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UMS Concert Program, May 19, 20, 21, 22 1920: Twenty-seventh Annual May Festival Of The University Of Michigan 1920 -- Choral Un

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Season: 1919-1920
Concert: TENTH
Complete Series: CCCXLIV
Hill Auditorium Ann Arbor, Michigan

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Annual May Festival
May 19, 20, 21, 22 1920
Board of Directors
FRANCIS W. KELSEY, Ph.D., LL.D. ...:... President
HARRY B. HUTCHINS, LL.D.......Vice-President
DURAND W. SPRINGER, B.S........Secretary
LEVI D. WINES, C.E..........Treasurer
ALBERT A. STANLEY, A.M., Mus.D.....Musicai, Director
CHARLES A. SINK, A.B, Business Manager.
THE UNIVERSITY MUSICAL SOCIETY is organized under an Act of the State of Michigan, providing for the incorporation of "Associations not for pecuniary profit." Its purpose is "to cultivate the public taste for music." All fees are placed at the lowest possible point compatible with sound business principles, the financial side serving but as a means to an educational and artistic end, a fact duly recognized by the Treasury Department of the United States by exempting from War-tax, admissions to concerts given under its auspices.
Hector Berlioz . Frederick A. Stock Albert A. Stanley . Titta Ruffo Giuseppi Verdi . Lenora Sparkes Carolina Lazzari William Wheeler Leon Rothier . Edwin Arthur Kraft Margaret MatzenauEr Josef Lhevinne James Hamilton Russell Carter Myrna Sharlow Edward Johnson Renato Zanelli Robert R. DieterlE .
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List of Concerts and Soloists
The Chicago Symphony Orchestra Mr. Frederick Stock, Conductor
Miss Lenora Sparkes, Soprano Miss Carolina Lazzari, Contralto
Mb. William Wheeler, Tenor Mr. Leon Rothier, Bass
The University Choral Union
The Chicago Symphony Orchestra
Mr. Albert A. Stanley, Conductor
Mr. Edwin Arthur Kraft, Organist Mr. James Hamilton, Tenor
Special Children's Chorus Mr. Russell Carter, Conductor
Madame Margaret Matzenauer
The Chicago Symphony Orchestra
Mr. Frederick Stock, Conductor
Mr. Josef Lhevinne, Pianist
The Chicago Symphony Orchestra
Mr. Frederick Stock, Conductor
Berlioz CAST
Miss Myrna Sharlow (Soprano).......Margarita
Mr. Edward Tohnson (Eduardo Giovanni) (Tenor) .... Faust
Mr. Renato Zanelli (Baritone)......Mephistopheles
Mr. Robert DiETErlE (Baritone)........Brander
The Chicago Symphony Orchestra The University Choral Union
Mr. Albert A. Stanley, Conductor
First May Festival Concert
Signor Titta Ruffo, Baritone
'The Chicago Symphony Orchestra
Mr. FredErtck Stock, Conductor
Mr. EarTv V. Moore, Organist
Chorus, Orchestra, Organ, and Audience
OVERTURE--"Patrie," Opus 19 Bizet
ARIA--"O Promise of a Joy Divine," from "Le Roi de Lahore" Massenet
Signor Titta Ruffo
SYMPHONIC POEM, No. 2--"Tasso: Lamento e Trionfo" Liszt
ARIA--"Zaza, You Wild Little Gypsy," from "Zaza" Leoncavallo
Signor Ruffo
"VYSEHRAD" Smetana
"THE MOLDAU" Smetana
DRINKING SONG--"O Wine, Dispel the Heavy Sadness," from "Hamlet" Thomas
Signor Ruffo
CAPRICCIO ESPAGNOL, Opus 34 Rimsky-Korsakow
Albarado; Variations; Albarado; Scene and Gypsy Song;
Fandango of the Asturias
Second May Festival Concert
Miss Lenora Sparkes, Soprano
Miss Carolina Lazzari, Contralto
Mr. William Wheeler, Tenor
Mr. Leon Rothier, Bass
The Choral Union Mr. Albert A. Stanley, Conductor
Requiem e Kyrie
(Quartet and Chorus) Requiem Eeternam dona eis. Kyrie
Dies irae, dies ilia,
Tuba mirum spargens sonum. Bass Solo--Mors stupebit et natura. Contralto Solo and Chorus--Liber
scriptus proferetur. Trio--Quid sum miser tune dicturus. Quartet and Chorus--Rex tremendae Chorus--Dies irse, dies ilia
Duet--Recordare, Jesu pie. Tenor Solo--Ingemisco tanquam
Bass Solo--Confutatis maledictis. Quartet and Chorus--Lacrymosa
dies ilia.
III. Domine Jesu
Soli--Domine Jesu Christus.
IV. Sanctus
Double Chorus--Sanctus, Domine Deus Sabaoth.
V. Agnus Dei
Duet and Chorus--Agnus Dei qui tollis pecata mundi.
VI. Lux Eterna
Trio--Lux aeeterna luceat eis.
VII. Libera Me
Soprano Solo and Chorus--Libera me, Domine, de morte aeterna.
The audience is respectfully requested to remain in their seats until the end, as otherwise the effect of the closing measures will be lost.
Third May Festival Concert
Mr. Edwin Arthur Kraft, Orgmist Mr. James Hamilton, Tenor
Children's Chorus Mr. Russell Carter, Conductor
NATIONAL HYMN--"America" Carey
Children's Chorus, Organ, and Audience
FOLK-SONGS-(a) "Dear Harp of My Country" Welsh
(b) "Caller Herrin" Scotch Children's Chorus
(a) "MARCHE TRIOMPHALE" Gustav V. Hagg
(b) "SONG OF INDIA" N. Rimsky-Korsakow
(c) "SERENADE" Sergei Rachmaninoff
Mr. Arthur Edwin Kraft
(a) "BARCAROLLE" KjErulf
(b) "PRAYER," from "Der Freischutz" von Weber
Children's Chorus
(a) CAPRICE ("The Brook") Gaston M. Dethier
(b) SCHERZO Alfred Hollins
(c) RHAPSODY Rossetter G. Cole
Mr. Kraft SONGS WITH PIANO--(a) "Come, Beloved," from "Atalanta" Handel
(b) "Pleading" Elgar
(c) "Call Me No More" Cadman Mr. James Hamilton
(b "AT THE WINDOW" Van der StuckEN
(c) "WHO IS SYLVIA" Schubert
(d) "ARIEL'S SONG" Arne
Children's Chorus
Molto Moderato
(b) TOCCATA DI CONCERT Edwin H. Lemare
Mr. Kraft
Fourth May Festival Concert
Madame Margaret MatzEnauER, Contralto
The Chicago Symphony Orchestra
Mr. Frederick Stock, Conductor
OVERTURE--"Euryanthe," from "Semele" von Weber
ARIA--"Awake, Saturnia" HandEI
nu4m.--J' r Madame Margaret Matzenauer 'Suhvv-SYMPHONY, 'Noi--B flat major, Opus 38 Schumann
Andante un poco maestoso--Allegro molto vivace
,. . Larghetto: Scherzo--Allegro animato e grazioso , .vJ LETTER ARIA, from "Eugen Onegin" TschaikowSKY
r Madame Matzenauer "yLnJ
SYMPHONIC POEM, No. 2--"Le Chasseur Maudit" Franck
RECITATIVE AND ARIA--"Oh, Faithless One!" Beethoven
Madame Matzenauer
SYMPHONIC POEM--"Finlandia," Opus 26, No. 7 SibEuus
Fifth May Festival Concert
Mr. Josef Lhevinne, Pianist
The Chicago Symphony Orchestra Mr. Frederick Stock, Conductor
OVERTURE to "Russian and Ludmilla" Gunka
SYMPHONY No. 4--F minor, Opus 36 TschaikowSky
Andante sostenuto--Moderato con anima Andantino in modo di canzona Schezro--Pizzicato ostinato Finale--Allegro con fuoco
CONCERTO FOR PIANOFORTE, No. 1--G major, Opus 15 Beethoven
Allegro con brio; Largo; Rondo
Mr. Josef Lhevinne
Intermission (short)
CONCERTO FOR PIANOFORTE, No. 1--E flat (in one movement)
Mr. Lhevinne
Sixth May Festival Concert
A Dramatic Legend in Four Parts, by Hector Berlioz
CAST Faust Mr. Edward Johnson
Margarita Miss Myrna Sharlow
MephistoehelEs Mr. Renato Zanelli
Brander Mr. Robert R. Dieterle
Students, Soldiers, Villagers, Angels, Demons Choral Union
Mr. Albert A. Stanley, Conductor
PART I Introduction. Chorus op Peasants. Hungarian March.
Faust alone in his study
Easter Hymn.
Drinking Chorus.
Brander's Song.
Fugue on the theme of Brander's Song.
The Banks of the Elbe (Aria, Mephisto)
Chorus op Sylphs and Gnomes (Faust's Dream).
Ballet op Sylphs.
Finale--Chorus of Soldiers and Stu­dents.
Drums and Trumpets Sounding the Re­treat.
Air--Faust (in Margarita's dwelling).
Ballad--The King of Thule (Marga­rita).
Dance of the Will-o'-the-Wisps.
Serenade--Mephisto and Chorus of Spirits.
Trio and Chorus--(Margarita, Faust and Mephisto).
Forests and Caverns, Invocation of Na­ture (Faust).
Recitative and Hunt.
Duet--The Ride to the Abyss (Faust and Mephisto)
Pandemonium--Chorus of Lost Souls and Demons.
The Heavens--Chorus of Celestial Spirits (Margarita's Apotheosis).
Notices and Acknowledgments
All Concerts will begin on time.
Trumpet calls from the stage will be sounded three minutes before the resumption of the program after the Intermission.
Our patrons are invited to inspect the Stearns Collection of Musical Instruments in the Foyer of the First Balcony and the adjoining room.
To study the evolution, it is only necessary to view the cases in their numerical order and remember that in the wall cases the evolution runs from right to left and from the top to the bottom, while the standard cases should always be approached on the left hand side. Descriptive Lists are attached to each case. A comprehensive illustrated catalog of the Collec­tion may be purchased in the Lower Foyer.
The Musical Director of the Festival desires to express his great obli­gation to Mr. Russell Carter, Supervisor of Music in the Ann Arbor Pub­lic Schools, for his valuable service as Conductor of the Children's Con­certs ; to Miss Lou M. Allen, of his staff, for her efficient preparatory work, and to the teachers in the various schools from which the children have been drawn for their cooperation.
The writer of the Analyses hereby expresses his deep obligation to Mr. Felix Borowski, whose scholarly analyses, given in the Program Books of the Chicago Symphony Orchestra, are authoritative contributions to con­temporary criticism.
It was intended to include in this publication the programs of the thirty important concerts given during the present season under the auspices of the University Musical Society, and the five by the Matinee Musicale, but on account of conditions arising from the shortage of labor and materials it is impossible. The importance of such a record is so obvious that it will form a feature of this publication in the future.
Descriptive Programs
by the University Musical Society 1920
Wednesday Evening, May 19
"THE STAR-SPANGLED BANNER," John Stafford Smith (1750-1830) Chorus, Orchestra, Organ, and Audience
In accordance with the custom of past years, the program will begin with our
national hymn. We should sing this with great fervor, now that the clouds of war
have been lifted, leaving us free to address ourselves to the no less strenuous prob­lems of peace.
Oh, say, can you see by the dawn's early light,
What so proudly we hailed at the twilight's last gleaming,
Whose broad stripes and bright stars, through the perilous fight, O'er the ramparts we watched were so gallantly streaming
And the rockets' red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there.
Oh, say, does that Star-Spangled Banner yet wave
O'er the land of the free and the home of the brave
Francis Scott
DRAMATIC OVERTURE, "Patrie"........Bizet
Georges (Alexandre-Cesar-Leopold) Bizet was born October 25, 1835, at Paris; died June 3, 1875, at Bougival (near Paris).
The composer of "Carmen," which Tschaikowsky considered the greatest French opera, was a master of other than operatic forms. Of his purely orchestral works no one was crowned with greater, or more deserved success than the virile overture on our program.
The patriotic character of the composition is immediately established by the fol­lowing principal theme--C minor, Moderato, 3-4 time--which, after its initial state­ment by full orchestra fortissimo, is thoroughly exploited.
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in due time a contrasting second theme enters. It is given out by the violas, clarinet, and bassoon, while the deeper strings furnish accompanying figures.
Ending in a fine climax, this theme gives way to an expressive third theme, clothed in unique orchestral dress, after which still another melody is put forth by the violas, clarinet, and English horn, with an arpeggiated accompaniment by muted violins. The principal theme is now heard pianissimo, and developing into a tremen­dous climax brings the second theme in its train, this time greatly enhanced in its setting, and leading to the brilliant concluding section of the work.
The composer's disregard of the generally accepted canons of the form in which it is cast, displayed through the multiplicity of themes employed and still other struc­tural features, detracts materially from the force of Arthur Pougin's criticism, viz., "The composer sacrifices too much to the form."
ARIA, "O Promise Fair of Joy Divine," from "Le Roi de Lahore" ' Massf.nET
Jules (Emil-Frederic) Massenet was born at Montreaux, France, May 12, 1842; died at Paris, August 13, 1912.
No modern composer has displayed greater productive activity than Massenet. It is possibly due to this that it cannot be said that all of his operas maintain the
First Concert 1.7
high level attained by him when at his best. His style is sensuous, pictorial, at times really dramatic, but occasionally lapsing into mannerisms that give but surface indica­tions of the possession of the latter quality. He was a master of orchestration, and few understood better than he the management of voices, both in solo and ensemble. Among his operas which still hold the attention of the opera-going public Le Roi de Lahore (1877) is not the least, but, in the judgment of many, is his greatest. The aria on our program is one of the most important in the whole work, and will serve to display the mastery of the orchestra and voice to which reference has been made. The subjoined text so clearly reveals the situation that it is not necessary to detail the dramatic developments leading up to it.
The Sultan's barb'rous horde, who had so gladly riven
From us fair Lahore,
By our own might have from the field been driven.
As tho' by hand unseen, they had been driven out,
Their retreat to the desert resembles a rout.
From care my people free,
Loudly sound forth my praises!
This calm my heart upraises;
I yet may happy be.
0 promise fair of joy divine,
Sita, thou dream of all my life!
O beauty, torn from me by strife,
At last, at last, thou shalt be mine!
O Sita! O fair one! charm my loving heart,
And ne'er again from me depart!
Come, Sita! thy love for me rewarding,
A crown to thee I am according,
O Sita! I wait for thee.
Sita! Sita! my queen thou soon shalt be!
Ah! Sita! O come, delight this heart!
To thee the world its glory offers,
To thee a king his crown now proffers;
Come, Sita! O come ! ah ! be mine!
Come! Sita ! be mine !
SYMPHONIC POEM, No. 2, "Tasso; Lamento e Trionfo," Liszt
Franz Liszt was born at Raiding (Hungary), October 22, 1811; died at Bayreuth, July 31, 1886.
Whether the symphonic poem is an extension of the concert overture or an abridg­ment of the symphony, it is a wonderfully effective form for certain uses, and its founder, Franz Liszt, seems to have grasped its possibilities at the outset.
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The titles of the complete series of his symphonic poems are as follows, and are given as indicative of the range of subjects covered by him, and at the same time of the fact that the subjects must have decided character, sharp contrasts, and unity, in order to serve as materials for this peculiarly concise yet delineative form.
"Ce qu'on entend sur la montagne" (What is heard on the mountain), after Victor Hugo; "Tasso, Lamento e Trionfo"; "Les Preludes," after Lamartine; "Orpheus"; "Prometheus"; "Mazeppa," after Victor Hugo; "Festklange"; "Heroide Funebre"; "Hungaria"; "Hamlet"; "Hunnenschlacht" (Battle of the Huns), after a painting by Kaulbach in the Royal Museum at Berlin; "Die Ideale" (The Ideals), after Schiller; "Von der Wiege bis zum Grabe" (From the cradle to the grave), after a drawing by Mich, von Zichy (written the year of Wagner's death).
Unfortunately, the form has inherited decadent tendencies, and thus we find many (some of whom are East of the Rhine) who revel in startling instrumentation, maudlin or mock heroic melodies, frenetic rhythms, and harmonic combinations whose chief recommendation is that, never having been used before, in all probability they never will be again.
Berlioz in his "Symphqnie Fantasique" formally introduced program music to the world. With the performance of that work came certain inevitable consequences, among them the adjustment of the symphony to the increased demands made upon it, and the application of the term "symphonic" to forms and subjects whose content is antagonistic to the real meaning of the word. It should stand for breadth of develop­ment, but neither at the expense of depth nor by the substitution of length for both. The majority of works written in this form have no lasting value, and are still over­shadowed by the products of composers who were content with titles that did not embarrass the listener by robbing him of his freedom of interpretation, and who were too busily engaged in writing real music, that required neither definition nor justi­fication, to show their power of invention by discovering new meanings for the word "symphonic."
"Tasso" was written in 1840 as a piano piece; later was orchestrated by the com­poser, and used as the prelude to Goethe's drama of the same name at the celebration at Weimar of the poet's centenary, August 28, 1849. Liszt drew from Byron and Goethe, and said regarding the contrast implied by the title:
"Tasso loved and suffered at Ferrara; he was avenged at Rome; his glory still lives in the people's songs of Venice. These three points are inseparably connected with his memory. To express them in music, we first invoked the mighty shadow of the hero as it now appears haunting the lagoons of Venice; we have caught a glimpse of his proud, sad face at the feasts in Ferrara, and we have followed him to Rome, the Eternal City, which crowned him with the crown of glory and glorified in him the martyr and the poet."
Liszt declared that the chief theme of his symphonic poem is in reality a melody sung by the Venetian gondoliers to the opening line of Tasso's poem, "Jerusalem," a melody which the composer says "is so charged with inconsolable mourning, with such hopeless sorrow that it suffices to portray Tasso's soul; and again lends itself to the picturing of the brilliant illusions of the world; to the deceitful, fallacious coquetry of those smiles whose treacherous poison brought on the horrible catastrophe
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for which there seemed to be no earthly recompense, but which, at the Capitol, was clothed eventually with a purer purple than that of Alphonse."
The score employs most of the resources of the ultra-modern orchestra, and may be somewhat loosely analyzed as follows:
The first part ("Lamcnto")--C minor, Lento, 4-4 time--begins with a theme which is an important structural factor throughout the entire work. This initial theme soon develops into an Allegro strepitoso which leads to the plaintive melody of the Vene­tian gondoliers noted above, stated by the bass clarinet, the horns, harps, with part of the strings furnishing a background. This is the "Tasso" motive. A movement in minuet style represents Tasso's life at the Court of Ferrara {Allegretto mosso con grazia). After more statements of the "Tasso" motive, through the accelerated ver­sion of the initial theme, we are led to the climax of the work ("Trionfo")--C major, Allegro con brio, 4-4 time--the principal theme of which opened the composition.
ARIA, "Zaza, You Wild Little Gypsy,"......Leoncavallo
SlGNOR RuFFO Ruggiero Leoncavallo was born at Naples, March 8, 1858; died August 8, 1919.
The composer of "Zaza" was his own librettist, but it is doubtful whether in this capacity he revealed decided poetical power, nor can one conclude that in the music he exhibited any advance over his one great success--'"II Pagliacci" (Milan, 1892). "Zaza" was first produced in Milan, in 1900, and given in America for the first time in 1903. Recently, it has been revived by the Chicago and Metropolitan Opera com­panies with success. It cannot be maintained that the ethical standards emphasized in this opera will contribute to that elevation of the stage regarding which so much has been written and so little accomplished.
The English translation of the text (sung in Italian) is herewith given:
Cascart: Zaza, you wild little gypsy,
The folly of love you are tasting. The cup is not drained, and not ended
The tears that for him you are wasting! Many will flow from your lovely eyes
Ere from this dream you awaken, Ere you go onward alone again,
Faith in humanity shaken! You had believed he was fancy-free,
For vanished hopes you are crying! You have no fetters to hold you,
Duty before you is lying! Alas, the dream that you cherished so
Proved a deception hollow; It was the hand of an angel
Pointed the path you must follow!
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Weep for the hopes and dreams you loved so dearly, But remember your duty is outlined so clearly: Your lover has a family--release him!
--Translated by Alice Mattuklath.
I. "Vysehrad." II. "The Moldau."
Frederick Bedrich Smetana was born March 2, 1824, at Leitomischel; died March 12, 1884, at Prague.
Judging from the records of concert institutes, these compositions are not alone the most important in the cycle of six similar works known as Md Vlast (My Father­land), but the most popular. In his formal descriptions of the underlying poetical motives of this tribute to his native land, he invokes nature, history, and tradition in a frankly programmatic style. He also gives us a glimpse into a sad world of his own, in which he lived during the latter years of his life, for the premonitions of deafness --which nearly drove him to madness at the time of the composition of his E minor Quartet--had been justified all too soon. "Vysehrad" was written in the night when he first came to the realization of his total deafness, and the entire cycle was composed after he had entered what, to a musician, must have been in verity the "Valley of the Shadow of Death."
The question occurs whether in such a case the creative genius may not have compensations denied the interpretative artist, and absolutely unrealized by the ordi­nary listener. For example, no one would dare say that deafness brought to Beethoven any abatement of his power! On the contrary, his imagination seemed to have car­ried him to greater heights. This detachment from actual sound may have its peculiar compensation in an exalted and stimulated imagination, capable of infusing the unreal with an even greater semblance of reality than when it follows the usual course. It seems as though many of the works written under such physical restrictions contain evidences of a freedom that must have given to the creator somewhat of comfort when it brings such inspiring messages to those who listen.
Returning from this digression to our purpose, we will now give, as concisely as possible, the thoughts that inspired these charming symphonic poems. The poet, con­templating the grim fortress, Vysehrad, is overwhelmed by memories of the past. Radiant of face, shining in burnished armor, triumphant in spirit, legions of brave knights pass before his vision. Music and dancing, songs and love-making, smiles and tears, prayers and curses, shouts and groans, are inextricably mingled in this Symphony of the Past. Then scenes of barbaric carnage obtrude themselves. Bring­ing in their train well-nigh universal ruin, such pictures of bygone days invoke despair. The poet gladly turns from them, and detaching himself from their gloomy sugges­tion, and returning to the present, he contemplates the old fortress standing there, a
First Concert
silent witness of the present--and dumbly eloquent of the past. As he gazes he seems to hear the song of the erstwhile prince and singer, Lumir, floating through the air, invoking memories of that past and investing the scene with a magic glow as of the setting sun. All this finds fitting expression in music which Smetana, its creator, never heard with mortal ear.
The Moldau, formed by the union of two small streams which issue from springs in the Bohemian forest, gives the title to the second number in this cycle. These streams, "the one warm and gushing, the other cold and tranquil," may be traced in two attractive and characteristic motifs--losing themselves in each other, rushing on and on, joying in their strength. Passing by many a noble castle, reflect­ing the stars by night and happy faces by day, bearing on her bosom the fisherman's skiff, eddying through winding stretches, storming through gorges, and finally with a supreme effort conquering the Rapids of St. John, calmly and triumphantly the river now flows through the valley towards Prague. Saluting the stern and warlike old sentinel, "The Vysehrad," standing at the city's gate, it moves along with an earnest purpose to "seek the sea." To do this it must pass through other scenes, cross an alien country, and reach the goal only by losing itself in another and greater river.
How truthfully Smetana succeeded in depicting all this may be left to this audi­ence--i. e., to each individual listener. In the last analysis, absolute freedom of indi­vidual interpretation--even of that which the composer has stated, in words, with more or less of definiteness--is a necessary condition of real satisfaction.
DRINKING SONG, "O Wine, Dispel the Heavy Sadness," from "Hamlet," Thomas
(Charles-Louis) Ambroise Thomas was born at Metz, August 5, 1811; died at Paris, February 12, 1896.
Ambroise Thomas is known to the world at large as the composer of "Mignon" (Opera Comique, Paris, November 17, 1866), rather than of "Hamlet" (Opera, March 9, 1869). That, besides these, he composed twenty dramatic works, three of which were ballets, is not so generally known. His work as an opera composer represents but a part of his activity, for in 1871 he succeeded Auber as Director of the Con­servatoire, a position in which he displayed brilliant qualities. In 1851 he was elected to Spontini's chair in the Academic
The book of the opera, by Jules Barbier and Michel Carre, is substantially in accord with Shakespeare's tragedy, but the characters are stressed in the manner so characteristic of opera librettists. The excerpt on our program is drawn from Act II, where Hamlet, in order to stimulate the players, leads in a drinking song, of which the text (sung in Italian) is as follows:
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O wine, dispel the heavy sadness That weighs upon my heart!
Be mine the revel of madness, Mocking laughter my part!
Draught divine, thy spell enchanting Drive ev'ry haunting regret from my heart!
Thou draught divine!
Our life is sombre,
Short is its span;
The joys of man, God knows their number!
Each one, we know,
Bears here below His heavy chain:
Cruel despair,
Duty and care, Heart-rending pain! Now begone, gloomy visions! For the wisest are fools! Ah! 'Tis wine dispels the heavy sadness, etc.
CAPRICCIO ESPAGNOL, Op. 34,.....Rimsky-Korsakow
Albarado; Variations; Albarado; Scene and Gypsy Song; Fandango of the Asturias.
(Played without pause.)
Nikolaus Andrejewitsch Rimsky-Korsakow was born May 21, 1844, at Tichvine, Novgorod, Russia; died June 4, 1908, at Petrograd.
The name of Rimsky-Korsakow calls to mind his great service to the music of his country, through his early activity as one of the Russian Camerata, and through the many compositions in serious forms which were the contributions of his maturity.
Enriching by his activity the repertory of his native land, he made a name for himself throughout the entire musical world. Although he was a Russian of the Russians, he did not confine himself to such subjects as would be suggested by his national bias, but went far afield for inspiration and touched alien types with the surety of a master. Thus his Sclierco Espagnole has the Spanish national character stamped upon it from beginning to end, and that with more certainty and conviction than shown by Dvorak. Naturally, the problem was not so illusive, nor as hopeless as that encountered by the great Bohemian, who seems to have mistaken geography for anthropology.
The first of the five movements in this composition--for the divisions are perFirst Concert 23
fectly evident, even though there be no pauses in the performance--is marked Vivo e strepetoso, and is based on the following theme:
At the conclusion of this movement--it being assumed that all are awake in response to its stirring rhythms--comes the Albarado "Morning Song"--a quiet theme with variations.
Then again the Albarado, for variety's sake in the key of B flat instead of A, and with sufficient change in the treatment to avoid the charge of monotony. Following it comes the fourth movement, "Scena e canto gitana," with the brilliant initial trumpet callits "local color" (tambourine, etc.), a violin solo and various other contributions, not to omit the followingwhich is brought into thematic relationship with the principal (trumpet) motive. Through a violoncello solo and extensive working out of material already familiar,
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the Finale is introduced, a Fandango of the Astur'ms. In this two subjects are heard, the first of which
does not contain all of the interesting material which sets the "light Asturian toe" in rhythmic accord with its suggestions, for the second subject is not without its attrac­tions.
In the final measures we hear again the opening theme. This captivating work suggests the thought that every racial or national note has in it a touch of universality through which, as in this instance, the Slav can meet the Latin on his own ground, and which makes possible a real unity of art, at least in the field of music.
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Thursday Evening, May 20
"MANZONI REQUIEM," for Soli, Chorus, and Orchestra, Verdi
Miss Lenora Sparkes, Soprano Miss Carouna Lazzari, Contralto Mr. William Wheeler, Tenor Mr. Leon Rothier, Bass
(Fortunio) Giuseppi (Francesco) Verdi was born in Le Roncole, October 9, 1813; died in Milan, January 17, 1901.
Le Roncole--whose claim to distinction is the fact that it was Verdi's birthplace-is the name given to a small cluster of laborers' houses, a short distance from Busseto, at that time in the Duchy of Parma. Dame Fortune must have watched of this child of genius, for in 1814 Russian and Austrian troops passing through Le Roncole ruth­lessly massacred women and children, and young Giuseppi was saved only by the presence of mind of his mother, who, taking him in her arms, climbed up a narrow ladder into the belfry of the church and hid herself and her baby in some lumber until the drunken troops left the hamlet. No wonder Sandra Belloni, in George Meredith's novel of the same name, in the most impassioned manner takes herself to task that she, an Italian, should be carried away by Beethoven's music when he "lived in Austria and ate Austrian bread." Later, while yet a young boy, Giuseppi fell into a deep canal, and was rescued by a peasant woman when chilled and exhausted by the icy water he was being carried under. Of his early reverses and successes we may not speak, although their record makes an intensely interesting and instructive story, for we are now more concerned with his work as the composer of the Manzoni Requiem.
Shortly after Rossini's death (November 13, 1868), Verdi suggested that Italian composers should unite in writing a worthy requiem as a tribute to the memory of the "Swan of Pesaro." This was to be performed only at the Cathedral of Bologne every hundredth year, on the centenary of Rossini's death. This was a curious propo­sition to submit to Italian composers, who lived for the applause of their countrymen only, and may have stifled their inspiration, for the resulting work was wanting in unity and lacking in spontaneity. The only bond of union was a fixed succession of
26 Official Program Book
tonalities determined on in advance. Verdi took the final number, "Libera Me." The thirteen numbers of the Requiem were divided among composers as follows:
1. Requiem asternam (G minor), Buzzola, 1815-1871.
2. Dies irae (C minor), Bazzini, 1818-1897.
3. Tuba mirum (E flat minor), Pedrotti, 1817-1893.
4. Quid sum miser (A flat minor), Gagnoni.
5. Recordare (F major), Ricci, 1809-1877.
6. Ingemisco (A minor), Mini.
7. Confutatis (D major), Bonchinon.
8. Lachrymosa (G major), Coccia, 1782-1873.
9. Domine Jesu (C major), Gaspari, 1807-1881.
10. Sanctus (D flat major), Platania, 1828-1863.
11. Agnus Dei (F major), Petrella, 1813-1877
12. Lux aeterna (A flat major), Mabellini, 1817-1897.
13. Libera me (C minor), Verdi 1813-1901.
It is unfortunate that this attempt suffered shipwreck, as, had it been successful, we might have some idea of the artistic significance of this group of composers, the majority of whom seem to have "embalmed themselves alive," for three of them cannot be found in any Biographical Dictionary, which speaks volumes for their artistic status. Many of them were very prolific opera composers, the most of them dabbled more or less in sacred forms, while two were known chiefly by work in other directions than creation, Gaetano Gaspari being the best musical historian Italy has produced, and Platania is known to fame as the author of a very dry treatise on Canon and Fugue. The extreme range of tonalities employed removes the probability of Verdi's having been the guiding spirit in the choice. It would almost appear that each composer chose his favorite key. At all events, the attempt was an absolute failure.
The power of Verdi's contribution to this musical crazy-quilt so impressed his friends that, upon the death of Allessandro Manzoni, he was persuaded by the late M. Mazzacuto, of Milan, to compose an entire requiem in memory of the great statesman.
Its production (Milan, May 22, 1874, Wagner's birthday) was the signal for a controversy which has not died away, and its admirers and detractors seem to have ranged themselves along national lines--as they do now. The Germans, with Handel and Bach in mind, see in it little but theatrical tawdriness and overwrought senti­mentality. The English point of view wavers somewhat, for the memories of Handel and Mendelssohn are still conditioning factors with many. The French and Italians, especially the latter, find in its idioms a perfect expression of religious emotion. They see nothing out of the way in the employment of idioms already familiar and beloved of them through their use in opera. They care little for polyphonic writing, especially the fugue form, for, in the main, they are signally unsuccessful in this style. Yet Palestrina was one of the greatest masters of polyphony the world has known; and Guilmant, the Frenchman, was sui generis in this form. The memory of Handel is, moreover, somewhat robbed of its directive power when we reflect that no one could tell the difference between his oratorio arias and the most vapid examples of his
Second Concert 27
operatic style. Did he not use a gavotte in Joshua and contemplate adding a minuet to the Messiah overture Verdi, like Palestrina, Bach, Handel, and Beethoven, used the "symbols in use in his day and generation"--as Elgar has done in his "Dream of Gerontius"--consequently his appeal is natural and justified, even though we prefer the Teutonic to the Latin concept of sacred music.
The Introduction (A minor) to the "Requiem e Kyrie" (Grant them rest) gives us a quiet and mournful theme, developed entirely by the strings. In this portion of the work the chorus is purely an accompaniment to the melody played by the violins, but at the words, "Te decet hymnus" (There shall be singing), it is supreme. After this division (F major, sung a cappella), the introductory theme reappears. At its conclusion the solo parts come into prominence (A major), and the rest of the num­ber is a finely conceived and elaborately executed eight-voiced setting of the words, "Kyrie eleison."
The "Dies Irse" (Day of Anger)) is divided into nine parts, for solo, chorus and orchestra. The first of these divisions is a very dramatic setting of the text. It is in the key of G minor and introduces vocal and orchestral effects which are startling in their intensity. The second division, "Tuba Minim" (Hark! the trumpet) {A flat minor) is preceded by a dramatic treatment of the orchestra, in which the trumpet calls in the orchestra are answered in' the distance--until a magnificent climax is reached by the ff chords for the full brass, leading into a fine unison passage for male voices, accompanied by the full orchestra. In quick succession follows No. 3, solos for Bass and Mezzo Soprano. The words "Mors stupebit" (Death with wonder is enchained) (D minor) and "Liber scriptus properetur" (Now the record shall be cited) involve a change of treatment. An abridged version of the first division fol­lows, to be succeeded in turn by a beautiful trio for Tenor, Mezzo and Bass (Q minor). The next division, "Rex tremendos majestatis" (King of Glory) (C minor), is written for solo and chorus. The solo parts to the text, "Salve me fons pietatis" (Save me with mercy flowing), introduce a melody entirely distinct from that of the chorus, while the ingenious contrasts of the two leading up to the final blending of both in the "Salve me" are intensely interesting and effective.
The sixth number, a duet for Soprano and Mezzo (F major), is thoroughly Italian in spirit, is beautifully written for the voices, and carries out most perfectly the spirit of the words, "Recordare," (Ah! remember). The Tenor and Bass Solos which now follow, the "Ingemisco," (Sadly groaning) (E flat major), and "Confu-tatis," (E major), in the opinion of many critics, contain the finest music in the whole work. Be this as it may, this portion is very interesting, and to the musician presents technical points of importance. The "Dies Iras," as a whole, ends with the "Lacry-mosa," (Ah! what weeping) (B flat yiinor), a tender setting of these words. A won­derful crescendo in the word Amen is to be noted.
The Solo Quartet (A flat major, "Domine Jesu Christe," (O Lord God, Lord Jesus Christ), is very beautiful, but presents no special points of interest.
The "Sanctus" (F major) is an exalted inspiration of genius. With its glorious double fugue, its triumphal antiphonal effects at the close leading into a soul-uplifting climax, it would, of itself, make the reputation of a lesser composer.
If the "Sanctus" is sublime in its grandeur, no less so in its pathos is the "Agnus Dei," "Lamb of God," (C major), written for solo voices (Soprano and Contralto)
28 Official Program Book
and chorus. A simple melody with three different settings is the basis of this impor­tant number, and in originality and effectiveness it is not at all inferior to the inspired "Sanctus" which precedes it.
The "Lux aeterna," (Light eternal) (B flat) calls for no extended notice. It is written for three solo voices in the style which we find in Verdi's later works.
The closing number, (7), "Libera Me," (C minor), begins with a recitative (Soprano), "Libera me Domine, de morte aeterna," (Lord, deliver my soul from eter­nal death), interrupted by the chorus, which chants these words, and introducing a fugue of stupendous difficulty gives us a repetition of the beautiful introduction to the whole work, (B flat minor), and ends with the repetition, of the recitative, while the chorus holds out a sustained chord (C major) ppp. In the repetition of the introduc­tion to the chorus just alluded to, the solo voice (Soprano) takes the melody origi­nally played by the violins, with a cappella chorus accompaniment. The ending of the work is very dramatic. Everything seems to be hushed while the awful signifi­cance of the words is impressed upon the mind with irresistible force.
The whole work reveals Verdi at the maturity of his genius--shows the mastery of vocal resources characteristic of Italian composers, with a control of the possibili­ties of the orchestra in which he stands alone among the composers of Italy. A care­ful studjr of the two fugues--in the "Sanctus" and "Libera me"--will clearly reveal that Verdi possesses distinguished power as a contrapuntist. The fact that his themes are so very melodious that this clement is constantly in evidence has a tendency to draw away one's attention from the constructive skill revealed in these fugues. The work is genuinely Italian in spirit, but it shows on every page the imprint of genius, and genius knows no national boundaries.
Requiem aeternam dona eis, Domine; et lux perpetua luceat eis;
Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem.
Exaudi orationem meam, ad te omnis caro veniet. Kyrie eleison, Christe eleison.
II--DIES IRM Dies irse, dies ilia, Solvet saeclum in favilla, Teste David cum Sibylla. Quantus tremor est futurus, Quando Judex est venturus. Cuncta stricte discussurus!
Tuba mirum spargens sonum, Per sepulchra regionum, Coget omnes ante thronum.
Mors stupebit et natura,
Cum resurget creatura, '.
Julicanti responsura.
Eternal rest give unto them, O Lord; and let perpetual light shine on them.
Thou, O God, art praised in Zion, and unto Thee shall the vow be performed in Jerusalem.
Hear my prayer; unto Thee shall all flesh come.
Lord have mercy! Christ have mercy!
Day of vengeance, lo! that morning, On the earth in ashes dawning, David with the Sibyl warning! Ah ! what terror ,is impending, When the Judge is seen descending, And each secret veil is rending!
To the Throne, the trumpet sounding, Through the sepulchres resounding, Summons all with voice astounding.
Death and Nature, 'maz'd, are quaking, When the grave's deep slumber breaking, Man to judgment is awaking.
Second Concert 29.
Liber scriptus proferetur, In quo totum contirietur, Unde mundus judicetur. Judex ergo cum sedebit, Quidquid latet, apparebit, Nil inultum remanebit.
Quid sum, miser! tune dicturus, Quem patronum rogaturus, Cum vix Justus sit securus
Rex tremendae majestatis! Qui salvandos salvas gratis, Salva me, fons pietatis!
Recordare, Jesu pie, Quod sum causa tuae vise; Ne me perdas ilia die. Quaerens me, sedisti lassus; Redemisti crucem passus; Tantus labor non sit cassus. Juste Judex ultionis, Donum fac remissionis Ante diem rationis.
Ingemisco tanquam reus,
Culpa rubet vultus meus:
Supplicanti parce Deus.
Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.
Preces meae non sunt dignas,
Sed tu bonus fac benigne, ' '
Ne perenni cremer igne.
Inter oves locum prsesta,
Et ab hoedis me sequestra,
Statuens in parte dextra.
Confutatis maledictis, Flammis acribus abdictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.
Lacrymosa dies ilia! Qua resurget ex favilla Judicantus homo reus. Huic ergo parce Deus. Pie Jesu Domine, Dona eis requiem. Amen.
Domine Jesu Christe, Rex glorias, libera animas omnium fidelium defunc-torum de poenis inferni et de profundo lacu: libera eas de ore leonis, ne absorNow the written book containing Records to all time pertaining, Opens for the world's arraigning, See the Judge, his seat attaining, Darkest mysteries explaining, Nothing unavenged remaining!
What shall I then say unfriended,
By what advocate attended,
When the just are scarce defended
King of Majesty tremendous, By thy saving grace defend us; Fount of piety, safely send us.
Jesus, think of thy wayfaring
For my sins the death-crown wearing;
Save me in that day despairing.
Worn and weary thou hast sought me,
By Thy cross and passion bought me,
Spare the hope Thy labors brought me,
Righteous Judge of retribution,
Give, O give me absolution,
Ere that day of dissolution.
As a guilty culprit groaning, Flushed my face, my errors owning, Spare, O God, Thy suppliant moaning. Thou to Mary gav'est remission, Heard'st the dying thief's petition, Bad'st me hope in my contrition. In my prayers no worth discerning, Yet on me Thy favor turning, Save me from Thy endless burning! Give me, why Thy sheep confiding Thou art from the goats dividing, On Thy right a place abiding.
When the wicked are rejected, And to bitter flames subjected, Call me forth with thine elected. Low in supplication bending, Heart as though with ashes blending, Care for me when all is ending.
When on that dread day of weeping,
Guilty man in ashes sleeping
Wakes to his adjudication,
Save him, God, from condemnation.
Lord Jesus, all-pitying,
Grant them rest. Amen.
Lord Jesus Christ, King of Glory, de­liver the souls of all the faithful dead from the punishment of hell, and from the deep lake:
Deliver them from the lion's mouth;
3d Official Program Book
beat eas tartarus, ne cadant in obscu-rum. Sed signifer sanctus Michael re-praesentet eas in lucem sanctam. Quam olim Abrahse promisisti et semini ejus.
Hostias et preces tibi, Domine, laudis offerimus, tu suscipe pro animabus illis, quarum hodie memoriam facimus; fa-ceas, Domine, de morte transire ad vi-tam; faceas, Domine, faceas de morte.
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloriae tuas. Osanna in excelsis.
Benedictus, qui venit in nomine Do­mini. Osanna in excelsis.
Angus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei qui tollis peccata mundi, dona eis requiem sempi-ternam.
Lux aeterna luceat eis, Domine, cum Sanctis tuis in aeternam, quia pius es.
Requiem seternam dona eis, Domine, et lux perpetua luceat eis.
Libera me, Domine, de morte seterna, in die ilia tremenda, quando cceli moven-di sunt et terra. Dum veneris judicare saeculum per ignem.
Tremens factus sum ego et timeo, dum discussio venerit atque ventura ira, quando coeli movendi sunt et terra.
Dies irae, dies ilia, caalamitatis et miseries, dies magna et amara valde.
Requiem seternam dona eis, Domine, et lux perpetua luceat eis.
let not hell swallow them, let them not fall into darkness; but let Saint Michael, the standard bearer, bring them into the holy light which once thou didst promise to Abraham and his seed.
Offerings of prayer and praise we bring Thee, O Lord; receive them for those souls whom today we commemo­rate. Let them go from death to that life which once thou didst promise to Abraham and his seed.
Holy, holy, holy, Lord God of Hosts! Heaven and earth are full of Thy glory. Hosanna in the highest!
Blessed is He that cometh in the name of the Lord. Hosanna in the highest!
Lamb of God, that taketh away the sins of the world, grant them rest. Lamb of God, that taketh away the sins of the world, grant them rest everlasting.
Let perpetual light shine on them, O Lord, with thy saints forever, for thou art Gracious:
Eternal rest give unto them, O Lord, and let perpetual light shine upon them.
Deliver me, O Lord, from eternal death, in that dread day when the heav­ens and the earth shall be moved, when thou shalt come to judge the world by fire.
I am full of terror and fear at the judgment that shall come and at the coming of thy wrath, when the heavens and the earth shall be moved.
Day of wrath, dread day of calamity and misery, dread day of bitter sorrow.
Eternal rest give unto them, O Lord, and let perpetual light shine on them.
Friday Afternoon, May 21
NATIONAL HYMN, "America,"........' Carey
Children's Chorus, Organ, and Audience
After a short interim, the Children's Chorus is again included in our Festival program, and, as is eminently befitting the occasion, their fresh, young voices will first be heard as they join with the audience in singing a hymn of loyalty. We must remember that the future of our country will soon depend on these budding citizens, a thought that lends meaning to their song.
The text:-My country! 'tis of thee, Sweet land of liberty,
Of thee I sing: Land where our fathers died! Land of the Pilgrims' pride! From every mountain side
Let freedom ring!
My native country, thee, Land of the noble, free,
Thy name I love; I love thy rocks and rills, Thy woods and templed hills: My heart with capture thrills
Like that above.
Let music swell the breeze, And ring from all the trees
Sweet freedom's song: Let mortal tongues awake; Let all that breathe partake; Let rocks their silence break,
The sound prolong.
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Our fathers' God! to thee, Author of liberty,
To thee we sing: Long may our land be bright With freedom's holy light; Protect us by thy might,
Great God, our King!
S. F. Smith.
FOLK-SONGS: (a) "Dear Harp of My Country," .... Welsh (b) "Caller Herrin," ------Scotch
Children's Chorus
Following our own patriotic hymn, two folk-songs will be sung. Wagner once said, "The heart of the Folk is always true," and folk-songs are the musical expres­sions of that heart, revelations of communal feeling, so imbued with sincerity that succeeding generations find in them solace and inspiration.
fa) "DEAR HARP OF MY COUNTRY," Wesh Folk Tune
Dear Harp of My Country, in darkness I found thee,
The cold chain of silence had hung o'er thee long, When proudly, my own Island Harp, I unbound thee,.
And gave all thy chords to light, freedom and song! The warm lay of love and the light note of gladness
Have 'wakened thy fondest, thy liveliest thrill; But so oft hast thou echoed the deep sigh of sadness,
That e'en in thy mirth it will steal from thee still.
Dear Harp of My Country, farewell to thy numbers,
This sweet wreath of song is the last we shall twine; Go sleep with the sunshine of fame on thy slumbers,
Till touched by some hand less unworthy than mine. If the pulse of the patriot, soldier or lover
Have throbb'd at our lay, 'tis thy glory alone; It was but as the wind passing heedlessly over,
And all the wild sweetness I waked was thy own.
Thomas Moore.
(b) "CALLER HERRIN,"........Scottish Air
Wha'll buy caller1 herrin'
They're bonnie fish and halesome farin;
Buy my caller herrin',
New drawn from the Forth
Third Concert 33
When ye were sleepin' on your pillows, Dreamed ye aught o' our puir3 fellows, Darkling as they face the billows, A' to fill our woven willows4 Buy my caller herrin', etc.
Wha'll buy my caller herrin' They're no brought here without darin'; Buy my caller herrin' Ye little ken their worth. Wha'll buy my caller herrin' O ye may ca' them vulgar farin'; Wives and mithers, maist despairin', Ca' them lives o' men. Caller herrin'!
Wha'll buy caller herrin' etc.
And when the creel o' herrin' passes,
Ladies, clad in silk and laces,
Gather in their braw pelisses,
Toss their heads and screw their faces.
Buy my caller herrin', etc.
Wha'll buy my caller herrin' etc.
Noo,5 neebor" wives, come tent7 my telling",
When the bonnie fish ye're selling7,
At a wind be aye your dealin',
Truth will stand when a' things failin'.
Buy my caller herrin', etc.
Lady Mairne.
Glossary: resh; 2fare, food; 'poor; 'basket; 6now; "neighbor; 'heed.
ORGAN SOLOS: (a) "Marche Triomphale," -----Hagg
(b) "Song of India," Rimsky-Korsakow
(c) "Serenade," -----Rachmaninoff
Mr. Edwin Arthur Kraft
The composers represented in this group of selections for the organ all belong to the "Outer Circle," a designation frequently given to the countries included. Regard­ing them, we append the following:
Gustaf Hagg was born at Wisby (Sweden), November 28, 1867; still living. He
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is organist of the Klara (Stockholm) Church, and has been, connected with the Stock­holm Conservatory since 1908. He has composed pieces for organ and for piano, piano trio in G minor, string quartet, string sextet, and other chamber-music, also orchestral work.
Possibly no composition in the smaller forms by Rimsky-Korsakow has won more universal commendation than the "Song of India," in which we meet with many Ori­ental musical idioms. For particulars concerning his career consult the notes for the first concert.
Sergei Vassiuevitsch Rachmaninoff, who was born at Novgorod, Russia, on April 1, 1875, is the best known of the virile group of Neo-Russian composers. In all of his compositions he exhibits daring, tempered by sanity and of his originality of conception and power of expression there is no longer any doubt.
(a) "BARCAROLLE,"...........Kjerulf
(b) "PRAYER," from "Der Freischiitz,"......von Weber
Children's Chorus
(a) "BARCAROLLE," -........Kjerulf
Norway is represented on our program by one of the many "Norske Folkeviser" (Norse Folk-songs) through which the composer, Halfdan Kjerui.f, born September 17, 1842; died August 11, 1863, so endeared himself to his people that a monument was erected to him in Christiania in 1874.
Misty stars are gleaming,
Silver moonlight beaming;
Boats are slowly drifting
Over waters dreaming.
Wavelets dance and ripples glance,
Earth is in a golden trance;
Haste, I pray, and yield to evening's mystic sway.
Gentle winds are sighing, Perfumes sweet are vying; All in joyous beauty Magic hours are flying. On the tide we gently glide, Moonlight soft our only guide; Mandolins are softly tinkling, Measure now the pleasure.
Translation from the Norwegian, by NELUE Poorman.
(b) "PRAYER," from "Der Freischiitz,".....' von
Cari, Maria (Friedrich-Ernst) von Weber was born at Eutin, December 18, 1768; died at London, June 5, 1826. He was the first romantic composer of distinction, wrote
Friedrich Kind.
- Dethiei
- Houcins
_ _ Cole
Third Concert 35
in most of the serious instrumental forms, and was the creator of seven operas, of which "Der Freischutz," from the point of view of the public, was the most important. It was first produced at Berlin, June 18, 1821, and on that occasion the number on our program, taken from Agatha's aria in Act II, evoked tumultuous applause.
Softly sighs the voice of evening,
Stealing through yon willow grove; While the stars, like guardian spirits,
Set their watch, (their nightly darkly brooding) their watch above.
Through the dark blue vault of ether
Silence reigns with soothing power; But a storm o'er yonder mountain
Darkly seems, seems to lower.
ORGAN SOLOS: (a) Caprice ("The Brook"), (b) Scherzo,.....
(c) Rhapsody, ----Mr. Kraft
Gaston Marie Dethier, pianist, organist and composer, was born at Liege, April X9, 1875; still living. At the age of 14 he gave the inaugural recital on the first tubu­lar pneumatic organ built, at Malines, Belgium. He came to the United States in 1894 as organist of St. Francis Xavier's Church (on Guilmant's recommendation, for whom he played while visiting Paris). He is now active as concert organist, pianist and teacher in New York.
Alfred Hollins, who was born in Hull, England, September 11, 1868, is a man who has triumphed over physical limitations. He was born blind, but in spite of this handicap has developed into a concert organist of rare qualities and a composer of power. Beginning his musical studies at an early age, in London, they were continued later in Berlin. At an age when the majority of aspirants for musical fame are strug­gling with finger exercises he played Beethoven's "Emperor" Pianoforte Concerto in the Crystal Palace Concerts under Manns. As he approached maturity he restricted himself to the organ, and today is considered one of the best composers for the instru­ment of which he is an undisputed master.
RossiTER GlEason Cole (born at Clyde, Michigan, February 5, 1866) may be looked upon as an Ann Arborite, and his many friends rejoice in his successful career as a composer, writer and teacher. He was graduated from the University of Mich­igan in 1888, receiving the degree of M. A. (honorary) in 10.18. He received most of his musical training under Calvin B. Cady, at that time occupying the chair of music. He studied several years in Berlin, winning through competitive examination a scholarship in the Royal High School for Music, under Max Bruch. It will be a great joy to listen to a composition from his pen.
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SONGS WITH PIANO: (a) "Come, Beloved," from "Atalanta," HandEi,
(b) "Pleading,".......Eigar
(c) "Call Me No More," ... Cadman Mr. Jambs HAMnroN
The first number of this interesting group, taken from a long-forgotten opera of Handel, displays the breadth of melodic utterance so frequently found in the master'! lyrics, as distinguished from the style he displays in his oratorio solos. It might well serve as a companion piece to his more widely known Largo, which, by the way, was also a tenor solo (from his opera, "Xerxes").
In the song by Elgar, he, like Handel, displays his lyric gifts. He has been rep resented in our programs by works of great magnitude, and it will be a pleasure to become acquainted with this manifestation of another side of his genius.
Charles Wakefield Cadman's songs have made for him a large place in the hearts of music-lovers, and the particular song on our program presents his art at its best.
(a) "COME, .BELOVED," -........Handsi
George Frederick Handel was born at Halle, February 23, 1685; died at London, April 13, 1759.
Come, my beloved!
Through the sylvan gloom
I wander day and night;
Oft I call thee;
Come, my joy and my delight!
Gentle zephyrs, fan her,
Banish love's alarms,
Tell her how I languish here,
Guide me safely to her arms.
(b) "PLEADING," -.........
Edward Elgar was born at Broadheath, June 2, 1857; still living.
Will you come homeward from the hills of Dreamland,
Home in the dusk, and speak to me again Tell me the stories that I am forgetting,
Quicken my hope, and recompense my pain Will you come homeward from the hills of Dreamland
I have grown weary, though I wait you yet; Watching the fallen leaf, the faith grown farther,
The memory smoulder'd to a dull regret.
Nicholson Brothers
Third Concert 27
Shall the remembrance die in dim forgetting-All the fond light that glorified my way Will you come homeward from the hills of Dreamland,
Home in the dusk, and turn my night to day
Arthur L. Salmon.
(c) "CALL ME NO MORE" -.......Cadman
Charles Wakefield Cadman was born at Johnstown, Pennsylvania, December 24, 1881; still living.
Seek me no more on the low sand reaching
Barren and wide where the red moon burns; Let me go forth as a gull, far inland,
Steers him seaward and never returns. Seek me no more in grief beseeching,
Seek me no more. Call me no more through the desert places, 1
(Once with our love was the desert fair) Love, lest I come who should hasten onward, Give no sorrow a voice on the air. Ah! Call me no more.
Nellb Richmond EbErhart.
(b) "AT THE WINDOW," ------Van der Stucken
(c) "WHO IS SYLVIA".........Schubert
(d) "ARIEL'S SONG,".....ArnB
Children's Chorus
Madsen's name does not appear in any available biographical sources, consequently the events in his career must be left to the imagination.
Frank (Valentine) van der Stucken was born of Belgian parents at Fredericks-burg, Texas, but his musical training was secured in Antwerp under Peter Benoit. He is a composer of distinction, and a fine leader, as is shown by the fact that he was conductor of the Cincinnati May Festival for several seasons. He is now living in Europe. The date of his birth is October 15, 1858.
Franz (Peter) Schubert was born at Lichtenthal, January 31, 1797; died at Vienna, November 19, 1828. When one contemplates the sad life of the composer of the "Miller's Journey" song cycle and the perennial B minor (unfinished) Symphony, it is a comforting thought to feel that he must have found solace in the creation of the lovely melodies that seemed to flow from his pen as from an inexhaustible foun­tain. Among these melodies the selection on our program s one of the most appealing.
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Thomas Augustine Arne, who was born at London, March 12, 1710, in which city he died March 5, 1778, was one of the foremost English composers of his day. To the modern world his operas and oratorios are mere biographical data, but many of his songs, like the one we shall hear this afternoon, still find a large circle of admirers, for they are filled with healthy sentiment, and their naturalness and simplicity con­tribute to their appreciation.
Shepherds on the hills
Are waiting for the day,
The happy, happy day to come,
When they may bring their lambkins home,
No more to stray upon the windy heights.
Already birds begin to make Their southern flights; The flocks and herds Look down with eager, longing eyes Where now the winter home alluring lies. Grass is growing here, Upon the mountain side;
¦ ' The forest trees in sunset rays
With fires of golden glory blaze, And fallen, wither'd leaves Are scattered everywhere.
The autumn nights are growing cold; A tang of frost is in the air; Within the fold, the shelt'ring fold, The mountain men collect the sheep, ¦" And thro' the dreamy night hours lightly sleep.
Translated from the Norwegian by Nathan Haskeia Dole.
(b) "AT THE WINDOW,".......Van der Stucken
I heard the woodpecker tapping,
The blue-bird tenderly sing; I turned and look'd out my window,
And lo! it was spring! A breath from tropical borders,
Just a ripple flow'd into my room, And washed my face clean of its sadness,
Blew my heart into bloom.
Maurice Thompson.
Third Concert 39.
(c) "WHO IS SYLVIA" .......Schubert
Who is Sylvia What is she,
That all her swains commend her Holy, fair, and wise is she,
The heav'ns such grace did lend her, That admired she might be.
Is she kind as she is fair For beauty lives with kindness;
Love doth to her eyes repair, To help him of his blindness;
And, being helped, inhabits there. : !
Then to Sylvia let us sing,
That Sylvia is excelling; She excels each mortal thing,
Upon the chill earth dwelling; Let us garlands to her bring.
Shakespeare, from "Two Gentlemen of Verona."
(d) "ARIEL'S SONG,"..........Arnb
Where the bee sucks, there suck I, In a cowslip's bell I lie; There I couch when owls do cry. On the bat's back do I fly.
After summer merrily shall I live now, Under the blossom that hangs on the bough Merrily shall I live now, Under the blossom that hangs on the bough.
Shakespeare, from "The Tempest."
ORGAN SOLOS: (a) Allegro moderato, from Second Sonata, in C minor,
Op. 44, -------RennEr
(b) Toccata de Concert, -----Lemare
Mr. Kraft
Josef Renner, born at Ratisbon, February 17, 1868, is an important member of the "Ratisbon group," whose efforts have been directed to the reestablishment of the early Roman Catholic Music, and to an understanding of its structure and proper use, He received the honorary title of "Royal Professor" in 1912. His compositions cover a wide range, but in the more restricted fields of church music and works for the organ he is at his best.
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Edwin H. Lemare was born at Ventnor, Isle of Wight, September 9, 1865. He studied at the Royal Academy of Music, London, among other distinctions winning the Goss Scholarship. His reputation as a church and concert organist as well as a scholarly and inspired composer, was soon established, and his entire career since then has been one of marked success. In 1902 he was called to Pittsburgh as organist and director of music at Carnegie Hall. He was official organist at the recent San Fran­cisco Exposition, where his recitals aroused great enthusiasm.
Friday Evening, May 21
OVERTURE, "Euryanthe,".........von Weber
"Euryanthe" was first performed at the Kaernthnerthor Theater, Vienna, October 25, 1823. It is revived occasionally, and in spite of its dramatic weaknesses, its unique charm cannot be resisted by any lover of music. We have become so accustomed to music of more strenuous qualities that von Weber's gentler art is not always given its real value. In considering the dramatic inconsistencies, the flagrancy of which criticism has possibly unduly magnified, it must not be forgotten that the introduction of the "wondrous" element, as Wagner calls it, into the ordinary, or extraordinary, events of real life, has frequently resulted in situations that defy justification. Indeed, were one to fearlessly expose, and insistently dwell upon, the dramatic lapses in many of the great operas, from the early days of the Venetian school up to the latest works of the present century--let us choose Strauss' "Salome,"--he would be called heretical. The criticism of "Euryanthe," as a whole, however well deserved it may be, cannot affect the overture, which is certainly one of the finest examples of a form that relied for its effect upon musical beauty rather than upon dramatic suggestion, or fitness. It is characterized by noble melody, buoyant rhythm, and displays variety without con­fusion, unity without monotony, and beautiful orchestration with no straining after unusual effects.
RECITATIVE AND ARIA, "Awake, Saturnia," from "Semele," Handel
George Frederick Handel was born at Halle, Saxony, February 23, 1685; died at London, April 14, 1759.
Madame Margaret Matzenauer
"Semele" was composed between June 3 and July 4, 1748, and was first produced on February 10, 1749. Handel's biographers include it among the best of his oratorios (one does not mention it), but in reality it is a secular work cast in a form which by tradition and association is considered sacred. In form, and largely in content, it follows the structural lines of the opera of Handel's day. The leading characters are drawn from mythology and ancient history; the choruses of "Nymphs and Swans," "Loves and Zephyrs," "Priests and Augurs," are familiar to all students of early opera plots, while in the music we find a mixture of homophony and polyphony, the former being stressed, possibly as a concession to the public.
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Possibly no relatively unfamiliar work of Handel's contains more arias that have become incorporated in the repertoire of concert singers than "Semele." "O sleep, why dost thou leave me " and "Where'er you walk" (the latter, while appropriated by baritones, being a tenor aria) may be cited in support of this statement. Whether any fruits of Handel's frequent poaching expeditions on other composers' preserves are included in this work is doubtful, but the list of trophies thus secured needs no additions to make it rather appalling.
The aria on our program is sung by Juno, and occurs in Act II, Scene I. The text is as follows:
Recitative.--Awake, Saturnia, from thy lethargy! Seize, destroy the cursed Semele J Scale proud Cithaeron's top, Snatch her, tear her in thy fury, And down to the flood of Acheron let her fall; Rolling down the depths of night! Nevermore behold the light! If I th' imperial sceptre sway, I swear by hell (tremble, thou universe, to hear!) Not one of curst Agenor's race to spare!
Aria.--Hence, hence, Iris, hence away, Far from the realms of day, O'er Scythian hills to the Maeotian lake, A speedy flight we'll take! There Somntis I'll compel His downy bed to leave, and silent cell; With noise and light I will his peace molest, Nor shall he sink again to pleasing rest Till to my vow'd revenge he grants supplies , And seals with sleep the wakeful dragon's eyes.
SYMPHONY, No. 1, B flat, Op. 38........Schumann
Andante un poco Maestoso--Allegro molto vivace; Larghetto; Scherzo; Allegro animato e grazioso.
Robert (Alexander) Schumann was born at Zwickau, June 8, 1810; died at Endenich, near Bonn, July 29, 1836.
No composer of the nineteenth centnry possesses a greater fascination for the student than Robert Schumann. In his life there was so much of strife against unto­ward circumstances, and in his art such a reflex of the romanticism characteristic of
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the early years of the century, and, withal, such virility, that one finds more inspiring points of contact with the man than with his more favored contemporary, Mendelssohn. Although he admitted few to his confidence, and repelled rather than attracted his col­leagues, he possessed more insight into human nature than any man of his age. He was singularly alive to the importance of the newer art that was developing in his day. While full of sympathy for the work of those of his contemporaries who turned a deaf ear to the new note, he welcomed the newer outlook and was extravagant in his praises of both Chopin and Brahms. Singularly enough, he was not attracted to Richard Wagner, and spoke somewhat disparagingly of his work. He lacked routine in the use of the orchestra, and was sadly hampered by deficiencies in his musical training. As a critic, he represented a type practically unknown since his death. His critical writings are at once a revelation of the man's mental processes, absolutely essential to an understanding of his works, and the most admirable and adequate guide to the correct appreciation of music found in its literature.
Early in his artistic career there were premonitions of the malady that brought his life to an end in a madhouse, but in the period just after his happy marriage with Clara Wieck, who afterwards became the greatest interpreter of his pianoforte works, his compositions sparkle with life and vigor. To this period belong the A minor con­certo and the B flat symphony, which Schumann contemplated calling the "Spring" symphony, for, as he wrote to Taubert, it was written "while the first breath of spring ¦was in the air."
In a consideration of this lovely symphony one cannot refrain from certain refer­ences to the meaning of the themes as stated by the composer. Many there are who deplore any attempt at reading specific meaning into that which they would prefer to approach unfettered. However much may be found to sustain such a view, and the reasons are often cogent, it is by no means absolutely certain that the intrinsic beauty of a theme is lessened by the evident and often specific meaning given through the composer's express explanation. This applies with special force to the opening phrase of the symphony--B flat, Andante un poco Maestoso, Common time--given out by trumpets and horns, and repeated and developed by the full orchestra. This, accord­ing to the composer's "program," is a summons from on high to which the "gentle zephyrs blowing softly to and fro respond." "Everywhere the dormant farces of Nature awake and make their way to the light." Then, in the Allegro, "The Spring comes laughing in, in the full beauty of youth." This is the significance of the intro­ductory section, and the succeeding Allegro molto vivace--B flat, 2-4 time.
This theme, instinct with life, and full of buoyancy, elasticity, and fervor, is devel­oped with unusual consistency, exploiting insistently the verve of its characteristic
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figure. The second subject is of contrasting character and employs the "woodwinds" in a masterly manner.
Following out the formal idea, now comes the "development," which is scholarly in the extreme, and full of spirit and vigor. After the "recapitulation," the movement closes with an effective coda.
The second movement--E flat major, Larghetto, 3-8 time--consists of varied treat­ments of the following theme;
This movement, so full of romantic suggestion, yet tempered by a reserve well-nigh classic, is one of Schumann's most genial conceptions, and fully justifies the assertion that of all the post-Beethoven symphonists he stands preeminent.
Foreshadowed in the closing measures of the Larghetto, the Scherzo now follows. The principal theme--G minor, Molto vivace, 3-4 time,with its Schumannesque syncopations, finds an admirable foil in the Trios I and II. In the first,
Fourth Concert 45
pulsating chords alternately between the "strings" and "woodwind" call to mind the lovely responsive figures in the first movement of Beethoven's Fifth Symphony. In the second,
we have, well--simply Schumann! After the Trios come the Scherzo proper and a coda.
The word "coda" is used so frequently in analyses that it may not be amiss to explain it. The coda, as used by Haydn and his immediate predecessors, might be compared to the peroration of the orator who, after having exhibited his power of logical statement and argument, sees fit to indulge in platitudes and lose himself in phrases. Beginning with Beethoven, there arose a new conception of the coda, and it became a necessary part of the formal organism, as may be seen by referring to the codas to the variations in the Sonata, Op. 26, and the Op. 14, No. 2.
Were one to follow the language of the professional analyst, the Finale--B flat, Allegro animato e grasioso, Alla-Breve,--would be called "a brilliant and busy move­ment"--but it is something more than that. The principal theme
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is characterized by the same sturdy strength, directness of statement, and vigor of rhythm displayed in the opening section of the symphony. It is more than "brilliant" --as the term is generally employed--and "busy" is too commonplace a word to express its sparkling life. Animated it certainly is, and the expression mark grazioso is not out of place when applied to the many charming episodical passages occurring throughout this movement. It is immediately suggested upon the entrance of the second theme, quite Mendelssohnian in character, with the enormous difference between Mendelssohn and Schumann ever in view.
It is said that Schumann wrote this symphony with a steel pen found on Schubert's grave, in Vienna. This fact seems to poetically typify the relation existing between Franz Schubert, the early romanticist, and Robert Schumann, the founder of the neo-romantic school. It is interesting to note that these masters--especially when writing in the symphonic forms--appeared to wear, what some illy-balanced, hyper-sentimental chatterers call "the galling chains of Form," with no apparent discomfort. When they chose, they threw off "the galling chains" and used forms adapted to their needs of expression. When genius ceases to do this, there will be no more art.
LETTER ARIA, "Tho' I Should Die For It," from "Eugen Onegin," Tschaikowsky
Madame Matzenauer
Peter Iljitsch Tschaikowsky was born at Wotkinsk, Russia, May 7, 1840; died at Petrograd, November 6, 1893.
No one can deny that Tschaikowsky is well-nigh universally considered the great­est of Russian composers. His art was so versatile, he touched so many of its various phases, that to speak of him at all means to speak of him at length. This has been done so frequently in the past that we will forego all discussion of his career, and only touch upon the characteristics which are germane to the particular work on our program. Of the phrase, "the national note," so frequently used when speaking of Tschaikowsky's music, it must be said that, in the case of the opera from which the aria on our program is drawn, the contention that modern conditions have somewhat obscured the national note has been invoked. If by this is meant that only the use of strictly indigenous themes, harmonies, or treatments can justify the appellation "national," this contention may be true. But the national temperament may display itself in extra-national forms, and modify or intensify expression without the con­stant, or even frequent, use of strictly national musical idioms. There is little that is distinctively Russian in "Eugen Onegin," either in musical themes or suggestion, but the score seethes at times with the unbridled emotional intensity of the Slav. All
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that Tschaikowsky pour-ed into his symphonies he gave to this opera, which is "ultra­modern" from one point of view, and opposed to all for which this term stands from another. It is neither sufficiently vague nor esoteric in subject to satisfy the admirers of the hyper-sensitive Debussy, nor is it so saturated with realism, sensuality, or matricidal blood as to ensure the composer a place beside that modern disciple of Malthus, Richard Strauss, on his isolated summit. On the other hand, in its set­ting Tschaikowsky was not hampered by the necessity of "accomplishing the artistic­ally necessary within the artistically impossible," which, paradoxical as it may seem to the ordinary intelligence, must mean something, as its author was Richard Wagner. Therefore, he approached the subject free from all predisposition or pre-judgment. In May, 1877, Tschaikowsky wrote his brother: "I know the opera ('Eugen Onegin') does not give great scope for musical treatment, but a wealth of poetry and a deeply interesting tale more than atone for all its faults." Replying to a critic, he says, "Let it lack scenic effect, let it be wanting in action,--I am in love with Tatjana, I am under the spell of Pushkin's verse, and I am drawn to compose the music as it were by an irresistible attraction." Rose Newmarch says of the opera, "It defies criticism as do some charming but illusive personalities; it answers to no particular standard; it fulfills no lofty intention; Tatjana is a Russian Pamela; Onegin a Mus­covite Childe Harold; Lenske is Byronic, and the whole story is as obsolete as last year's fashion-plate." But it still remains the most popular opera in Russia. The English translation of the text (sung in Russian) is given herewith:
Tatjana (with elevated force and pas­sion).--Tho' I should die for it, I've sworn now,
I first shall live each heart-felt longing,
Dumb hopes that many a year I've borne now,
Which yet unstilled, to life are throng­ing.
I quaff the poison draft of passion!
Now let desire his shackles fashion,
I see him here,--in ev'ry place
I hear his voice and see his face!
I hear the tempter's voice and see his
(Goes to the writing table; writes, then pauses.)
No, 'twill not do! Quick, something different.
How strange it is! It frightens me!
How am I to begin it! (Writes. Pauses, and reads what she has written.)
I write to you without reflection!
Is that not all I need to say
What led you here to this our lonely home
Or what inducement seem'd to offer
Unknown by me, had not come,
The hopes, the fears, for which I suffer!
My unexperienc'd emotion
And to thy words how did I lend me! And once!--No, no, it was no dream, I saw thee come, thou stood'st before me, My heart stopped beating; then 'twas blazing, and then with rapture cried: "Tishe! "Tishe!
'Twas thou, in slumber, o'er me bending; 'Twas thou I met my way a-wending, Whom I, the poor and sick attending, Have always seen. Thy voice it was forever ringing, That in my heart was ever singing, Thy face that lulled to sleep at night. And many pretty names you'd make me, And then to new-born life awake me, And bring me hope so pure and bright.
(Pauses as if to reflect.) Art thou an angel watching by me Art thoua tempter sent to try me Give answer, drive these doubts away! The face I dreamt, was that delusion Art thou a freak of fancy Say! Was all my joy a mere illusion No, come what may to stand or fall, My dream-face be my revelation! Thou art my passion, thou my all! In thee alone, in thee alone lies my sal­vation !
But think, ah I think, I've none but thee! With none to understand or cherish,
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With time would soon have passed away, I'd for another ta'en a notion, And loved him with supreme devotion, And learnt a mother's part to play-(Rising suddenly) Another! No, never any other, For any other I had loathed! Thou art by Fate for me appointed, I am by Heav'n to thee betrothed! No empty dream by fate was given When blessed hope to me it gave. Oft in my dreams did'st thou attend me; And tho' I knew thee not, I loved; How by thy glance was I moved,
Alone and helpless, I must perish,
Unless my saviour thou wilt be.
I trust in thee, I trust in thee; be not
But speak one word to comfort me, But not reproach, as well might be, For at a single word my dreams were
(She stands up and seals the letter.) "Tis finished ! Ah! this trust of mine Thou ne'er must punish, ne'er must
chide me.
To thee, my vision-face divine, To thee, thine honor, I confide me!
SYMPHONIC POEM No. 2, "Le Chasseur Maudit," ... Fkanck
Cesar (Auguste) Franck was born December 10, 1842, at Liege; died November 9, 1899, at Paris.
"After Mozart and Beethoven, whom" frequently confronts one who would give a measure of unity to a miscellaneous program, and, as it frequently involves a leap of a century or thereabouts, it is by no means an easy task. It is no less difficult when a sequence is to be shown leading from any composer whose style is so char­acteristic that he seems to stand in a class by himself--as, in a certain sense, is the case with Tschaikowsky. Our present choice has fallen on one whose originality is equally obvious. The fact that the work by which he is represented has a title ex­pressive of its contents must not be considered as antagonistic to our purpose, for it reflects the present tendency. Again, it must be born in mind that in their art the greatest composers always faced the rising sun, and in consequence were viewed by many of their contemporaries as iconoclasts. This tendency to interpret the Present through the Past, rather than to attempt to predicate its relation to the Future, is an element in criticism not unknown in this, the year of our Lord 1920; It is an emi­nently safe procedure, and is justified to a certain degree by the lack of success attending many would-be prophets. But in this, as in other fields, caution leads to as many mistakes as daring, and is far less stimulating.
The work is based on a ballad by Gottfried August Burger, the subject matter of which was suggested by the old German legend, "Der Wilde Jager." As it is per­fectly free in form and presents little difficulty in its interpretation, nothing in the way of analysis will be offered further than to give the key, time, and expression marks--A major, Andantino quasi allegretto, 3-4 time---with the inevitable increase in intensity of tempo suggested to the following program given in the words of the composer:
"It is Sunday morning. In the distance is heard the joyous pealing of bells and the sacred chantings of the worshipers. What desecration! The wild Count of the Rhine winds his hunting-horn..............__
See "Official Program Book" for 1910 for a more comprehensive account of Cesar Franck.
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The chase goes over grain-fields, moors and prairies. 'Hold on, Count, I pray thee; listen to the pious chants!' 'No!' and the rider rushes on like a whirlwind. Suddenly the Count is alone. His horse cannot move, nor his horn any longer give forth a sound. A grim, pitiless voice curses him: 'Desecrator,' it says, 'be thou forever pur­sued by the Evil One."
"The flames blaze up on all sides. The Count, mad with terror and pursued by a pack of demons, flees ever faster and faster--across abysses by day and through the sky by night."
SCENE AND ARIA, "Oh, Faithless One," Op. 46, Beethoven
Madame Matzenauer
Ludwig van Beethoven was born at Bonn, November 16, 1770; died March 26, 1827, at Vienna. ¦
This selection is somewhat similar in content to the greater aria from "Fidelio"-"O Monstrous Fiend," and can not be adequately rendered save by a singer of super­lative vocal gifts and of rare power of interpretation. Of interest as bearing on the succession of opus numbers, which, as in the case of Schumann's "D minor Sym­phony," does ot always follow chronological order, is the fact that this aria has been known as Op. 63, 65, and 46, the correctness of the last being attested by Beethoven's signature on the title page. The original title, "Une grande Scene mise en musique par L. van Beethoven a Prague 1796," gives us the date of its composition. The text (sung in Italian), in an English translation, runs as follows:
Recitative.--Oh, faithless one! Oh, traitor! Cruelly thus think'st thou to leave me These, then, are the words thou would'st give at parting Who e'er was tor­tured by such fell barbarity Leave me, traitor! From me thou canst fly, but canst not fly from the gods' avenging!
Justice in Heaven is found; hatred is wrong. Soon will the gods agree together to smite thee. Where'er thou goest, my shade will follow thee, and gaze upon thy torture. E'en now, in fancy, I behold them. Yes, now I see the lightnings; they dart on thee already. But no! Not yet! Pause, ye avengers ! Spare that heart, I implore, and smite mine alone! Though he's the same no longer, my love I cherish. For him, him only, liv'd I; for him I'll perish.
Aria.--Leave me not, no, I implore thee,
In my solitude to sigh! Well thou know'st that I adore thee, That without thee I shall die.
I may die, yes, naught will move thee;
Thou of marble must be made! Why is one who thus can love thee
Thus ungratefully repaid
Surely I deserve some pity,-Basely, cruelly betrayed!
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TONE POEM, "Finlandia," Op. 26, No. 7,......Sibeuus
Jean Sibelius was born at Tavesthus, Finland, December 8, 1865.
The wealth of folk-song Finland has produced, and the love of the peasants for these native melodies, have long predicated the advent of one who should draw on her epics, and the rich treasury just mentioned for material to be set in the serious forms. One could not say in more enduring form, for true folk-music always lives, and nothing can dampen the enthusiasm of the folk for the songs in which all the varied aspects of their life, both individual and communal, are mirrored and their lessons enforced. In days now happily gone forever, let us hope, the Russians found that no punishment could restrain the ardor with which Finnish soldiers sung their home-songs when on the march.
It would seem that in the person of Jean Sibelius they have at last found the medium through which their musical concepts would come to such fullness of expres­sion that the note from what used to be called the "Outer Circle" would sound con­vincingly. How thoroughly he is fitted for this task is shown by the following state­ment recently made by him: "There is a mistaken impression in the press abroad that my themes are often folk-melodies. So far I have never used a theme that is not of my own invention. Thus, the thematic material of 'Finlandia' and 'En Saga' is entirely my own." This means that he is so permeated by the racial spirit that his voice is that of the folk. Realizing this, it is no wonder that the return of an exile to his native land, after a prolonged sojourn in foreign parts, finds such adequate expression in the work we shall hear this evening. "Finlandia" is scored for the full and sonorous orchestra of our day. In form it is somewhat free, but there is no departure from the logical developments, sanely ordered contrasts, and appropriate color schemes, the absence of which is indicative of a nihilistic concept of freedom.
Saturday Afternoon, May 22
OVERTURE to "Russian and Ludmilla," Gunka
Michall Ivanovitch Glinka was born June, 1804, at Novapaski, Russia; died at Berlin, February 15, 1857.
Tschaikowsky declared that Glinka was Russia's greatest musical genius, adding, "But he never fully developed his powers, on account of his great wealth, which fos­tered his natural indolence." The opera, "Russian and Ludmilla" (1843), the over­ture to which introduces the program of the afternoon, was written as a result of the enthusiasm with which "The Life for the Tsar" (1836) was received. The plot is based on one of those weird and complicated stories, or legends, characteristic of pagan Russia. It may be condensed as follows: The heroine, Ludmilla, the daughter of Prince Svietozar, of Kievv, like all opera heroines, was exceedingly beautiful. Therefore, she had many suitors for her hand, of which three, who were not deterred by her father's fabulous wealth, figure in the plot. Of these, Russian was the favored one, consequently he was the one against whom the wicked magician Chernomor (also an aspirant) directed his diabolical arts. By the assistance of Finn, a benevolent wiz­ard, who gave him a magic sword, which he found to be an "ever present help in time of trouble," he finally triumphed, and ultimately figured as one.of the "high contract­ing parties" in the final scene, the marriage of Russian and Ludmilla.
The overture concerns itself mainly with the material used in the denouement referred to. Debussyites will notice a descending whole-toned scale, the motive of Chernomor. A melody sung by Russian also figures in the scheme. The principal theme is in D major--Presto, 2-2 time--the second in F major, and the work employs the usual sonata form throughout.
SYMPHONY, No. 4, Op. 36, in F minor,.....Tschaikowsky
Andante moderato con anima; Andantino in modo di Canzona; Scherzo-Pizzicato ostinato; Finale--Allegro con fuoco.
.After listening to the comparatively simple overture by Glinka, representing early phases of Russia's creative developments, the symphony on our program may be accepted as a revelation of all that was accomplished in the decades intervening between the two works.
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The F minor symphony is referred to in a letter to Nadesha voni Meek, dated March I, 1878, as "our symphony." In this letter we find not only the composer's statement of the feelings expressed therein, but an exhaustive declaration of his atti­tude towards "program music," as well as a lengthy discussion of the creative proc­esses through which the composer reveals his inner soul.
The symphony is full to the brim with the intensity so potent an element in his style, and yet it contains much that is of a decided lyric quality. The following condensed analysis gives the essential motives and the structural processes involved in the work.
A dignified introductory section--F minor, Andante sostenuto, 3-4 time--ending pianissimo, leads into the first movement proper--Moderate con anima, 9-8 time (in movimento di Valse). The principal subject, given out by the strings, is quoted as follows:
After most interesting developments of this theme, most ingeniously orchestrated, a second theme, subsidiary to the first, is heard
quickly leading to the real second theme of the dreamy nature displayed in the follow­ing quotation:
In the "development" section, the composer reveals an astounding wealth of resources, and so emphasizes the inherent possibilities of the principal theme that the
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"recapitulation" begins with the subsidiary theme (No. 2), which is followed by the second theme, as a matter of course. With suggestions of the first theme and the introductory section, the movement ends with a brilliant coda.
The second movement--B flat minor, Andantino in modo di Canzona, 2-4 time-opens with the quaint and appealing oboe solo (Semplice ma grazioso) quoted below:
After this melody has been repeated by the violoncello, a new theme (alia marcia) is heard. It is scored for strings, wind and horns, and begins as follows:
¦The final theme in this movement (Phi mosso) is pervaded by naivete and forms a fine contrast to the preceding theme. Its character is seen in the appended quotation1:
The Scherzo--F major, Allegro, 2-4 time--is unique in that a persistent (ostinato) staccato (quasi pissicato) is maintained throughout.
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In the Trio we meet a new and graceful theme.
Presently this new theme appears.
The thematic relationships now ensuing are very interesting, but the original theme soon insinuates itself, and leads to the repetition! of the Scherzo.
The final movement--F major, Allegro con fuoco, 4-4 time--is of great brilliancy, and is strictly orthodox in its formal structure. The principal theme
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is not dwelt upon extensively, but soon gives place to the following second theme, which is treated at considerable length.
This is said by Mrs. Rosa Newmarch to be a Russian folk-song: "In the fields there stood a birch tree," while she calls the extended treatments referred to above "variations." Following a repetition of the brilliant first theme comes a compelling theme, martial in character and propounded by the orchestra fortissimo.
Of all the transformations and interlocking of themes displayed as the movement runs its course we may not speak. Suffice it to say that, clothed in varying orchestral garb and displaying many dynamic contrasts, the well-knit movement proceeds to a glorious climax at the end. It may be pointed out that intimate acquaintance with the quotations in notation will be a safer guide than adjectives.
CONCERTO FOR PIANOFORTE, No. i, C major, Op. 15, Beethoven
Allegro con brio; Largo; Rondo. Mr. Josef Lhevinne
In as much as Beethoven composed two pianoforte concertos before the one on our program, the number given refers to the order of publication. It was first given on March 29, 1795, the composer being its interpreter. As an illustration of Beethoven's resourcefulness, it must be stated that when the rehearsal was about the begin it was discovered that the wind instruments and the piano varied a half tone, so Beethoven played it in C sharp major instead of C, a really wonderful feat.
As was usual in Beethoven's day, most of the thematic material of the first move­ment--C major, Allegro con brio, 4-4 time--is exploited by the orchestra before the solo instrument enters. The first statement by the pianoforte does not follow the form in which the theme appears in the orchestral introduction. The second theme-G major--is first given out by the orchestra and followed by the solo instrument, which soon introduces brilliant passage work. The orchestra again gives out the "recapitulation," followed in turn by the pianoforte. The movement now proceeds to and end, pausing, however, near the final measures, for the cadenza, in which a performer has an opportunity for displaying his resources as a musician through his improvisation of a section made up of reminiscences of the principal themes and bril­liant passage work.
The second movement--A flat major, Largo, 4-4 time--needs no analysis, as the variations of the principal theme unfold themselves in due order, to the accompani­ment of a modest orchestra.
In the last movement--C major, Allegro, 2-4 time--the principal theme is announced by the piano without the orchestra. At the proper moment the orchestra states the first two phrases of the second subject, a melody with a past, as will be
56 Official Program Book
seen by the following historical facts. Heard first as a Kyrie eleison in 1314, in 1582 the melody, which had been taken from the chancel, set in metrical form, and appro­priated by the people as a folk-tune, appears as a very strenuous drinking song (Freischauf gut' G'sell las rummer gan). From 1700 to Mozart's day it continued its convivial career, appearing under six titles, until he used it as a theme in his Diverti­mento in E flat, No. 12, for two oboes, clarinet and two bassoons, also in an aria in the "Magic Flute." It was then heard in this concerto, after which it finally reached port in 1840, having made one or two intermediate landings before the conclusion of its journey. Having taken so much space in detailing this interesting journey, it only remains to say that the themes occur frequently, as befits the rondo form, the state­ments being separated by more or less important episodical sections.
CONCERTO FOR PIANOFORTE, No. 1, E flat, (in one movement), Liszt
Mr. Lhevinne
This concerto, written in 1848 or 1849, and first produced at Weimar in 1855, the composer presiding at the solo instrument, from the formal point of view is in reality a symphonic poem. There is no pause between the principal divisions, and while the structural elements of the orthodox symphony may be found, they are developed intensively rather than extensively.
In the first division--F, flat major, Allegro maestoso, tempo giusto, 4-4 time-the piano enters at the fifth measure, and the introductory measures for strings and wind fortissimo determine the character of the movement at the very outset. The second theme--B major, Quasi adagio, 12-8 time--is enunciated by the united basses and developed by the pianoforte. Through reminiscences of material already heard and still other plastic material, the second division--E flat minor, Allegretto vivace, 3-4 time--is reached. It will appeal to our risibles to know that Liszt's use of a tri­angle at the beginning of the movement kicked up "a tempest in the tea-pot," for the critics drew the corks from the vials of their wrath and deluged the composer with their contents. But--the triangle is still heard. The pianoforte soon states the theme, capriccio scherzando, already suggested by the strings, pizzicato, while at the end the principal theme is again in evidence. The closing section--E flat major, Allegro mar-siale animato, 4-4 time--appears almost immediately. Of this section the composer writes to his uncle, Eduard Liszt (March, 1857), as follows:
The contrasts between these concertos, both in form and substance, are great, and of special interest in that they show a process of development corresponding to that revealed in an earlier part of this program. Not to enter into analytical details, one important distinction is evident--viz., the first is a concerto for pianoforte with orches­tra, while the second is a concerto for pianoforte and orchestra. Again, the struc­tural norms of the first are those of the cyclical sonata form, while the second fol­lows the structural (one might say the architectonic) features of the symphonic poem, which, as most are aware, was the contribution of Franz Liszt.
J. D. Toleff
Saturday Evening, May 22
"THE DAMNATION OF FAUST," a Dramatic Legend in Four Parts, Berlioz
FAUST,........Mr. Edward Johnson
MARGARITA, -......Miss Myrna Sharlow
MEPHISTOPHELES......Mr. Renato Zanelli '
BRANDER.........Mr. Robert Dieterle
Students, Soldiers, Villagers, Angels, Demons
THE CHORAL UNION Albert A. Stanley, Conductor
Hector (Louis) Berlioz was born at Cote St. Andre, France, December n, 1803; died at Paris, March 9, 1869.
Introductory to the consideration of the composition on this evening's program, attention must be directed to an interesting fact, viz., that the most successful settings of important English and German dramas have been the work of alien composers. No Englishman has written an opera based on Shakespearean subjects at all com­parable to the Merry Wives of Windsor, Otto Nicolai (1810-1849) ; the Taming of the Shrew, Hermann Goetz (1840-1876) ; Otello and Falstaff, Giuseppi Verdi (1813-1901), or even the attenuated Hamlet by Ambroise Thomas (1811-1896). This is not strange, as the English have produced no opera composer of real distinction since Henry Purcell (1658-1695), a great genius of whom England may be justly proud. England's musical glory was won in other fields. In spite of the ultra-modern ten­dencies of the present generation of English composers, who are almost riotous in their exercise of their newly-won freedom from the traditions of the last two cen­turies, it is still an open question whether they will justify the prophecy of Purcell by winning distinction in the field of opera.
No Spanish composer has set forth the national characteristics so convincingly as men of alien blood. We cite in proof of this statement the Capriccio Espagnole by Nikolas Rimsky-Korsakow (1844-1908) ; the Symphonie Espagnole (a violin con­certo) by Edouard Lalo (1823-1892) ; the Rhapsody, Espaana, by Emmanuel Chabrier
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(1841-1894), and Carmen, by Georges Bizet (1835-1875), although many of the impli­cations of the latter work have aroused the ire of certain Spanish critics, who at the same time have questioned many of his treatments of the national material drawn from Prosper Merimee's novel. But in the days of Palestrina (1526-1594) the Span­iard, Cristofero Morales (--, d. 1553), contested the supremacy of the Roman master. Indicative of the phenomenon mentioned elsewhere is the fact that one of the leading Spanish composers of our day, Joan (de) Manen (1883 --), in his ultra-modern opera, Acte, displayed characteristics of style and treatment that brought forth the accusa­tion by Dresden and Berlin critics that he had so thoroughly appropriated the art of Richard Strauss--and they might have added Richard Wagner--that they had abun­dant reason for justifying the latter's saying--"God created art that German criticism might have a new joy." But the outstanding fact brought out by Manen's work was not that he had drawn from Richard I. and Richard II., but that he incorporated abso­lutely nothing Spanish in his score.
These citations by no means exhaust the examples that go to prove the interesting phenomenon that frequently composers of a given nationality do not appreciate the implications of their own national or racial material, but prefer to intrude on alien preserves.
A glance at the review of the various settings of Faust given in the Official Pro­gram for last year will show but one German name among the composers whose works are known to modern audiences, viz., Richard Wagner ("Faust" overture). The other composers are aliens.
In many respects Berlioz was unfitted to give a consistent setting of Goethe's poem, therefore he makes of the Damnation of Faust a series of somewhat disconnected epi­sodes. His Gallic temperament could not respond to the deeper suggestions of this essentially German subject, no more than Gounod, but like this composer, he succeeded in investing the scenes which appealed most forcibly to him with much beauty and no little power.
Berlioz was attracted to the Germans, for they recognized his genius long before his countrymen accorded him the possession of any talent whatever. Berlioz's passion for the unusual and his frequent incursions into the domain of the "extra musical"-a term that has come into such use in critical literature that it has attained a definite meaning, although .in itself it means next to nothing--minimized his essential greatness in the estimation of certain French critics, who, being sticklers for conventional treat­ments, called themselves "purists." They forgot that it is impossible to produce an effect in any art by the negation of its basic principles, and confused the ever-changing interpretations of principles with the principles themselves.
The Germans overlooked his faults and occasionally exaggerated his virtues. For
Of the composers cited, 10 were German, 2 French, 1 Hungarian and 1 Italian. Of the entire group, but one, Weingartner (1863 --), who, although born in Dalmatia, is thoroughly German, is still living.
John Towers gives 50 settings of the story (Dictionary of Operas), and Felix Clement 20 {Opera Dictionnaire), but neither authority refers to any one of the numerous musical adaptations before 1808, the date of the first appearance of Goethe's Faust.
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this reason his choice of the "Faust" material was but natural, and it must be said that it was only through the passion for bizarre effects, to which allusion has been made, and his strongly developed temperamental bias, that he penetrated only to a limited degree into the real significance and meaning of Goethe's poem. From the foregoing remarks it will be gathered that as yet no composer has fully risen to the highest possibilities of this world epic, and one will not be far astray who doubts whether such an all-embracing subject will ever find a composer whose genius shall be adequate to its full expression.
The Damnation of Faust was first produced in 1846, and much of it was written during his second Kiinstlerreise to Austria, Hungary, and Bohemia in 1845. This fact, in connection with his first trip (in Germany in 1843), for the same purpose, shows that the influence of environment was a potent factor in its composition. The work is called by its composer a "Dramatic Legend," and is divided into four parts, which are subdivided into twenty scenes.
Part I. shows us Faust, alone, in the fields at sunrise. The scene is laid in Hun­gary. After his first solo, which is an expression of sorrow and discontent, comes a "Chorus and Dance of Peasants," followed by the appearance of troops, who march by to the inspiring measures of the "Rakoczy" March.' In Part II. the scene is trans­ferred to North Germany, and we discover Faust alone in his study. As he is about to end his life he hears in the distance an Easter hymn, and his better nature responds to its call, as Tannhauser came to himself in the Venus Grotto on hearing the sound of bells. At this moment Mephistopheles appears and persuades him to accompany him, that he may show him the pleasures that shall be his if he but choose. He is whisked through the air to Auerbach's Keller, but, being repulsed through the vul­garity of the drunken students, Mephistopheles soon transfers him to the banks of the Elbe, where in a dream he beholds Margarita. This is followed by a scene in which he meets with soldiers and students, after which, in Part III., Faust first sees Margarita. Part IV. introduces the inevitable catastrophe, and, in the Finale, Faust's doom and Margarita's glorification. This sketch of the plot shows the general nature of the composition on the dramatic side, and it now remains to consider the music.
Berlioz, with his unrivalled mastery of the orchestra, has given us some immortal instrumental numbers. The "Rakoczy" March, the "Minuet of the Will-o'-the-Wisps" and the "Dance of the Sylphs" are well known, but in the "Scene on the Banks of the Elbe," the "Invocation of Nature," the "Ride to Hell," and the "Apotheosis of Margarita" he rose to even greater heights. Such power of characterization is denied to any but a genius of the first rank. These numbers alone would entitle him to be considered the undisputed master of the orchestra, but this marvellous power of delineation is shown from the first note to the last of the work. Nor is his vocal writing lacking in pure beauty. His mastery of complicated rhythms is conspicuously shown in the "Chorus of Elves," with its combination of two distinct rhythmical schemes, and a like treatment appears in the combination of the "Soldiers" and "Stu­dents'" choruses, with which Part II. closes. If Berlioz did not fully apprehend all that Goethe would say, from his own point of view the work must be regarded as a veritable masterpiece.
In conclusion, it must be noted that, although Berlioz was neglected and well-nigh disowned by his countrymen during his life; although only in Germany have his colos60 Official Program Book
sal operas been given fitting performances, France now points with pride to the "French Beethoven." He was neither Beethoven, nor any one but himself; his point of view was an individual one; his faults as a man and an artist were glaring, but his virtues were nany and great, and he occupies a prominent position in the front rank of French composers.
Scene I.--Plains of Hungary.
Faust (alone in the -fields. Sunrise.) The winter has departed, spring is
here! River and brook again are flowing
free. And see, from the dome of heaven
pouring forth, Fresh splendor breaks, and gladness
everywhere. I greet with joy the cool, reviving
breath of morning; I drink full draughts of sweet, deli­cious, perfumed balsam; Above, the wak'ning birds greet the
day with their song. 'Mid tall and waving reeds the stream
glides murm'ring along. O, sweetest joy, to dwell within the
lonely forest, Far from the crowded world and far
from all its striving.
Scene II.--Dance of peasants wider the linden tree.
Chorus.--The shepherd early dons his
best, ¦ With a posy smartly decks his breast,
And a bright knot of ribbons gaily flying.
Under the lime tree lass and lad
Now are all dancing like mad.
All round the lime tree whirling!
Tra, la, la, la!
Faust.--I hear from far a joyous, fes­tive soundIt is the village folk at early dawn, Who dance and sing upon the grassy
lawn. My darkened soul begrudges them
their joys.
Chorus.--Now all swaying to and fro, Every cheek has a warmer glow, Right and left, round and round, The dancers flying, With quickened breath and heated
At last they pause, they slacken now, Hurrah!
Such panting and such sighing! "Now hold your tongue, you faithless
For vows like yours are easy won, Lightly won and as lightly broken." And yet he drew the maid aside, While from the linden echoed wide Hurrah!
Now take thy lover's token! Tra, la, la, la!
ScfiNE III.--Another part of the plain. An army advancing.
Faust.--A splendor of weapons is
gleaming afar! Ha! the sons of the Danube appareled
for war;
They gallop joyfully on; How sparkle their eyes, how flash
their arms! All hearts are thrilled--they chant
their battle's story-My heart alone is cold--even dead
Hungarian March.--Orchestra.
Scene IV.--North Germany. Faust (alone in his study}. Without regret I left the smiling meadows,
Where grief pursued me still,
And without delight I now greet our
haughty mountains; To my home I return.
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Still is sorrow my guest. Oh, I suf­fer, I suffer!
Starless night, spreading far her silence and her shades,
Adds another sorrow to my troubled heart.
For me alone,
O Earth, thou hast no flow'rs!
Where shall I find that which my soul desires
Arainly I seek, it flies my eager quest.
Enough! We'll make an end!
But I tremble!
Why tremble thus at the abyss that before me yawns
0 cup, too long denied to my most
ardent wishes! Come, vial, from thy shelf!
1 the poison will drain which must
give me new light, for aye end my woes!
(He lifts the cup to his lipi. A sound of bells. Chants are lieard from a neighboring church.)
Easter Hymn.
Chorus.--Christ is risen from the dead! Has broken the tomb, Gladly hail the token, Sin's fetters are broken; Reversed is the doom. Now the Master hath ascended, Rejoice! for your bondage is o'er, And the reign of sin is ended. Praise him for evermore! Alas! those He loved can but languish And suffer, 'mid pain and annoy. Oh, Master! we envy thy joy. In thy joy forget not the depth of our
Thy loved ones, they suffer, And their pain doth envy thy joy. Let us trust in the word of Christ
Peal out, ye Easter bells! Lo, your joyous clang foretells Redemption from our prison. Hosanna!
Faust.--What hear I!
Oh, memory! yes, from glad days de­parted,
Awakened by these strains, thy rays break through the night.
My heart with new joy palpitates!
Are faith and hope again re-born to light
Once my songs were pious, pray'rs to my lips would rise,
Free soared my spirit's pinions, I dreamt a Paradise!
Over blooming meadows, over moun­tains, through forests,
Roamed I, void of all care. Prescient, through the Sabbath, calm and still,
Resounded then this song to my jubi­lant mind.
To these mem'ries of youth now suc­cumbs my will.
Chorus.--Hosannah! Hosannah!
Faust.--Alas, heavenly tones, why seek
me in the dust Why visit the accursed Sweet hymns
of devotion, Why come and conquer thus suddenly
my stubborn will Your soft, melodious strains bring
peace to my soul. Songs more sweet than morning I hear
again! My tears spring forth, the earth has
won me back.
Scene V.--Faust and MephistophEiBS.
MephistophEi.ES (suddenly appearing.)
O, pious frame of mind, child of heaven, 'tis well.
Your hand, dear Doctor! This glad Easter bell,
With silver strain,
Has charmed to peace again
Your troubled earthly brain. Faust.--And who art thou, whose ar­dent glances fierce,
Even as a poignard, through my mar­row pierce
Thou must, if I'm to know thee, thou must tell me thy name.
Mephisto.--Why, for a doctor, the ques­tion seems flippant.
I am thy friend and comfort; I will end thy sorrow.
I'll give thee all thou wishest, wealth and fame,
Boundless joy, whate'er the wildest dreams of mortal can foreshow.
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Faust.--Poor demon, canst thou show what shall prove thy pretenses
Mephisto.--Hark! I will bewitch thine
eye and ear. Be buried no more like the worms of
the earth
That gnaw at thy folios. Come! Arise! Follow me!
Faust.--I consent.
Mephisto.--Let us go. Thou shalt study
the world,
And leave thy den, leave thy hateful study.
Scene VI.--Auerbach's Cellar, in Leipsic. Faust, Mephistopheles, Brander,
Students, Burghers, Soldiers.
Drinking chorus of students:
Fill up again with good Rhine wine!
Mephisto.--Here, Faust, behold a jolly set of fellows,
Who, with wine and song, make merry all day.
Chorus.--When good red wine is freely
A fig for the tempest outside! Fill, and ne'er heed the wind that's
By punch bowl and pipe we'll abide! I "love the glass that drowneth sorrow! Since I was born I never walked
From my gossip the trick I borrow, He ever had a rolling gait! When good red wine, etc.
Some Students.--Who knows a good
song or a story Now our throats are tuned and clear.
OTHERS.--Come, Brander, sing, and gather fresh glory.
Brander.--Nay, I know one, I made it myself.
Chorus.--Well, begin ! We're ready.
Brander.--Since you invite me, I'll give you at once something new.
Chorus.--Bravo! bravo!
BrandER.--There was a rat in the cellar
Whom fat and butter made smoother; He had a paunch beneath his vest Like that of Dr. Luther. The cook laid poison cunningly, And then as sore opprest was he As if he had love in his bosom. He ran around, he ran about, His thirst in puddles laving; He gnawed and scratched the house
But nothing cured his raving. He whirled and jumped with torment
And soon enough the poor best had As if he had love in his bosom. And driven at last, in open day, He ran into the kitchen, Fell on the hearth and squirming lay, In the last convulsion twitching. Then laughed the murderess in her
glee: "Ha! ha! he's at his last gasp," said
she, "As if he had love in his bosom."
Chorus.--As if, etc., etc. Requiescat in pace! Amen!
BrandEr.--And now sing a fugue, An "Amen" fugue. Let's improvise a scholarly piece!
Mephisto.--Take notice, now, their bes­tiality
Will show itself ere long in its true colors.
Chorus.--Amen ! Amen !
A fugue on the melody of BrandEr's song.
Mephisto {advancing).--By heavens! sirs, your fugue is splendid!
To hear it is to dream one is in some holy place!
Pray, let me freely say it: 'tis schol­arly in style;
Devout, thoroughly so.
One could not better express the pious sentiments
Which, in closing all her petitions,
Sixth Concert
Holy church sums up in this one word. In my turn, I will respond, by your
leave, with a song On a no less pathetic theme than
yours, sirs.
Chorus.--Ah! he dares to mock us to
our face! Who is this fellow, who mocks so
Pale-visaged, and red of hair. No matter! Let us hear; sing, and
away with care!
Mephisto.--There was a king once
Who had a big black flea, And loved him past explaining, As his own son were he. He called his man of stitches, The tailor came straightway; Here, measure the lad for breeches, And measure his coat, I say! In silk and velvet gleaming He now was wholly drest, A coat with ribbons streaming, A cross upon his breast. He had the first of stations, A minister's star and name, And also his relations Great lords at court became. And lords and dames of honor Were plagued awake in bed; The queen she had them on her, And all were bitten and bled. They did not dare to brush them, Or scratch them, day or night. We crack them and we crush them At once, whene'er they bite.
Chorus (shouting).--Bravo! bravo!
We crack them and we crush them At once, whene'er they bite.
Faust (to Mephisto).--Enough! let's quit so foul and coarse a place!
Hast thou no purer pleasures, calmer sport,
To offer me, thou dread, infernal guide
Mephisto.--This is not to thy taste Come on!
[They spread their mantles and take flight.
Scene VII.--Bushy meadows on the banks of the Elbe.
Faust. Mephistopheles.
Mephisto.--In this fair bower, Fragrant with many a flower, On this sweet-scented bed, Rest, O Faust, rest thy head, and
Soothed by voluptuous repose, While fragrant roses on thy fever'd
brow shall breathe, Their blossoms unfolding thy head to
Oh, harken! Dost hear it The spirits of earth and of air, E'en now to lull thy sleep With their sweet strains prepare.
Faust's Vision.
Chorus of Sylphs and Gnomes: Dream, happy Faust! For soon 'neath a veil of purple and
gold shall thine eyelids find rest; Thy star shall shine as the high dome
of heaven; Dreams of delight and of love charm
thy breast.
Behold, on either hand, The fair scenes we discover; The leaf and blossom cover With beauty rare the land. The trees are gently swaying, And happy lovers pass Beneath the shadows straying; The briar and the rose Have woven tangled bowers; The soft vine tendrils close Around the grapes and flowers. See where the lovers stray, Forgetful of the morrow; In blissful joy today, Untouched by care or sorrow. Now comes a pensive maiden: Faust, she shall be thine!
Faust {asleep).--Margarita! 0 Mar­garita !
Chorus.--The lake extends its flood at the feet of the mountains;
By the murmuring fountain are the green pastures woo'd.
There the gay laughing choirs
Re-echo o'er the plain;
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Here the music inspires The dance that none disdain. For some are boldly breasting The silv'ry torrent streams, Whiie milder swains are questing Their love in softer dreams.
Mephisto.--The charm is working. His soul is mine!
Chorus.'--For e'en the timid nestling, Seeking shade and repose, With the gay zephyrs wrestling Dares affront the sweet rose. All who'd attain love's rapture Must seek through earth and skies For the one star in nature That dawned to glad their eyes. Dream! Happy Faust! Dream!
Mephisto.--He sleeps! Well done, my
dainty elves! This debt 1 must repay. Now let him dream of love.
Dance of Sylphs.--Orchestra.
Faust (suddenly awakening).--Mar­garita ! What a dream! Now I believe in wonder!
Thou sweetest angel face, where dwell-est thou
By the eternal light, thou liv'st!
No power shall tear us asunder!
Mephisto.--Arise, and follow me again.
To the modest chamber I'll bring thee, where she, thy mistress,
Of thy dream thou shalt see the truth ! Here comes a jolly party of students
and soldiers;
They'll pass before thy beauty's dwell­ing;
Along with these young fools, with their loud shouts and songs,
We to the fair one's house will go.
But thy transports restrain, and my counsels obey.
Scene VII.--Chorus of Soldiers. Towns with their high battlements,
Tower and wall,
Fair maids with their haughty
thoughts, Scorning us all! To glory they call us; Soon they both shall fall. No danger appals us, Glorious is our life! The trumpet that calls us, Our banner beneath, It summons to pleasure Or summons to death. Fair maiden and city Appeal to our pity, And yield in the strife! No danger appals us, How glorious our life!
Students' Song:
Jam nox stellata velamina pandit Nunc bibendum et emandum est, etc.,
Vita brevis fugaxque voluptas! Gaudeamus igitur! Nobis sub ridente luna, per urbem
qua:rentes puellas eamus! Ut eras, fortunate, Csesares dicamus;
veni, vidi, vice.
Soldiers' Chorus and Students' Song in Combination.
Scene IX.--Drums and trumpets sound­ing the tattoo.
Faust (in Margarita's Chamber. Even­ing).
Thou sweet twilight, be welcome; Thee greet I from my heart. Thou softly fill'st this place To chaste repose set apart,
Wherein I feel a vision kiss my fevered brow,
Like the balmy breath of early morn­ing.
Sure 'tis love inspires me!
Oh, how I feel my cares take wings and fly away!
How dear to me this silence!
How joyously I breathe this pure air!
Sixth Concert 65
O youthful maiden, my sweet enslaver!
How I love thee, O earthly angel!
What awful joy this moment swells my heart!
With what ecstacy I gave on thy maid­en couch!
How sweet the air of this chamber!
0 God! after long years of torture, What joy is mine!
Pure, like radiance celestial; My suffering endeth; after death's tor­ments follows bliss!
Scene X.--Faust and
Mephisto (.entering).--I hear her com­ing! Conceal thyself behind those curtains.
Faust.--Heavens! my heart will break with fear and joy!
[Faust is concealed behind the curtains.
Mephisto.--Now make the most of time.
Thyself restrain, or thou shall lose her. Good! My spirits and I now shall sing For you the sweetest wedding ditties.
Scene XI.--Enter Margarita (with lamp). Faust (concealed).
Margarita.--How sultry is the air! I
feel--I know not how. Since my dream of last night my mind
is all unsettled. An image more full of charm ne'er did
' mine eyes behold.
A handsome man! Ah! were he to me but given!
1 dreamt he vow'd to love me, and I
felt heavenly bliss!
In the wide space of life my eye doth seek him all vainly!
There was a king in Thule
Most true unto the grave, Whom, dying, his sweetheart
A golden goblet gave. Naught was to him more precious,
He drained it at every bout; His eyes with tears ran over
As oft as he drank thereout. And when he came to dying,
All the towns in his lands he told. Naught else his heir denying,
Except the goblet of gold.
He sat at the royal banquet
With his knights of high degree, In the lofty hall of his fathers,
In the castle by the sea. There sat the old carouser
And drank his last life glow, Then threw the hallowed goblet
Into the tide below. He saw it plunging and filling.
And sinking deep in the sea; Then his eyes fell forever,
And never more drank he.
Scene XII.--Square before Margarita's house.
Mephisto.--Ye spirits of flickering
Hither come! Haste! I need your aid!
Quick, appear! Quick, appear!
Ye Will-o'-the-wisps
Your baleful and treach'rous glimmers
Must bewilder a maid, and lead her
unto us. In the name of the devil! get you
And take care, ye fiddlers of hell, To mark the measure well. Else I will quench your glow.
Minuet of the Will-o'-the-Wisps.-Orchestra.
MEphisto {Recitative').--To this lute I'll
sing a serenade, One that shall please the lady; It is moral, her taste to suit.
Serenade of, with Cho­rus of Will-o'-the-Wisps.
Why dost wait at the door of thy lover, My foolish Kate, in the gray of the
Why dost wait, foolish Kate O beware, nor enter there; Trust his fair speeches never, Men deceivers were ever, And love is but a snare. Ah! heed thee well, fair lass, Lest thy lover betray thee! Then good night, alas! From ill-hap what shall stay thee
66 Official Program Book
But let thy lover prove The truth of his advances: When the ring brightly glances, Ah! then believe his love.
Chorus.--O, sweet maiden, beware! Come away, do not enter. Fair lass, heed thee well, Lest thy lover betray thee. Then, good night! Ha!
Mephisto.--Hush! Now disappear. Keep silence!
[Will-o'-the-Wisps disappear. Let us listen to the cooing of our doves.
, Margarita.--O God! do I dream Does
the light deceive Can a dream reality be
Faust.--Angel adored! whose dear and
lovely image, While yet I had not known thee,
illumined my dark soul; At last I thee behold, and o'er the
jealous cloud-veil N Which hid thee from my sight my
love the victory hath won. Margarita! I love thee!
Margarita.--Thou knowest my name, and I too, have often whispered thine--Faust.
Faust.--That name is mine, but I will take another, if it please thee better.
Margarita.--In dreams I thee have seen. Faust.--Hast seen me in thy dreams
Margarita.--I know thy voice, thy face, thy sweet and winning speech.
Faust.--And thou didst love me Margarita.--I--I trust in thee! Faust.--Margarita, thou sweetest!
Margarita.--All my heartfelt kisses long ago were thine!
Both.--Image most sweet! How all my
soul thou fillest!
To which my brightest dreams have ever fondly aspir'd.
I am near thee at last, no misty cloud can hide thee now from my eyes. Thou art all my heart ever desir'd.
Faust.--(Margarita, my treasure!
Margarita.--So much bliss makes me tremble.
Faust.--I love thee beyond measure. To my heart call I thee; Intensely love I thee!
Margarita.--For ever to thee devoted,
beloved, must I be. I feel a nameless, sweet, thrilling tremor. . . .
Faust.--Let, dearest child, mine arm en­fold thee.
Margarita.--Wherefore fill mine eyes,
see, with tears Is it pain, is it prescience--is it bliss
Faust.--Ah, come! Ah, come! Scene XIII..
Mephisto (entering abruptly).--Away! It is too late!
Margarita.--Who is this man Faust.--A fiend! Mephisto.--Nay, a friend.
Margarita.--He is one who strikes fear to the heart!
Mephisto.--No doubt, I am intruding. Faust.--Who bade thee come Depart!
Mephisto.--I come to save this angel. E'en now the neighbors all, Awakened by our songs, run hither, And point out the house to passers-by. At Margarita they are scoffing, And they call for her mother. The dame will soon be here.
Faust.--O horror!
Mephisto.--We must be off. Faust.--Cruel illusion!
Mephisto.--Soon shall you meet again; Consolation is near-Follows close upon sorrow.
Sixth Concert 67
Margarita.--Yes, they come, dearest
Oh, how bitter is this parting! Till tomorrow, farewell!
Faust.--Farewell, then, bright array Of hopes that fill my bosom! Farewell, thou feast of love That mocked my longing heart!
Mephisto.--Come on; the morning dawns.
Faust.--Farewell, thou lovely night, of even gods the envy!
Thou golden feast of love, bliss of my dreams, farewell!
My raptures swiftly fled! Who the future will warrant
Will the night e'er return, where prom­ise on me smiled
Chorus.--Hallo ! Mistress Martha, See to your daughter's safety! The warning only comes in time, If her gallant you wish to lime. Come home, good dame, Or woe betide the maiden's surety! Hallo!
Mephisto.--The crowd is coming. Let us hasten away.
Chorus.--Hallo! Mistress Martha, etc.
Margarita.--O heaven! Dost thou hear
those cries
Woe is me if they enter And thy presence here surprise!
Mephisto.--Come, 'tis time to be going. Faust.--O, despair! Mephisto.--O, what folly!
Margarita.--Farewell. That little gate Through the garden doth lead.
Faust.--O, my love! Cruel fate! Mephisto.--Quick, away! Quick, away!
Faust.--At last I've seen thee near, Fairest treasure of nature!
Trio--Margarita, Faust, MephistoFaust.--At last I've seen thee near, fair­est treasure of nature!
Love's delight hath appeared and has called me to life!
Fair love, thou hast enthrall'd with de­light and with rapture
The heart that's henceforth thine!
With hope my breast is rife!
Margarita.--Dearest Faust! I do give thee forever my promise and my love! Even death cannot part Hearts so faithful, true till death. To lose thee were to die--yes, to lose thee were to die!
Mephisto.--Thou art mine! And now
shall thy proud nature, Haughty Faust, be enslaved forever; Mine thy soul and thy life! Empty hopes within thy breast are
rife; To me they bind thee fast!
Chorus.--Mistress Martha, come home,
good dame!
See to your daughter's safety! Hallo! Good Mistress Martha! Ah! ah! ah! ah! Mistress Martha, come home! Hallo!
Scene XV.--Song. Margarita {alone).
My heart with grief is heavy, My peace of mind is o'er; Ne'er again shall I find it. Ah! Never, nevermore! Where my love is not with me It is to me as the tomb; My life without his presence All shrouded is in gloom! My brain, so sore bewildered,
Hath no power of thought; My dull and feeble senses Are entirely distraught! I look out at the casement, His fine, tall form to see. To meet him and be with him Is heavens own joy to me! His proud and noble bearing, Of his smile--the winning grace! Of his hand--the soft pressure! And, ah !--his fond embrace!
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My heart with grief is heavy, My peace of mind is o'er; Never again shall I find it! Ah! never, nevermore! All day long to be near him Fondly yearns my poor heart! Ah! could I tightly clasp him, I would ne'er let him depart! Him with kisses I'd smother, All glowing with love's fire! And on his lips still hanging, I'd fain at last expire!
[Drums and trumpets sound a retreat.
Chorus of Soldiers and Students in the distance.
Soldiers.--The trumpet that calls us our
banner beneath,
It summons to pleasure or summons to death!
Margarita.--Day's reign will soon be
Dusky twilight approaches. Afar the evening drums and trumpets Now are sounding With songs and shouts of joy, As on that blessed evening When first I saw Faust!
Students.--Jam nox stellata, etc.
Margarita.--He cometh not! Alas!
Scene XVI.--Cavern and forest.
Faust (alone).--Oh, boundless nature, spirit sublime, mysterious!
Alone thou givest comfort to my un­happy soul!
On thy breast, mighty power, is my sorrow abated, and my strength renewing,
I seem to live again!
Blow, ye fierce howling winds! Cry out, ye boundless forests! Fall down, ye rocks!
And roar, ye mountain streams, wildly rushing!
With your thundering sounds my voice loves to unite!
Ye rocks and streams and woods, ac­cept my homage!
Bright sparkling worlds above,
Towards you leaps forth the piteous
cry of a heart
In anguish, of a soul madly longing, Vainly striving for joy! Scene XVII.--{Recitative and Chase.)
Mephisto (scaling the rocks ).--Say,
dost thine eye discern upon the
azure vault the star of constant
Its potent influence thou'lt find very
For in dreams thou art lost, Whilst that poor child, thy dear Mar­garita-Faust.--O cease.
Mephisto.'--'Tis true, I should be still. Thou lov'st no more, And yet she has been dragged to
And, for poisoning her mother, To death justly sentenced!
Mephisto.--I hear the hunters' horns in the woods.
Faust.--No j esting! What saidst thou Margarita in chains
Mephisto.--A certain brownish liquor,
quite safe If used aright, which she received of
thee, To make her mother sleep, lest she
disturb Your amours, has brought on all this
Fondly hugging her dream, Awaiting thee, she gave the potion
still. This excess at last told upon the old
dame And killed her. Now thou knowest
all the truth.
Faust.--Treacherous monster!
Mephisto.--And thus has her love for thee led her on.
Faust {with fury).--Woe to thee! Canst thou not save her
Sixth Concert 69
Mephisto.--Ah, 'tis I am the miscreant! This is ever your way, Ye ridiculous mortals! No matter! To free her from prison
and save her.
But what hast thou done for me Since I have been thy slave
Faust.--O, quickly speak!
Mephisto.--Of thee Naught save thy signature
To this parchment scroll.
Thy love at once is freed from judg­ment and death,
If thou wilt sign this oath tomorrow, to serve me.
Faust.--Why till tomorrow wait 'Tis today thou must save her! The parchment! [He signs.
Behold, 'tis done! And now swiftly conduct me to the
With despair I am hast'ning, Margarita, to thee!
Mephisto.--Come hither, Vortex! Giour! These magic steeds shall bear us
quickly as thought! Now mount ye, and away at once-Justice tarries for no man!
Scene XVIII.--The ride to Hell. Faust and MephistophELES galloping on two black horses.
Faust.--Through my heart her sad voice
is ringing mournfully. Poor soul! lost and forsaken!
Chorus of Peasants (kneeling before
a rustic crucifix). Sancta Maria, ora pro nobis, etc., etc.
Faust.--Take heed! a pious crowd of poor women and children kneeling around yon cross
Mephisto.--Never mind them; hasten on!
Chorus 01' Peasants.--Sancta Maria, ora pro nobis.
[Cries of terror; the women and children scatter in confusion, the riders pass by.
Faust.--See, a hideous shape pursues us with loud cries!
Mefhisto.--Thou dreamest!
Faust.--What a host of foul birds fill
the skies!
With dismal shriek 'round by head they are whirling!
Mephisto (slacking his speed).--The passing bell for her is already sounding. Dost thou fear Let's return!
[They halt.
Faust.--No, the goal must be won!
[They resume with quickened speed.
Mephisto (.urging his horse).--On! On! On!
Faust.--On every side--dost see-Spectral forms are rising! There the skeletons dance, While ghastly laugh and gesture The foul horror enhance!
Mephisto.--Think of thy Margarita, And laugh at the dead. On! On!
Faust (horror struck).--The horses in
Are tearing their bridles. My hair stands on end! Convulsed seems the world! The thunders are roaring, As if to destruction The earth would be hurled! It raineth blood!
Mephisto.--Ye slaves of hell's dominion,
Your trumpets blow-Your loud triumphal trumpets! His soul is mine!
Faust.--Ah! Doomed!
Mephisto.--Victor am I!
[They fall into the abyss.
Scene XIX.--Pandemonium.
Chorus of the Spirits of Heia.--Has! Irimira karabra-o!
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The Princes of Darkness.--Hast them conquered this proud immortal soul, and enslaved it, Mephisto, for aye
Mephisto.--Lord and master, for aye!
Princes.--Then did Faust freely sign the dread act that did yield up his soul to our fires
Mephisto.--Of his own free will he signed.
Chorus, Spirits of Hell.--Has! Me­phisto! Has! Irimira karabra-o!
EPILOGUE.--On Earth.
Prince of Darkness.--And then Hell's
gates were still. The seething sound alone of the vast
lakes of fire, The gnashing teeth and wail that dread
torments inspire, Alone were heard above; while in the
depths profound, in dread mystery
drowned, there was wroughtChorus.--An awful deed!
Scene XX.--In Heaven.
Celestial Spirits.--Laus! Hosannah!
Hosannah! Receive a contrite soul, O Lord!
Voice from Heaven.--Rise, Margarita. Margarita's Apotheosis.
Chorus of Heavf.nly Spirits.--Ascend on high, innocent spirit!
Once misled by earthly love,
But now restored to thy primitive beauty,
Thou shalt see the realms above.
Come, the heavenly choir
In joyous strains conspire
To greet thy ransomed soul
In the courts of the blest.
By tribulation tried,
Thy faith and hope have saved the,e
From the world's raging tide.
Rise, Margarita! Arise!
The Chicago Symphony Orchestra
Eric DeLamarter, Assistant Conductor
F. J. WESSELS, Manager H. E. VoEGEU, Asst. Manager
First Violins-WEISBACH, H.,
Second Violins-ROEHRBORN, O.,
English Horn-NAPOLILLI, F.
Bass Clarinet-MEYER, C. Bassoons-GUETTER, W.
Contra-Bassoon KRUSE, P.
Cornets-ULRICH, A.
FELBER, H. Trombones-STANGE, G.
Bass Tuba-DIETRICH S, W. Timpani-ZETTELMANN, J. Percussions-WINTRICH, M.
Librarian-HANDKE, P.
The University Choral Union
Forty-first Season 1919-1920
EARL, V. MOORE, Organist and Assistant Conductor
Lucy M. Alber Genevieve C. Alger Elizabeth Ambrose Mrs. H. J. Baker Helen M. Baker Anna S. Barton Margaret R. Barton Theresa M. H. Bateman Mrs. P. M. Bay Louise S. Becker Myrtle A. Bahm Helen M. Blain Hilda C. Bowen Marie G. Burg Bernice G. Bush Mrs. S. A. Bush Florence K. Butler Lucile M. Buzzo Helen G. Cady Lois M. Cochran Gertrude E. Collins Mary Corin Mildred G. Cook Horatia J. Corbin Ruby Dorothy Cozad Margaret C. Crittenden Florence Crozier Miss Belle Davenport
Beulah Davis Mbael H. Deyine Amelia M. Disderide Helena M. Dyason Wm. H. Egly Helen M. Elliott Margaret M. Elliott Katherine Farrah Anna M. Fenton Bertha W. Field Eloise Fitch Norma A. Fuller Florence W. Green Myrtle I. Hall Hazel S. Haller Helen D. Haymaker Lenno R. Higgs Esther D. Hollands Josephine M. Holmes Thelma M. Holmes Esther B. Jones Marion J. Kapp Flora M. Kelley Eva K. Kilpatrick Maude C. Kleyn Eunice Kraft Henrietta L. Kuieck Louise Lambertson
Ina P. Langworthy Rose M. Lehman Raymond R. Lewis Velma E. Louckes Edith R. Love Carolyn E. Lovewell Anna E. Ludwig Mrs. Esther Lyons Katherine S. MacBride Greta F. MacDougall Madeline L. MacGregor Estella G. Mackensen Helen L. MacLaren Helen L. Marshall Jeanne I. McPherson Helen A. Munson Marian Nichols Bernice J. Nickels Alice G. Olrich Elva A. Olsen Emma L. Pawlowska Mildred E. Penoyer Evalyn L. Pitkin Mrs. P. L. Potter Mabel Powell Minnie L. Pratt Catharine E. M. Purtell Ethel P. Reed
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Florence M. Reiltey Blanche H. Robison Evelyn F. Rockwell Alice E. Rominger Helen T. Rose Bernice B. Rowe Grace C. Richards Edith M. Ritchey Frances H. Ritchey Maude S. Rufus Helen S. Safford Mildred H. Safford Ruth A. Scheidler
Margaret E. Addison Prudence E. Appleton Alfreda G. Barthe Mrs. R. P. Brooks Cora A. Brown Mrs. W D. Brown Mrs. T. D. Buchanan Miriam J. Buck Margaret E. Burnham Gertrude Carlyon Cecilia Caspari Ruth E. Clancy Charlotte A. Cochrane Mary O. Davis Esther L. Dorrance Edna R. Doughty-Esther M. Dunham Carrie Fairchild Marie C. Freeland Louise I. Gaylord
Harry J. Baker Robert H. Baker John D. Bond Oets K. Bouwsma Paul S. Brady Raymond P. Brooks DeWitt M. Coburn Neil E. Cook William H. Dorrance Bernard F. Ferneau Shirley E. Field
Evelyn H. Scholl Irene L. Schultz Mildred P. Sherman Eva I. Shimp Irene H. Skinner Carrie C. Smith Airs. C. H. Smith Esther L. Stalker Anna M. Stephenson Ruth M. Stiller Mary J. Tinsman Katherine B. Tremper Mildred Tremper
Merle L. Gee Irene S. Gillett Mrs. A. M. Gustine Camilla L Hayden Florence C. Hemingway Lillian B. Hertler Alice Bertha Hinkson Dorothy F. Hollis Esther L. Hood Esther M. Hotchkiss Enid E. Hough Doris Howe Nora Hunt Allis F. Hussey Carrie B. Immel Nellie M. Katioe Bessie C. Krasa Olive E. Lockwood Helen MacGregory Angenette E. Martin Martha E. Morinett
George K Forester Burton G. Grim James Hamilton Elbert D. Haskins Aaron E. Iskowitz Earl G. Keim James P. Kerr Wm. C. Knox Francis P. Lourim Will E. Legg Donald M. Major Harry G. Mershon
Wilhelmina M. Ulrich Florence Walker Josephine L. Walsh Mrs. E. L. Watts Amanda Weisenrader Wanda H. Weske Marjorie I. West Myrtle M. White Mrs. E. Russel Wightman Hazel E. Wiltsee Helen H. Wolfe Corinne F. Woodworth
Mary C. Nelson Mrs. J. H. Niehaus Bertha S. Ohlinger Kathryn T. Potter Mrs. Parson Price Cora L Ravn Mrs. F. S. Rockwell Irma Schreiber Florence A. Shirey Agnes L. Thompson Florence O. Thompson Nellie T. Thornton Susanne B. Trible Irene VanSlyke Ora Louise von Ewegen Ottilie Walker Margaret Eve Wetzel Hazel M. Whitling Ruth I. Wilson Annie M. Young
Ronald Miller John A. Mooney Chas. H. Newman Edward F. Parsons Otto Stahl Ralph T. Swezey Wm. H. Turner C. V. Wicker Marion C. Wier George D. Wilner Clifford C. Wood
The University Choral Union . . 75
John R. Adams Kirply S. Anderson Allen E. Arnold Frederick P. Arthur Carl O. Barton Frederick Bauer Philip J. Beatty Harold E. Belles Weldon G. Bettens Harvey J. Bisbee Lionel G. Brenner Bertrand H. Bronson Forman G. Brown George M. Brown Harold W. Buck William M. Buckley Edward Buckner Harry LeRoy Burnett William E. Burr Russell Carter William B. Chenoweth Tohn R. Crissman Robert R. Dieterle Egbert Doughty Nelson W. Eddy Allen L. Fenton Byron F. Field Richmond P. Gardner
Burton A. Garlinghouse Wayne H. Garrett Edmund D. Giaugue James D Glunt Julius W. Haab Joe F. Habegger Arthur G. Hall Harry A. Hall Robert C. Hathaway Dudley L. Hays John C. Hertel Keizo Horiuchi S. Leslie Hudd Russell C. Hussey Lucian Lame Victor E. Legg Lawrence E. Mack F. R. Mason Perry Mason Henry A. Melloche Robert J. McCandliss Edward C. McCobb Daniel J. Miller Irving B. Miller C. Lee Mills Erwin E. Nelson Julius H. Niehaus Paul F. Niehaus Joseph A. Packard
Felix W. Pawlowski Leo P. Rennell Karl F. Rindelhardt Irwin T. Sanborn Ralph Sarager Joseph Satterthwarte Hiram L. Sloanaker Paul A. Smith Richard D. Smith Joyce M. Stedman Charles B. Stegner Clarence E. Stevens John Lyman Stinson Herbert F. Taggart Howard D. Tubbs Robert S. Tubbs Arthur J. Underwood Wm. A. Vignetto Egbert H. Walker Erich A Walter Jesse F. Warner Karl G. Weisenreder Rex J. Wells Raymond h. Wheaton Franklyn R. White Gordon D. Wier L. D. Wines Bryan A. Wolfe
Children's Chorus
Russell Carter, Conductor Supervisor of Music, Ann Arbor Public Schools
Lulu Allen, Assistant Supervisor of Music Frank A. Taber, Pianist
FIRST SOPRANOS Irene Bangs Irene Bradshaw Birdell Cushing Hilda Feuerbacher Lucile Frey Hermina Goetz Dorothy Haas Dorothy Hallman Margaret Hinz Gertrude Hornung Frances Kleinschmidt Ruth Perkins Elsie Radke
Loraine Shriber Genevieve Wurster Althea Warren
SECOND SOPRANOS Marion Boylan Florence Fischer Katherine Cole Ruth Gauss Edward Hoppe Viola Roehm Vera Schneider Irene Steinke Heinrich Voelker Lila Wagner
Clarence Walz Edwin Wolter
ALTOS Erwin Benz Carl Breisch Walter Frey Edward Kurtz Lucile Miller Galela Rainey Roland Rogers Alice Van Alstine Jacob Voelker Horace Warren
FIRST SOPRANOS Inez Cooper Florence Bauer Louise Pommerening Janetta Robinson
Laila Cunningham Dorothy Gutekunst Grace Seibert Bertha Dorow Maxine Williams
SECOND SOPRANOS Nellie Elsifor Leona LaVear Laura Temple
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Gertrude Begole Eleanor Brokaw Chandler Bush Earl Dennis Vernon Dick Edward Drake Gertrude Eaton Margarita Ewald Lawrence Hatto Louis Kent
Hannah Lennon Tresse Musil Virginia Schumacher Augusta Schaefer Wayne Sykes Thomas Warthin Virginia Warthin
Jane Breakey Louise Breakey
Leola Drake Genevieve Eldred Virginia Elliott Florence Marz Earl Stoll Claude Stoll Marguerite Walz Malcolm Wheeler Sarah Wisler Oretha Zebbs
FIRST SOPRANOS Frederick Anderson Margaret Bailey Geraldine Boland Helen Davis Florence Grayson Rose Hale Dorothy Miller Isabelle Shankland Dorothy Van Zwaluwenburg Mary Whitker
Evelyn Adams Opal Coote Douglas Hammial Harold Lansky Elizabeth Maxey Onaleah Niethamer Howard Simon Beryl Stark ;Laura Tessmer Mary Wright
ALTOS _ Beulah Gray-Blanche Gregory-Charles Gregory Howard Haynes Wirt Masten Elmer Mayer Luella Reeves Virginia Tice Josephine Waidelich Emma Wallaker Lena Winters
Almeida Andres Lucy Austin Luella Bohnet Gretchen Bucholz Ruth Beckwith Dorothy Donohue Doris Johnson Gladys Jarendt Ruth Kuebler Wendell Morgan Alice Morhardt Clover Priddy Mabel Seyfried Irene Snyder Gertrude St. Clair
Thurlow Cobb Frederick Meyer Eva Mildreed Gladys Novak Leona Nowack Davis Robbins Arthur Schauer Elsa Schauer Lucille Schaefer Florence Scherdt Helen Schmidt Anna Schneider Fred Weber Rena Williams Leah Woodford
Lillie Caswell Thelma Decker Carl Ehrenberg Harold Fry Amy Foster Harry Greenbaum Harold Hotzel Bernadine Malay Beatrice Meyer Violet Prochnow Leona Rohde Rhea Steinke Louise Ungerer Joy Vogel
Children's Chorus 79
Vernon Allmendinger Ellen Anderson Frieda Berlherz Garfield Decker Marie Dunn Mary Christie William Comstock Josephine Forsythe Ralph Higbee Ruth Linden Elizabeth Lucas Ida Osborne
Irene Palmer Edith Parker Charlotte Powell Jane Sage Gerald Stewart Cassa Spalding Senta Stankey John Wheeler Lucy Whitlock Louise Wiedmann
SECOND SOPRANOS Marian Kelley Miriam Mitchell
Dorothy Murray Wilma Nower Lois Trosper
ALTOS Fielding Huesman
Earl James Carlton Kent Walter Perrin William Schneider Richard Whitker
Catherine Bachus Anne Bigelow Doris Brown Winnifrede Brown Lloyd Cody Anna Cope
Samuel Domboorajian Lucille Feldkamp Marian Finch Katherine Hawkes Louise Healy Leone Judson Jack Kinsey ¦ Marian Kline Barbara Lorch David Lowber Margaret Lowber Hilda McLean Elizabeth Martin Mabel May Willard Miller " Adele Nichols Edna Nicholson Frances Novy Eva Oakes Paul Oakes Helen Perrin Jane Purfield John Robertson Ethelene Roe Katherine Ruthven Katherine Scholl Jeannette Scott Florence Shoebridge
Pauline Sink Donald Smith Evelyn Swanson Lewis Taggett Thurston Thieme Lois Tilley
Georgia Vandewarker Charles Wardwell Dorothea Waterman Jane Webster Lois Wilder Eleanor Whitman Hamilton Whitman
Claribel Brittain Opal Carl Albert D'Eath Virginia Douglas Harold Eisaman Viva Fahrner Dick Gustine Helen Gustine Richard Humphreys Betty Lorch Alice Lord Aileen McGwinn Donald Menold Morene Miles Margery Mills Doris Minor Coleman Mummery Vincent Poor Frances Quarry Eleanor Raymond
Marion Stoll Fred Taylor Alma Tenny
ALTOS Ella Anderson John Anderson Edward Barrett Evelyn Becker Mary Jane Bevier William Bird William Brown James Burleson John Cabot Albert Cain John Chalmers Nelson Cody Robert Crane Georgia Curry Helen Degen. Dwight Dunlap John Effinger Iva Fahrner William Fidlar Arthur Gospill Edward S. Hall Margaret Hawley Marvin Highley Francis Hoad Louise Karpinski Gretchen Lally Westcott Loos Betty Lorch Irene Love Mary Ann MacRoberts
So Official Program Book
Cynthia Mallory George Montgomery Annette Mulliken Helen Norris Arietta Otis Hiram O'Toole
Allen Paton Helen Rankin Arthur Reeves Alice Schmutz Virginia Schurz George Smalley
Edward Spencer Clarence Stadel Louis Stipe Alice Underwood Donald Williams
Stephen Barnett Elizabeth Benz Marie Bruce Benhard Carstens Dorothea DeFries Viola Hahn Erma Helber Harriett Henderlong Elsie Hooper Ruth Hudnut Ella Hughes John Malloy Lucile Merrifield Louise Meyer Curtis Mower Kenneth Murdock Doris Olds Floyd Parker Hily Dale Parker Margaret Parker Gladys Quackenbush Eleanor Riley Ruth Roos Dorothy Scott Frederick Schmidt Louise Smith Alice Stevens Dorothy Stevens
Fern Stoll Olive Todd Welda Watson Esther Warren Luella Weinmann Richard Winchester Lucile Wilkinson
Mary Louise Allen Harmon Boice Hazel Carlton Christiana Coon Leone Currie Edith DeLand Helen Finkbeiner Lois Inskip Arlie Jenkins Frederick Jolly Paul Kern Viola Miller Marion Otto William Placeway Estella Pracht Dorothea Schneider Helen Schroeter William Shadford Esther Spaulding Mildred Stanger Joanna Stephenson
Grace Weitbrecht Gertrude Wild Alma Young
Daniel Agnew Henry Apfel Harold Barth Katherine Barth Margaret Benz Ralph Bettison Luther Boes Herman Clark Lois Cossar Christine Deters William Freeman Robert Harding Albert Henwood Stuart Holmes Harold Lepard Louise Lutz Lucile Miller Edna Mower Charles Murdock Ferdinand Otto Walter Sauer LaVerne Taylor Kathaleen Thomas Rudolph Vandeveer
Repertoire of The May Festival Series
From 1894 to 1920 Inclusive
The final concert in the Festival Series this year will be number 346, but in this list only the works since the reorganization of the Society in 1888 are included. A condensed statement of the programs for the twenty-seven Festivals will be given first, after which follows a complete list of the works given and the artists who have appeared in the concerts of the entire series.
The Boston Festival Orchestra, Emil Mollenhauer, and Albert A. Stanley, Con­ductors, appeared in Festivals 1 to 11 inclusive. At the remaining Festivals, the Chi­cago Symphony Orchestra, with Frederick A. Stock, and Albert A. Stanley, Con­ductors, took part.
Dating from 1913 the Festivals have been given in the Hill Auditorium. Prior to that date they were given in University Hall.
FIRST FESTIVAL May 18, 19, 1894--Three Concerts
Soloists: Miss Emma Juch, Miss Rose Stewart, Sopranos; Miss Gertrude May Stein, Contralto; Mr. Edward C. Towne, Tenor; Mr. Max Heinrich, Baritone; Mr. Arthur Friedheim, Pianist; Mr. Felix Winternitz, Violinist; Mr. Fritz Giese, Violon­cellist; Mr. Van Veachton Rogers, Harpist.
Principal Works
"Manzoni" Requiem, Verdi; Symphony, Op. 56, Mendelssohn; "Le Carnaval Ro-main" Overture, Berlioz; "Lenore" Overture, No. 3, Beethoven; Suite, "Woodland," MacDowell; Piano Concerto, E flat, Liszt; Piano Concerto, F minor, Chopin.
SECOND FESTIVAL May 17, 18, 19, 1895--Four Concerts
Soloists: Mme. Lillian Nordica, Miss Rose Stewart, Sopranos; Miss Gertrude May Stein, Contralto; Mr. William H. Rieger, Tenor; Mr. William H. Clarke, Bass; Mr. Max Heinrich, Baritone; Mr. Martinus Sieveking, Pianist; Mr. Clarence Eddy, Organist.
Principal Works
Symphony, B minor (unfinished), Schubert; "Damnation of Faust," Berlioz; Over­ture, "Anacreon," Cherubini; Vorspiel "Tristan and Isolde," Wagner; Quartet from "Fidelio," Beethoven; Suite "L'Arlesienne," Bizet; Piano Concerto, Op. 22, G. minor, Saint-Saens; Overture, "Melpomene," Chadwick.
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THIRD FESTIVAL May 21, 22, 23, 1896--Five Concerts
Soloists: Frau Katherine Lohse-Klafsky, Miss Rose Stewart, Sopranos; Mrs. Katherine Bloodgood, Miss Gertrude May Stein, Contraltos; Mr. Barron Berthald, Mr. Evan Williams, Tenors; Mr. Max Heinrich, Signor Giuseppe Campanari, Mr. Gardner S. Lamson, Baritones; Mr. Van Veachton Rogers, Harpist; Mr. Alberto Jonas, Pianist; Mr. Herman Zeitz, Violinist.
Principal Works
"Lohengrin," Act I, "Tristan and Isolde," (a) Vorspiel, (b) "Isolde's Liebestod," Wagner; Siegmund's "Love Song," Wagner; "Faust" Overture, Wagner; "Meister-singer," (a) Pogner's Address, (b) Vorspiel, Wagner; Overture, "Magic Flute," Mozart; Piano Concerto, E flat, Beethoven; Symphony, F major, A. A. Stanley; Phantasie, "Romeo and Juliet," Svendsen; Overture, "Sakuntala," Goldmark; Over­ture, "Ruy Bias," Mendelssohn; Symphonic Sketches, Chadwick; "Samson and Deli­lah," Saint-Saens.
FOURTH FESTIVAL May 13, 14, 15, 1897--Five Concerts
Soloists: Mme. Emma Calve, Mrs. Francis Wood, Sopranos; Mrs. Katherine Bloodgood, Miss Jennie May Spencer, Contraltos; Mr. Barron Berthald, Mr. J. H. McKinley, Tenors; Signor Giuseppe Campanari, Mr. Gardner S. Lamson, Mr. Hein­rich Meyn, Baritones; Mr .Alberto Jonas, Pianist; Mr. Herman Zeitz, Violinist; Mr. Thomas C. Trueblood, Reader.
Principal Works
Symphonic Poem, "Les Preludes," Liszt; Overture, "1812," Tschaikowsky; "Stabat Mater," Rossini; Symphony, "Consecration of Tone," Spohr; Piano Concerto, A minor, Paderewski; Overture, "Oberon," Weber; Serenade, Op. 48, Tschaikowsky; Violin Concerto, Op. 2, Wieniawski; Music to "Midsummer Night's Dream," Mendel­ssohn; "Arminius," Bruch.
FIFTH FESTIVAL May 12, 13, 14, 1898--Five Concerts
Soloists: Mme. Johanna Gadski, Mrs. Jennie Patrick Walker, Sopranos; Miss Janet Spencer, Miss Gertrude May Stein, Contraltos; Mr. William J. Lavin, Mr. William H. Rieger, Mr. Barron Berthald, Tenors; Mr. David Bispham, Mr. William A. Howland, Signor Giuseppe Del Puente, Baritones; Mr. Alexander Heindl, Violon­cellist; Miss Elsa von Grave, Pianist.
Principal Works
"Manzoni" Requiem, Verdi; Symphony Pathetique, Tchaikowsky; Piano Concerto, A major, Liszt; Overture, "Academic Festival," Brahms; Symphonic Poem, "Attis," A. A. Stanley; Aria, "Am stillen Herd" (Meistersinger), Wagner; "Kaisermarch," Wagner; Rhapsodie, "Espana," Chabrier; Ballet Music (Carmen), Bizet; "Flying Dutchman," Wagner.
Repertoire, 1894-1920 83
SIXTH FESTIVAL May 11, 12,13, 99--Five Concerts
Soloists: Miss Sara Anderson, Miss Anna Lohmiller, Mme. Marie Brema, So­pranos ; Miss Blanche Towle, Mrs. Josephine Jacoby, Contraltos; Mr. George Hamlin, Mr. Clarence Shirley, Tenors; Signor Giuseppe Campanari, Mr. Gwylm Miles, Bari­tones; Mr. Myron W. Whitney, Jr., Bass; Miss Elsa Von Grave, Pianist; Mr. Emil Alollenhauer, Mr. Herman Zeitz, Conductors.
Principal Works
"Requiem," Brahms; Suite, Moskowski; Symphony, No. 3, Raff; Overture, "Ben-venuto Cellini," Berlioz; Overture, "Hansel and Gretel," Humperdinck; Symphony, "Rustic Wedding," Goldmark; Overture, "Robespierre," Litolf; "Samson and Deli­lah," Saint-Saens.
SEVENTH FESTIVAL May 17, 18, 19, 1900--Five Concerts
Solists: Miss Sara Anderson, Mme. Juch-Wellman, Sopranos; Miss Isabel Bou-ton, Mme. Ernestine Schumann-Heink, Contraltos; Mr. G. Leon Moore, Mr. Evan Williams, Tenors; Mr. David Bispham, Mr. William A. Howland, Mr. Gwylm Miles, Baritones; Mr. Arthur Hadley, Violoncellist; Mr. Bernard Sturm, Violinist
Principal Works
Overture, "Lenore," Nos. 1, 2 and 3, Beethoven; "The Lily Nymph," G. W. Chad-wick ; Overture, "Oedipus Tyrannus," J. K. Paine; Suite in D, Bach; Symphony, No. 6, "Pastoral," Beethoven; Overture, "In der Natur," Dvorak; Suite, Op. 48, "Indian," MacDowell; Concerto, No. 1, G minor (for Violin), Bruch; Symphony in G, Mozart; Serenade, Op. 69, Volkman; Theme and Variations, and Finale, Suite in D minor, Op. 38, Foote; Overture, "Tragic," Brahms; "Hora Novissima," Op. 30, H. W. Parker.
EIGHTH FESTIVAL May 16, 17, 18, 1901--Five Concerts
Soloists: Mrs. Marie Kunkel-Zimmerman, Soprano; Miss Fielding Roselle, Mme. Ernestine Schumann-Heink, Contraltos; Mr. Glenn Hall, Tenor; Signor Giuseppe Campanari, Mr. William Howland, Mr. Gwlym Miles, Baritones; Mr. Llewellyn L. Renwick, Organist; Mr. Albert Lockwood, Pianist; Mr. Bernard Sturm, Violinist; Mr. Alfred Hoffman, Violoncellist.
Principal Works
"Elijah," Mendelssohn; Overture, "Egmont," Op. 84, Beethoven; Piano Concerto, B flat minor, Op. 23, Tschaikowsky; "Wotan's Farewell," from "Walkiire," Wagner; Symphony, "In the New World," Dvorak; Symphonic Poem, "Les Eolides," Cesar Franck; Concerto, for Violin, D minor, Op. 22, Tschaikowsky; Vorspiel and "Liebes-tod," "Tristan and Isolde," Wagner; Symphony, E flat, No. 1, Haydn; Suite, Op. 22, "Children's Games," Bizet; "Golden Legend," Sullivan.
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NINTH FESTIVAL May 15, 16, 17, 1902--Five Concerts
Soloists: Mme. Johanna Gadski, Mme. Evta Kileski, Miss Anita Rio, Sopranos; Mme. Louise Homer, Miss Janet Spencer, Contraltos; Mr. Barron Berthald, Mr. Glenn Hall, Mr. James Moore, Mr. Marshall Pease, Tenors; Signor Emilio de Gogorza, Mr. William A. Howland, Baritones; Mr. Frederick Martin, Bass; Mr. Van den Berg, Pianist; Mr. Llewellyn L. Renwick, Organist.
Principal Works
"Orpheus," Gluck; "Faust," Gounod; "Tannhauser," Wagner; Overture, "The Water Carrier," Cherubini; Concerto, A minor, Op. 54, Schumann; Symphony, No. 5, C minor, Beethoven; Symphony, B minor, (unfinished), Schubert; Suite for Strings, Tschaikowsky; Ballet Music (Azara), Paine; Overture, "King Richard III," Volk-mann.
TENTH FESTIVAL May 14, is, 16, 1903--Five Concerts
Soloists: Miss Frances Caspari, Miss Shanna Cumming, Miss Anita Rio, So­pranos; Miss Isabelle Bouton, Mme. Louise Homer, Contraltos; Mr. Andreas Dippel, Mr. William Wegener, Tenors; Sig. Emilio de Gogorza, Mr. William Howland, Bari­tones; Mr. Frederick Martin, Bass; Mr. Llewellyn L. Renwick, Organist; Mr. Carl Webster, Violoncellist; Mme. Fannie Bloomfield Zeisler, Pianist.
Principal Works
"Caractacus," Elgar; "Aida," Verdi; Symphonic Poem, Op. 21, Volbach; Con­certo, A minor, Op. 54 for Piano, Schumann; Symphony No. 6, C minor, Op. 58, Glazounow; Overture, "Rienzi," Wagner; Adriano's Aria (Rienzi), Wagner; "Lohen­grin" Prelude, Wagner; Introduction, Act III (Lohengrin), Wagner; "Lohengrin's Narrative," Wagner; "Waldweben" (Siegfried), Wagner; "Song of the Rhine Daugh­ters" (Gotterdammerung), Wagner; "Meistersinger" Vorspiel, Wagner; Finale to Act III, "Meistersinger," Wagner; Aria, "Abscheulicher" .(Fidelio), Beethoven; Suite, Op. 16, Suk; Symphopy in B minor, Op. 42 for Organ and Orchestra, Guilmant; Vari­ations Symphonique for Violoncello, Boellmann.
ELEVENTH FESTIVAL May 12, 13, 14, 1904--Five Concerts
Soloists: Miss Clara Henly Bussing, Miss Frances Caspari, Miss Anita Rio, So­pranos; Mme. Louise Homer, Miss Florence Mulford, Contraltos; Mr. Holmes Cow-per, Mr. Ellison van Hoose, Tenors; Sig. Giuseppe Campanari, Sig. Emilio de Go­gorza, Baritones; Mr. Frederick Martin, Bass; Mr. Llewellyn L. Renwick, Organist
Principal Works
"Fair Ellen," Bruch; "Dream of Gerontius," Elgar; "Carmen," Bizet; Overture-Fantasie, "Romeo and Juliet," Tschaikowsky; Symphony (unfinished), Schubert; Overture, "Magic Flute," Mozart; "Good Friday Spell," Wagner; Symphony, A major, No. 7, Beethoven; "Don Juan," Op. 20, Richard Strauss; Suite for String Orchestra, Juon; Suite, "Esclarmonde," Massenet.
Repertoire, 1894-1920 85
TWELFTH FESTIVAL May 11, 12, 13, 1905--Five Concerts
Soloists: Mme. Lillian Blauvelt, Mrs. Lillian French Read, Sopranos; Mrs. Daisy Force Scott, Miss Gertrude May Stein, Contraltos; Mr. Ellison Van Hoose, Mr. Alfred Shaw, Tenors; Mr. David Bispham, Mr. Vernon D'Arnalle, Baritones; Mr. Herbert Witherspoon, Bass; Mrs. Janet Durno Collins, Pianist; Mr. Henri Ern, Violinist; Mr. Bruno Steindel, Violoncellist.
Principal Works
"St. Paul," Mendelssohn; "Arminius," Bruch; Overture, "Carneval," Dvorak; Symphony, "Country Wedding," Goldmark; Overture, "Solonelle," Glazounow; Con­certo, for Piano, G minor, Saint-Saens; Symphonic Poem, "Les Preludes," Liszt; Overture, "Academic Festival," Brahms; Symphony, B flat major, No. 4, Beethoven; "Death and Transfiguration," Strauss; Concerto, E minor for Violin, Mendelssohn; Vorspiel "Meistersinger," Wagner; Overture, "Coriolan," Beethoven.
THIRTEENTH FESTIVAL May 10, 11, 12, 1906--Five Concerts
Soloists: Mme. Charlotte Maconda, Mrs. Lillian French Read, Miss Frances Caspari, Sopranos; Miss Isabelle Bouton, Miss Grace Munson, Contraltos; Mr. Glenn Hall, Mr. Ellison van Hoose, Tenors; Signor Giuseppe Campanari, Mr. Gwylm Miles, Mr. William Howland, Baritones; Mr. Herbert Witherspoon, Bass; Mr. Brahm van den Berg, Pianist.
Principal Works
Symphony Pathetique, Op. 74, Tschaikowsky; Concerto, Pianoforte, A minor, Op. 16, Grieg; Overture, "Bartered Bride," Smetana; Italian Serenade, Hugo Wolff; Over­ture, "Liebesfriihling," G. Schumann; Serenade for Wind Choir, Op. 7, R. Strauss; Overture, "Magic Flute," Mozart; Symphony, D major, Op. 73; Brahms; Suite in D, Bach; Overture, "Leonore, No. 3," Beethoven; "Stabat Mater," Dvorak; "A Psalm of Victory," Stanley; "Aida," Verdi; Overture, "Euryanthe," von Weber.
FOURTEENTH FESTIVAL May 8, 9, 10, n, 1907--Five Concerts
Soloists: Mrs. Corinne Rider-Kelsey, Soprano; Mme. Ernestine Schumann-Heink, Miss Janet Spencer, Contraltos; Mr. Edward Johnson, Mr. Theodore van Yorx, Tenors; Signor Giuseppe Campanari, Mr. William Howland, Baritones; Mr. Herbert Witherspoon, Bass; Mr. Leopold Kramer, Violinist; Mr. Albert Lockwood, Pianist.
Principal Works
"The Messiah," Handel; "Samson and Delilah," Saint-Saens; Overture, "Tan-hauser," Wagner; "Afternoon of. a Faun," Debussy; Concerto, No. 2, D minor, Op. 44, Bruch; "Scene de Ballet," Op. 52, Glazounow; "Wotan's Farewell" and "Magic Fire," Wagner; Overture, "Genoveva," Schumann; "Sea Pictures," Elgar; Concerto, D minor, Rubinstein; Symphony, No. 7, Op. 52, Beethoven; Overture, "In the South," Elgar; Ball Scene from "Romeo and Juliet," Berlioz; Symphonic Poem, "On the Moldau," Smetana; "On the Shores of Sorrento," R. Strauss.
86 Official Program Book
FIFTEENTH FESTIVAL May 13, 14, 15, 16, 1908--Five Concerts
Soloists: Mrs. Corinne Rider-Kelsey, Soprano; Mme. Ernestine Schumann-Heink, Miss Janet Spencer, Contraltos; Mr. Edward Johnson, Tenor; Mr. Claude Cunningham, Mr. Earle G. Killeen, Baritones; Mr. Herbert Witherspoon, Bass; Mr. Leopold deMare, Horn; Mr. Llewellyn L. Renwick, Organist.
Principal Works
"Creation," Haydn; "Faust," Gounod; Vorspiel "Meistersinger," Wagner; Lyric Suite, Op. 54, Grieg; Concerto for Organ, Op. 177, Rheinberger; Overture, "Barber of Bagdad," Cornelius; Valse de Concert, Glazounow; Introduction to Act I, "Fervaal," d'Indy; Concerto, (French Horn), Strauss; Symphony No. 1, Op. 38, Schumann; Over­ture, "Benvenuto Cellini," Berlioz; Two Legends, "Kalevala," "En Saga," Sibelius; Variations, Op. 36, Elgar; Overture, "Der faule Hans," Ritter; "Till Eulenspiegel's Merry Pranks," R. Strauss.
SIXTEENTH FESTIVAL v May 12, 13, 14, 15, 1909--Five Concerts
Soloists: Miss Perceval Allen, Mme. Olive Fremstad, Sopranos; Miss Margaret Keyes, Contralto; Mr. Daniel Beddoe, Mr. Edward C. Towne, Tenors; Mr. Earle G. Killeen, Baritone; Mr. Herbert Witherspoon, Bass; Mr. Alfred Barthel, Oboe; Mr. Llewellyn L. Renwick, Organist.
Principal Works
"The Seasons," Haydn; "Damnation of Faust," Berlioz; Overture, "Improvisa­tor," D'Albert; Symphony, No. 8, Op. 93, Beethoven; Symphonic Poem, "Attis," Stanley; Symphonic Valse, "At Sundown," Stock; "Love Song" (Feuersnot), Strauss; Overture, "Fingal's Cave," Mendelssohn; Concerto for Oboe, Op. 7, D minor, de Grandvaal; Symphony, No. 2, D major, Brahms; Overture, "Polonia," Wagner; "Siegfried's Rhine Journey," Wagner; Selections from "Parsifal," Wagner.
SEVENTEENTH FESTIVAL May 18, 19, 20, 21, 1910--Five Concerts
Soloists: Mrs. Jane Osborn Hannah, Mrs. Corinne Rider-Kelsey, Mrs. Sybil Sammis MacDermid, Sopranos; Miss Margaret Keyes, Contralto; Mr. Daniel Beddoe, Tenor; Mr. Sidney Biden, Signor Giuseppe Campanari, Mr. William Howland, Bari­tones : Mr. Herbert Witherspoon, Bass; Mile. Tina Lerner, Pianist.
Principal Works
"Fair Ellen," Bruch; "Odysseus," Bruch; "The New Life," Wolf-Ferrari; Sym­phony, G minor, Mozart; Symphony, D minor, Cesar Franck; "Manfred," Schumann; Concerto, F minor, Chopin.
EIGHTEENTH FESTIVAL May io, 11, 12, 13, 1911--Five Concerts
Soloists: Miss Perceval Allen, Mrs. Sybil Sammis MacDermid, Mme. Bernice de Pasquale, Sopranos; Miss Florence Mulford, Miss Janet Spencer, Contraltos; Mr. Reed Miller, Tenor; Mr. Clarence Whitehill, Baritone; Mr. Horatio Connell, Bass; JMr. Llewellyn L. Renwick, Organist.
Repertoire, 1894-1920 87
Principal Works
"Judas Maccabeus," Handel; "Eugen Onegin," Tschaikowsky; Symphony, in B minor, Borodin; Symphony, C major, Schubert; Overture, "The Perriot of the Min­ute," Bantock; Overture, "The Carnival," Glazounow; "In Springtime," Goldmark; "Capriccio Espagnole," Rimsky-Korsakow; "Vschyrad," "Moldau," Smetana; "Bran-gane's Warning" (Tristan), Wagner; Closing Scene (Gotterdammerung), Wagner.
NINETEENTH FESTIVAL May 15, 16, 17, 18, 1912--Five Concerts
Soloists: Mme. Alma Gluck, Miss Florence Hinkle, Sopranos; Miss Florence Mulford, Mrs. Nevada Van der Veer, Contraltos; Mr. Ellison Van Hoose, Mr. Reed Miller, Tenors; Mr. Marion Green, Baritone; Mr. Herbert Witherspoon, Bass; Mr. Llewellyn L. Renwick, Organist.
Principal Works
"Dream of Gerontius," Elgar; "Samson and Delilah," Saint-Saens; "Chorus Tri-omphalis," Stanley; Vorspiel, "Hansel and Gretel," Humperdinck; Legende, "Zora-hayda," Svendsen; Symphony, No. 5, E minor, Op. 64, Tschaikowsky; Overture, "Coriolan," Beethoven; Symphony, No. 4, E minor, Op. 98, Brahms; Symphonic Poem, "Les Preludes," Liszt; Overture, "Melusine," Mendelssohn; Symphonic Poem, "Le Chasseur Maudit," Cesar Franck; Suite, "Die Konigskinder," Humperdinck; March Fantasie, Op. 44, Guilmant.
TWENTIETH FESTIVAL May 14, 15, 16, 17, 1913--Five Concerts
Soloists: Miss Florence Hinkle, Mme. Marie Rappold, Sopranos; Mme. Schu-mann-Heink, Miss Rosalie Wirthlin, Contraltos; Mr. Lambert Murphy, Tenor; Sig. Pasquale Amato, Mr. Frederick A. Munson, Mr. William Hinshaw, Baritones; Mr. Henri Scott, Bass.
Principal Works
"Walrus and the Carpenter," Fletcher; "Laus Deo," Stanley; "Manzoni Requiem," Verdi; "Lohengrin," Act I, Wagner; "Meistersinger," Finale, Wagner; Symphony, No. S, C minor, Beethoven; Overture, "Academic Festival, Op. 80," Brahms; Overture, "Merry Wives of Windsor," Nicolai; Overture, "Flying Dutchman," Wagner; Over­ture, "Tannhauser," Wagner; Suite, "Wand of Youth," Elgar; Suite, "Woodland," Op. 42, MacDowell; Tone Poem, "Don Juan," Richard Strauss; Hungarian Dances, Brahms-Dvorak; "Song of the Rhine Daughters," Funeral March (Gotterdammerung), Wagner.
TWENTY-FIRST FESTIVAL May 13, 14, 15, 16, 1914--Six Concerts
Soloists: Miss Inez Barbour, Mme. Alma Gluck, Miss Florence Hinkle, So­pranos; Miss Margaret Keyes, Contralto; Mr. Riccardo Martin, Mr. Lambert Mur­phy, Tenors; Sig. Pasquale Amato, Mr. Reinald Werrenrath, Baritones; Mr. Henri Scott, Bass; Mr. Earl V. Moore, Organist.
88 Official Program Book
Principal Works
"Into the World," Benoit; "Caractacus," Elgar; "Messiah," Handel; D minor Symphony, Cesar Franck; B minor Symphony, Schubert; Overtures, "Benevenuto Cellini," Berlioz; "Bartered Bride," Smetana; Symphonic Poems, "Phaeton," Saint-Saens; "Till Eulenspiegel," Strauss; "Midsummer Night's Dream Music," Mendel­ssohn; "Impressions of Italy," Charpentier; "Festival March and Hymn to Liberty," Stock; Prelude, Act III, "Natoma," Herbert; "Fire Music," Wagner.
TWENTY-SECOND FESTIVAL May 19, 20, 21, 22, 1915--Six Concerts
Soloists: Miss Leonora Allen, Miss Frieda Hempel, Miss Ada Grace Johnson, Miss Olive Kline, Sopranos; Miss Margaret Keyes, Contralto; Mr. Giovanni Martin-elli, Mr. Lambert Murphy, Tenors; Mr. Theodore Harrison, Mr. Clarence Whitehill, Baritones; Mr. Harold Bauer, Pianist; Mr. Llewellyn L. Renwick, Organist.
Principal Works
"The New Life," Wolf-Ferrari; "The Children's Crusade," Pierne; Pianoforte Concerto, A minor, Op. 54, Schumann; Symphony No. 1, C minor, Op. 68, Brahms; Overture, "Leonore," No. 3, Beethoven; Fantasie-Overture "Hamlet," Tschaikowsky; "Wotan's Farewell and Magic Fire" (Walkure) ; "Siegfried in the Forest," Wagner; "Life's Dance," Delius.
TWENTY-THIRD FESTIVAL May 17, 18, 19, 20, 1916--Six Concerts
Soloists: Miss Frieda Hempel, Miss Florence Hinkle, Miss Ada Grace Johnson, Miss Maude C. Kleyn, Miss Doris Marvin,Sopranos; Miss Sophie Braslau, Mme. Margarete Matzenauer, Contraltos; Mr. Horace L. Davis, Mr. Morgan Kingston, Mr. John McCormack, Tenors; Mr. Pasquale Amato, Mr. Robert Dieterle, Mr. Chase B. Sikes, Mr. Reinald Werrenrath, Baritones; Mr. Gustaf Hohnquist, Bass; Mr. Ralph Kinder, Organist; Mr. Richard D. T. Hollister, Reader.
Principal Works
"Paradise Lost," M. Enrico Bossi; "The Children at Bethlehem," Pierne; "Sam­son and Delilah," Saint-Saen s; Symphony No. 7, A major, Beethoven; Symphony, E flat, Mozart; Overture--Fantasia "Francesca da Rimini," Tschaikowsky; Wedding March and Variations from "Rustic Wedding," Goldmark; Suite, Dohnanyi; "Love Scene" from "Feuersnot," Strauss; Swedish Rhapsody, Alfven.
TWENTY-FOURTH FESTIVAL May 2, 3, 4, S, 1917--Six Concerts
Soloists: Miss Maude Fay, Miss Lucy Gates, Miss Lois M. Johnston, Sopranos; Mrs. Anna Schram-Imig, Mezzo-Soprano; Mme. Margarete Matzenauer, Miss Christine Miller, Contraltos; Mr. Morgan Kingston, Signor Giovanni Martinelli, Tenors; Signor Giuseppi De Luca, Mr. Chase B. Sikes, Baritones; Mr. Gustaf Holmquist, Bass; Miss. Ethel Leginska, Pianist; Mr. Richard Keys Biggs, Organist.
Repertoire, 184.-120 89
Principal Works
"The Dream of Gerontius," Elgar; "Aida," Verdi; "The Walrus and the Carpen­ter," Fletcher; E major Symphony, Alfven; D major Symphony, Brahms; "Jupiter" Symphony, Mozart; "Othello" Overture, Dvorak; "Fingal's Cave" Overture, Mendel­ssohn; G minor Concerto, Rubinstein; "Dance Rhapsody," Delius; "Molly on the Shore," Mock Morris," and "Shepherds Hey," Granger; "Finlandia," Sibelius; "Sieg­fried's Rhine Journey," Wagner.
TWENTY-FIFTH FESTIVAL May 15, 16, 17, 18, 1918--Six Concerts
Soloists: Miss Ada Grace Johnson, Miss Lois Marjorie Johnston, Mme. Claudia Muzio, Miss Myrna Shadow, Sopranos; Miss Nora Crane Hunt, Mme. Margarete Matzenauer, Miss Emma Roberts, Contraltos; Mr. Paul Althouse, Mr. James Hamilton, Mr. Ippolito Lazaro, Mr. Giovanni Martinelli, Mr. Odra Patton, Tenors; Mr. Guiseppe de Luca, Mr. Robert Dieterle, Mr. Bernard Ferguson, Mr. Arthur Middleton, Mr. David D. Nash, Baritones; Mr. Joseph Bonnet, Organist; Mr. Rudolph Ganz, Pianist.
Principal Works
"Carmen," Bizet; "Into the World," Benoit; "The Beatitudes," Franck; D minor Symphony, Schumann; Indian Suite, MacDowell; Lenore, No. 3, Overture, Beethoven; "The Secret of Susanne," Overture, Wolf-Ferrari; Suite, "Scheherazade," Rimsky-Korsakow; Suite, "The Wand of Youth," Elgar; "An Afternoon of a Faun," Debussy; "Irish Rhapsody," Herbert; "L'Apprenti Sorcier," Dukas; Fantasie and Fugue, Liszt; Pianoforte Concerto in B flat minor, Tchaikowsky.
TWENTY-SIXTH FESTIVAL May 14, 15, 16, 17, 1919--Six Concerts
Soloists: Miss Anna Fitziu, Miss Lois Marjorie Johnston, Sopranos; Miss Merle Alcock, Mrs. Louise Homer, Miss Minerva Komenarski, Contraltos; Mr. Fernando Carpi, Mr. Arthur Hackett, Tenors; Mr. Robert R. Dieterle, Mr. Andres de Segurola, Baritones; Mr. Gustaf Holmquist, Bass; Mr. Ossip Gabrilowitsch, I'ianist; Mr. Charles M. Courboin, Organist.
Principal Works
"Faust," Gounod; '"Ode to Music," Hadley; "Fair Land of Freedom," Stanley; "Eroica" Symphony, Beethoven; B flat Symphony, Chausson; G minor Symphony, Mozart; D major Suite, Bach; Overture, "A Russian Easter," Rimsky-Korsakow; Overture, "Carneval," Dvorak; Ballet-Suite, "Sylvia," Delibes; "The Enchanted For­est," d'Indy; Rhapsodie, "Norwegian," Lalo; Pianoforte Concerto, B flat major, Brahms.
TWENTY-SEVENTH FESTIVAL May 19, 20, 21, 22, 1920--Six Concerts
Soloists: Miss Myrna Sharlow, Miss Lenora Sparks, Sopranos; Miss Carolina Lazzari, Madame Margaret Matzenauer, Contraltos; Mr. James Hamilton, Mr. Edward Johnson, Mr. William Wheeler, Tenors; Mr. Robert R. Dieterle, Mr. Leon Rothier, Mr. Titta Ruffo, Mr. Renato Zanelli, Baritones; Mr. Josef Lhevinne, Pianist; Mr. Arthur Edwin Kraft, Organist.
90 Official Program Book
Principal Works
"Manzoni" Requiem, Verdi; "Damnation of Faust,1' Berlioz; B flat major Sym­phony, No. I, Schumann; F minor Symphony, Tschaikowsky; Overture, "Patrie," Bizet; Overture, "Euryanthe," von Weber; Overture, "Russian and Ludmilla," Glinka; Symphonic Poem, "Tasso," Liszt; "Vysehrad," "The Moldau," Smetana; Capriccio Espagnole, Rimsky-Korsakow; Symphonic Poem, No. 3, "Le Chasseur Maudit," Franck; Symphonic Poem, "Finlandia," Sibelius; Concerto for Pianoforte, No. 1, C major, Beethoven; Concerto for Pianoforte, No. 1, E flat major, Liszt.
Detailed Repertoire of the May-Festival, Choral Union, and Extra Concert Series
From 1888 to 1920 Inclusive
List of Organizations, Artists, and Works
Boston Festival (51) ; Boston Symphony (5) ; Chicago Festival (3) ; Chicago Symphony (82) ; Cincinnati (2) ; Detroit (10) ; Detroit Symphony (2) ; New York Philharmonic; New York Symphony; Philadelphia (2); Pittsburg (7).
Detroit Philharmonic Club (4) ; Flonzaley Quartet (6) ; Kneisel Quartet (4) ; New York Philharmonic Club; Spiering Quartet; New York Chamber Music Asso­ciation (11 artists).
Damrosch; Gabrilowitsch (2); Herbert (3); Killeen; Kneisel; Kunwald; Mollen-hauer (31) ; Muck; Nikisch (2) ; Pauer (3) ; Rosenbecker; Seidl; Stanley (87) ; Stock (50); Stokowski (2); Stransky; Thomas (6); Urach; Zeitz.
Mme. Alda; Miss Leonora Allen; Miss Perceval Allen (4) ; Miss Bailey (2) ; Miss Inez Barbour; Mrs. Bishop (5); Mme. Blauvelt; Mme. Brema; Miss Broch; Mrs. Bussing; Mme. Calve; Miss Anna Case; Mrs. Cumming; Miss Doolittle; Mms. Fabris (3); Mme. Farrar; Maude Fay; Miss Anna Fitziu; Mrs. Ford (2); Mme. Fremstad (2); Mme. Gadski (3); Mme. Galli-Curci; Miss Lucy Gates; Miss Goodwin; Mme. Gluck (2) ; Miss Harrah; Miss Frieda Hemple (2) ; Mrs. Henschel; Miss Hiltz; Miss Hinkle (5) ; Miss Johnson (3) ; Miss Johnston (5) ; Mme. Juch (3) ; Mme. Kas-choska; Mme. Kileski (2) ; Mme. Klafsky; Miss Kleyn (2) ; Mme. Linne; Miss Loh-miller; Mrs. Sammis MacDermid (2) ; Mme. Maconda (2) ; Miss Marvin; Miss Nina
92 Official Program Book
Morgana; Mme. Muzio; Mrs. Nikisch; Mme. Nordica (2) ; Miss Osborne; Mrs. Osborne-Hannah (2); Miss Parmeter; Mme. Pasquale (2); Mrs. French-Read (2); Mrs. Rider-Kelsey (6) ; Mme. Rappold (2) ; Miss Rio (5) ; Mme. de Vere-Sapio (2) ; Mme. Sembrich; Miss Sharlow (2) ; Miss Sparkes; Mme. Steinbach; Miss Stevenson, Miss Stewart (5) ; Mme. Tanner-Musin; Mrs. Walker (2) ; Mrs. Winchell (2) ; Mrs. Wood; Mrs. Zimmerman (2).
Mrs. Alcock; Mrs. Bloodgood (3); Mme. Bouton (4); Miss Buckley (2); Mrs. Clements (2); Miss Crawford; Miss Muriel Foster; Miss Glenn; Miss Hall; Miss Heinrich; Mme. Homer (8); Miss Hunt; Mme. Jacoby (2); Miss Keyes (7); Miss Komenarski; Carolina Lazzari (2); Mme. Matzenauer (6); Christine Miller; Miss Mulford (3); Miss Munson (2); Mrs. Pease (2); Miss Roberts; Miss Roselle (2); Mrs. Scott; Mme. Schumann-Heink (6); Miss Spencer (6); Miss Stein (10); Miss Stoddard; Miss Towle; Mme. can der Veer; Miss Weed; Mrs. Wright; Miss Wirthlin.
Althouse; Beddoe (3) ; Berthald (4) ; Bond (2) ; Carpi; Caruso; Cowper (2) ; Davies; Davis; Dippel (2) ; Gordon; Hackett; Hall (8) ; Hamlin (5) ; Hamilton (3) ; Edword Johnson (5); Jordan (2); Kingston (2); Knorr (2); Lavin; Lazaro; Mar-tinelli (3); McCormack; McKinley (2); Murphy (5); Patton (2); Stevens (4); Towne (3); van Hoose (4); van York; Wegener; Wheeler; Williams (4).
Amato (4) ; Beresford (2) ; Bispham (6) ; Campanari (11) ; Campbell; Campion; Clarke; Connell (2) ; Crane; D'Arnalle (3) ; Del Puente; De Luca (2) ; Dieterle (5) ; Gogorza (6); Marion Greene (2) ; Plunket Green (2) ; Theodore Harrison (3) ; Heinrich (9); Henschel; Hinshaw; Holmes; Holmquist (4); Howland (11); Killeen (2); Lamson (6); Martin (7); Meyn (5) ; Miles (5); Mills (2); Munson; Nash; Rothier; Ruffo; Scott (4); de Segurola; Senger; Sikes (2); Spalding; Stracciari; Werrenrath (4) ; Whitehill (4) ; Whitney (2) ; Witherspoon (7) ; Zanelli.
d'Albert; Aus der Ohe (4); Bauer (3); Busoni; Carreno (2); Gabrilowitsch (3); Dohnanyi; Durno-Collins (2); Friedheim (2); Ganz; Hambourg; Hoffman; Jonas (5) ; Lachaume (2) ; Leginska (2) ; Tina Lerner (2) ; Lhevinne (2), Lockwood (3); De Pachman; Paderewski (3); Prokofieff; Pugno; Renard; Samaroff (2); Schmall (3); Seyler (2); Sickiez; Sieveking; Sternherg (3); Sumowska; van den Berg; von Grave (2) ; Zeisler (2).
T. Adamowski; Bendix; Miss Botsford; Breeskin; Burmester; Elman; Ern; Flesch; Halir, Heerman; Heifetz; Kramer; Kreisler (3); Lichtenberg; Lockwood; Loeffler; Macmillan; Musin; Miss Powell (2); Ricarde; Rosen; Seidel; Sturm (2); Winternitz; Ysaye (2); Yunk (2); Zeitz (3).
Detailed Repertoire 93
Abel; J. Adamowski; Bramsen; Bronstein; Casals; Diestel; Gerardy; Giese; Heberlein; Heindl; Hekking; Hoffman; Elsa Ruegger (2); Schmitt; Schroeder; Steindl.
Archer; Biggs; Bonnet (2); Courboin; Eddy (2); Guilmant; Kinder; Kraft; Middleschulte; Moore; Renwick (8).
Berlioz, "Damnation of Faust" (5) ; Bizet, "Carmen" (2) ; Bossi, "Paradise Lost"; Bruch, "Arminius" (2), "Odysseus" ; Buck, "Light of Asia" ; Chadwick, "Lily Nymph" ; Dvorak, "Stabat Mater"; Elgar, "Caractacus" (First Time in America, 1893), (2); "Dream of Gerontius" (3) ; Franck, "The Beatitudes"; Gluck, "Orpheus"; Gounod, "Redemption," "Faust" (3) ; Hadley, "Ode to Music"; Handel, "Judas Maccabeus," "Messiah" (5); Haydn, "Creation," "Seasons"; Mendelssohn, "Elijah" (2); "St. Paul" (2) ; "42nd Psalm" (2) ; Parker, "Hora Novissima"; Pierne, "The Children at Bethlehem," "The Children's Crusade"; Rheinberger, "Christophus"; Rossini, "Stabat Mater"; Saint-Saens, "Samson and Delilah" (5); Stanley, "A Psalm of Victory," "Laus Deo"; Sullivan, "Golden Legend"; Coleridge-Taylor, "Hiawatha's Wedding Feast"; Tschaikowsky, "Eugen Onegin"; Verdi, "Manzoni Requiem" (4), "Aida"' (3); Wagner, "Flying Dutchman," "Lohengrin," Act I (3) ; Meistersinger (Finale), (2) ; "Tannhauser" (Paris version) ; Wolf-Ferrari, "The New Life' (2).
Benoit, "Into the World" (Children's Chorus) (2) ; Brahms, "Requiem" (two choruses); Bruch, "Fair Ellen" (4), "Flight into Egypt" (2); "Flight of the Holy Family" (2) ; Cornelius, "Salemaleikum," from "Barber of Bagdad"; Faning, "Song of the Vikings"; Fletcher, "Walrus and Carpenter" (Children's Chorus (2); Foote, "Wreck of the Hesperus"; Gounod, "Gallia" (5) ; "Lovely Appear" and "Unfold Ye Everlasting Portals," from "Redemption" (3) ; Grieg, "Discovery" (2) ; Marchetti, "Ave Maria" (2) ; Massenet, "Narcissus"; Rheinberger, "The Night" (2) ; Saint-Saens, "Spring Song" from "Samson and Delilah"; Stanley, "Chorus Triomphalis" (4), "Consecration Hymn" (3), "Fair Land of Freedom"; Verdi, "Stabat Mater"; Wag­ner, "Spinning Song," "Flying Dutchman," Act II; "Hail Bright Abode" from "Tann­hauser" (3) ; "Flower Girls Scene" from "Parsifal," "Bachanale" and "Chorus of Sirens" from "Tannhauser," Act I, Scene 1. Finale. In addition a large number of part-songs, madrigals, motets, etc., both ancient and modern, have been given.
Alfven--No. 3, E major. Beethoven--No. 2, D major (2) ; No. 3, "Eroica" (2) ; No. 4, B flat major; No. 5, C minor (3) ; No. 6, "Pastoral"; No. 7, A major (4) ; No. 8, F major ("3). Borodin--No. 2, B minor. Brahms--C minor, No. 1; D major, No. 2 (4) ;
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No. 3, F major; No. 4, E minor Chausson--B flat. Dubois--"Symphonie Francais." Dvorak--D major, No. 1; "In the New World," No. 5 (2). Franck--D minor (2). Glazounow--G minor, No. 6. Goldmark--"Rustic Wedding" (2). Haydn--E flat, No. 1. Mendelssohn--A minor, "Scotch." Mozart--G major (Short Symphony) ; G minor (3) ; E flat major; C major (Jupiter). Raff--"Im Walde." Schubert--B minor, "Unfin­ished" (6); No. 10, C major (2). Schumann--B flat (4); D minor (2); "Rhenish." Spohr--"Consecration of Tones." Stanley--F major. Tschaikowsky--E minor, No. S (6); F minor; "Pathetic" (4).
Alfven -"Swedish Rhapsody." Bach --Adagio, Gavotte: Praeludium et Fuga; Suite in D (3). Beethoven -Allegretto, 7th Symphony; Allegretto scherzando, 8th Symphony. Berlioz--"Ball Scene" from "Romeo and Juliet" Symphony; Danse des Sylphes"; Menuetto, "Will o' the Wisps"; Marche, Hongroise" (2). Bizet--Ballet Music, "Carmen"; Suite, "Children's Games"; Suite, "Les Arlesienne" (2). Bour-gault-Ducoudray--"Burial of Ophelia." Brahms--Hungarian Dances (Fourth Set). Cassella "Italia." Chabrier -Entr'acte "Gwendoline"; "Rhapsodie Espana" (3). Chadwick--Symphonic Sketches. Charpentier--"Impressions d'ltalie" (2). Debussey --"An Afternoon of a Faun" (3); "March Ecossaise"; "Cortege and Air de Danse." Delibes--Intermezzo, "Naila"; Ballet-Suite, "Sylvia." D'Indy--Introduction, Act I, "Fervaal"; "The Enchanted Forest." Delius--"Life's Dance"; "Dance Rhapsody." Dohnanyi--Suite (2). Dubois -Petit Suite. Dukas -"L'Apprenti Sorcier" (2). Dvorak--Largo from "New World Symphony" (2) ; Symphonic Variations; Suite in D minor: Scherzo Capriccioso, Op. 66. Elgar--"Enigma" Variations; Suite, "Wand of Youth" (2) ; March, "Pomp and Circumstance" (2). Enesco--Roumanian Rhap­sody, No. 1, in A. Franck--Symphonic Poem, "Les Eolides." German--Ballet Music, "Henry VIII." Gilson--Fanfare Inaugurale. Glazounow--Suite, Valse de Concert. Gliere--"The Sirens." Goldmark--Prelude. Act III, "Cricket on the Hearth"; Scher­zo; Theme and Variations from "Rustic" Symphony (2). Gounod--"Hymn to St. Cecelia." Grainger -"Molly on the Shore"; "Mock Morris"; "Shepherd's Hey." Greig-"Herzwunden," "Im Friihling" (Strings) (2) ; Suite, "Peer Gynt" (2) ; Lyric Suite, Op. 54. Gretry-Mottl--Ballet Music, "Cephale and Procris." Hadley--Varia­tions; Festival March. Haydn--"Austrian National Hymn" (Strings). Herbert--¦ Prelude, Act III, "Natoma"; Irish Rhapsody. Humperdinck---Dream Music, "Han­sel and Gretel"; Vorspiel II and III, "KSnigs-Kinder." Juon--Suite for String Or­chestra. Kaun--Festival March. Lalo--"Norwegian Rhapsodie'' (2). Liadow--"Le Lac Enchante," "Kikimorora." Liszt--"Les Preludes" (5) ; "Tasso" (2) ; Grand Polonaise in E; Rhapsodie No. IX; Hungarian Rhapsody No. 1; "Marguerite" from "Faust" Symphony. MacDowell--Suite, Op. 42 (2) ; "Indian" (2). Mackenzie--Benedictus. Massenet--Prelude, Act III, "Herodiade"; Suite, "Les Erinnyes"; Suite, "Esclar-monde." Mendelssohn--"Mid-Summer Night's Dream" Music (3) ; Scherzo. Mosz-kowski--"Malaguena" and "Maurische" Danse; "Boabdil"; Suite d'Orchestre. Pagan-ini--"Mobile Perpetuum." Paine--Moorish Dances. Ponchielli--"Danza dell' Or." Puccini--"La Boheme," Fantasia. Ravel--Suite, "Mother Goose," three movements, Rimsky-Korzakow--Symphonic Poem, "Scherherazade" (2) ; Capriccio Espagnol, Op.
Detailed Repertoire 95
34 (2). Saint Saens--"A Night in Lisbon" ; Symphonic Poem, "Le Rouet d'Omphale"; "La Jeunesse d'Hercules"; "Marche Heroique"; "Phaeton." Schillings--"Vorspiel," Act II; "Ingwelde"; "Harvest Festival"; "Moloch." Schubert-----Theme and Varia­tions, D major Quartet (Strings) ; March in E flat. Sibelins--"The Swan of Tuonela," "Lemminkamen Turns Homeward"; Valse triste; "Finlandia" (3); "En Saga." Sin-igaglia--"Suite Piemontesi" ; Perpetuum Mobile" (for strings). Smetana -"Sarka"; Symphonic Poem, "Wallenstein's Camp"; "Vysehrad" (2) ; "On the Moldau" (3). Stan­ley---Symphonic Poem, "Attis" (2); Scherzo from F major Symphony. Stock--"At Sunset," Symphonic Waltz; "Festival March and Hymn to Liberty"; March and Hymn to Democracy." Strauss, Ed.--Seid umschlungen Millionen." Strauss, Rich­ard-Tone Poem, "Don Juan" (3): "Tod and Verklarung" (2); Love Scene from "Feuersnot" (2) ; "On the Shores of Sorrento" (2) ; "Till Eulenspiegel" (2). Svend-sen--Allegretto Scherzando; Kr6nung"s Marsch"; Fantasie, "Romeo and Juliet" (2) ; Legend "Zorahayda." Tschaikowsky--Adagio, from E minor Symphony; Andante from B flat Quartette (2) ; Elegy; "Pizzicato Ostinato," from F minor Symphony; Theme, Variations and Polacca (2) ; Marche, "Sclav"; Serenade, Op. 48 (2) ; Suite, "Casse Noisette"; Overture-Fantasia, "Francesca da Rimini"; Overture-Fantasia "Hamlet." Volbach--"Es waren zwei Konigskinder." Van der Stucken--"Spring Night." Wag­ner--"Huldigungsmarsch" (2) ; "Kaisermarsch" (2) ; "Siegfried" Idylle; Fragment from "Tannhauser"; Bacchanale (3) ; "Traume" (2) ; Introduction to Act III, "Lohen­grin" ; "Ride of the Valkyrs" (3) ; "Magic Fire" (3) ; "Forge Songs"; "Siegfried in the Forest"; "Waldweben" (2) ; "Siegfried and the Bird"; "Siegfried's Rhine Journey and Passing of Brunhilde's Rock" (5) ; "Song of the Rhine Daughters"; "Siegfried's Death"; "Siegfried's Funeral March" (2) ; Closing Scene from "Gotterdammerung"; "Love Scene and Brangane's Warning"; "Flower Girl's Scene"; "Good Friday Spell" (3) ; "Procession of the Knights of the Grail and Glorification" (Prelude and Love-Death (Tristan), von Weber--"Invitation to the Dance." Wolf--"Italian Serenade."
d'Albert--"Der Improvisator." Bantock--"The Perriot of the Minute." Bee­thoven--"Coriolanus" (3) ; "Egmont" (2) ; "Fidelio" (3) ; "Lenore," Nos. 1 and 2; No. 3 (0). Berlioz--"Benvenuto Cellini" (3); "Carnival Romain" (3). Bizet--"Patrie." Brahms--"Akademische Fest" (4) ; "Tragische." Chabrier--"Gwendoline." Chadwick ¦--"Melpomene." Cherubini--"Anacreon"; "Wassertrager.' Cornelius---"Barber of Bagdad." Dvorak--"Carneval" (2) ; "In der Natur"; "Othello." Elgar--"Cockaigne"; "In the South" (2). Goldmark--"Sakuntala"; "Im Friihling" (3); Glazounow--"Car­nival" ; "Solonelle" (2). Glinka--"Russian and Ludmilla." Humperdinck--"Hansel and Gretel" (2). Litolff--"Robespierre." Mendelssohn--"Fingal's Cave" (2) ; "Mid­summer Night's Dream" (2); "Ruy Bias"; "Melusina." Mozart--"Figaro" (3); "Magic Flute" (3) ; "Der Schauspieldirektor." Nicolai--"Merry Wives of Windsor." Paine--"Oedipus Tyrannus." Rimsky-Korsakow--"A Russian Easter." Ritter--"Der Faule Hans." Rossini--"William Tell." Scheinpflug--"To a Shakespeare Comedy." Schumann, G.--"Liebesfriihling." Schumann, R.--"Genoveva" (2) ; "Manfred." Sini-gaglia--"Le Baruffe Chiozotte." Smetana--"Bartered Bride" (3). Thomas--"Mignon." Tschaikowsky--"1812" (2) ; "Romeo and Juliet"; Overture-Fantasia, "Hamlet." von
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Reznicek--"Donna Diana." Wagner--"Faust" (2) ; "Flying Dutchman" (3) ; "Lohen­grin" (5); "Meistersinger" (9); "Parsifal" (2); "Polonia"; "Rienzi" (4); "Tann-hauser" (10); "Tristan" (5). von Weber--"Euryanthe" (4); "Freischiitz"; "Oberon'' (7) ; "Jubel." Wolf-Ferrari--"The Secret of Susanne."
Beethoven--C major (Pianoforte); E flat (Pianoforte). F. Boellman--((Violon­cello). Brahms--B flat (Pianoforte). Bruch--D minor; G minor (Violin) (2) ; Scotch Fantasia (Violin). Chaminade, D major (Flute). Chopin--E minor (Piano­forte) ; F minor (Pianoforte). Dubois--(Organ). Ernst--(Violin). Golterman-(Violoncello). Greig--A minor (Pianoforte) (2). de Grandvaal--D minor (Oboe). Guilmant--D minor (Organ). Handel--G major (Organ, Oboe and Strings). Hen-selt--G major (Pianoforte). Lalo--"Symphonie Espagnol" (Violin). Linder--(Vio­loncello). Liszt--E flat (2); A major; "Hungarian Fantasie" (Pianoforte). Men­delssohn--E minor (Violin) (5). Padereski--A minor (Pianoforte). Paganini-(Violin). Rheinberger--G minor (Organ). Rubinstein--D minor (Pianoforte) (3). Saint-Saens--A mnor (Violoncello) (2) ; G minor (Pianoforte) (2) ; B minor (Vio­lin) ; Rondo Capriccioso (Violin) (4). Schumann--A minor (Pianoforte) (2). Strauss--Horn Concerto, de Swert--D minor (Violoncello). Tschaikowsky--B flat minor (Pianoforte) (2). Wieniawski--D minor (Violin) (5).
Bach, W. Friedman--"Sonata a Tre." Beethoven--G major, Op. 18, No. 2; D major, Op. 18, No. 3; A major, Op. iS, No. 5 (2) ; Sonata in A major for Piano and Violoncello; Quintet, E flat major, Op. 16, for Pianoforte, Oboe, Clarinet, Bassoon, and French Horn. Brahms--Quintet, B minor, Op. 115, for Clarinet and Strings. Debussey--"Le Petit Berger," for Flute, Harp, and Violoncello. Dvorak--F major, Op. 06 (2); E major, Op. 51; A flat major, Op. 105. Franck--D major. Goosens-"Five Impressions of a Holiday," Op. 7, for Pianoforte, Flute, and Violoncello. Grana-dos--Dause Espagnole, for Flute, Harp, and Violoncello. Grieg--Op. 27. Handel-Sonata in A major, for Violin and Pianoforte (2) ; Sonata, No. 4, D major, for Piano­forte and Violin. Haydn--D major, Op. 76, No. 5 (2) ; G minor, Op. 74, No. 3; D minor, Op. 76, No. 2. Hue--"Le Rouet," for Flute, Harp, and Violoncello. Jadassohn --Quintet, Op. 76. Kurth--Sextet. Leclair l'Aine--Sonata a Tre (2). Mendelssohn ¦--E flat, Op. 12. Mozart--D major (2). Raff--D minor. Ravel--Sonatina en Trio, for Flute, Harp, and Violoncello. Rubinstein--C minor, Op. 17, No. 2, Op. 19. Saint-Saens--Piano Septet, Op. 65. Schubert--D minor (3). Schumann--Piano Quintet, Op. 44. Smetana--E minor. Strawinsky--"Three Pieces." Tschaikowsky--Trio, A minor, von Dittersdorf--D major. Wolf--"Italienische Serenade." Wolf-Ferrari-"Sinfonia da Camera," B flat major, Op. 8, for Pianoforte, Violins, Viola, Violoncello, Double-Bass, Flute, Oboe, Clarinet, Bassoon, and French Horn.
Bach (4) ; Beethoven (6) ; Bellini (5) ; Bizet (5) ; Caccini (2) ; Chadwick (3) ; Charpentier (4); Delibes (2); Danizetti (10); Giordani (2); Gluck (4); Gounod
Detailed Repertoire 97
(13); Handel (20); Haydn (4); Leoncavallo (9) ; Massenet (20); Mercadante (2); Meyerbeer (7); Mozart (21); Pasiello (2); Pergolese (4); Ponchielli (2); Peccini
(3) ; Rossi (3) ; Rossini (9) ; Saint-Saens (4) ; Thomas, A. (8) ; Thomas, G. (3) ; Tschaikowsky (7); Verdi (15); Wagner (42); von Weber (7).--Auber; Bemberg; Berlioz; Boito; Bononcini; Catalani; Cornelius; David; D'Aqua; Debussey; Godard; Goetz; Gomez; Gretry; Graun; Halevy; Monteverdi; Peccia; Proch; Schubert; Scar­latti ; Secchi; Spohr, one each.
D'Albert (2) ; Allitsen (2) ; Alvarez (3) ; Bach (3) ; Beach (4) ; Beethoven (5) ; Bemberg (4) ; Bizet (2) ; Bohm (2) ; Brahms (47) ; Cadman (5) ; Carissimi (2) ; Carpenter (2); Chadwick (11); Chaminade (3); Chopin (3); Cimarosa (2); Clay (7) ; Covven (2) ; Damrosch (2) ; Debussey (3) ; Elgar (4) ; Old English (17) ; Foote (6) ; Franz (6) ; Old French (8) ; Giordani (3) ; Gounod (5) ; Grieg (13) ; Hahn (4) ; Hammond (2) ; Henschel (9) ; Hildach (4) ; Homer (4) ; Horrocks (3) ; Old Irisli (19) ; Jadassohn (2) ; Jensen (2) ; Korbay (5) ; Lalo (3) ; Liszt (5) ; Loewe (8) ; Lucas (2) ; MacDowell (4) ; MacFadden (2) ; Mackenzie (3) ; Massenet (3) ; Men­delssohn (11) ; Meyer-Helmund (3) ; Parker (2) ; Purcell (5) ; Rachmaninoff (8) ; Reger (2) ; Rimsky-Korsakow (2) ; Rubinstein (11) ; Rummell (2) ; Saint-Saens (4) ; Salter (2) ; Schubert (73); Schumann (60); Old Scotch (6); Schneider (2); Sieve-king (2); Somerville (13); R. Strauss (26); Sullivan (2); Thomas, G. (15); Tosti
(4) ; Tschaikowsky (10) ; Wolf (14).--Alfven; d'Ambrosio; Bantock; Bishop; Bonon­cini; Bovio; Branscombe; Bruneaux; Callone; Colburn; Coleridge-Taylor; Cornelius; Cox; Delbruck; Delibes; Failing; Faure; Franck; Foudrain; Goldmark; Gretchaninoff; Handel; Haydn; Kjerulf; Koemmenich; LaForge; Legrenze; Leoncavallo; Mana Zucca ; Marchesi; Mascagni; Pitt; Polak; Poldowski; Quilter; Rabey; Ravasenga; Renard; Rich; Rossini; Salvator-Rosa; Scott; Sgambati; Soderman; Spross; Thomas, A.; Trumarchi; Valente; Vieh-Waller; Weingartner; Yradier; one each, and 72 untab-ulated songs by minor composers.
Bach (12) ; Beethoven (15) ; Brahms (9) ; Chopin (21) ; Dohnanyi (2) ; Dvorsky (3); Godard (3); Gluck (4); Grieg (3); Handel (4); Henselt (3); Liszt (51); Mendelssohn (8) ; Mozkowski (2) ; Mozart (3) ; Paderewski (8) ; Rachmaninoff (3) ; Rubinstein (7) ; Saint-Saens (3) ; Scarlatti (4) ; Schubert (5) ; Schumann (20) ; Schultz-Evler (2); Scriabine (2).--Arensky; Bach, Ph. Em.; Bach-Taussig; Bala-kirew; Couperin; Carreno; Daquin; Debussey; d'Albert; d'Aquin; Delibes; Dvorak; Franck; Gabrilowitsch; Hambourg; Hinton; Jonas; LaForge; Laidon; Laidow; Merk-ler; Paradies; Poldoni; Pugno; Raff; Rameau; Schiitt; Sgambati; Stavenhagen; Sto-jowski; Strauss, J.--Taussig; Strauss, R.--Godowsky; Tschaikowsky; von Weber, one each.
Bach (13); Bazzini (3); Beethoven (6); Beethoven-Auer (3); Brahms (5); Chaminade (2) ; Chopin-Auer (3) ; Couperin (2) ; Ernst (3) ; Handel (6) ; Kreisler (4) ; Mozart (6) ; Nardini (2) ; Paganini (5) ; Pugnani (3) ; Sarasate (4) ; Schubert (6) ; Schumann (3) ; Tartini (2) ; Vieuxtemps (3) ; Wagner-Wilhelmj (2) ; Wieni98 Official Program Book
awski (3) ; Vitali (2) ; Zarzysky (2).--Achron; Bach, P.; Boccherini; Bruch; Chopin; Cuiz Francouer; Geminiani; Glazounow; Goldmark; Granados; Halir; Hubay; di-Kontsky; Musin; Martini; Mendelssohn-Achron; Paderewski; Ries; Saint-Saens; Sinding; Spohr; Tschaikowsky; Ysaye, one each.
Bach (4); Boccherini (3); Faure (2); Popper (6); Saint-Saens (2); Schubert (2); Schumann (2).--Arensky; Bruch; Colsmann; Davidoff; Gluber; Goens; Gold-beck ; Goltermann; Gluck; Heberlein; Locatelli; Salmond; Servais; Tschaikowsky, one each.
Bach (14); Baldwin (3); Boellman (2); Bonnet (7); Buxtehude (2); Callaerts (2) ; Dethier (2) ; Dubois (4) ; Faulkes (4) ; Franck (3) ; Gigout (2) ; Guilmant (21) ; Hollins (3) ; Kinder (2) ; Lemare (2) ; Liszt (2) ; Mailly (2) ; Merkel (3) ; Parker (2); Renner (2); Saint-Saens (2); Schumann (5); Wagner (3); Widor (3).-Archer; Beethoven; Berlioz; Bernard; Bird; Borowski; Bossi; Capocci; Chopin; Clerambault; Cole; deBock; Debussey; Foote; Fricker; Goldmark; Gounod; Hagg; Hoyt; Johnson; Krebs; Laidow; Lendrai; Liszt; Macfarlane; Mailing; Martini; Mid-dleschulte; Moszowski; Piutti; Rachmaninoff; Ravenello; Rimsky-Korsakow; Salome; Silas; Stainer; Verdi; Vierne; Whiting; Yon, one each.
MISCELLANEOUS SOLOS Flute, Hue; Harp, Salzedo (3). " -.'; "
Summary of Works
40 Larger Choral Works by 26 composers, were given 86 performances
26 Smaller Choral Works " 16 " " " 50
37 Symphonies " 18 " " " 72 "
170 Symphonic Poems, etc. " 66 " " " 226 "
67 Overtures " 34 " " " 143 "
37 Concertos . " 27 " " " 55 "
37 Quartets, etc. ' . " 21 " " " 46 "
331 Piano Solos ' " 57 " " performed
116 Violin Solos " 46
35 Violoncello Solos " 22 " " "
137 Organ Solos " 64 4 Flute and Harp Solos
275 Arias . " 55
665 Songs " 120
Total number of Vocal works (including arias and songs)...... 996
Total number of Instrumental works (including solos)......... 972
Summary of Organizations and Artists
(1888-1918--318 Concerts)
12 Orchestras took part in 165 concerts
7 String Quartets, etc. " " " 17 "
19 Conductors . " " 196
63 Sopranos , " " 121
33 Contraltos ' " " 84
33 Tenors ' . " 81 "
44 Baritones and Basses . " " " 140 "
33 Pianists " " " 63 "
27 Violinists " " " 36 "
16 Violoncellists . " 17 "
II Organists " " " 20
The activity of the University Musical Society is by no means covered by this list. The 1,175 programs included in the various concert series of the University School of Music cover well nigh the entire field of ensemble and solo music. Many important ensemble works were given their first hearing in this country in these concerts.
A reasonably conservative estimate of the number of works performed at these concerts would place them at 9,500. These added to the Choral Union total would give considerably more than 11,000 works heard during this period.

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