 22 and 24, 1836, under the composer's direction. Its success was immediate, and with repeated performances both in England and on the Continent, the work gained in popularity. It was given at the Birmingham (England) Festival in 1837. Before the composition of this work Mendelssohn had become an enthusiastic student of Bach, and was so inspired by the works of this master that on March 11, 1829, he produced the "Passion Music" at (he Sing Akademie, Berlin. His early and profound acquaintance with the works of the "Father of Music" led him to the ardent pursuit of those studies which, coupled with sincerity of religious conviction, made him the exponent of the highest concepts of religious music.
There is little necessity to dwell upon the excellent arrangement of the episodes in the life of the Hebrew prophet which serve as the text, for careful study at once reveals its fitness.
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"The persecuted Christian Church in Jerusalem prays to the Lord for power to resist the fury of the Heathen.--Stephen is accused of blasphemy by the incensed people, and is brought before the Council.--Being questioned by the High Priest, he reproves his judges for the obstinacy with which they and their fathers have rejected the true faith, and resisted the Holy Ghost.--They refuse to hear him, and insist upon putting him to death.--Heeding not the reproof that Jerusalem had ever killed the Prophets which had been sent to her, they shout 'stone him to death;' and Stephen suffers martyrdom, praying for mercy upon his persecutors.--Devout men cany him to his burial, with much lamentation, and utter words of peace and hope over his grave.-Saul, who is present at the martyrdom, resolves to continue his persecutions of the Christian Church, and for this purpose journeys toward Damascus.--A sudden light shines around him, and he is struck with blindness.--A voice from Heaven calls upon him to proclaim the glory of the Lord to the benighted people, and his companions lead him by the hand into Damascus.--There he prays, in bitter repentance, until the Lord sends to him Ananias, who restores his sight, and confers upon him his divine commission as a Christian preacher.--He is baptised, and preaches in the Synagogues; and the congregation praises the wisdom and knowledge of God.
"Saul, who after his conversion takes the name of Paul, preaches before the congregation.--Paul and Barnabas are selected by the Holy Ghost, and sent as ambassadors to spread a knowledge of Christianity abroad.--The multitude acknowledges them as messengers who preach the gospel of peace.--The Jews, not believing in the Saviour, are envious, and consult how to kill Paul.--But Paul and Barnabas, telling them that they have rejected the truth, although they were chosen first to have the word of the Lord set before them, turn from them to preach unto the Gentiles.--Paul miraculously cures a cripple at Lystra; and the Gentiles, believing that the gods have come down from heaven as mortals, call them Jupiter and Mercurius, and desire to offer sacrifices to them.--But the Apostles refuse such vain homage; and Paul endeavours to divert the minds of the people from the worship of false idols to that of the one living God.-This excites the anger of the multitude; and both Jews and Gentiles accuse him of having spoken against Jehovah's temple and the holy law, and raise a cry of 'Stone him.'--But the Lord, whose help is ever nigh unto the faithful, saves him from persecution.--Paul convokes the elders of Ephesus, telling them that he is bound in the spirit to go forth to Jerusalem, and that they will see his face no more.--They weep and pray; but Paul expresses his readiness to die for the Lord, and takes his leave, the elders accompanying him unto the ship.--It is their comfort now to be God's own children.-To him who has fought a good fight, and kept well the faith, a crown of righteousness shall be given--and not only unto him, the believers sing, but to all of them that love His appearing.--So they bless the Lord, and praise His holy name for ever."
Since the production of "Elijah" at the Birmingham Festival, August 26, 1846, the question of superiority has been frequently discussed--and has in a general way resolved itself into an assumption that "St. Paul" appeals more to musicians, while to "Elijah" is accorded the approval of the people. The reasons for such an impression rest upon the more obvious dramatic tendencies of the latter work--a most cogent reason in these days,--but it must not be forgotten that there are many exceedingly dramatic episodes in "St. Paul," but they do not predominate. The atmosphere of the entire work is more classic. But why should we compare them! Rather let us rejoice that the nineteenth century produced two such sublime works, and rejoice that Mendelssohn was great enough to be governed by the demands of the subject rather than the traditions of a form.
First Conceit. 13
Chorus ok Christians.
Lord, Thou alone art God, and Thine are the heaven, the earth, the mighty waters.
The Heathen furiously rage, Lord, against Thee, and against Thy Christ. Now behold, lest our foes prevail, and grant to Thy servants all strength and joyfulness, that they may preach Thy word.
Acts iv. 24, 26, 29. Choral. To God on high be thanks and praise,
Who deigns our bonds to sever, His cares our drooping souls upraise,
And harm shall reach us never. On him we rest, with faith assur'd, Of all that live the mighty Lord,
For ever and for ever. Recitative {Soprano). And the many that believed were of one heart, and of one soul. And Stephen, full of faith and full of power, did great wonders among the people. And they of the Synagogue were not able to resist the wisdom and the spirit by which he spake. Acts iv. 32; vi. 8, 10. Then they suborned men who were false witnesses, which said:-Acts vi. 11.
The False Witnesses {Basses). "We verily have heard him blaspheme against these holy places, and against the law: ourselves have heard him speak:" Acts vi. 13. Recitative {Soprano). And they stirred up the people and the elders, and came upon him, and caught hold of him, and brought him to the council, and spake:-Acts vi. 12.
Chorus of the People. "Now this man ceaseth not to utter blasphemous words against the law of Moses, and also God!" "Did we not enjoin and straitly command you, that you should not teach in the Name ye follow And lo! ye have filled Jerusalem throughout with your unlawful doctrine!"
"He hath said, and our ears have heard him, Jesus of Nazareth, He shall destroy all these our holy places, and change all the customs which Moses delivered us."
Acts vi. 11; v. 28; vi. 14. Recitative {Soprano). And all that sat in the council looked
steadfastly on him, and saw his face as if it had been the face of an angel.
Then said the High Priest: "Are these things so" And Stephen said:-- Acts vi. 15; vii 1.
Recitative.--Stephen ( Tenor).
"Men, brethren, and fathers, hearken to me. The God of glory appeared unto our fathers, delivered the people out of their afflictions, and gave them favour. But they understood it not. He sent Moses into Egypt, for he saw their afflictions and heard their groaning. But they refused him, and would not obey his word, but thrust him from them, and sacrificed to senseless idols.
"Solomon built him an house; albeit the Most High God dwelleth not in temples which are made with hands; for heaven is His throne, and earth is but His footstool. Hath not His hand made all these things
"Ye hard of heart, ye always do resist the Holy Ghost. As did your fathers, even so do ye. Which of the Prophets have not your fathers persecuted And they have slain them which showed before the coming of Him, the Just One, with whose murder ye have here been stained. Ye have received the Law by the disposition of angels, and ye have not obeyed it."
Acts. vii. Chorus of the Hebrews.
"Take him away! For now the holy Name of God he hath blasphemed, and who blasphemes Him, he shall perish."
Acts xxi. 36; Lev. xxiv. 16. RzciTAtivt--Stephen (Tenor).
"Lo! I see the heavens opened, and the son of man standing at the right hand of God!"
Acts vii. 56. Aria (Soprano).
"Jerusalem, Jerusalem, thou that kill-est the Prophets, thou that stonest them which are sent unto thee; how often would I have gathered unto Me thy children, and ye 'would not!" Matt, xxiii. 37. Recitative (Tenor).
Then they ran upon him with one accord, and cast him out of the city, and stoned him, and cried aloud: Acts vii. 57, $8.
14 Official Progravi Book.
Chorus of the Hebrews. "Stone him to death. He blasphemes God: and who does so shall surely perish. Stone him to death." Lev. xxiv. 16. Recitative (Tenor). And they stoned him: and he kneeled down, and cried aloud: "Lord, lay not this sin to their charge. Lord Jesus, receive my spirit." And when he had said this, he fell
asleep. Acts vii. 5p, 60.
To Thee, O Lord, I yield my spirit, Who break'st, in love, this mortal
My life I but from Thee inherit, And death becomes my chiefest gain. In Thee I live, in Thee I die. Content, for Thou art ever nigh. Recitative (Soprano).
And the witnesses had laid down their clothes at the feet of a young man whose name was Saul, who was consenting unto his death.
Acts vii. 58; viii. 1. And devout men took Stephen and carried him to his burial, and made great lamentation over him.
Acts viii. 2. Chorus.
Happy and blest are they who have endured, yea, blest and happy. For though the body dies the soul shall live for ever. James i. 12. Recitative (Tenor). And Saul made havoc of the Church; and breathing out threatenings and slaughter against the disciples, he spake of them much evil, and said:-- Acts viii. 3; ix. 1.
Air.--Saul (Bass). "'Consume them all, Lord Sabaoth, consume all these thine enemies. Behold, they will not know Thee, that Thou, our great Jehovah, art the Lord alone, the Highest over all the world. Pour out Thine indignation, and let them feel Thy power."
Psalm Ha: 13; Ixxxiii. 18; Ixix. 24. Recitative (Contralto). And he journeyed with companions towards Damascus, and had au thority and command from the High Priest that he should bring them bound, men and women, un to Jerusalem. Acts ix. 2. Arioso.
But the Lord is mindful of His own, He remembers His children. Bow
down before Him, ye mighty, for the Lord is near us. Psalm cxv. 12; 2 Tim. ii. 19; Philip iv. 5.
Recitative (Tenor and Bass) and Chorus.
And as he journeyed he came near unto Damascus; when suddenly there shone around him a light from heaven: and he fell to the earth; and he heard a voice saying unto him:-"Saul, Saul, why persecutest thou Me"
And he said, "Lord, who art thou" And the Lord said to him: "I am Jesus of Nazareth, whom thou persecutest."
And he said, trembling and astonished, "Lord what wilt Thou have me do " The Lord said to him:-"Arise, and go into the city; and there thou shalt be told what thou must do." Acts ix. 3, 4, 5, 6.
Rise! up! arise! rise, and shine! for thy light comes, and the glory of the Lord doth appear upon thee.
Behold, now, total darkness covereth the kingdoms, and gross darkness , the people. But upon thee riseth the mighty Lord; and the glory of the Lord appeareth upon thee.
Isaiah Ix. 1, 2. Choral.
Sleepers, wake, a voice is calling;
It is the watchman on the walls, Thou city of Jerusalem.
For lo, the Bridegroom comes!
Arise, and take your lamps. Hallelujah!
Awake! His kingdom is at hand.
Go forth to meet your Lord.
Matt. xxv. 1. Recitative (Ten or).
And his companions which journeyed with him stood, and they were afraid, hearing a voice but seeing no man. And Saul arose from the earth, and when his eyes were opened, he saw no man : but they led him by the hand, and brought him into Damascus, and he was three days without sight, and did neither eat nor drink.
Acts ix. 7, 8, 9. Aria.--Paul (Bass).
"O God, have mercy upon me, and blot out my transgressions accordFirst Concert. 15
ing to thy loving kindness, yea, even for Thy mercy's sake. Deny me not, O cast me not away from Thy presence, and take not Thy Spirit from me, O Lord. Lord, a broken heart and a contrite heart is offered before Thee. I will speak of Thy salvation, I will teach transgressors, and all the sinners shall be converted unto Thee. Then open Thou my lips,
0 Lord, and my mouth shall show forth Thy glorious praise."
Psalm li. i, ii, 17, 13, 15. Recitative {Tenor and Soprano). And there was a disciple at Damascus, named Ananias; to him said the Lord: "Ananias, arise, and enquire thou for Saul of Tarsus; for behold, he prayeth. He is a chosen vessel unto Me, the Lord; and
1 will shew unto him how great things he must suffer for My Name's sake."
Acts ix. 10, 11, is, 16. Aria.--Paul (Bass). I praise Thee, O Lord my God, with all my heart, for evermore. For great is Thy mercy toward me, and Thou hast delivered my soul from the lowest hell. Psalm Ixxxvi. 12, 13; Isaiah xxv. 8. Chorus.
The Lord, He is good: He will dry your tears, and heal all your sorrows. For His word shall not decay.
Rev. xxi. 4; Matt, x'xiv. 35. Recitative (Soprano). And Ananias went his way, and entered into the house, and laying his hands upon him, said:-Recitative (Tenor). "Hear thou, brother Saul! The Lord hath sent me hither, even Jesus, that appeared unto thee as thou earnest, that thou mightest receive thy sight, and be likewise filled with the Holy Ghost."
Acts ix. 17. Recitative (Soprano).
And there fell from his eyes like as though it were scales; and he received his sight forthwith, and arose, and was baptized. And straightway he preached Jesus in the synagogues, and said: "I thank God, who hath made me free through Christ."
Acts ix. 18, 20; Rom. vii. 25.
0 great is the depth of the riches of
wisdom and knowledge of the Father! How deep and unerring is He in His judgments! His ways are past our understanding. Sing His glory for evermore. Amen. Rom. xi. 33.
Recitative (Soprano). And Paul came to the congregation, and preached freely the name of Jesus Christ our Lord. Then spake the Holy Ghost: "Set ye apart Barnabas and Paul, for the work whereunto I have called them." And when they had fasted and prayed, and laid their hands on them, they sent them away. Acts ix. 29; xiii. 2, 3. Duettino.--Paul and Barnabas (Tenor
and Bass).
Now we are ambassadors in the Name of Christ, and God beseecheth you by us. 2 Cor. v. 20.
How lovely are the messengers that preach us the gospel of peace ! To all the nations is gone forth the sound of their words, throughout all the lands their glad tidings. Rom. x. 15, 18. Recitative (Soprano).
So they, being filled with the Holy Ghost, departing thence delayed not, and preached the word of God with joyfulness. Acts xiii. 4, 5. Arioso.
1 will sing of Thy great mercies, O
Lord, my Saviour, and of Thy faithfulness evermore.
Psalm Ixxxix. 1. Recitative (Tenor). But when the Jews saw the multitudes, how they assembled to hear what Paul delivered unto them, they were filled with envy, and spake against those things which were spoken by Paul, contradicting and blaspheming. Acts xiii. 45.
Chorus of the Multitude. Thus saith the Lord:. "I am the Lord, and beside Me is no Saviour."
Isaiah xliii. 11. Recitative (Soprano). And there was a man at Lystra, impotent in his feet, and who had never walked: and the same heard Paul speak; who, steadfastly be16 Official Program Book.
holding him, said with a loud voice: "Stand upright upon thy feet." And he leaped up and walked, and praised God. But when the Gentiles saw what Paul had done, they lifted up their voices, saying one to another:-Acts xiv. 8, g, 10, n. Chorus of Gentiles. "The gods themselves as mortals have descended. Behold them here, and adore them! Behold, and worship ! Let us all adore them!" Acts xiv. II. Recitative {Soprano). And they called Barnabas, Jupiter; and Paul, Mercurius. Then the priest of Jupiter, which was before the city, brought oxen and garlands to the gates, and would have sacrificed with the people, and adored them.
Acts xiv. 12, 13. Chorus of Gentiles. O be gracious, ye immortals! Heed
our sacrifice with favor! Recitative (Tenor). Now when the Apostles heard the same, they rent their garments, and ran in among the people, crying out, and saying:-Acts xiv. 14.
Recitative.--Paul (Bass). "O wherefore do ye these things We also are men, of like passions with yourselves; who preach unto you, in peace and earnestness, that ye should turn away from all these vanities unto the ever living God, who made the outstretched heavens, the earth, and the sea.
Acts xiv. i$.
"As saith the prophet: 'All your idols are but falsehood, and there is no breath in them: they are vanity, and the work of errors: in the time of their trouble they shall perish.'
Jer. x. 14, is. "God dwelleth not in temples made
with hands. Acts xvii. 24. Recitative (Soprano). Then the multitude was stirred up against them, and there was an assault of the Jews and oi the Gentiles ; they were full of anger, and cried out against them:-Acts xiv. 2, 5.
Chorus of the Jews and Gentiles. "This is Jehovah's temple. Ye children of Israel, help us! For this is the man who teacheth all men, against the people, against this place, and also our holy law. We have heard him speak against the law. He blasphemes God. Stone him to death." Acts xxi. 28. Recitative (Soprano). And they all persecuted Paul on his way: but the Lord stood with him, and strengthened him, that by him the word might be fully known, and that all the Gentiles might hear. 2 Tim. iv. 17.
Aria (Tenor).
"Be thou faithful unto death, and I will give to thee a crown of life. Be not afraid, My help is nigh."
Rev. ii. 10; Jer. i. 8. Recitative (Soprano). And Paul sent and called the elders of the Church at Ephesus, and said to them : Acts xx. 17.
Recitative.--Paul (Bass). "Ye know how at all seasons I have been with you, serving the Lord with all humility, and with many tears; testifying the faith towards our Lord Jesus Christ. And now, behold ye, I, bound in spirit, go my way to Jerusalem. Bonds and affliction abide me there; and ye shall see my face no more."
Acts xx. 18, ig, 21, 22, 23, 25. Recitative (Tenor). And when he had thus spoken, he kneeled down, and prayed with them all. And they accompanied him unto the ship, and saw his face no more. Acts xx. 36, 38. Recitative (Soprano). And though he be offered upon the sacrifice of our faith, yet he hath fought a good fight; he hath finished his course; he hath kept well the faith. Henceforth there is laid up for him a crown of righteousness, which the Lord, the righteous Judge, shall give him at the last great day. 2 Tim. iv. 6, 7, 8. Chorus.
Not only unto him, but to all that love truly His appearing. The Lord careth for us, and blesseth us. The Lord saveth us. 2 Tim. iv. 8. Bless thou the Lord, O my soul, and all within me bless and praise His most holy Name for ever. All ye His angels, praise ye the Lord. Psalm ciii. 1, 20.
Friday Afternoon, May 12, 1905
OVERTURE, "Academic Festival," Op. 80, Brahms
Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.
Johannes Brahms was by no means the first great composer to receive an academic degree, but no composer or artist ever had more right to such a distinction than he. His serious intellectual outlook, his intense devotion to high ideals, and his utter repugnance to everything superficial or weakly sentimental made him self-critical to a superlative degree. While this may have resulted in an apparent loss of spontaneity, through it he developed a style replete with scholarly qualities and compelling the respect even of his opponents. In the two overtures, "Academic Festival," op. 80, and "Tragic," op. 81, which were performed on the occasion of the conferring of the degree of Doctor of Philosophy on him by the University of Breslau in January, 1881, the best qualities of his genius are displayed in a light fully justifying the honor bestowed.
That there is a measure of truth in the accusation so frequently made that his compositions are rather lacking in geniality, and wanting in much that appeals to the ordinary lover of music, cannot be denied, but on the other hand it is not entirely true, as witness the overture on our program--the first of the two above noted.
The work is based on the following songs, all of them dear to the heart of the German student:
"Wir hatten gebauet ein stattliches Haus" (We had built a stately house) ;
"Der Landesvater" (The father of his country) ; "Hort, Ich sing das Lied der Lieder" (Hark, I sing the song of songs) ;
"Das Fuchs-Lied" (The "Fox" or Freshman's Song) ; "Was kommt dort von der Hoh" (What comes there from the hills) ;
"Gaudeamus Igitur."
The first two are introduced into the opening section in a quasi-episodical manner. They serve neither as principal nor as secondary subjects while the opening motive, C minor, 2-2 time, contains no hint of the distinctive character of the composition. No. 3, with its humorous, not to say bibulous suggestions very appropriately opens the second or "free fantasia" section, after which, in the third or "recapitulation" section, the three are treated in a masterly manner, even though the principal subject retires in favor of the more extensive development. As a brilliant coda and a fitting climax "Gaudeamus Igitur" appears. With a stirring treatment of this fine old song the composition is brought to an end (C major). To introduce so many distinctive and well known melodies into the warp and woof of the formal structure of the classic overture, in which they could not be the leading themes from the structural point of view, in an environment which would of necessity attract the utmost attention to
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them, involved no small amount of judgment and a keen sense of values. It is therefore idle for formal anti-expansionists to complain of certain irregularities of structure. That Brahms was genial in his appreciation of the possibilities of his subject must be admitted no less than the fact that in his solution of the inherent difficulties he was successful.
RECITATIVE AND ARIA, from "I,es Troyens," Beruoz
Born at C6te St. Andre, December n, 1803; died at Paris, March 8, 1869.
Mrs. Gertrude Stein-Bailey
The first complete performance of the work from which this typical aria is taken, was given in Karlsruhe in 1897, under the direction of Felix Mottl. It is sung by Cassandra, and the scene represents the deserted camp of the Greeks on the plain of Troy.
Recitative: The Greeks have disappeared! But what fateful purpose does the strange
suddenness of this departure hide Everything goes to justify my sombre restlessness.
I saw the shade of Hector walk over our ramparts like a night-watchman; I saw his dark look at the narrows of Ligeum! Woe! Plunged into the intoxication of madness, the crowd issues forth
from the walls, and Priam leads it!
Aria: Unhappy King, into eternal night, so then 'tis accomplished, thou art
Thou wilt not listen to me, thou wilt not comprehend. Unhappy people, what dread pursues me! Chorebos, alas, even Chorebos believes me bereft of reason! With his name my fear is redoubled. Ye gods, Chorebos loves me; he is beloved!
But--more of hymen for me, more of love, of songs of happiness; More of sweet dreams of tenderness!
The inexorable law of the dreadful doom which oppresses me must be obeyed!
SYMPHONY, No. 4, B flat major, Op. 60, Beethoven
Born at Bonn, December 16, 1770; died at Vienna, May 26, 1827. Adagio-Allegro vivace; Adagio; Allegro vivace; Allegro ma non troppo.
In the year 1806, Beethoven, unable to visit his "favorite summer villages" because "they had been defiled by the French," spent several weeks at the country home of his friend, Count von Brunswick, whom he addresses as "Lieber, lieber Braunschweig," and whose sister Therese he loved with all the intensity of his nature. To this environment we may attribute the fact that work on the C minor Symphony was dropped and the B flat Symphony was written. When Beethoven returned to Vienna, late in the autumn, he brought with him, besides this symphony, the "Appas-sionata" Sonata, the G major Pianoforte Concerto, the "Rassoumoffsky" Quartets, and
Second Concert. 19
the 32 Variations, all of them among his greatest works--although from a certain point of view the symphony on our program might be considered an exception. Before this, Beethoven inscribed in his diary, "Let your deafness be no longer a secret even in your art." The absence of certain characteristics of the master's most sublime conceptions which one might attribute to this determination to write in a more introspective vein, has led to a rather erroneous opinion that in this particular work he did not maintain his usual height. We must not forget, however, that he wrote the "Pastoral" after that most sublime C minor, and that the F major comes between the great A major, and the greatest of them all, the D minor. The B flat Symphony, like the one in the same key by Robert Schumann, is full of the elation of unalloyed happiness, and, like it, voices the love life of a pure and lofty soul. It was first performed in Vienna in March, 1807, in a program including its three predecessors. It was a testimonial concert to the master--and what a fitting program for such an occasion!
And now for a glance at the work itself. Beethoven prefaces the first movement by an Adagio, which, instead of being employed in the conventional manner characteristic of his predecessors is prophetic of that function of the orchestra, of which Wagner says: "No language is so capable of expressing a preparatory repose as that of the orchestra" which "as an expression of repose merging into action influenced by poetic aim may successfully herald that which we shall joyfully hail as its realization." No composer ever fathomed the resources of the orchestra as an expressive instrument more fully than Beethoven. The minor unison passage, the answering figure of the bassoons in turn responded to by the basses, the alternation of minor keys, occasional glimpses of the major, until after poising on a forceful dominant seventh in B flat, the repose merges into the buoyant first subject, B flat, 2-2 time, Allegro vivace. enforce this statement.
No finer example of Beethoven's appreciation of the delineative characteristics of the different instruments, his knowledge of their possibilities and his keen color sense can be cited than the play of motive in the wood-winds at the beginning of the second subject.
While this badinage is being indulged in, the strings sustain a single tone, as though holding aloof from this frivolity, but at the first opportunity they take up the theme and carry it through another of Beethoven's eloquent unison passages to a cadence, which serves to formally introduce a canon, given first to the clarinets and bassoons, afterwards developed by the strings, and leading to the rhythmically intense closing phrase of this first or "exposition" section of the movement.
In the second section, the "development" or "free fantasia", the first subject domi20 Official Program Book.
nates. Attention must be directed to a beautiful episode which occurs soon after this section is fairly under way. It is one of those ideally simple melodies so characteristic of Beethoven. The third section employs the usual recapitulatory processes inherent in the division and needs no further analysis.
The Adagio, E flat, 3-4 time, "Dolce melodia in aria lumino" is built upon the two melodies given below and a characteristic figure given out in the first measure by the second violins.
The first melody is full of an ineffable beauty such as is heard only in the works of a master genius. Beethoven wrote but few that can be placed by its side but strangely enough one of them is the second subject beginning as follows:
As to the form of this movement nothing could be clearer or more convincing than its logic. With a content so rich and eloquent it is proof of Wagner's dictum-"A worthy idea will create for itself an adequate form."
Full of youthful vigor, light and fresh as a May morning comes the Scherzo with its simple opening theme--B flat, 3-4 time, Allegro vivace.
Note the ascending figure in the clarinets and bassoons, beginning in the fourth measure, with its supplementary descending figure in the strings. With these and the principal theme in mind the development of the material is perfectly clear.
The Trio--Un poco meno allegro--gives us a principal subject of somewhat different texture, interrupted by short figures for the strings, and through both appearances --for it is introduced twice--maintains this character.
Marx, in his "Music of the Nineteenth Century and Beethoven," brings the sonatas
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of the master under three classifications, "Mere Tone Play;" "Emotional Life;" and "Ideal Representation." These divisions do not of necessity correspond to the three periods of his development, chronologically considered, but refer to the specific character of individual works as determined by the application of certain standards of judgment which he lays down with every assumption of authority. His reasons apply with equal force--if force they possess--to the symphonies.
Thus it may be argued with a measure of truth that the Finale, B flat, 2-4 time, Allegro ma non troppo, falls into the first group of works according to Marx's classification, and is "mere tone play," but the first and second themes given below with their contrasting character and frequent recurrence, as befits the rondo form in which it is written, combine into a perfect revelation of a supreme happiness which came but occasionally into the life of the "Shakespeare of Music," as Beethoven is justly called.
As the great dramatist created an Ariel as well as a Hamlet, so the Beethoven who wrote a C minor and a D minor Symphony was no less a genius when he gave us this spontaneous, tuneful and most tenderly classical work, the B flat Symphony.
THEODORE THOMAS Born at Esens, E. Friesland, October n, 1S35; died at Chicago, January 4, 1905.
HYMNUS, Op. 33, No. 3, Richard Strauss
Born in Munich, June II, 1864; still living. Mrs. Gertrude Stein-Baii,ey
Richard Strauss is to many the artistic problem of the hour. That his art is vital none can deny; that he seeks new paths is conceded. Whether he is justified in so doing is the question that has been asked ever since he sounded a new note in his great orchestral works--of which the one on our program is by no means the least. The question would be a more difficult one were it not for the beautiful lyrics he has
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written. On the testimony of these we may safely predict that he will not go far astray, if indeed he be astray at all.
That thou hast awakened mine eyes
To this golden light:
That thy ether flows round me,
That I may look up and behold it, all noble;
That thou hast given me, O godlike.
An undying soul that thinks but of thee;
And, kind one, hast given to my beating heart
The beneficent warning of sorrow,
And its reward of joy.
That for expression of my soul's thoughts,
My heart's feelings,
Hast given me lutes and harps, crowns of fame
And the glorious joy of thy proudest sons;
That to the dazzled senses, exalted by lofty enthusiasm
Life is painted more beautiful,
Truth is mirrored in crystal poesy
And the dusk is turned to light.
Great Goddess,
For this, until the Fates summon me
Shall my heart's feelings
Tender and childlike, ""
Strive for thee in grateful radiance;
Shall thy praise, O noble teacher,
Flow unceasing from golden music:
Shall my waking soul
Be wedded to thy maternal heart
In pure embrace:
The only parting--Death. --Schiller.
TONE-POEM, "Death and Transfiguration," Op. 24, Richard Strauss
Whatever one may think of works like "Don Quixote" and "Helden-leben," "Don Juan" and "Tod und Verklaerung" powerfully portray all that is implied in their titles. That they have titles--and that an explanation is necessary if one is to arrive at an understanding of the specific meaning of these works--places them distinctly in that class of "program music" developed by the one who seems to have been his inspiration, Franz Liszt. The present work was composed in 1890 and performed for the first time at Eisenach. It is based on Lenau's poem, which we quote as follows:-Largo (C minor, 4-4). In a small and humble chamber, Where a candle dimly burns Lies a sick man on his pallet, Who a moment since with Death Wildly, desperately has struggled.
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Tranquil now he is, and sleeps, While the ticking of the old clock, Is the only sound that's heard In the room whose calm appalling Marks the near approach of death. O'er the wan and wasted features Melancholy smiles oft pass; Does he, at life's very border, Dream of childhood's golden days
Allegro molto agitato. Death, tho' still kept in abeyance, Grants not respite long for dreams; Cruelly it shakes its victim, And again begins the struggle. Life and death, in conflict dire, Wrestle for supremacy. Neither has the victory gained, And again doth stillness reign.
Meno mosso (G major, 4-4). Prostrate is the patient lying, Sleepless, but delirium weaves Forms and scenes almost forgotten-Scenes of life as they have passed. With his mind's eye does he see them.
Marcato (E flat major) ; Appassionato (B major). Childhood's days--his life's bright morn-In their innocence brightly beaming; And again the sports of youth-Feats achieved and oft attempted-Till, to man's estate matured, He to gain life's highest treasures Fans his ardor into flame.
Tempo 1.
What to him seemed bright and pure To exalt it he endeavored; This the impulse of his life That has led him and sustained him. Coldly, mockingly the world Barrier upon barrier raises. When to him the goal seems near Hindrances arise before him, "Still another round each barrier, Onward, higher thou must climb!" Thus he strives, and thus endeavors, Never swerving from the right.
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What he strove for, what he sought, With a yearning, heartfelt, deep, Now he seeks in throes of death, Seeks it, ah! but not to find it. Tho' more clear and near he sees it, Tho' it waxes e'en before him, Still his spirit cannot grasp it, And can nevermore complete it.
Allegro, molto agitato. Lo! one more and final blow Grim, relentless Death is dealing; Broken is the thread of life, And the eyes are closed forever.
Moderato (C major). Ah! but mighty strains to him From the realms of heaven are pealing. Found is what his soul has sought-Blest release, transfiguration.
--English translation by Miss B. Buck.
Friday Evening, May 12, 1905
OVERTURE, "Carnival," Op. 92, Dvorak
Born at Miihlhausen (Bohemia), September 8, 1841; died at Prague, May I, 1904.
This overture is the second in the "Overture Trilogy"--"Nature, Life and Love" --now known as three separate overtures, "Nature," "Carnival," and "Othello," with the opus numbers 91, 92, and 93. They were given in Prague in their original form in April, 1892, on the occasion of the composer's departure for this country. They were also heard in October, 1892, in New York. They have decided kinship in interest although the thematic relationship is restricted to the following theme--the first subject of the "Nature" Overture, to which more or less prominence is given in each.
Quoting from the program of the New York performance of the Trilogy, we learn that the "Carnival Overture" represents "the lonely contemplative wanderer, who coming from a solitary walk through the meadows and woods on a quiet summer afternoon, when the shadows grow longer and longer till they lose themselves in the dusk, reaches the city at nightfall. On every side is heard the clangor of instruments mingled with shouts of joy and unrestrained hilarity." The people freely give vent to their feelings in their songs and dance tunes symbolized by the examples given below.
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The following melody sung by the violins speaks of more tranquil pleasures, Poco tranquillo.
while the inevitable love scene, illustrated by the violin and flute, is witnessed by
the "lonely contemplative wanderer" in the guise of the "Nature" motive, for does it not, according to the composer, "mark the reflection of one who observes and is moved by the unchangeable laws of the Universe" Reflection soon gives way to action as the overture sweeps onward to a wonderful climax, and the lovers are swallowed up in the surging crowd.
MARCH and VARIATIONS, from Symphony, "Rustic Wed ding," Op. 26 - - - GOLDMARK
Born at Keszthely (Hungary), May 18, 1832; still living.
The Karl Goldmark of the "Sakuntala" overture and the "Queen of Sheba", who in these works gives us oriental fantasy and opulent orchestral color, in the "Rustic Wedding" Symphony reveals simplicity and naivete. These characteristics are also to be found in many of his later works, notably in "Das Heimchen am Herd," based on Charles Dickens' "Cricket on the Hearth."
As Elgar in these modern days in the "Enigma" variations gives characterizations of certain of his friends, so Goldmark more than a quarter of a century ago (the work was given its first performance March 10, 1876), in this theme and variations suggested the church and the groups of guests entering its portals to attend the service.
As illustrative of environment and atmosphere what could be simpler than the following theme which after being given out by the 'celli and contra-basses is made the basis of thirteen variations
ARIA, "Una voce poco fa," from "II Barbiere," Rossini
Born at Pesaro, February 29, 1792; died at Reulle, November 13, 1868.
Among the operas written by the "Swan of Pesaro" none is more deserving of the admiration of the modern world than "II Barbiere di Siviglia." It frankly makes
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no appeal through dramatic unity, and but little exercise of the intellect is required to appreciate it to the full. The score abounds with "narcotizing melodies," as Wagner calls them, and it needs but the acceptance of a point of view, which is the direct antithesis of that defined and demanded by Wagner, to find in this opera unalloyed pleasure of a type that involves neither mental fatigue, emotional tension, nor the exercise of fantasy. Rossini understood the possibilities of the voice as Liszt understood the pianoforte, and Paganini the violin, and he was besides a real genius of commanding power. The aria on our program possesses all the charm of the finest and purest Rossinean melody and may justly be called perennial. None but a singer of the highest vocal gifts and most consummate training can overcome its difficulties and reveal its beauty. The following is a free translation:
Though his voice was breathed afar, to this heart it sent a throe;
Little heart how weak you are that a song could thrill you so!
Yes, before us melts each bar, I have sworn it, no fragile vow
All my guardian's plans to mar. I a woman's wit will show.
He'll consent when wed we are, then with bliss my soul shall glow.
On me should kindly love bestow correction
In gentle breathing of fond affection,
No leaf so pliable adorns the field:
But if cold tyranny's rude blast assaileth me,
It falls most impotent;
No measure faileth me to gain the victory-I never yield, I never yield.
ALLEGRETTO SCHERZANDO, from Symphony, Op. 4 Svendsen Born at Christiana, September 30, 1840; still living.
Johann Severin Svendsen has written many works in the larger forms and has shown himself the possessor of excellent routine, considerable originality, and great refinement of style; moreover his Scandinavian blood reveals itself in many interesting touches. Although a most interesting composer he is not to be considered as occupying a position in the front rank of contemporaneous writers. There are those who contend that for many years there have not been so few in that front rank as at present. Be that as it may the beauty of this excerpt from his D major symphony, op. 4, will make a powerful appeal. The themes which we quote will serve to show that the qualification "scherzando" is well deserved, although the playful nature of the movement does not preclude the introduction of a powerful climax.
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ARIA, ''Voir Griselidis'' from''Griselidis,'' - MASSENET
Born at Monteaux, May 12, 1842; still living.
Mr. Ellison van Hoose
Jules Emile Frederic Massenet is one of the most eminent of living French composers. Masterly in orchestral delineation, not devoid of dramatic insight, thoroughly equipped in the routine of all branches of composition, his brilliant style sometimes conceals a lack of ideality and originality, while a certain sensuousness of treatment often mars conceptions full of nobility and force. In spite of these defects he is one of the most striking figures in modern music, and in the selection on this program he is at his best.
"Ouvrez vous sur mon front, portes du paradis!
Ouvrez vous Je vais revoir Griselidis!
Les grand cieux ou descend le soir,
Les cieux tendus d'or et de soie,
Les grands cieux sont comme im miroir,
Us refletent toute ma joie 'Ouvrez vous sur mon front, portes du paradis!
Je Vais revoir Griselidis!
Voir Griselidis, c'est connaitre,
Dans la grace exquise d'un etre,
Tout ce qui peut plaire et charmer:
Voir Griselidis, c'est l'aimer!
Elle est au jardin des tendresses
Non pas la rose, mais le lys.
Ses beaux yeux clairs, de leurs chastes caresses
N'ont jamais console les fronts par eux palis,
Ouvrez vous sur mon front portes du paradis!
Ouvrez vous, Je vais revoir" Griselidis."
CONCERTO, E minor, Op. 64, Mendelssohn
Allegro molto appassionato; Andante-Allegro molto vivace. Mr. Henri Ern
Among the distinctively great concertos for the violin--and of such the number is relatively small--none combine more of the essential elements of popularity with true inspiration and high scholarship, than the one on this evening's program. Written in 1844, and first performed in the Gewandhaus, Leipzig, March 13, 1845, it has not lost its charm with the passage of years, and in its perennial freshness it may be classed with the deathless B minor symphony of Schubert.
In the three movements we have fine contrasts--the marks of expression sufficiently indicate this--and the sequence of keys--E minor, C major, E major--enforce organic unity of form along classic lines. It is difficult to determine which of the three movements is the most beautiful. The first, Allegro molto appassionato, is vigorous, tuneful, scholarly, well adapted to the genius of the instrument and mindful of the proper relation between solo and orchestra. The first measures of the beautiful Andante, the second movement, take one captive immediately, and this lovely lyric is one of the most satisfying of the melodies met with in the concerto literature of the
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violin. The Andante leads into a brilliant yet fairy-like Rondo-Zegro molto vivace, which is the final movement. The whole work is so ideally beautiful, so organically coherent and logically developed, that it should never be dismembered, but should always be heard as a unit.
LARGO, from Symphony, "New World," Op. 95 Dvorak
This movement is a most exquisite inspiration. The melody for English horn, D flat, 4-4 time, Largo, following the simple introductory phrase,
is of a quasi-religious character and full of purity and sweetness. Some one has said that "it seems to voice the pathos of a race." Again the subdued chords of the introduction, and then a new melody, C sharp minor, piu mosso, by the flutes and oboes, a melody whose quaint charm makes a powerful appeal to our hearts, after which
the plaintive first theme reappears and the lovely close comes like a benediction.
DUET, -'Va! je t'ai pardonnV "Romeo et Juliette" Gounod
Born at Paris, June 17, 1818; died there October 17, 1893.
Mme. BlauveW and Mr. van Hoose
Charles Gounod is so universally conceded to be the most thoroughly representative French composer of the last century, that it were idle to call attention to certain obvious weaknesses in his art. "Romeo et Juliette," from which the selection offered is taken, was produced April 27, 1867. It is not to be taken at the excessive valuation placed upon it in Paris, where it is considered superior to "Faust," but certainly it is not so completely overshadowed by that work as are all others, whether written before or after 1859, the year of its production.
Romeo and Juliet.--Night, love invited !
O tender night divine
Fate hath united
My heart for aye unto thine !
O, how is love so lavish
O, how is love so fair!
Thy loving gaze doth ravish
Thy voice my soul ensnare!
Glowing in fond emotion,
The joys of heav'n are mine,
Thine is my heart's devotion
'Tis thine, for aye 'tis thine! JuuET.--My beloved! Why so sad
Romeo.--Oh hark, Juliet my darling!
'Tis the lark yonder calls
To remind us of day! Juliet.--No, it is not the day
Nor the lark's early calling
Like a knell of our love
In thy ear that is falling! ' 'Tis the sweet nightingale
That of love sings a lay! Romeo.--Ah ! 'tis the lark, alas !
'Tis the herald of day!
See, how yon envious rays
O'er all the sky are breaking;
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Pallid night wanes before Aurora,
Who, awaking,
Veiled in yon misty morning skies,
Doth shiningly arise! Juliet.--No, it is not the day,
Yon light so wan, so dreary
Is but a pale reflex
From the dim-beaming moon.
Tarry! Tarry! Romeo.--Ah! Be thou welcome Death !
I tarry! Juliet.--Ah! it is true, 'tis the day-Fly, thou must forsake me. Oh my darling! Romeo.--No ! it is not the day!
Nor the lark's early calling!
'Tis the sweet nightingale,
That of love sings a lay! Juliet.--Ah! 'tis the lark, alas!
'Tis the herald of day !-Go beloved!
Romeo.--Yet a kiss, and I go! Juliet.--Law despiteful! Romeo.--Ah! stay love!
Yet remain entwined in my arms!
In faithful love secure,
One day 'twill be delightful
When we recall to memory
Our past alarms! Juliet.--Thou must indeed away,
Nor in these arms delay,
When I enfold thee,
Nor yet thy heart obey
That fain would hold thee. Romeo.--I must indeed away,
Nor in these arms delay,
When I enfold thee,
Nor yet thy heart obey
That fain would hold thee. Juliet.--Farewell, oh my beloved-Farewell! Romeo and Juliet.--For aye thine own!
VORSPIEL, "Meistersinger," Wagner
Born at Leipzig, May 22, 1813; died at Venice, February 13, 1883.
Among the great instrumental works whose fundamental principle is that polyphony, which in the time of Palestrina was the expression of the religious idea, as applied to mankind in the mass, but which now serves as the expression of the many-sidedness of individual character as well as the complexities of modern life--the Prelude to "Die Meistersinger" stands at the head. What a triumph for the man who was derided for his lack of scholarship, because he showed no ambition to bury himself alive in dust, but who constructed with surety of control of all the resources of the most obstruse counterpoint--with no sacrifice of naturalness, simplicity, truthfulness nor power of expression--a monument of polyphonic writing, such as has not seen the light since the days of Bach. In the prelude we have a synopsis of the whole plot of the opera that follows; the sturdy pride of the burghers of Nuremberg; the angularity of the Meistersinger art; the spirit of romanticism, personified by Walter von Stolzing; the dance of the apprentices, the spontaneous expression of the joy of living on the part of these young men who were learning the mysteries of the art divine while wrestling with the problems of the cobbler, the butcher, the baker, etc., and in the magnificent climax the triumph of the art principles for which the composer stood. The work is an epitome of the great tendencies which from time to time have influenced music. Masterly counterpoint, glowing melody, expressive harmony--note the order--strength, tenderness, naivete, passionate intensity, pervade the score, and over all there presides a dignity that is elemental.
Saturday Afternoon, May 13, 1905
OVERTURE, "Solonelle," Op. 73, Glazounow
Born at St. Petersburg, August 10, 1865; still living.
The fame of Russia's greatest symphonist, Tschaikowsky, must not blind us to the fact that others of his countrymen have achieved great success in this field, and that the attention now being given to composition in the serious forms proves most conclusively that the Sclav is a power to be reckoned with.
Prominent in this interesting group stands Alexandre Glazounow, whose symphonic works entitle him to a proud position among the composers of his race. Unlike the majority of composers, his path through life has been an easy one on the material side, while his artistic career has been unmarked by the serious reverses so common in the life experience of men of genius. Fortunate indeed is the man who can, like Glazounow, devote himself to serious work without the obstacles attendant on poverty; that is, fortunate if good fortune but spurs him on to increased effort. Whether Glazounow will ever write an "Eroica" or a "Pathetic" symphony, time will tell alone; but if the lessons of history mean anything, the highest flights of genius--expressive of exalted heights of heroism or yawning gulfs of despair--are only attained by those to whom much of the brightness of life is denied. The list of his compositions is already quite imposing, and includes works in every genre, most of them extremely successful, and full of the distinctive Russian flavor we have come to associate with the works of his countrymen.
The overture on our program is comparatively new. It was written in 1900, and first performed at St. Petersburg that year. The character of its content is described by its original title "Festival Overture." His dedication to "the artists of the orchestra of the Court of His Majesty, the Emperor of all the Russias," no less obviously defines the technical treatment of the orchestra, while his nationality and the point of view of the twentieth century dominate the form. Some are inclined to think that the Russians do not take the sonata forms as seriously as their German contemporaries; but if there be anything in these forms that prevents them from serving as the medium for the expression of dignified and worthy ideas--and ideals-that had not come to consciousness at the time the sonata was developed, then there can be but one issue--they must disappear. But let us not borrow trouble, for these forms have again and again demonstrated their plasticity and elasticity. Danger does not lurk in the new and true ideas that come from healthy sources, but rather in pedantry, and any attempt to bring expression under the domination of arbitrary rules is more to be feared than minor trangressions against formal traditions resulting from the application of those fundamental principles of art that give to it freedom and life.
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ARIA, "An jenem Tag" from "Hans Heiling" Marschner
Born at Zittau, August 16, 1795; died at Hannover, December 14, 1861.
Mr. Vernon d'Arnaixe
Heinrich Marschner is one of the most important figures in the history of German opera. A pronounced romanticist, a dramatist of discernment, and a splendid composer, his wonderful power in the portrayal of uncanny subjects, like the "Vampyr" and "Hans Heiling," has won for him a rather unique position. "Hans Heiling," his greatest work, was produced at Berlin, May 24, 1833. It was received with enthusiasm, and is still frequently given in Germany.
Upon the day when thou didst vow to be mine,
While at thy feet in woe and rapture I have lain,
Then, in my heart the rays of morning broke divine,
Allay'd as ne'er before my soul's unrestful pain.
From dim and joyless void of night
I then awoke to glorious life and might!
Thou hast o'erwhelmed my heart with rapture's might! . Â

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