THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 COMPLIMENTS OF 
 
 THE PHILHARMONIC SOCIETY 
 
 OF NEW YORK 
 
 CARNEGIE HALL. N. Y.
 
 \a\\t 
 
 DDE 
 
 310 
 
 U. C. HILL 
 
 KIKST PRESIDENT OF 
 
 THK PHILHARIVfONIC SOCIETY OF NEW YORK 
 1842
 
 The 
 
 Philharmonic Society 
 
 of 
 
 New York 
 
 AND ITS 
 
 SEVENTY -FIFTH ANNIVERSARY 
 
 A RETROSPECT 
 
 By 
 JAMES GIBBONS HUNEKER
 
 LIBRARY 
 
 riL 
 
 2.OO.S 
 
 In this year of grace, 1917, The Philharmonic 
 Society of New York celebrates its seventy- 
 fifth anniversary. It was founded in April 1842, 
 and its history has been one of uninterrupted 
 music-making. Its first concert was given in the 
 Apollo Rooms, New York City, on December 
 7th, 1842, and there is nothing in its past or 
 present that indicates any break in the con- 
 tinuity of its future musical activities. Hard to 
 come by and difficult to set down is the record 
 of the Society because of the meagre document- 
 ary evidence, most of it secured by haphazard 
 hearsay; and the amount of details, names, 
 dates, happenings, are for the most part still 
 enveloped in mist. Mr. Henry Edward Kreh- 
 biel recited in his Memorial of the Fiftieth 
 Anniversary of The Philharmonic Society, 
 April 1892, his pains in securing authoritative 
 data. He had, to be sure, the privilege of per- 
 sonally interviewing William Scharfenberg, 
 Samuel Johnson, and James L. Ensign, "three 
 of the five surviving members of the Society 
 at its foundation, and Anthony ReifT." So he 
 was able to incorporate in his Memorial the 
 reports of his viva-voce interviews, a fact that 
 has made his labor of enduring value. The 
 present writer of these notes has had no such 
 lucky experience and must therefore depend 
 upon printed history for the facts and figures 
 of the first half century. 
 
 640511
 
 The official machinery and its inner func- 
 tioning it is not deemed necessary to dwell upon 
 now. A corporate organization, the Society 
 has its constitution and by-laws. It has been 
 pointed out that it is a democratic body whose 
 object is the cultivation and performance of 
 instrumental music. Since its birth it records 
 two hundred and fifty-nine regular concerts up 
 to the year 1892, and a record that has been 
 bettered by but few foreign orchestras. Whereas, 
 at each season nowadays there are concerts 
 given which amount to about one quarter of 
 the entire number of the complete first half 
 century, which fact should suffice as an answer 
 to pessimists who tell us that the art of music 
 is declining. Beginning as a professional mu- 
 sical society, the Philharmonic has changed, 
 not in its aims, which have been always lofty, 
 but in the inclusion of the laity. It is justly 
 considered an honor, and rightly so, for non- 
 professionals to be associated in the conduct of 
 the Society. Thus, after the first quarter of a 
 century had elapsed, during which time the 
 President was naturally enough a professional 
 musician, gentlemen well-known in the culti- 
 vated, financial world and society, have figured 
 as interested co-workers with the Society. Only 
 good was bound to result in this agreeable in- 
 tercourse. And with the passage of the years 
 this innovation has become one of the main- 
 stays of the institution. 
 
 In the tenth annual report of the Society is 
 to be found the causes that led to its formation. 
 It seems that for several years previous to the
 
 spring of 1842 the need of an orchestra in the 
 City of New York was felt, not only by musi- 
 cians but also by numerous music lovers. A 
 peep at the local musical events of those days 
 shows that an unusual interest in the "divine 
 art" was manifest. New York was hardly the 
 raw, uncultivated metropolis so frequently de- 
 scribed by hypercritical visitors from across 
 seas. Its devotion to the drama, to art and 
 literature was marked. For music, as the chroni- 
 cles relate, it had always displayed a special 
 predilection. U. C. Hill (whose full name was 
 Ureli Corelli Hill, a combination which recalls 
 at once Poe and Italian musical history) had 
 been in Europe, and, a passionate disciple of all 
 that was noble in the classics, he held counsel 
 with several musicians, C. E. Horn, William 
 Penson, P. Maroncelli, and others, as to the 
 possibility of founding an orchestra. At the 
 Apollo Rooms, April 2nd, 1842, a meeting was 
 held in which there participated a number of 
 musicians. Mr. Hill called the meeting to order 
 Mr. A. P. Heinrich was appointed chairman, 
 and Mr. F. W. Rosier, Secretary. The meeting 
 was adjourned to April 16th, and again to the 
 23rd of the same month. The officers were 
 elected as follows : President, U. C. Hill ; Vice- 
 President, A. Reiff ; Secretary, F. W. Rosier; 
 Treasurer, Allan Dodworth; and Librarian, 
 W. Wood. At the next meeting, May 7th, an 
 addition was made to the number by two assist- 
 ants, A. Boucher and H. Otto. Rehearsals were 
 at once begun and the first concert, as said 
 before, took place December 7th, 1842. Surely
 
 a marking date in the musical history of the 
 United States. 
 
 Mr. Hill possessed an ambitious nature. He 
 had studied with the great violinist Spohr at 
 Cassel, Germany, and according to William 
 Scharfenberg this influenced him in his de- 
 termination to found an orchestra here. An- 
 thony Reiff , the son of the first Vice-President 
 of the Society (he died October 1916) believed 
 it was during a visit of Hill to Europe in com- 
 pany with the elder Reiff that the idea was 
 born. Mr. Ensign, who, in 1837, was a pupil 
 of Hill, declared that he often heard his teacher 
 speak of the scheme at rehearsals of the Eu- 
 terpean and the New York Sacred Music So- 
 ciety. Be this as it may, there is no doubt that 
 Hill was the prime mover in the affair. Enthu- 
 siasm hid a multitude of musical shortcomings, 
 and such pianists and teachers of that instru- 
 ment, as Timm, Scharfenberg, and Etienne, 
 joined Hill in his rather risky enterprise. From 
 another witness, Thomas Goodwin, the chroni- 
 cler of the Memorial heard fresh gossip. It 
 was at the restaurant in Park Row, appositely 
 called "The Shakespeare" that a gathering 
 occurred of the men who are above mentioned, 
 and with historical consequences, for The Phil- 
 harmonic Society was born. 
 
 The complete programme of the first concert 
 is not only of historical interest but it is of 
 especial significance, inasmuch as it reveals the 
 high standard of musical excellence from the 
 start ; a standard that has been maintained ever 
 since. U. C. Hill conducted the Symphony No.
 
 5, in C-minor of Beethoven, one is tempted to 
 say the keystone of symphonic music. H. C. 
 Timm conducted the new overture in D by the 
 now obsolete composer, Kalliwoda ; also the vo- 
 cal music. In addition, there were the Overture 
 to Weber's "Oberon," directed by Etienne; the 
 D-Minor Quintet by Hummel for pianoforte, 
 violin, viola, violoncello, and double-bass 
 (Messrs. Scharfenberg, Hill, Derwort, Bou- 
 cher and Rosier). Madame Otto sang a scene 
 from "Oberon," and with C. E. Horn, a duet, 
 from Rossini's "Arunda." A scene was sung 
 from "Fidelio" by C. E. Horn, and the Aria 
 Bravura from Mozart's "Belmont and Con- 
 stance" was delivered by Madame Otto. There 
 were numbers in this list that signify an 
 acquiesence in the musical taste of the times; 
 but Beethoven, Beethoven the Alpha and 
 Omega of the Symphony, is the foundation 
 upon which is built the tonal edifice of The 
 Philharmonic Society. 
 
 And how did this epoch-making concert 
 succeed? How did the band play? What 
 "notables" were in the audience, doubtless 
 a "galaxy" of fashion, youth and talent? 
 We do not know, but we think that there 
 are a few among The Philharmonic Society 
 audiences of to-day who would like to bridge 
 the years and find themselves in the old 
 Apollo Rooms there listening to the not alto- 
 gether inharmonious efforts of certain valiant 
 musical fanatics. Those men of 1842 represent 
 the allegorical acorn from which has grown 
 the mighty oak of 1917. They are dead, the
 
 Apollo Rooms have vanished, but The Philhar- 
 monic Society still lives and flourishes, and the 
 name of Beethoven has waxed, not waned, with 
 the flight of time. Is it claiming too much then 
 to assert that the Society has zealously kept 
 alight the burning coal on the sacred altar of 
 art in our native land? 
 
 Who were the musicians of the Society in 
 those days ? The list of the second season gives 
 their names, and it is a holy and wholesome 
 thought that honors these pioneers. We there- 
 fore make no apology for giving their names 
 and individual instruments. Furthermore, we 
 propose to give the personnel of The Philhar- 
 monic Society Orchestra in 1892 and 1917 (its 
 fiftieth and seventy-fifth years, respectively). 
 Here is the original roster : 
 
 Violins 
 
 Violas 
 
 Flutes 
 
 G. F. Bristow 
 
 Chevalier 
 
 P. Ernst 
 
 G. De Luce 
 
 G. H. Derwort 
 
 J. Gosden 
 
 A. Dodworth 
 
 Grebner 
 
 J. A. Kyle 
 
 H. B. Dodworth 
 
 T. Goodwin 
 
 f}hn0 c 
 
 L. De Janon 
 J. L. Ensign 
 G. O. Fullgraff 
 
 S. Johnson 
 P. A. Schmeling 
 
 LxC/CJco 
 
 Stark 
 Wiese 
 
 U. C. Hill 
 
 Violoncellos 
 
 Clarinets 
 
 C. Herzog 
 Hellwig 
 
 A. Boucher 
 S. Milon 
 
 T. W. Groenevelt 
 Goeller 
 
 Helfenritter 
 S. Knaebel 
 
 W. Musgriff 
 D. Walker 
 
 Bassoons 
 
 H. Marks 
 
 
 A. Kyle 
 
 L. Martini 
 
 Double-Basses 
 
 A. Reiff 
 
 C. Meyrer 
 Hriffrt 
 
 C. Jacoby 
 
 Horns 
 
 . VyllO 
 
 W. H. Sage 
 C. Saur 
 
 G. Loder 
 G. La Bianco 
 
 R. Munson, Jr. 
 W. Nidds 
 
 F. Stier 
 L. Wiegers 
 
 J. Pirsson 
 Schneider 
 
 G. Trojsi 
 C. F. Woehning 
 
 Weiss 
 
 Octave Flute 
 
 Trumpet 
 
 E. Woolf 
 
 C. R. Dodworth 
 
 J. F. Wolter
 
 Trombones Pianoforte Pianoforte or 
 
 J. Metz Horn 
 
 T. Dodworth 
 
 vrf pi a i n Pianoforte or D. Etienne 
 
 C. Schultz w Sc j f ' e n nberg 
 
 Drums Pianoforte or 
 
 Trombone W. Alpers 
 Wood H. C. Timm Dr. Hodges 
 
 Total number of Actual Members 63; its 
 only vacancy being that of second trumpet. 
 
 An adequate sized orchestra even in our 
 times. 
 
 In the constitution adopted on April 23rd, 
 1842, may be noted the ideas later developed. 
 The actual membership was limited to seventy 
 men all professional musicians. The orchestra 
 was to consist of at least fifty-three actual 
 members ; ten first violins ; nine second violins ; 
 six violas; four violoncellos; four double 
 basses ; two oboes ; two clarinets ; two bassoons ; 
 four horns; two flutes; one piccolo; three 
 trombones ; two trumpets ; kettle-drums. Later 
 there were thirty associate members, also pro- 
 fessional, who on payment of five dollars per 
 annum, were to be admitted to the Society's 
 rehearsals and concerts, and, in case of vacan- 
 cies, to be preferred for actual membership. 
 The Society was not incorporated until Febru- 
 ary 17th, 1853. 
 
 At the close of the sixth season the associate 
 list, divided into Professional and Amateur, 
 had grown to 132 members and among the 
 latter appeared for the first time the names of 
 women. Dr. R. Ogden Doremus was for many 
 years a ruling and invaluable spirit in its coun-
 
 cils, and, also its President. As long ago as 
 those early years when the Society was exper- 
 iencing the usual ups and downs of all such 
 organizations, suffering from growing pains, 
 in a word, there were those who declared : "We 
 must have a Philharmonic Hall." But it was 
 not yet to be. The Society played in various 
 places, the Academy, Irving Hall, Steinway 
 Hall, and elsewhere. It grew. It prospered. 
 It became a solid musical institution. 
 
 In 1865 we find that to pay a solemn tribute 
 to the memory of the President, Abraham Lin- 
 coln, the Hymn of Joy was omitted from Beet- 
 hoven's "Ninth" Symphony, and the Funeral 
 March from the "Eroica" was given instead. 
 
 Various were the conductors of the Society 
 during the first half century of its existence 
 (1842-1892). We find the names of Hill, 
 Timm, Etienne Alpers, Boucher, Loder, Wie- 
 gers, Theodore Eisfeld, Max Maretzek, Carl 
 Bergmann, from 1855 to 1876, G. Matzka, 
 Leopold Damrosch, in the 35th season, 1876- 
 1877, and Theodore Thomas, 1877-1878. 
 Adolph Neuendorf? conducted during the sea- 
 son of 1878-1879; and Theodore Thomas re- 
 turned for the season of 1879-1880, and held 
 the baton till April 1892 when he was succeeded 
 by Anton Seidl. But apart from the sincere 
 and indefatigable work of the earlier men, the 
 two conductors who unquestionably shaped the 
 musical destinies of The Philharmonic Society 
 were Carl Bergmann and Theodore Thomas. 
 The former was a man of unusual ability, a 
 conductor of the first rank, and the possessor 
 
 8
 
 of a bold inquiring spirit. 
 
 If Hill and the others began with the clas- 
 sics, Bergmann's far ranging ambition and 
 curiosity prompted him to espouse the cause of 
 the revolutionists, Berlioz, Wagner, Liszt. It 
 rather effaces the novelty of the Tannhauser 
 Overture if we recollect that it was first played 
 at a Philharmonic concert on April 21st, 1855, 
 and under Bergmann's direction. In 1857 he 
 conducted the Prelude to "Lohengrin," and the 
 Overture to "The Flying Dutchman" in 1863. 
 The Prelude to "Tristan and Isolde" was first 
 heard in New York, March 10th, 1866, two 
 decades before its complete performance under 
 Anton Seidl at the Metropolitan Opera House, 
 in 1886, and one year after its first performance 
 at Munich in 1865. Not a bad record for the 
 new world. Bergmann was also a lover of 
 Liszt. He gave New York in 1859 "Les Pre- 
 ludes," and followed it with symphonic 
 poems, "Tasso," "Fest-Klange," and in 1864 the 
 Faust Symphony, a daring procedure in those 
 faraway days. But then Bergmann was 
 nothing if not daring. His temperament was 
 fiery, sound his musicianship. Theodore Eisf eld 
 no doubt helped to form him; as Bergmann in 
 turn helped to form Theodore Thomas on the 
 threshold of his remarkable career. Nor was 
 Bergmann unmindful of the classics, as a 
 glance at the programmes of the Society amply 
 testify. He was sole conductor, after alter- 
 nating with Eisf eld for ten years, from 1866 
 to 1876, when he died. 
 
 The consulship of Theodore Thomas was,
 
 with the exception of a year spent in Cincinnati 
 (1878), from 1879 to 1892, when he went to 
 Chicago, there to found another orchestra. He 
 had previously instituted the Theodore Thomas 
 orchestra here; and as early as 1855, with 
 William Mason, Joseph Mosenthal, G. Matzka, 
 and Carl Bergmann, he had founded the Cham- 
 ber Music Concerts, begun by Eisfeld (F. 
 Bergner replaced Bergmann in 1861). 
 
 It is no exaggeration to state that Theodore 
 Thomas did more for orchestral music in North 
 America than any previous conductor. His 
 influence was profound and far-reaching. His 
 was a household name wherever a love of good 
 music was to be found. He literally formulated 
 and controlled musical taste the length and 
 breadth of the land. He was the arbiter of our 
 musical destinies. And he sometimes played the 
 tyrant. For a period he was not only the con- 
 ductor of The Philharmonic Society but in the 
 eyes of some, the Society itself. Personification 
 is an amiable weakness of humanity, and the 
 sight of this distinguished looking man, calm- 
 ness itself, conducting with ease and grace the 
 big orchestra of the Society, did not fail to 
 evoke the image of a military general at the 
 head of his army. And the image was justified 
 in the perfect discipline maintained by the con- 
 ductor. He had but to lift his magic wand and 
 the audience was thrilled. His personal impress 
 on the performances of the Society was note- 
 worthy. He could not be said to have formed 
 its tradition in interpretation, for Carl Berg- 
 mann had preceded him. But he moulded the 
 
 10
 
 younger men, some of whom are now mature 
 members of the organization. A relentless 
 drill-master, gifted by nature, and cultivated 
 by experience, with almost miraculous hearing, 
 he could at rehearsal put his finger on every 
 weak spot. Never before had the technical 
 standard of the Society been raised to such a 
 pitch. Surety of attack, brilliancy, sonority* 
 temperamental energy were all to be heard, in 
 conjunction with tonal purity and balance; 
 above all, by a massive foundational quality 
 that made and still makes the performances of 
 this orchestra unique in an age of superlative 
 orchestral playing. Mr. Thomas was catholic 
 in his programmes as never any conductor pre- 
 ceding him. He literally taught us how to listen 
 to beautiful music from Bach to Richard 
 Strauss (he introduced this composer's F-Minor 
 Symphony). The Philharmonic Society owes 
 much to Theodore Thomas and never fails to 
 acknowledge its indebtedness. 
 
 The labors of the society were not unob- 
 served in Europe. That such music should be 
 heard in our "barbarous gas-lit land" (as 
 Charles Baudelaire, Poe's French translator, 
 phrased it) was strange indeed. Letters from 
 Felix Mendelssohn, Richard Wagner, Franz 
 Liszt, among many others, came to the Society. 
 In the list of Honorary Members may be read 
 the names of Vieuxtemps (1843); Ole Bull 
 (1843); Leopold de Meyer (1845); Joseph 
 Burke (1846); Spohr (1846); Mendelssohn 
 (1846); Herz (1846); Sivori (1846); Botte- 
 sini (1850); Jenny Lind (1850); Benedict 
 
 11
 
 (1850); Henrietta Sontag (1852); Alboni 
 (1852); Carl Eckert (1852); Julien (1853); 
 William Vincent Wallace (1853); F. J. C. 
 Schneider (1853); Richard Hoffman (1854); 
 Gottschalk (1855); Badiali (1856); Anna de 
 La Grange (1857); Thalberg (1857); Satter 
 (1857) ; Timm( 1863) ; Edward Hodges (1865) 
 Eisfeld (1865); Scharfenberg (1866); Mills 
 (1867); Parepa-Rosa (1870); Anna Mehlig 
 (1870) ; Liszt (1872) ; Wagner (1872) ; Raff 
 (1872); Rubinstein (1873); Rafael Joseffy 
 (1883); Theodore Thomas (1892); Dr. An- 
 tonin Dvorak (1894) ; and Frederick Bergner 
 (1900). Some of these artists played or sang 
 at the Society's concerts, and usually intro- 
 duced a vocal or instrumental novelty. Thus 
 the New York musical public heard new con- 
 certs for violin, violoncello, pianoforte. Ex- 
 cerpts from the Wagnerian music-dramas 
 were much in favor at a time when there were 
 no such opportunities as we enjoy now to see 
 and hear the complete performance. The list 
 of the Honorary Associate Members to 1892 is 
 brief; R. Ogden Doremus, Edwin Booth, 
 George T. Strong, and E. H. Schermerhorn. 
 
 In the foregoing and necessarily fore- 
 shortened review this fact emerges : The Phil- 
 harmonic Society has always been the conserv- 
 ator of classic, and forerunner of all that is 
 significant in modern music. And while its pur- 
 pose was not primarily the introduction of 
 novelties, its programmes demonstrate its hos- 
 pitality to all that is worthy in the art. And, 
 as Mr. Krehbiel has truthfully written: "The 
 
 12
 
 high position occupied by the Society has been 
 conquered by fifty years of honest, unspairing, 
 artistic effort." A splendid achievement which 
 the older generation regards with loyal eyes; 
 to which the present generation owes the very 
 foundation of its musical taste and knowledge. 
 With the advent of Anton Seidl, as con- 
 ductor of the Society and successor to Theodore 
 Thomas, a new era was inaugurated, not only 
 of material prosperity, but of increased artistic 
 endeavor and accomplishment. Seidl was the 
 logical successor to Thomas. Coming to New 
 York accredited by Richard Wagner, and a 
 conductor of his music with but few rivals, 
 Seidl directed the Metropolitan Opera in 1885, 
 and who does not remember his brilliant and 
 beneficent reign in that field. There was ele- 
 mental power in this man with the picturesque 
 head. His leanings, however, were not toward 
 the classics. Wagner and Liszt were his gods. 
 It may be truthfully said that he conducted 
 certain classic compositions for the first time in 
 his career at The Philharmonic Society concerts. 
 This is not surmise but fact. His training had 
 been one-sided, though long before his sudden 
 and lamentable taking-off Seidl had toned down 
 the somewhat aggressive style of his Beetho- 
 ven interpretations, for he realized that there 
 are some things that are better left undone. 
 Yet it cannot be denied that his fiery Hunga- 
 rian temperament made venerable bones rattle. 
 Seidl was nothing if not dramatic. Conserva- 
 tive subscribers "sat up and took notice" when 
 the new conductor read the Fifth and Seventh 
 
 13
 
 Symphonies of Beethoven. Battles royal were 
 fought by the music-critics. That oboe solo 
 unduly protracted, to give one example, in the 
 Seidl performance of the Fifth Symphony was 
 a rock of offense around which rallied those 
 for whom any departure from the traditional 
 text is a solemn portent in the heaven of nov- 
 elty. To-day the Seidl reading is a common- 
 place. 
 
 The splendor of Seidl's performances in the 
 domain of the dramatic, in the more spacious 
 music of Wagner, Liszt, Berlioz, Tchaikovsky 
 and Strauss, inter alia, gave joy to all. The 
 truth is that no teasing impulse to tamper with 
 sacred tradition had caused him to treat such 
 classics as Bach, Beethoven, Mozart, with 
 irreverence. And it should not be forgotten 
 that his musical training had been pursued in 
 an atmosphere of musical heterodoxy. He ab- 
 sorbed from Wagner revolutionary theories as 
 to the interpretation of the master symphonies. 
 Liszt had taught him the beauty of orchestral 
 coloring and the superiority of the symphonic 
 poem. Is it any wonder that he saw as if with 
 freshly anointed eyes; saw that the old had 
 been superseded by the new; and that even a 
 Beethoven symphony might be mended out of 
 all resemblance to its original shape and gait. 
 However, it did not take long for Seidl to dis- 
 cover that a cathedral may be repaired, but 
 not a symphony. At the time of his death, his 
 once startling methods had rather mellowed, or 
 else quite vanished. 
 
 14
 
 The first evening concert under the new re- 
 gime took place Saturday, November 21 inst. 
 1891, at the Metropolitan Opera House. 
 The programme was a blending of old and new, 
 and indicated that the new conductor meant 
 to try for the eclectic prize. Beethoven's Pas- 
 toral; tone pictures from Jean Louis Nicode's 
 Symphony-Ode, Opus 31, "The Sea;" and the 
 Overture and Bacchanale of "Tannhauser," 
 Paris version, comprised the instrumental part. 
 Madame Lillian Nordica sang an aria from 
 Gluck's "Armida" and Schubert's "Erl King," 
 orchestration by Liszt. King Theodore had 
 abdicated; King Anton occupied the throne. 
 
 As this is primarily a record of the doings 
 of The Philharmonic Society, and not of its 
 various guests, players, and singers, the list of 
 members who played and officers during the 
 fiftieth season is herewith appended: 
 
 Violins A. Rothmeyer A. Lilienthal 
 
 R. Arnold B. Herrmann J. Risch 
 
 A. Roebbelen A. Seiferth J. Eller 
 
 G. Hamm F. Kaltenborn R. Ringh 
 
 G. Dannreuther H. Erode T. John 
 
 J. Mosenthal L. Kester E. Essige 
 
 E. Bauer C. Rhaesa J. Frank 
 
 R. Klugescheid P. Walther E. Loehmann 
 
 W. Kollmer A. Rubel W. La Croix 
 
 S. Froehlich E. Jordan R. Schuellinger 
 
 A. Bernstein J. Siemers C. Brosche 
 
 C. Hauser F. Herwig 
 
 H. Bahrs T. Christ 
 
 L. Schmidt O. Schreiner 
 
 R Sctm^t Ph ' HerfUft A. Ho 
 
 A. Oestreicher Violas E. Reineccius 
 
 H. Schloming M. Schwartz A. Hartdegen 
 
 H. Kraus Th. Jacoby W. Mueller 
 
 J. Rietzel Geo. Wiegand V. Herbert 
 
 15
 
 Violoncellos, cont. 
 
 Oboes 
 
 Tubas 
 
 E. Schenk 
 
 J. Eller 
 
 E. Vogel 
 
 N. Zedler 
 
 C. Stowasser 
 
 F. Schumann 
 
 H. Straub 
 
 
 H. Baumann 
 
 F. Wagner 
 
 Clarinets 
 
 Ph. Lotze 
 
 G. Windisch 
 H. Egner 
 
 J. Drewes 
 R. Reinecke 
 
 Bass Tuba 
 
 H. Knoop 
 
 Bassoons 
 
 A. Thomae 
 
 Basses 
 
 F. Bernhardi 
 A. Sohst 
 
 Tympani 
 
 E. Manoly 
 G. Kissenberth 
 W. Lowack 
 
 Contra-Bassoon . 
 J. Sauer 
 
 S. Bernstein 
 E. Jordan 
 
 F. F. Leifels 
 
 Horns 
 
 Triangle 
 
 J. Blettermann 
 J. Hausknecht 
 H. Straubel 
 J. Willing 
 C. Burkhardt 
 
 C. Pieper 
 W. Schmidt 
 W. Schulze 
 M. Niebling 
 
 A. Rubel 
 
 Bells 
 C. Brosche 
 
 C. Preusser 
 Ch. Weltzien 
 
 Trumpets 
 
 Bass Drum 
 H. Greinert 
 
 C. Heidelberg 
 C. Beier 
 
 F. Dietz 
 A. Seiferth 
 
 Harp 
 
 Ed. Greenop 
 
 O. Frenzky 
 
 H. Breitschuck 
 
 Flutes 
 
 Trombones 
 
 Organ 
 
 C. Wehner 
 F. Rietzel 
 
 J. Pfeiffenschneider 
 H. Weinberger 
 
 Jos. Mosenthal 
 
 Piccolo 
 
 F. Letsch 
 
 
 J. Ikler 
 
 W. La Croix 
 
 
 
 OFFICERS 
 
 
 E. FRANCIS HYDE 
 
 ... 
 
 Presid 
 
 F. RIETZEL 
 
 ... 
 
 yice-Presid 
 
 H. SCHMITZ 
 
 ... 
 
 Treasu 
 
 A. ROEBBELEN 
 
 ... 
 
 Secret 
 
 ANTON SEIDL 
 
 ... 
 
 Condut 
 
 DIRECTORS 
 
 Richard Arnold A. Hoch 
 
 F. Bergner Jos. Mosenthal 
 
 George Wiegand L. E. Manoly 
 
 Ed. Uhlig, Librarian 
 
 Anthony Reiff 
 
 TRUSTEES 
 Th. Jacoby 
 
 16 
 
 C. Sohst
 
 The Society gave three concerts in its first 
 season, 1842, then made the number four. For 
 sixteen years this number was maintained, then 
 was raised to five, which change lasted ten 
 years. Since the twenty-seventh season the 
 number had been six; the public rehearsals 
 varied in number. As we shall presently see the 
 number of concerts grew apace, and in response 
 to the demands of the public. 
 
 During the years Anton Seidl conducted, the 
 musical novelties were numerous, beginning 
 with the aforesaid Nicode selection. This was 
 followed by "Death and Apotheosis," Richard 
 Strauss, ( January 9, 1892) ; Symphonic Fugue, 
 Koch; Symphony No. 4, op. 88, Dvorak (both 
 on the same programme, March 12th, 1892) ; 
 Symphonic Sketches, The Sea, Paul Gilson 
 (December 17th, 1892) ; Sintram, Symphony 
 No. 2, Templeton Strong (March 4th, 1893). 
 Symphony No. 5, in E-Minor, op. 95 (manu- 
 script) from "The New World," Dvorak (De- 
 cember 16th, 1893) ; Symphony in D-minor, 
 op. 21, Christian Sinding (February 10th, 
 1894) ; Victor Herbert played his second Vio- 
 loncello concerto, March 10th, 1894; Concerto 
 for Pianoforte, No. 2, in D-minor, op. 23, E. 
 A. MacDowell (December 15th, 1894); Over- 
 ture, Trilogy, Dvorak (January 12th, 1895); 
 Overture, op. 4, from "The Scottish High- 
 lands," Frederic Lamond (March 7th, 1896) ; 
 Symphonic Poem, "Sehnsucht" (after Schiller) 
 Siegfried Wagner January 8th, 1898) ; Suite, 
 No. 2, in E-minor, "Indian," op. 48, E. A. 
 MacDowell (January 29th, 1898) ; Symphony 
 
 17
 
 No. 5, in B-flat major, Alexander Glazounow 
 (March 5th, 1898); "Cleopatra's Death," 
 dramatc scene, Henry Holden Huss (April 1st, 
 1898). The orchestra on this occasion was 
 conducted by Mr. Frank Van der Stucken in 
 lieu of Anton Seidl, who suddenly died March 
 28th, 1898. A note in the programme informed 
 the audience that instead of the "Ode to Joy" 
 in the "Ninth" Symphony of Beethoven, Sieg- 
 fried's Death March would be given as a token 
 of the sorrow felt for the loss of the great 
 Hungarian. 
 
 At the series of concerts to commemorate 
 the Fiftieth Anniversary of the Society, given 
 in the Metropolitan Opera House, April 21st, 
 22nd, and 23rd, 1892, the first programme was 
 a replica of the original one given December 
 7th, 1842. There was an In Memoriam note 
 in the concert programme November 16th, 
 1895, to commemorate the death of William 
 Scharfenberg (August 8th, 1895). He was 
 born in Germany in 1819. Mr. Scharfenberg 
 was one of the original spirits in the founding 
 of the Society in 1842. 
 
 Emil Paur was nominated to fill the position 
 left vacant by Anton Seidl. From the fifty- 
 seventh to the sixtieth season (1898-1902) his 
 forceful personality and broad style of con- 
 ducting aroused general interest and made for 
 him an army of admirers; also severe critics. 
 Equally at home in the opera house, the former 
 conductor of the Boston Symphony Orchestra 
 brought something of the dramatic atmosphere 
 into the concert room. In the music of such 
 
 18
 
 modern composers as Tchaikovsky and Strauss 
 he was conceded to be at his best. Emil Paur 
 is a name that will be always associated in the 
 American chronicles of the Strauss composi- 
 tions. He was especially effective in his read- 
 ings of "Zarathustra," "Till Eulenspiegel," 
 and "Ein Heldenleben." 
 
 The principal novelties brought forward by 
 The Philharmonic Society during Mr. Paur's 
 term of office were as follows: "Impressions 
 dTtalie," Suite for Orchestra Gustave Char- 
 pentier (December 17th, 1898) ; Symphonic 
 Prologue to Heine's Tragedy "William Rat- 
 cliff" op. 6, F. Van der Stucken (December 
 9th, 1899); "Ganymed," for contralto voice 
 and orchestra, Louis V. Saar (January 27th, 
 1900) ; Symphonic Poem, "Ein Heldenleben," 
 op. 40, Richard Strauss (December 8th, 
 1900) ; Symphony No. 1, in E-major, op. 14, 
 Joseph Suk (November 17th, 1900) ; Sym- 
 phonic Poem, "Barbarossa," Siegmund von 
 Hausegger (November 16th, 1901) ; Dramatic 
 Tone Poem, "The Sisters," for contralto voice 
 and orchestra, op. 11, Richard Burmeister 
 (January llth, 1902) ; Legend for Orchestra, 
 "Lemminkainen Journeys Homeward," Jean 
 Sibelius (February 1st, 1902) ; Love Scene 
 from "Feuersnot," Richard Strauss (February 
 16th, 1902) ; "Friedenerzahlung," from "Gun- 
 tram," Richard Strauss (April 5th, 1902) ; 
 Henry Hadley's Symphony No. 2, in F-minor, 
 "The Four Seasons," op. 30, must be added to 
 the above list of novelties. It was played De- 
 cember 21st, 1901, and was the prize winner 
 
 19
 
 of two competitions : one offered by I. J. Pade- 
 rewski, the other by the New England Con- 
 servatory, Boston. Mr. Paur also introduced 
 Humperdinck's "Moorish Rhapsody," Bind- 
 ing's Violin Concerto, and a Concerto for Vio- 
 lincello by Eugen d' Albert. On November 
 16th, 1901, there was an In Memoriam note 
 for Thomas Masters Markoe, M.D., who died 
 August 26th, 1901. Dr. Markoe was one of 
 the earliest subscribers to the Society's con- 
 certs, 1842, and for fifty-nine years following. 
 
 Mr. Walter Damrosch, the distinguished 
 son of a distinguished sire, the late Leopold 
 Damrosch (and conductor of the Society dur- 
 ing its thirty-fifth season, 1876-1877) became 
 conductor for the sixty-first season, 1902-1903. 
 His programmes revealed catholicity in taste. 
 He introduced such novelties as: Symphonic 
 Prelude in E-flat major, op. 8, No. 1, R. 
 Castani (November 18th, 1902) ; and Cesar 
 Franck's "Psyche," (January 31st, 1903). 
 
 Now comes a veritable roll-call of con- 
 ductors, all visitors from abroad save Victor 
 Herbert. From the sixty-second to the sixty- 
 fourth seasons (November, 1903, to March, 
 1906,) the Society invited world famous con- 
 ductors. It was interesting experiment, and it 
 enabled the subscribers to become acquainted 
 with the personalities and methods of such 
 musicians as: Edouard Colonne, Gustav F. 
 Kogel, Henry J. Wood, Victor Herbert, Felix 
 Weingartner, W. Safonoff, Richard Strauss, 
 Karl Panzner, Willem Mengelberg, Max 
 Fiedler, Ernst Kunwald, and Fritz Steinbach. 
 
 20
 
 Thus, France, England, Ireland, Germany, 
 Austria, Russia, and Holland were represented ; 
 America too, in the person of Victor Herbert, 
 who born in Ireland and musically educated in 
 Germany, is an American citizen. 
 
 The novelties of the three seasons were : 
 Suite in F, for Violoncello and Orchestra, op. 
 28, Bruno Oscar Klein (December 19th, 
 1903) ; Symphonic Poem, "Hero and Leander," 
 op. 33, Victor Herbert (January 30th, 1904) ; 
 Symphony No. 6, in C-minor, op. 58. Alex- 
 ander Glazounow (January 7th, 1905) ; the 
 commentater on the programme noted that this 
 was the third time the name of Glazounow had 
 appeared in the Socety's concerts: 1898, 1904, 
 being the previous occasions; Symphony No. 
 2, in E-flat major, op. 29, Felix Weingartner 
 (February llth, 1905). 
 
 The system of engaging guest conductors 
 was abandoned in 1906, and Wassily Safonoff, 
 a Russian conductor of audacious methods, 
 was at the head of the Society from the sixty- 
 fifth to the sixty-seventh seasons (November 
 1906, to March 27th, 1909). Among others, 
 his contributions to the novelty list were : Con- 
 certo in D-Minor, for Violin, op. 47, Jean Si- 
 belius (December 1st, 1906) ; Symphony No. 1, 
 in E-major, op. 26. Alexander Scriabine, (De- 
 cember 14th, 1907) ; "The Sunken Bell," Sym- 
 phonic Poem, Vladimir Metzl (February 8th, 
 1908) ; "Salome," Tone Poem for full orches- 
 tra, op. 55, Henry Hadley (November 28th, 
 1908) ; Tone Poem "In Memoriam, Abraham 
 Lincoln," Fritz Stahlberg (February 13th, 
 
 21
 
 1909) ; there was also an entire programme 
 devoted to Mendelssohn (January 30, 1909) 
 in commemoration of the 100th anniversary of 
 his birth year (1809). 
 
 The services of Gustav Mahler, celebrated 
 conductor and composer, were secured for the 
 sixty-eighth and sixty-ninth seasons. The nov- 
 elties were the followng: "L'Apprenti Sor- 
 cier," Dukas (November 1909) ; Symphony 
 No. 1, in D-major, Gustav Mahler (December 
 1909) ; Orchestral Suite, "Turandot," Ferru- 
 cio Busoni (March 10th, 1909) ; Overture to 
 "Das Christelflein," Hans Pfitzner (March 
 30, 1910) ; Concerto No. 3, in D-Minor, for 
 Pianoforte, op. 30, Sergei Rachmaninoff (Jan- 
 uary 16th, 1910) ; Suite Burlesque, Busoni 
 (March 10th, 1910); there were also all- 
 Richard Wagner and all-Tchaikovsky pro- 
 grammes during the season. In addition to 
 conducting Debussy's "L'Apres midi d'un 
 Faune," Mahler also produced "Rondes de 
 Printemps" by this French composer; and his 
 "Iberia" (January 3rd, 1911). The Suite by 
 Georges Enesco; names on the same pro- 
 gramme were : Overture to "Das Katchen von 
 Heilbronn," Pfitzner (January 1911); "The 
 Devil's Vilanelle," op. 9, Charles Martin Loeff- 
 ler (February 14th, 1911). On this pro- 
 gramme was the Irish Symphony, op. 28, 
 Charles Villiers Stanford. Mr. Mahler, owing 
 to the malady which was later the cause of his 
 death, did not conduct the last seventeen, or 
 over one-fourth of the total number of con- 
 certs given during this season. His place was 
 
 22
 
 temporarily taken by the concert-master, 
 Theodore Spiering. 
 
 It would not be amiss now to glance at some 
 important changes made in the working sys- 
 tem of the Society. At the beginning of the 
 season of 1906 it was decided to change the 
 title of the Friday afternoon performances 
 from "Public Rehearsals" to "Afternoon Con- 
 certs." They had long ceased to be considered 
 as rehearsals by the public, or by the Society, 
 and the Prospectus of that year announced that 
 "Sixteen concerts will be given, eight Friday 
 afternoons, and eight Saturday evenings." 
 
 With the sixty-eighth season (1909), began 
 a new order in the affairs of the Society. The 
 Society was then composed of Actual, Honor- 
 ary, and Honorary Associated Members, and 
 until this time the operations of the organiza- 
 tion had been conducted on a co-operative basis 
 by the Actual Members. The administration 
 was in the hands of a Board of Directors, 
 chosen from these members, who transacted 
 all business, and the financial responsibility 
 and pecuniary benefit was shared on an equal 
 basis by the Actual Members. 
 
 The profits derived from the concerts had 
 never been sufficient to permit the members to 
 devote all of their time to the work of the So- 
 ciety and they were obliged to extend their 
 activities to other fields, more remunerative if 
 less artistic. This was known to many patrons 
 of the Society, and in that year a number of 
 friends of the Society, headed by Mrs. George 
 R. Sheldon and Mrs. W. H. Draper, met to 
 
 23
 
 discuss the possibility of raising a fund to place 
 the Philharmonic on a more satisfactory basis. 
 A committee was formed, which framed a 
 proposition for reorganization, which was sub- 
 mitted to The Philharmonic Society. Its pro- 
 visions were briefly as follows : The orchestra 
 to be under the exclusive and absolute direction 
 of a competent conductor, the members of the 
 orchestra to devote their entire time to its work 
 for a period of at least twenty-three weeks each 
 year, for which they should receive a stated 
 salary. The corporate form of the Society to 
 be retained. The management of the Society 
 to be placed entirely in the hands of those fin- 
 ancially responsible; certain persons, to be 
 known as guarantors, having pledged them- 
 selves to make good any deficit. These condi- 
 tions were to continue for the ensuing three 
 years. The Society accepted this proposition 
 and a reorganization, to conform with the 
 terms of the proposal, was at once inaugurat- 
 ed; placing the Society on a basis of financial 
 backing which permitted a call on the exclusive 
 services of its members and allowed the experi- 
 ment of broadening considerably the sphere of 
 its musical influence geographically. 
 
 The season of 1909-1910 gave much satis- 
 faction because of its artistic results. The 
 orchestra had been trained to a high degree of 
 efficiency by Mahler, and it was proposed that 
 during the next season the number of concerts 
 in the city and on tour would be raised. Since 
 then The Philharmonic Society has gradually 
 extended its activities until now the members 
 
 24
 
 of its orchestra devote practically all of their 
 time to the work of the organization. Re- 
 hearsals are held daily during the season and 
 about fifty concerts are given by the Society 
 in New York and Brooklyn, in addition to 
 which, tours including more than thirty cities, 
 are made each season. 
 
 A word of the warmest praise should here 
 be bestowed on Mrs. George R. Sheldon, whose 
 unselfish zeal, whole-hearted devotion, and in- 
 spiring enthusiasm in the interests of the So- 
 ciety during its most critical period, proved her 
 a true friend of music in the largest sense of, 
 that word. 
 
 The munificent bequest by the late Joseph 
 Pulitzer (in November of the seventieth sea- 
 son, 1911) was a source of gratitude and grati- 
 fication to the Society and its numberless 
 friends. The will provided that $500,000 be 
 used to perfect the present orchestra, to place 
 it upon a more independent basis, to increase 
 the number of concerts in the city at reduced 
 rates, and not all of them too severely classical 
 programmes; furthermore, the favorite com- 
 posers of the testator are to be given hearings 
 Beethoven, Wagner, and Liszt and the will 
 also provides for an additional contingent be- 
 quest not in excess of $500,000, so that in the 
 course of time the total amount should reach 
 $1,000,000. 
 
 The bequest was made contingent on the So- 
 ciety becoming a membership corporation un- 
 der the laws of the State of New York, repre- 
 senting the general public with a membership 
 of not less than one thousand paying dues. 
 
 25
 
 Princely as was this gift, and instantaneous 
 as was the response of the Society and its 
 friends, the total income is still insufficient to 
 meet the annual deficit, notwithstanding the 
 most liberal patronage. It is therefore well at 
 this juncture to correct a wide-spread impres- 
 sion that the Society is, thanks to the munifi- 
 cent Pulitzer bequests, no longer in need of aid. 
 This is erroneous. The reverse is the truth. 
 Despite the increased receipts from concerts up 
 to the present season and also the marked in- 
 crease in current subscriptions, The Philhar- 
 monic Society is still facing a future deficit 
 unless helped now. This season's series of 
 concerts was undertaken only after the Board 
 of Directors had guaranteed a fund of $60,000 
 to meet a possible deficit. As President Os- 
 wald Garrison Villard so earnestly phrases it : 
 "There is much at stake, the future of Amer- 
 ica's oldest orchestra, which has made the 
 greatest contribution to the orchestral art on 
 this side of the Atlantic; and with which is 
 bound up in considerable degree the cause of 
 music in New York." 
 
 On Thursday evening, November 2nd, 1911, 
 a new conductor, Josef Stransky, appeared at 
 Carnegie Hall and in a programme consisting 
 of Beethoven's "Eighth" Symphony, Liszt's 
 "Tasso" and the Prelude to "Die Meister- 
 singer" proved his musical mettle. This young 
 man, Bohemian born, after his musical career 
 in Europe has repeated his successes in Amer- 
 ica. In addition, he has greatly grown in artis- 
 tic stature since his advent. The Philharmonic 
 
 26
 
 Orchestra under his baton plays with brilli- 
 ancy, buoyancy, tonal beauty and a sweep equal 
 to any other contemporary organization in the 
 world. Mr. Stransky, while particularly happy 
 in modern music, Brahms, Liszt, Tchaikovsky, 
 Strauss and the rest, is too eclectic in his tastes 
 to miss the significance of the classics. He 
 knows that the fundamental object of the So- 
 ciety is the performance of the symphonic 
 masterpieces, and the record of his concerts 
 show his own personal love for them. It need 
 hardly be added that Mr. Stransky's personal 
 popularity with his audiences was marked 
 from the beginning. And it shows no sign of 
 abating. 
 
 He has a goodly share of novelties to his 
 credit. The principal ones are given here: 
 Glazounow Concerto for Violin, A-minor, op. 
 82, (November 2nd, 1911); Symphony No. 3, 
 in E-major, op. 49, Felix Weingartner (De- 
 cember 28th, 1911); Tone Poem, "In a Sum- 
 mer Garden," Fritz Delius (January 25th, 
 1912) ; Variations on a Merry Theme, op. 100, 
 Max Reger (February 1st, 1912) ; Concerto 
 for Pianoforte and Orchestra, in D-minor, 
 George Frederick Boyle (February 8th, 1912) ; 
 "Consalvo," Symphonic Poem, Nicola Laucella 
 (November 26th, 1911); Overture to Bruder 
 Lustig, Siegfried Wagner (January 21st, 
 1912) ; Two Symphonic Pieces, J. Van der Pals 
 (December 17th, 1911); A Merry Overture, 
 op. 53, Weingartner (November 14th, 1912); 
 "Overture in Bohemia," op. 28, Henry Hadley 
 (November 17th, 1912) ; Concerto in Old Style, 
 
 27
 
 op. 123, Reger; Three Songs, orchestrated by 
 the composer, Richard Strauss (November 
 19th, 1912, at a private concert for annual mem- 
 bers given in the ball room of the Waldorf- 
 Astoria) ; Overture to a Play, op. 4, Erich 
 Korngold (November 28, 1912); Rhapsody 
 for Clarinet and Orchestra, Claude Debussy 
 (December 12th, 1912) ; Two Symphonic 
 Songs with Orchestra, "Moonrise," "Requiem" 
 Josef Stransky (February 27-28, 1913); 
 Scherzo Sinfonico, op. 28, Fritz Stahlberg 
 (March 6th, 1913); Festival Prelude, op. 61, 
 Richard Strauss (November 13th, 1913) ; Bal- 
 let Suite, op. 130, Max Reger (November 
 20th, 1913) ; Symphonic Etude, "The Hunt of 
 Price Arthur," J. Guy Ropartz (February 12th, 
 1914). 
 
 During the seventy-third season these were 
 the chief novelties: "Fireworks," Stravinsky 
 (October 29th, 1914) ; Tone Poem, "Lucifer," 
 Henry Hadley (November 19th, 1914) ; Sym- 
 phony No. 4, C-major, Ropartz (November 
 27th, 1914) ; Sinfonietta, op. 5, Korngold (De- 
 cember 10th, 1914) ; Four character Pieces, op. 
 48, Arthur Foote (January 24th, 1915) ; Suite, 
 op. 9, for Orchestra, Sigismond Stojowski 
 (February 5th, 1915) ; Endymion, Suite No. 1, 
 Arthur Hinton (February 7th, 1915) ; Medita- 
 tion for Strings, Henry Burck (January 31st, 
 1916). 
 
 For the seventy-fourth season the novelty 
 list is as follows: Variations and Fugue for 
 Orchestra on a Theme by Mozart, op. 132, 
 Max Reger (October 28th, 1915) ; Symphonic 
 
 28
 
 Poem, "Pelleas and Melisande," Arnold 
 Schoenberg (November 18th, 1915); Sym- 
 phonic Cycle, "My Country," Friedrich Smeta- 
 na (December 16th, 1915; first performance in 
 America of the complete cycle) ; Concerto for 
 Violin, D-minor, Edmund Severn (January 
 7th, 1916) ; Idyll for Orchestra, "At Evening," 
 op. 39, Sdenko Fibich (January 20th, 1916) ; 
 Suite for Orchestra, op. 33, Stahlberg (Feb- 
 ruary 4th, 1916) ; Two Sketches for Orchestra, 
 op. 37, A. Walter Kramer (February 27th, 
 1916) ; Orchestral Fantasy, Seth Bingham 
 (February 6th, 1916) ; Concerto for Pianoforte, 
 C-minor, Delius (November 26th, 1915) ; 
 minor, Delius (November 26th, 1915) ; 
 "Nymphs of the Ocean," Tone Poem, Jean 
 Sibelius (December 9th, 1915); Symphonic 
 Poem, "Launcelet and Elaine," op. 25, E. A. 
 MacDowell (October 28th, 1915). On Thurs- 
 day evening, October 26th, 1916, the new sym- 
 phony "Alpine" of Richard Strauss was given 
 for the first time in New York. Symphony 
 No. 2, D-major, Sibelius (December 14th, 
 1916). 
 
 The foregoing list of novelties played by the 
 Society does not pretend to be more than a 
 grouping of those most significant. Need we 
 add that the young blood in the organization 
 is a perennial guarantee against hide-bound 
 conservatism? 
 
 During its long existence The Philharmonic 
 Society has offered its audiences only the best 
 in the literature of music, and irrespective of 
 periods or nationalities. From 1842 to 1917 it 
 
 29
 
 has enjoyed an unbroken series of artistic tri- 
 umphs, and, as a climax to its seventy-fifth 
 anniversary, it needs but a home of its own, a 
 home that it can name Philharmonic Hall. 
 
 30
 
 II 
 
 The unit in modern music is neither the 
 voice nor single instrument, nor yet the music- 
 drama, with its ambitious attempt at a syn- 
 thesis of the seven arts; but the orchestra, 
 many-voiced, unity in multiplicity. In the ulti- 
 mate analysis it is the orchestra that most elo- 
 quently voices the musical ideals of our time, 
 for music is the allegorical art par excellence ; 
 it indirectly evokes; and in the symbolism of 
 tones may be discovered a metaphysical speech 
 without words. Music has been described as 
 "an order of mystic sensuous mathematics." 
 A sounding mirror, an aural mode of motion, 
 it addresses itself on the formal side to the in- 
 tellect; in its content of expression it appeals 
 to the emotions. The vaguest of arts in repre- 
 senting the concrete, it is the swiftest agent for 
 assulting the sensibilities. Music and beauty 
 are synonymous. Their form and substance 
 are indivisible. The orchestra is the profound- 
 est interpreter of our profoundest ideas and 
 feelings. It is the new church of an ancient 
 and venerated religion, the religion of art. 
 
 The orchestra is a commanding factor in the 
 aesthetic life of a community. Absolute music 
 makes its appeal to the finest musical sensibil- 
 ity. Without the pomp and splendor of grand 
 opera, devoid of such factitious concomitants 
 as the fashion and favor of the hour, the or-
 
 chestra can interpret in less than an hour the 
 tragic intensity of the music-drama com- 
 bined with the formal severity of the symphony. 
 It is at once vox dei and vox populi. It is a 
 sounding symbol of the democratic state and a 
 highly developed individualism. Egoism and 
 collectivism, mutually repellant, are dissolved 
 in a magnificent synthesis. Caste is abolished ; 
 yet the orchestra is the most aristocratic of in- 
 struments ; it represents multitude and it is the 
 product of personality. If the string-quartet 
 is like an easel-picture, then the orchestra may 
 be called a vast and passionate fresco. It is 
 international. And within its confines the soul 
 of a nation may be painted. The psychology 
 of mankind was incomplete till the orchestra 
 delineated his joys and woes. Such an adapt- 
 able and many-sided medium is it that it is 
 stranger to no mood, inhospitable to no utter- 
 ance. From Bach to Debussy it can sing or 
 suggest. Music, the most suggestive of the arts, 
 is more at home in the orchestra than in the 
 opera-house. As intimate and lyric as the lied, 
 the orchestra is also the Jupiter Tonans of the 
 musical Olympus. It can thunder and blast. 
 It can sigh like a Romeo and, as in a magic 
 mirror, it can show us fairy landscapes, and 
 the darkest crannies of the heart. The human 
 soul is a dark forest; Tchaikovsky's music il- 
 luminates both soul and forest, as Stravinski's 
 fireworks light up the sky of the world. The 
 orchestra is the latter-day epic in action. 
 
 And when we say orchestra we mean The 
 Philharmonic Orchestra of New York. It has 
 
 32
 
 rivals now but to it will always belong the 
 glory of having been the first adventurer in a 
 strange country. The history of the Philhar- 
 monic orchestra is the history of music in Amer- 
 ica. Let there be no ambiguity in this state- 
 ment. The first stone cast in the water of na- 
 tional music-making, the tiny repercussion of 
 the initial wave, has not yet exhausted its ever- 
 widening circles. For the contemporaneous ge- 
 neration of music-lovers the names of Carl 
 Bergmann, Theodore Thomas and Anton Seidl 
 are perhaps proud memories, but names with- 
 out their primal significance. We oldsters who 
 grew up within their potent influence know the 
 indebtedness we owe to the Society and to these 
 conductors. The present writer cannot go so 
 far back as the days of Bergmann, but to Mr. 
 Thomas he owes his first introduction to the 
 enchanted realm of symphonic music. Thomas 
 knew his audiences, felt the temper of his time. 
 He did not always play a symphony in its en- 
 tirety, the homeopathic method being deemed 
 by him as more expedient. To carry his audi- 
 ences along the road of velvet was safer than 
 pulling them over the harmonic dissonances of 
 the New Paths. He sometimes gave a 
 Strauss valse as a final fillip to a programme; 
 and it is a matter of history that one of his 
 most popular numbers was an orchestral ar- 
 rangement of Schumann's little piece for the 
 pianoforte, "Traumerei." 
 
 But New York concert-goers did not tarry 
 long in the half-way house of music. Complete 
 symphonies, symphonic poems and composi- 
 
 33
 
 tions of a more fantastic character, reached the 
 Society with the ink hardly dry on their pages. 
 We now enjoy all the novelties. We judge the 
 music of men who have still to achieve a solid 
 European reputation. We hear faultlessly in- 
 terpreted the classics, romantics, the symbol- 
 ists, futurists and wild men of music. No 
 bogie-man has yet daunted the Society ; hissed 
 in Europe, Arnold Schoenberg was here lis- 
 tened to with respect, if not with overwhelming 
 approbation. It would be waste of time to 
 deny the accusation that the Society has been 
 hide-bound in the matter of tradition. The So- 
 ciety, while adhering to the rock-bottom of the 
 classics, has welcomed the new, has tested the 
 novel. That of late years some concessions 
 have been made to popular taste, to good taste, 
 may be admitted. Before the Pulitzer bequest 
 the music of Liszt was much played and still 
 is played, but then Liszt is not a frivolous 
 composer. The same criticism that adjudges 
 him gaudy and superficial welcomes the Hun- 
 garian Dances of Johannes Brahms, charming 
 excursions into the Magyarland of musical ro- 
 mance. This is not an attempt to institute com- 
 parisons. Liszt and Brahms are in style and 
 ideas antipodal. The Society long ago recog- 
 nized that variety is the spice of art, and played 
 Brahms and Liszt with equal reverence and en- 
 thusiasm. Nor were native-born composers, 
 MacDowell, Parker, Van der Stucken, Huss, 
 Foote, Chadwick, Templeton Strong, Hadley, 
 Herbert Loeffler, to mention a fewneglected. 
 
 34
 
 The programme scheme of the Society is al- 
 ways catholic. 
 
 Mr. Pulitzer's preferred composers, Beet- 
 hoven, Wagner, and Liszt, have always promi- 
 nently figured in performance. Beethoven as 
 a matter of course. Wagner at first a novelty, 
 became a magnet. All the overtures, preludes, 
 and excerpts were introduced by Bergmann 
 and Thomas, and even after the advent of the 
 music - dramas at the Metropolitan Opera 
 House public devotion never wavered. Under 
 Seidl the spell was more irresistable. And to- 
 day, after the more exigent demands upon our 
 patience by actual operatic interpretations, 
 we are beginning to enjoy again our Wagner 
 in the concert-room, without the fuss and os- 
 tentation of the footlights, or the nerve-trying 
 experience of mediocre soloists. This is arch- 
 heresy, we know, but the Wagnerian music- 
 drama, a lyric epos, is built upon an orchestral 
 foundation. Without the orchestra Wagner is 
 inconceivable; but his music may be enjoyed 
 in concert form, particularly enjoyed when the 
 mind's eye is able to recall the thrilling situa- 
 tions of the acted drama. Here, again, sugges- 
 tion plays a marked role. 
 
 It is not within the scope of this Retrospect, 
 skeletonized for the friends and members of 
 The Philharmonic Society, to dwell upon the 
 glorious singers and virtuosi whose names 
 appear on its roster. The world's most fam- 
 ous musicians have visited New York with the 
 express intention of playing or singing in com- 
 pany with the Society. Franz Liszt is a nota- 
 
 35
 
 ble exception; but Anton Rubinstein filled his 
 place, and the music of the great Hungarian 
 composer has been more than represented; his 
 spirit is always with us. A volume of musical 
 history might be written concerning the won- 
 derful "guests" of the Society since its early 
 beginning. All nationalities would have 
 to be included, for there is no such thing 
 as map-music. There is only good music. 
 And in the orchestra itself what dis- 
 tinguished artists have sat and still sit, and 
 blended their personalities with their col- 
 leagues ! The impact of so many different con- 
 ductors was bound to leave its impress on the 
 quality of the Society's performances. Tech- 
 nicians and poets, drillmasters and dramatic 
 directors ; conductors with one composer filling 
 their horizon; conductors endeavoring to net 
 all the fish in the symphonic ocean ; conductors 
 who rode the hobby of tonal breadth, and those 
 who made the band play with the finesse of a 
 Joseffy these and others have dowered this 
 orchestra with the gift of an immediate re- 
 sponse to all styles, schools, and eccentricities ; 
 in a word, with versatility there is but one 
 Philharmonic Society. 
 
 36
 
 THE PHILHARMONIC ORCHESTRA 
 
 (IN 1917) 
 JOSEF STRANSKY, CONDUCTOR. 
 
 First Violins 
 
 Violas, cont. 
 
 Bass Clarinet 
 
 M. Pilzer 
 
 L. Verona 
 
 P. Gentile 
 
 Concertmeister 
 
 F. Landau 
 F. W. Krafft 
 N. W. Finkelstein 
 F. L. Smith 
 
 L. Starzinski 
 W. Goeringer 
 
 Violoncellos 
 L. Schulz 
 E. Bronstein 
 
 Bassoons 
 A. Mesnard 
 M. Reines 
 P. Reines 
 
 J. Greenberger 
 
 R. Thrane 
 
 Contra-Bassoon 
 
 W. Storch 
 
 M. Skalmer 
 
 M. Reines 
 
 H. Burck 
 J. Novak 
 
 A. Severn 
 J. Heindl 
 
 Horns 
 
 W. Dorfman 
 
 K. Kirk-Smith 
 
 X. Reiter 
 
 A. W. Zeiss 
 
 R. Reitz 
 
 M. Van Praag 
 
 M. Hansen 
 
 A. Heindl 
 
 J. Heyer 
 
 S. Laendner 
 
 C. Wenzel 
 
 M. Laitner 
 
 W. Doenges 
 
 
 R. H. Schulze 
 
 F. Ortman 
 A. Briglio 
 
 Basses 
 H. Buldrini 
 
 Trumpets 
 
 
 L. Manoly 
 
 B. Klatzkin 
 
 Second Violins 
 
 A. Kalkhof 
 
 M. Schlossberg 
 
 F. Lowack 
 
 H. Reinshagen 
 
 M. Welker 
 
 W. Schubert 
 
 J. Krausse 
 
 Trombones 
 
 A. Kunz 
 
 M. Cherkasky 
 
 M. Falcone 
 
 L. Gatterdam 
 R. Baravalle 
 
 J. Zickler 
 E. Zickler 
 
 Le Roy Haines 
 E. Gerhard 
 
 E. Walther 
 
 Flutes 
 
 
 L. Hellman 
 
 A. Payer 
 
 Tuba 
 
 J. Ingram 
 
 N. Laucella 
 
 F. Geib 
 
 H. Corduan 
 
 H/-** 
 
 E. Wagner 
 
 Tympani 
 
 . Glaser 
 M. Fleischfarh 
 W. Oscar 
 
 Piccolo 
 E. Wagner 
 
 A. Friese 
 Percussion 
 
 G. Laendner 
 
 Oboes 
 
 G. Braun 
 
 H. Boewig 
 G. Wolf 
 
 F. De Angelis 
 P. Kirchner 
 
 T. Wahle 
 G. Wolf 
 
 Violas 
 
 A. Marchetti 
 
 Harp 
 
 J. J. Kovarik 
 D. Reggel 
 S. Van Praag 
 J. M. Laendner 
 
 English Horn 
 A. Marchetti 
 Clarinets 
 
 C. Schuetze 
 Organ and Celeste 
 Wm. H. Humiston 
 Librarian 
 
 H. Borodkin 
 
 A. Chiaffarelli 
 
 H. Boewig 
 
 O. Stahl 
 
 H. Christman 
 
 Asst. Librarian 
 
 C. E. Leifels 
 
 P. Gentile 
 
 E. J. Smith 
 
 Assistant 
 
 Conductor Wm. 
 
 H. Humiston 
 
 37
 
 OFFICERS OF THE PHILHARMONIC SOCIETY 
 
 MR. OSWALD GARRISON VILLARD - - President 
 
 MR. RICHARD ARNOLD - Vice-President 
 
 MR. RUDOLF E. F. FLINSCH - Treasurer 
 
 MR. JAMES D'W CUTTING - Assistant Treasurer 
 
 MR. FELIX F. LEIFELS - - .Secretary 
 
 Miss ELLA JANSSEN - - Assistant Secretary 
 
 BOARD OF DIRECTORS 
 
 Mr. Richard Arnold Mrs. William Jay 
 
 Mrs. George L. Cheney Mr. Felix F. Lei f els 
 
 Mr. James D'W Cutting Mr. Ludwig Manoly 
 
 Mr. Rudolf E. F. Flinsch Mr. Nelson S. Spencer 
 Mr. Arthur Curtiss James Mr. Oswald Garrison Villard 
 Mr. Clarence Mott Woolley 
 
 TRUSTEES 
 
 Mr. Richard Arnold Mr. Rudolf E. F. Flinsch 
 
 Mr. James D'W Cutting Mr. Nelson S. Spencer 
 
 Mr. Oswald Garrison Villard 
 
 Felix F. Lei f els, Manager 
 
 38
 
 Ill 
 Presidential AcMress 
 
 January 17, 1917 
 
 Carnegie Hall, N. Y. 
 
 by 
 
 Oswald Garrison Villard 
 
 In the land of the dollar a great orchestra 
 seventy-five years old ? The assertion is at first 
 one to be denied, or doubted as an impossiblity, 
 or an anachronism at best a queer caprice of 
 fate or fortune. But fact it is. Across the seas 
 there came, borne by some fortuitous wind of 
 the East, pollen of musical plants abroad to fall 
 here upon fertile ground in the early eighteen- 
 forties. It is a period we are apt to pass over 
 as a dull, dark age in our history. The Mexican 
 War had not yet come to stain its pages or to 
 foreshadow the breaking of a far greater storm 
 of battle to shake the nation to its foundations. 
 It was, in short the very year that they brought 
 the Croton water to New York and that Charles 
 Dickens ventured in a paddle-wheel cockle-shell 
 across the ocean to make those "American 
 Notes" that stung so deeply the sensibilities of 
 his hosts. Upon his free-hand canvas he painted 
 New York as a city of three worth-while 
 theatres, "excellent hospitals and schools; li- 
 terary institutions and libraries . . . and 
 charities of every sort and kind," but a dirty 
 city, scavenged only by the pigs that thronged 
 its gutters; and ill-managed, since in the Five 
 Points human misery touched its lowest ebb. 
 For all that, Dickens wrote of Manhattan that 
 it was what it is to those who love it to-day: 
 "The beautiful metropolis of America."
 
 And in this setting there had just been born, 
 April second, 1842, simultaneously with the 
 founding of the Vienna Philharmonic, the 
 third of the great modern symphonic or- 
 chestras, the Philharmonic of New York, fore- 
 runner and parent-tree of all our American 
 orchestras; a society which should and must 
 and shall endure for centuries if only that 
 thereby men may be minded how in the heydey 
 of our clipper trade, when the crass sinfulness 
 and prosperous materialism of slavery domi- 
 nated our nation and our city, here in New 
 York were musicians come together to give the 
 highest expression to one form of the most 
 moving of the arts. There was no royalty to 
 give of its doles; no court favorites to empty 
 their purses in lordly patronage ; no upstanding 
 figures in the musical world to give the initial 
 impulse or to lend distinction ; no personal tra- 
 dition or inspiration of Haydn, or Mozart, or 
 Beethoven, or Schubert, as at Vienna ; not even 
 a single Maecenas to grease the ways. But 
 launched the frail venture was, a Mayflower 
 of the western world of music, and as little 
 recking the immortality to come. Half Ameri- 
 can, half German was its first crew and until 
 to-day, similarly manned, it has steered well 
 its course through calm and through troubled 
 seas. Of it may be said to-day, as on its fiftieth 
 birthday, that it is "the most conspicuous, dig- 
 nified and stable musical institution in the 
 American metropolis." 
 
 How is it that this society has lived on ? Why 
 has it been able to survive its vicissitudes? It 
 
 40
 
 has never had a home of its own ; alas ! it lacks 
 one to-day. Its members cannot, like many a 
 learned society in London, throng historic halls 
 recalling the events of long-gone years cele- 
 brated within those same walls. No long array 
 of our pictured worthies looks down upon us 
 out of the past; no worn, cloistered stairways 
 bid us place our feet where have been those of 
 vanished generations. There are no groaning 
 shelves weighted with the records of our mem- 
 bers gone before. We have no vaults to fill with 
 the music of yesteryears. No bronze tablets 
 commemorate concertmasters or conductors or 
 directors or presidents, and yet the Philhar- 
 monic still lives and breathes. 
 
 More than that, behind every note we are 
 hearing in this hall there are seventy-five years 
 of the Philharmonic the seventy-five years 
 that transformed Manhattan from a little river 
 and harbor town into the greatest of all the 
 imperial cities. Behind every concert is the 
 long list of concerts that links us directly to 
 the past. This orchestra could not divest itself 
 of its background if it would; somehow, in 
 some fashion, its glorious tradition influences 
 all who come into touch with it. 
 
 It makes no difference that this setting in 
 which we move to-night is comparatively new ; 
 that of all the instruments that speak and sing 
 to us few have long given us of their sweetness. 
 It is of no import that there is not a name on 
 the orchestra list to bind us directly to those 
 who played the Fifth Symphony on that far- 
 off April day. These our artists are none the 
 
 41
 
 less the spiritual and musical great-grand- 
 children of those pioneers of 1842 who ever 
 since have been making their contribution to 
 the city's intellectual power, its knowledge, its 
 culture, its wisdom. They wrote the first move- 
 ment in the Philharmonic symphony for which 
 we are concluding another to-night, and though 
 they wrote in the Sturm und Drang period of 
 our Society, theirs is a movement to last 
 whatever may be said of ours. And I, for one, 
 cannot stand here to-night and look upon our 
 gifted leader and not recall those of his prede- 
 cessors I have heard, Leopold Damrosch, Theo- 
 dore Thomas, Anton Seidl, Mahler, Safonoff 
 and all the rest of that long and brilliant line. 
 Men must rewrite their most sacred faiths if 
 it shall be said that such leaders as these died 
 when they laid down their batons ; that there is 
 no such thing as spiritual heredity and no com- 
 pelling tradition in musical art save where 
 there is parchment or paper, or brass or stone, 
 to record and to stimulate laggard memories 
 of the past. 
 
 Surely the humblest who ever sat at Philhar- 
 monic desks have their share in this celebration 
 of 1917. Their names are not all recorded, but 
 if there is deep feeling in our Jubilee of this 
 week, it is because they kept the sacred fires 
 alight ; because they were ready to toil all day, 
 to rehearse long hours and to give concerts at 
 night; that whether the profits came or not, 
 they held to their faith as Richard Arnold, con- 
 certmaster emeritus and honored vice-presi- 
 dent, has kept it bravely and modestly lo ! these 
 
 42
 
 forty years, as has Felix F. Leifels, our ever 
 faithful musician-manager, and many another. 
 Adequately to describe what the humbler 
 players have done for us I must borrow a 
 figure from one who is an orator as well as a 
 magician of the pianoforte, Mr. Paderewski: 
 "For them the bell of fame never tolled, and yet 
 each played a noble part in that each built his 
 brick into that glorious edifice which is grow- 
 ing rapidly into an American temple of music 
 commensurate with the greatness of the 
 greatest of republics." In the memory of the 
 rank and file of the Philharmonic and for their 
 honor, I ask your grateful thoughts now. Per- 
 haps some of you have heard our orchestra 
 play that trick symphony of Haydn's in which, 
 one by one, the musicians blow out the candles 
 on their desks and quietly steal away until only 
 the conductor and a violin remain. Were it 
 ever to come to pass that our orchestra, of 
 which we are today so justly proud, were to 
 dwindle to but one bench, somehow or other it 
 would be the Philharmonic still, robust, modest 
 though conspicuous, dignified, able, artistic, 
 and, to the last man, devoted unselfishly to 
 the musical art. 
 
 Devoted unselfishly to the musical art ! There 
 we have it ; there, if you ask me, lies the secret 
 of its longevity, of its high artistic standards, 
 of all that it has achieved. For remember that 
 for sixty-seven years this was an association 
 of artists banded together in the spirit of the 
 founders, whose object, as they themselves 
 stated it, was the "advancement of instru- 
 
 43
 
 mental music and for producing a number of 
 concerts each year of a much higher order than 
 had ever been given in the city." You see that 
 they bound themselves to do better each winter, 
 and there is nothing in their prospectus to in- 
 dicate that the almighty dollar figured at all. 
 So in the years that followed under the old 
 organization the small sums, never at best 
 much over a paltry $200, that the musicians 
 made annually, could never have been the prize 
 to make them work as they did. It was art and 
 not Mammon, and not even the desire for fame 
 that led them on, and that is why it is that their 
 successors sit on this stage to-night, and why 
 we are in their lasting debt. 
 
 If to-day the organization has changed ; if it 
 is not a co-operative group of artists any more, 
 but an incorporated society whose performers 
 give in three years as many concerts as their 
 predecessors in fifty, it is still the art that con- 
 trols and not the box-office. Still the desire 
 rules to give each year concerts of a "much 
 higher order" than have ever been given be- 
 fore. However the difficulties in the way, how- 
 ever the execution, this lamp still holds out to 
 burn, this remains the goal. If only we could 
 darken this hall, lower a curtain and let the 
 cinematograph throw upon the screen pictures 
 of the musicianship of this society in the years 
 that have fled! Truly those would be moving 
 pictures! And no oddity of dress or custom 
 could conceal the artistry, the honest purpose, 
 the genuine inspiration of those who would 
 appear to us. 
 
 44
 
 But if we were to pass in ghostly review to- 
 night the mute presentments of all who have 
 sat at the desks or wielded the baton it would 
 not be enough. A true moving picture of the 
 past would hold for us the audiences too the 
 solid men and women of New York from whom 
 the players drew their inspiration and support. 
 What a splendid army we should see! How 
 much of the history of our city would pass be- 
 fore us ! Perhaps only thus could we properly 
 appraise the civic service of the Philharmonic 
 or realize the paradox that if it is true, as Mr. 
 Krehbiel has written, that the Philharmonic 
 has "created, bred and educated its public," 
 similarly the public has upreared and upheld 
 its orchestra. If we could but unwind this spir- 
 itual reel of the past, how we should applaud 
 certain of the figures as they marched across 
 the film of time! Such men and women as H. 
 C. Timm, for fifteen years the society's presi- 
 dent; R. Ogden Doremus, Julius Hallgarten, 
 Mrs. Francis G. Shaw, the devoted mother of 
 an American hero and the first woman to 
 attend our rehearsals, Joseph W. Drexel, and 
 in later years two note-worthy figures, Mrs. 
 George R. Sheldon and Joseph Pulitzer, to 
 whom the Philharmonic is in everlasting debt. 
 
 For it was they who at critical moments 
 saved the orchestra and made its future pos- 
 sible. The one, of humble European begin- 
 nings, wrote a story of the kind that is Ameri- 
 ca's pride of ability coming to the front un- 
 checked, unhampered by caste or prejudice, 
 free to develop in fullest measure his extraor- 
 
 45
 
 dinary gifts. In his great newspapers, to whose 
 fearless courage and absolute independence 
 the America public is in such debt, lies his chief 
 memorial; but here in the Philharmonic the 
 name of the benefactor, Joseph Pulitzer, who 
 willed it a million dollars, will not be forgotten 
 nor the courage and determination with 
 which Mrs. Sheldon set herself to the over- 
 coming of every obstacle, and with many others 
 at her right hand, notably Mrs. William H. 
 Draper, gave the society new life, new in- 
 spiration, new hope, new courage. 
 
 If such figures as these stand out, there are 
 many, many others whose names we should 
 like to read out, did time permit. They would 
 flit rapidly across our screen, for time itself 
 moves but little less quickly than the creations 
 of the cinematograph, but on the films of mem- 
 ory they are forever in gratitude recorded. 
 Our own kin should many of us see among 
 them, for belonging to the Philharmonic is 
 truly a matter of father and son and mother 
 and daughter. Moreover, if they whom the ca- 
 mera could show to us are of the Philharmonic 
 still, in the woof and warp of the inheri- 
 tances they left will also be found woven strains 
 of the Philharmonic. Could they but speak to 
 us they would surely tell first of what this or- 
 chestra meant to them, of the part it played 
 in their education and in their lives. They 
 would quicken in us all an understanding of 
 what this noble institution has done with its 
 limited resources and how great the debt the 
 city owes it. 
 
 46
 
 Surely in this spirit of gratitude we of the 
 Philharmonic, certain of our past, may look 
 forward without fear, with every hope, to the 
 films that the future is so quickly to unwind. 
 And as they unroll may they surely show the 
 home of our own for which we long, within 
 which we may shrine for the centennials to 
 come the records of the present. Upon some 
 reel there must be other patrons to give to this 
 orchestra the foundations it needs as stable 
 as those of the Metropolitan Museum, the Mu- 
 seum of Natural History, the Public Library 
 and many others, not one of which can lay 
 claim within their fields to sounder cultural 
 achievements than our own. 
 
 If we should receive such a home, therein 
 we pledge, men shall play not merely for them- 
 selves, nor for their city, nor yet for their 
 country, but for their art, as heretofore. A 
 monument to what has been, it shall also be a 
 prophecy of what is to come. But whatever fate 
 holds in store, within a mighty ocean of shim- 
 mering, shining, drifting humanity, this or- 
 chestra shall stand in this metropolis a beacon 
 of faith, lighting up what is good, casting 
 shadows about what is counterfeit or base. 
 
 To-day let no one forget that these walls a 
 citadel of peace enclose. The pitiful waves of 
 sound that beat across oceans moaning of 
 bloody, unreasoning death pass by this temple 
 of the art. No echo of the strife without can 
 enter, for here is sanctuary for all and perfect 
 peace. Here talent nor genius knows aught of 
 national pride. Herein meet citizens of one 
 
 47
 
 world to acclaim masters of every clime. No 
 one asks: "Under which flag, Bezonian?" 
 nor cares; for musicians who play and musi- 
 cians who compose are one in devotion to their 
 muse. Before genius of the cleffs no prejudice 
 lasts long, even in the track of war. Demo- 
 cracy? Here is its truest home, where dwells 
 no caste, no rank, where are no honors won 
 save fairly, unaided, and by light of day. Here 
 is communion of the soul, unseared by strife, 
 unsoiled by passion. 
 
 For our appeal is to the best and never to the 
 worst ; to what is divine in mankind and never 
 to the vile that lies just underneath. What more 
 patriotic service is there or can there be than 
 this; to cling to the ideal come what may; to 
 stem the tide that floats men down the stream ; 
 to steer them against it, up and up and up, to 
 the fairest deeps, the noblest reaches, the purest 
 springs ? 
 
 48
 
 CARL BERGMANN
 
 THEODORE THOMAS
 
 ANTON SEIDL
 
 WASSILY SAFONOFF
 
 - 
 
 GUSTAV MAHLER
 
 JOSEF STRANSKY
 
 IV 
 
 COMPOSITIONS PERFORMED BY 
 
 THE PHILHARMONIC SOCIETY OF NEW YORK 
 
 1892 During the Fifty-First Season 1893 
 
 260th to 271st Concert 
 
 ANTON SEIDL - CONDUCTOR 
 
 Performances in 
 New York 
 
 BEETHOVEN S y m p h o n y No. 7, in 
 
 A-Major, Op. 92 2 
 
 Overture, "Coriolanus," Op. 62 2 
 
 Recitative and Aria "Abscheulicher" from 
 
 "Fidelio" 2 
 
 Concerto in D-Major, Op. 61, for Violin 
 
 and Orchestra 2 
 
 Concerto No. 4, in G-Major, for Piano 
 
 and Orchestra 2 
 
 BRUCH Concerto No. 1, in G-Minor, for 
 
 Violin and Orchestra 2 
 
 DVORAK Symphony No. 1, in D-Major 2 
 
 GILSON Symphonic Sketches, "The Sea" 2 
 
 GODARD Concerto No. 2, in G-Minor, for 
 
 Violin and Orchestra 2 
 
 GOLDMARK Overture, "Prometheus" 2 
 
 KLUGHARDT Symphony in C-Minor 2 
 
 LAS SEN Concerto for Violin 2 
 
 RUBINSTEIN Scene and Aria, "E Dunque 
 
 Ver?" 2 
 
 SAINT-SAENS Concerto in A-Minor, Op. 
 
 33, for Violoncello and Orchestra 2 
 
 SCHUMANN Symphony No. 2, in C-Major, 
 
 Op. 61 
 
 Overture, Scherzo and Finale, Op. 52 2 
 
 STRONG Symphony No. 2, "Sintram" 2 
 
 49
 
 TCHAIKOVSKY Symphony No. 5, in F- 
 
 Minor, Op. 36 2 
 
 Sextuor for Strings 2 
 
 WAGNER Prelude, "Lohengrin" 2 
 
 Prelude and Liebestod from "Tristan und 
 
 Isolde" 
 
 Prelude, "Die Meistersinger" 
 Prelude and Glorification from "Parsifal" 
 
 1893 During the Fifty-Second Season 1894 
 272nd to 283rd Concert 
 
 ANTON SEIDL - CONDUCTOR 
 
 New York 
 
 BACH Divertimento (arranged from various 
 Bach works by Anton Seidl 2 
 
 BEETHOVEN Symphony No. 3, in E-flat 
 
 Major, Op. 55, "Eroica" 2 
 
 Symphony No. 4, in B-flat, Op. 60 2 
 
 Overture, "Leonore No. 3," Op. 72 2 
 
 BRAHMS Concerto in D-Major, Op. 77, for 
 
 Violin and Orchestra 2 
 
 DVORAK Symphony No. 5, in E-Minor, Op. 
 
 95, "The New World" 2 
 
 Concerto in A-Minor, Op. 53, for Violin 
 and Orchestra 2 
 
 GLUCK Aria from "Alceste" ("Divinites du 
 
 Styx") 2 
 
 HAYDN Recitative and Aria from "The 
 
 Creation." (Now furious storms . . .) 2 
 
 HERBERT Concerto No. 2, Op. 30, for Vio- 
 loncello and Orchestra 2 
 
 KRUG Symphonic Prologue to "Othello" 2 
 
 LISZT Concerto No. 1, in E-flat, for Piano 
 
 and Orchestra 2 
 
 MENDELSSOHN From "A Midsummer 
 Night's Dream," "Overture," "Noc- 
 turne," and "Scherzo" 2 
 
 50
 
 NICODfi Symphonic Variations 2 
 SCHUMANN Symphony 'No. 3, in E-flat 
 
 Major, Op. 97 (Rhenish) 2 
 
 SINDING Symphony in D-Minor, Op. 21 2 
 TCHAIKOVSKY Symphony No. 5, in E- 
 
 Minor, Op. 64 2 
 WAGNER Wotan's Farewell and Magic Fire 
 
 Scene from "Die Walkure" 2 
 Siegfried's Death and Briinnhilde's Self 
 
 Immolation, from "Gotterdammerung" 2 
 
 Siegfried Idyll 2 
 
 WEBER Overture, "Euryanthe" 2 
 
 Aria from "Sylvana" 2 
 
 1894 During the Fifty-Third Season 1895 
 284th to 295th Concert 
 
 ANTON SEIDL - CONDUCTOR 
 
 New York 
 
 BACH Fugue in A-Minor (arranged by 
 
 Hellmesberger) 2 
 
 BEETHOVEN Symphony No. 5, in C-Minor, 
 
 Op. 67 2 
 
 Symphony No. 8 in F-Major, Op. 93 2 
 
 Concerto in D-Major, Op. 61, for Violin 
 
 and Orchestra 2 
 
 BERLIOZ Overture, "King Lear," Op. 4 2 
 
 BRAHMS Symphony No. 4, in E-Minor, 
 
 Op. 98 2 
 
 BRUCH Scotch Fantasia for Violin and Or- 
 chestra, Op. 46 2 
 DVORAK Symphony No. 5, in E-Minor, Op. 
 
 95, "The New World" 2 
 
 Overture, "Carneval" 2 
 
 Overture, "Nature" 2 
 
 Overture, "Othello" 2 
 
 GOLDM ARK Overture, "Sakuntala," Op. 13 2 
 
 Concerto in A-Minor, Op. 28, for Violin 
 
 and Orchestra 2 
 
 51
 
 HANDEL Aria from "Samson" (Let the 
 
 Bright Seraphim . . . ) 2 
 
 LISZT Symphonic Poem, "Les Preludes" 2 
 
 MAC DOWELL Concerto No. 2, in D-Minor, 
 
 Op. 23, for Piano and Orchestra 2 
 
 RAFF Symphony No. 5, Op. 177, "Lenore" 2 
 RUBINSTEIN Overture, "Anthony and 
 
 Cleopatra," Op. 116 2 
 
 SAINT-SAENS Concerto No. 3, in B-Minor, 
 
 Op. 61 for Violin and Orchestra 2 
 
 SCHUBERT Theme and Variations for 
 
 Strings, from the Grand Quartet in D- 
 
 Minor (Death and the Maiden) 2 
 
 TCHAIKOVSKY Suite No. 3, in G-Major, 
 
 Op. 55 2 
 
 Concerto No. 1, in B-flat Minor, Op. 23 
 
 for Piano and Orchestra 2 
 
 THOMAS Grande Scene d'Ophelie, from 
 
 "Hamlet" 2 
 
 WAGNER Prelude, "Lohengrin" 
 
 Prelude, "Die Meistersinger" 2 
 
 "Elsa's Dream" from "Lohengrin" 2 
 
 1895 During the Fifth-Fourth Season 1896 
 296th to 307th Concert 
 
 ANTON SEIDL ... CONDUCTOR 
 
 New York 
 
 BACH Toccata in F-Major (Esser) 
 
 Brandenburg Concerto, No. 3, in G-Major 2 
 BEETHOVEN S y m p h o n y No. 7, in 
 A-Major, Op. 92 
 
 jor, Op. 92 2 
 
 Symphony No. 9, in D-Minor, Op. 125 
 
 (Choral) 
 
 Overture, "Egmont" 
 
 Menuetto and Allegro Molto (Fugue), 
 from Quartet in C-Major, Op. 59, No. 3 2 
 
 52
 
 Concerto No. 5, in E-flat, Op. 73 ("Em- 
 peror") for Piano and Orchestra 2 
 Scene and Aria, "Ah perfido" 2 
 
 BRUCH Concerto No. 2, in D-Minor, Op. 44, 
 
 for Violin and Orchestra 2 
 
 CHADWICK D r a m a t i c Overture, "Mel- 
 pomene" 2 
 
 DVORAK Symphony No. 4, in G-Major, Op. 
 
 88 2 
 
 Concerto in A-Minor, Op. 53, for Violin 
 and Orchestra 2 
 
 ELGAR "My love dwelt in a Northern Land" 2 
 
 HUM PERDINCK Dream Pantomime from 
 
 "Haensel and Gretel" 2 
 
 LAMOND Overture, "From the Scottish 
 
 Highlands," Op. 4 2 
 
 MENDELSSOHN Concerto in E-Minor, Op 
 
 64, for Violin and Orchestra 2 
 
 MORLEY "My Bonny Lass She Smileth" 2 
 
 PARRY Dream Scene from "King Saul" 2 
 
 SCHUBERT Symphony in C (B. & H. No. 
 
 7; programme as No. 9) 2 
 
 SCHUMANN Symphony No. 1, in B-flat 
 
 Major, Op. 38 2 
 
 TCHAIKOVSKY Symphony No. 1, in G- 
 
 Minor, Op. 13, "A Winter Journey" 2 
 
 WAGNER Siegfried's Death and Brimn- 
 hilde's Self Immolation, from "Gotter- 
 
 dammerung" 2 
 
 Prelude and Glorification from "Parsifal" 2 
 
 A "Faust" Symphony 2 
 Songs with Orchestra: 
 
 Schmerzen 2 
 
 Traume 2 
 
 Erwartung 2 
 
 53
 
 1896 During the Fifty-Fifth Season 1897 
 308th to 319th Concert 
 
 ANTON SEIDL - CONDUCTOR 
 
 New York 
 
 BACH Suite No. 2, in B-Minor 2 
 
 Sonata in E-Major (Violin and Clavier, 
 arranged for Orchestra by Theodore 
 Thomas) 2 
 
 BEETHOVEN Symphony No. 6 (Pastoral), 
 
 Op. 68 
 
 Overture, "Leonore No. 3" 2 
 
 Concerto in D-Major, Op. 61, for Violin 
 
 and Orchestra 2 
 
 BORODINE Symphony No. 2, in B-Minor 2 
 DVORAK Overture, "Husitzka," Op. 67 2 
 
 Concerto in B-Minor, Op. 104, for Violon- 
 cello and Orchestra 2 
 GOLDMARK Overture, "Prometheus 
 
 Bound," Op. 38 2 
 
 HANDEL Recitative and Aria, "Deeper and 
 Deeper Still" and "Waft her, Angels," 
 from "Jephthah" 
 LISZT A "Faust" Symphony 
 MENDELSSOHN Overture, "Melusine" 2 
 
 RUBINSTEIN Symphony No. 2, in C-Major, 
 
 "Ocean" 2 
 
 Concerto No. 4, in D-Minor, Op. 70, for 
 
 Piano and Orchestra 2 
 
 SCHUBERT Symphony in B-Minor, "Unfin- 
 ished" 2 
 Theme and Variations for Strings, from 
 the Grand Quartet in D-Minor (Death 
 
 and the Maiden) 
 Songs : 
 
 "An die Musik," Op. 88, No. 4 
 "Auf dem Wasser zu singen," Op. 72 
 "Aufenthalt" 2 
 
 54
 
 "Der Zweig," Op. 22, No. 1 2 
 
 "Du bist die Ruh'," Op. 59, No. 3 2 
 
 "To Sylvia," Op. 106, No. 4 2 
 SCHUMANN Symphony No. 4, in D-Minor, 
 
 Op. 120 2 
 TCHAIKOVSKY Symphony No. 6, in B- 
 
 Minor, Op. 74, "Pathetique" 2 
 WAGNER Duet, from "Flying Dutchman," 
 
 "Wie aus der Ferae" 2 
 
 Overture, "Tannhaeuser" 2 
 "Walther's Prize Song," from "Die 
 
 Meistersinger" 2 
 
 1897 During the Fifty-Sixth Season 1898 
 320th to 335th Concert 
 
 ANTON SEIDL CONDUCTOR 
 
 FRANK VAN DER STUCKEN - - CONDUCTOR 
 
 New York 
 
 BACH Prelude, Choral and Fugue (arranged 
 
 by Abert) 2 
 
 BEETHOVEN S y m p h o n y No. 2, in 
 
 D-Major, Op. 36 2 
 
 Symphony No. 3, in E-flat Major, Op. 55, 
 
 "Eroica" 2 
 
 Symphony No. 9, in D-Minor, Op. 125, 
 
 (Instrumental movements only) 2 
 
 BRAHMS Symphony No. 2, in D-Major, Op. 
 
 73 2 
 
 BRUCH Concerto No. 2, in D-Minor, Op. 44, 
 
 for Violin and Orchestra 2 
 
 CHERUBINI Entr' Acte Music, "Medea" 2 
 
 DVORAK Symphony No. 5, in E-Minor, Op. 
 
 95, "The New World" 2 
 
 Concerto in A-Minor, Op. 53, for Violin 
 
 and Orchestra 2 
 
 55
 
 GLAZOUNOW Symphony No. 5, in B-flat 
 
 Major 2 
 
 GRIEG Concerto in A-Minor, Op. 16, for 
 
 Piano and Orchestra 2 
 
 HUMPERDINCK Overture to the Play, 
 
 "Die Koenigskinder" 2 
 
 Dream Pantomime, "Haensel and Gretel" 2 
 HUSS, Henry Holden Dramatic Scene, "Cleo- 
 patra's Death" 2 
 LALO Concerto in D-Major for Violoncello 
 
 and Orchestra 2 
 
 LISZT Symphonic Poem, "Tasso" 2 
 
 MAC DOWELL Suite No. 2, in E-Minor, 
 
 "Indian" 
 
 MOZART Symphony in G-Minor 2 
 
 SCHUBERT-LISZT Fantasia for Piano and 
 
 Orchestra, in C -Major, Op. 15 2 
 
 SCHUMANN Overture, "Manfred," Op. 115 2 
 TCHAIKOVSKY Suite No. 3, in G-Major, 
 
 Op. 55 2 
 
 WAGNER Prelude and Liebestod from 
 
 "Tristan und Isolde" 2 
 
 Prelude, "Die Meistersinger" 2 
 
 Wotan's Farewell and Magic Fire Scene 
 
 from "Die Walkiire" 2 
 
 Excerpts from "Der Ring des Nibelungen" 
 
 a. Siegfried's passing through the fire 
 
 after his encounter with Wotan 
 (Siegfried) 2 
 
 b. Morning Dawn and Rhine Journey 
 
 "Die Gotterdammerung" (arrange- 
 ment by Hans Richter) 2 
 Prelude and Glorification from "Parsifal" 2 
 WAGNER, Siegfried S y m p h o n i c Poem, 
 
 "Sehnsucht" 2 
 
 WE^ER Overture, "Euryanthe" 
 
 Scene and Aria from "Euryanthe" ("Wo 
 berg' ich mich") 2 
 
 56
 
 1898 During the Fifty-Seventh Season 1899 
 336th to 351st Concert 
 
 EMIL PAUR - CONDUCTOR 
 
 New York 
 
 BACH Suite in D-Major 
 
 Passacaglia, for Orchestra (Esser) 2 
 
 BEETHOVEN Symphony No. 5, in C-Minor, 
 
 Op. 67 2 
 
 Symphony No. 7, in A-Major, Op. 92 2 
 
 Symphony No. 8, in F-Major, Op. 93 2 
 
 BERLIOZ Fantastic Symphony No. 1, in C- 
 
 Major, Op. 14a 2 
 
 Overture, "Benvenuto Cellini," Op. 23 2 
 
 BRAHMS Symphony No. 1, in C-Minor, Op. 
 
 68 2 
 
 Concerto No. 2, in B-flat, Op. 83, for Piano 
 
 and Orchestra 2 
 
 Concerto in D-Major, Op. 77, for Violin 
 
 and Orchestra 2 
 
 Songs : 
 
 "Die Mainacht" 2 
 
 "Meine Liebe ist Grim" 2 
 
 CHARPENTIER Suite, "Impressions of 
 
 Italy" 2 
 
 CHOPIN Concerto No. 1, in E-Minor, Op. 
 
 11, for Piano and Orchestra 2 
 
 DVORAK Slavonic Rhapsody No. 3, Op. 45 2 
 FRANZ "Aus meinen grossen Schmerzen" 
 
 (Song) 2 
 
 "Gute Nacht" (Song) 2 
 
 GLUCK Aria, "Oh, del mio dolce ardor" 
 
 ("Paride ed Elena") 2 
 
 GRIEG Concerto in A-Minor, Op. 16, for 
 
 Piano and Orchestra 2 
 
 LISZT "Mephisto" Waltz 2 
 
 57
 
 MOZART Theme and Variations from Di- 
 vertimento in D-Major (Strings and 
 Horns) 2 
 
 Cavatina from "Le Nozze di Figaro" 
 
 (Porgi amor) 2 
 
 Scene and Aria of Vitellia from "La Clem- 
 
 enza di Tito" ("Ecco il punto") 2 
 
 RAFF Symphony No. 3, "Im Walde" 2 
 
 SAINT-SAENS Aria from "Samson and 
 
 Dalila" "Amour, viens aider" 2 
 
 SCHUBERT "Die junge Nonne" (Song) 2 
 
 "AndieLeier" (Song) 2 
 
 SCHUMANN Symphony No. 2, in C-Major, 
 
 Op. 61 2 
 
 Overture, "Genoveva," Op. 81 2 
 
 "Der Hidalgo" 2 
 
 SPOHR Concerto No. 7, in E-Minor, Op. 38, 
 
 for Violin and Orchestra 2 
 
 TCHAIKOVSKY Symphony No. 6, in B- 
 
 Minor, Op. 74, "Pathetique" 
 Fantasy Overture, "Romeo and Juliet" 2 
 
 WAGNER Overture, "Tannhaeuser" 2 
 
 Wotan's Farewell and Magic Fire Scene 
 
 from "Die Walkure" 
 A Faust Overture 
 
 Siegfried Idyll 2 
 
 WEBER Scene and Aria, "Wie nahte mir der 
 
 Schlummer," from "Der Freischiitz" 2 
 
 1899 During the Fifty-Eighth Season 1900 
 352nd to 367th Concert 
 
 EMIL PAUR - CONDUCTOR 
 
 New York 
 
 BACH Fugue in C-Major, from Sonata No. 
 
 5, for Violin alone 
 Fugue in A-Minor (Hellmesberger) 2 
 
 58
 
 BEETHOVEN Symphony No. .4, in B-flat, 
 
 Op. 60 2 
 
 Overture, "Coriolanus," Op. 62 2 
 
 Overture, "Leonore No. 3," Op. 72 2 
 
 BRAHMS Symphony No. 4, in E-Minor, Op. 
 
 98 2 
 
 Variations on a Haydn Theme, Op. 56a 2 
 Concerto in D-Major, Op. 77, for Violin 
 
 and Orchestra 2 
 
 "Der Friihling" (Song) 2 
 
 BRUNEAU "L'heureux Vagabond" (Song) 2 
 CHOPIN Concerto No. 2, in F-Minor, Op. 
 
 21, for Piano and Orchestra 2 
 
 DVORAK Symphony No. 4, in G-Major, Op. 
 
 88 2 
 
 FRANZ "Er ist gekommen" (Song) 2 
 
 GLUCK Aria from Orfeo, "I have lost my 
 
 Eurydice" 2 
 
 GOLDM ARK Overture, "Prometheus 
 
 Bound," Op. 38 2 
 
 GUIRAUD Caprice for Violin and Orchestra 2 
 HUM PERDINCK Moorish Rhapsody 2 
 
 LISZT Concerto No. 1, in E-flat, for Piano 
 
 and Orchestra 2 
 
 MENDELSSOHN Symphony No. 3, in A- 
 
 Minor (Scotch) 2 
 
 Overture, from "A Midsummer Night's 
 
 Dream" 2 
 
 RUBINSTEIN Symphony No. 2, in 
 
 C-Major, Op. 42, "Ocean" 2 
 
 SAAR, Louis V. "Ganymed" for Contralto 
 
 and Orchestra 2 
 
 SCHUBERT Symphony in B-Minor, "Unfin- 
 ished" 2 
 "Der Kreuzzug" (Song) 2 
 "Der Atlas" (Song) ' 2 
 SCHUMANN Symphony No. 4, in D-Minor, 
 
 Op. 120 2 
 
 Concerto in A-Minor, Op. 129, for Violon- 
 cello and Orchestra 2 
 "Der arme Peter" 2 
 
 59
 
 SINDING, Christian Concerto in A-Major, 
 
 Op. 45, for Violin and Orchestra 2 
 TCHAIKOVSKY Symphony No. 5, in E- 
 
 Minor, Op. 64 2 
 Concerto in D-Major, Op. 35, for Violin 
 
 and Orchestra 2 
 "The Cuckoo" (Song) 2 
 VAN DER STUCKEN Symphonic Pro- 
 logue, "William Ratcliff," Op. 6 2 
 WAGNER Overture, "The Flying Dutch- 
 man" 2 
 Bacchanale, "Tannhaeuser" 2 
 Prelude, "Lohengrin" 2 
 Prelude and Liebestod from "Tristan und 
 
 Isolde" 2 
 
 Waldweben, from "Siegfried" 2 
 
 Prelude and Glorification from "Parsifal" 2 
 
 WEBER Overture, "Der Freischiitz" 2 
 
 1900 During the Fifty-Ninth Season 1901 
 368th to 383rd Concert 
 
 EMIL PAUR - CONDUCTOR 
 
 New York 
 
 BACH Toccata in F-Major (Esser) 2 
 
 BEETHOVEN Symphony No. 3, in E-flat 
 
 Major, Op. 55 "Eroica" 
 Symphony No. 6 (Pastoral), Op. 68 
 Overture, "Egmont" 2 
 
 Minuet and Finale from the Quartet in 
 
 C-Major, Op. 59, No. 3 (Strings) 2 
 
 Concerto No. 5, in E-Flat, Op. 73 ("Em- 
 peror"), for Piano and Orchestra 2 
 Concerto in D-Major, Op. 61, for Violin 
 
 and Orchestra 2 
 
 BERLIOZ Overture, "Le Carnaval Remain," 
 Op. 9 
 
 60
 
 BRAHMS Symphony No. 3, in F-Major, Op. 
 
 90 2 
 
 Festival Overture, "Academic," Op. 80 2 
 
 BRUCH Concerto No. 1, in G-Minor, Op. 
 
 26, for Violin and Orchestra 2 
 
 D' ALBERT Concerto in C-Major, Op. 20, for 
 
 Violoncello and Orchestra 2 
 
 DVORAK Symphony No. 5, in E-Minor, Op. 
 
 95, "The New World" 2 
 
 GLUCK Overture, "Iphigeneia in Aulis" 
 
 (Wagner ending) 2 
 
 HUSS, Henry Holden Concerto in B-Major, 
 
 for Piano and Orchestra 2 
 
 LOEWE "Edward" Ballad, Op. 1, No. 1 2 
 
 MOZART Overture, "Magic Flute" 2 
 
 PARKER "A Northern Ballad," Op. 46 2 
 
 RIMSKY-KORSAKOFF Concerto in B- 
 
 Minor, for Violin and Orchestra (Fan- 
 
 tasie) 2 
 
 SCHUBERT "Hark! Hark! the Lark," Op. 
 
 posth. (Song) 2 
 
 SCHUMANN Overture, "Manfred," Op. 115 2 
 "My Soul is Dark," Op. 25, No. 15 (Song) 2 
 STRAUSS Tone Poem, "Life of a Hero," 
 
 Op. 40 4 
 
 "Hymnus," "Pilgers Morgenlied," Op. 33, 
 
 Nos. 3 and 4, Songs with Orchestra 2 
 
 SUK Symphony No. 1, in E-Major, Op. 14 2 
 SVENDSEN Episode, "Carnival in Paris" 2 
 TARTINI Sonata for Violin, "The Devil's 
 
 Trill" 2 
 
 TCHAIKOVSKY Symphony in B - Minor, 
 
 Op. 58, "Manfred" 2 
 
 Fantasia, "Francesca da Rimini," Op. 32 2 
 Variations on a Rococo Theme, Op. 33 
 
 (Violoncello) 
 Concerto No. 1, in B-flat Minor, Op. 23, 
 
 for Piano and Orchestra 2 
 
 WAGNER Prelude, "Die Meistersinger" 2 
 
 Sach's "Monologue," Wie duftet doch der 
 
 Flieder," from "Die Meistersinger" 2 
 
 61
 
 "Ride of the Valkyries," from "Die Wal- 
 
 kiire" 2 
 
 Wotan's Farewell and Magic Fire Scene 
 
 from "Die Walkiire" 2 
 
 "Waldweben," from "Siegfried" 
 A Faust Overture 2 
 
 WEBER Overture, "Oberon" 2 
 
 1901 During the Sixtieth Season 1902 
 384th to 399th Concert 
 
 EMIL PAUR - CONDUCTOR 
 
 New York 
 
 BACH Prelude, Choral and Fugue (arranged 
 
 by Abert) 2 
 
 Concerto No. 2, in E-Major, for Violin 
 
 and Orchestra 2 
 
 BEETHOVEN Symphony No. 1, in C-Major, 
 
 Op. 21 
 
 Symphony No. 5, in C-Minor, Op. 67 2 
 
 Symphony No. 9, in D-Minor, Op. 125 
 
 (Choral) 2 
 
 Overture, "Leonore No. 2," Op. 72 
 Overture, "Fidelio," in E-Major, Op. 72 2 
 BRAHMS Symphony No. 1, in C-Minor, Op. 
 
 68 2 
 
 BURMEISTER, Richard Dramatic Tone 
 Poem, "The Sisters," for Contralto and 
 Orchestra, Op. 11 
 GLUCK Aria from "Iphigenie en Tauride," 
 
 "Unis des la plus tendre enfance, ..." 2 
 HADLEY Symphony No. 2, in F-Minor, Op. 
 
 30, "The Four Seasons" 2 
 
 HAYDN Symphony in G-Major (B. & H. 
 
 No. 13) 2 
 
 HAUSEGGER, von Symphonic Poem, "Bar- 
 
 barossa" 2 
 
 62
 
 LISZT A "Faust" Symphony 2 
 
 "Todtentanz," for Piano and Orchestra 2 
 
 "The Three Gypsies" (Song with Piano) 2 
 
 MENDELSSOHN Concerto in E-Minor, Op. 
 
 64, for Violin and Orchestra 2 
 
 MOZART Symphony in C-Major, "Jupiter" 2 
 
 RUBINSTEIN Concerto No. 4, in D-Minor, 
 
 Op. 70, for Piano and Orchestra 2 
 
 SAINT-SAENS Concerto in A-Minor, Op. 
 
 33, for Violoncello and Orchestra 2 
 
 SCHILLINGS, Max Symphonic Prologue, 
 
 "Oedipus, the King," Op. 11 2 
 
 SCHUMANN Introduction and Allegro Ap- 
 passionato, Op. 92, for Piano and Or- 
 chestra 2 
 
 SIBELIUS "Lemminkainen Journeys Home- 
 ward" (Legend for Orchestra) 2 
 
 STRAUSS Tone Poem, "Death and Trans- 
 figuration," Op. 24 2 
 Love Scene from "Feuersnot" 2 
 "Friedenserzahlung," from "Guntram," 
 for Tenor 2 
 
 SUK Suite, "Ein Mahrchen," Op. 16 2 
 
 TCHAIKOVSKY Symphony No. 6, in B- 
 
 Minor, Op. 74, "Pathetique" 2 
 
 Orchestral Fantasy, "Hamlet," Op. 67 2 
 
 WAGNER Prelude and Glorification from 
 
 "Parsifal" 2 
 
 "Huldigungs" March 2 
 
 WEBER Overture, "Euryanthe" 2 
 
 1902 During the Sixty-First Season 1903 
 400th to 415th Concert 
 
 WALTER DAMROSCH - - - CONDUCTOR 
 
 New York 
 
 BACH Concerto grosso in G-Major 2 
 
 63
 
 BEETHOVEN Symphony No. 7, in A-Ma- 
 
 jor, Op. 92 
 
 Symphony No. 8, in F-Major, Op. 93 
 Overture, "Coriolanus," Op. 62 2 
 
 BERLIOZ Three Movements from Sym- 
 phony, "Romeo and Juliet," Op. 17 
 (Love Scene, Queen Mab-Scherzo, and 
 (Fete) 
 
 Overture, "Benvenuto Cellini," Op. 23 2 
 
 "The Captive" Revery for Contralto and 
 
 Orchestra 2 
 
 BRAHMS Symphony No. 2, in D-Major, 
 
 Op. 73 
 Concerto in D-Major, Op. 77, for Violin 
 
 and Orchestra 2 
 
 BRUCH Concerto No. 1, in G-Minor, Op. 26, 
 
 for Violin and Orchestra 2 
 
 CAETANI, R. Symphonic Prelude in E-flat, 
 
 Op. 8, No. 1 2 
 
 FRANCK, Cesar Two Fragments from 
 
 "Psyche" 
 
 GOLDMARK Overture, "Spring," Op. 36 
 LALO Overture, "Le Roi d' Ys" 2 
 
 Concerto in D-Minor, for Violoncello and 
 
 Orchestra 
 
 LISZT Symphonic Poem, "Festklange" 2 
 
 MARSCHNER Aria, "An jenem Tag," from 
 
 "Hans Heiling" 2 
 
 MENDELSSOHN Concerto in E-Minor, Op. 
 
 64, for Violin and Orchestra 2 
 
 MOZART Symphony in G-Minor (Kochel 
 
 550) 2 
 
 SAINT-SAENS Andantino for Violin and 
 
 Orchestra 2 
 
 Concerto No. 2, in G-Minor, for Piano and 
 
 Orchestra 2 
 
 Concerto No. 4, in C-Minor, Op. 44, for 
 Piano and Orchestra 2 
 
 64
 
 SCHUMANN Symphony No. 1, in B-flat, 
 
 Op. 38 2 
 
 STRAUSS, R. Symphonic Poem, "Till Eulen- 
 
 spiegel and His Merry Pranks" 2 
 
 TCHAIKOVSKY Symphony No. 4, in F- 
 
 Minor, Op. 36 2 
 
 Symphony No. 5, in E-Minor, Op. 64 
 Theme and Variations from Suite No. 3, 
 
 in G-Major, Op. 55 2 
 
 WAGNER Prelude and Liebestod from "Tris- 
 tan und Isolde" 2 
 Prelude, "Die Meistersinger" 2 
 Wotan's Farewell and Magic Fire Scene 
 
 from "Die Walkiire" 2 
 
 Morning Dawn and Siegfried's Rhine Jour- 
 ney from Gotterdammerung" 2 
 Dreams 2 
 Album Leaf 2 
 "In the Hothouse" (Im Treibhaus) Song 
 
 with Orchestra 2 
 
 "Grief" (Schmerzen) Song with Orchestra 2 
 WEINGARTNER, Felix Symphony No. 2, 
 
 in E-flat-Major, Op. 29 2 
 
 1903 During the Sixty-Second Season 1904 
 416th to 432nd Concert 
 
 CONDUCTORS 
 
 EDOUARD COLON NE VICTOR HERBERT 
 
 GUSTAV F. KOGEL FELIX WEINGARTNER 
 
 HENRY J. WOOD WASSILY SAFONOFF 
 
 RICHARD STRAUSS 
 
 New York 
 
 BACH Suite No. 3, in D-Major 2 
 BEETHOVEN Symphony No. 5, in C-Minor 
 
 Op. 67 2 
 
 Symphony No. 7, in A-Major, Op. 92 2 
 
 65
 
 Overture, "Leonore No. 3" 2 
 
 Concerto No. 5, in E-flat, for Piano and 
 
 Orchestra, Op. 73 ("Emperor") 1 
 
 BERLIOZ Fantastic Symphony No. 1, in C- 
 
 Major, Op. 14a 2 
 
 Overture, "Benvenuto Cellini," Op. 23 2 
 
 BIZET Dramatic Overture, "Patrie," Op. 19 2 
 BRAHMS Symphony No. 1, in C-Minor, Op. 
 
 68 2 
 
 DVORAK Overture, "Carnival," Op. 92 2 
 
 GLAZOUNOW Serenade in A-Major, Op. 7 2 
 HERBERT, Victor Symphonic Poem, "Hero 
 
 and Leander," Op. 33 2 
 
 KLEIN, Bruno Oscar Suite in F-Major, Op. 
 
 28, for Violoncello and Orchestra 2 
 
 LALO Concerto in F-Major, Op. 20, for 
 
 Violin and Orchestra 2 
 
 LISZT Symphonic Poem, "Les Preludes" 
 
 Symphonic Poem, "Tasso" 2 
 
 Concerto No. 2, in A-Major, for Piano and 
 
 Orchestra 2 
 
 MOZART Symphony in C-Major, "Jupiter" 
 
 Scene and Rondo, "Non temer, amato bene" 2 
 RIMSKY-KORSAKOFF Capriccio Espagnol, 
 
 Op. 34 2 
 
 RUBINSTEIN Adagio for Quartet in F, Op. 
 
 17 (Strings) 2 
 
 SAINT-SAENS Concerto No. 3, in B-Minor, 
 
 Op. 61, for Violin and Orchestra 2 
 
 Aria, "Mon cceur s'ouvre a ta voix, from 
 
 "Samson and Dalila" 2 
 
 SCHUBERT Symphony in B-Minor, "Un- 
 finished" " 2 
 STRAUSS Tone Poem, "Death and Trans- 
 figuration," Op. 29 2 
 Symphonic Poem, "Till Eulenspiegel and 
 
 His Merry Pranks" 2 
 
 Love Scene from "Feuersnot" 2 
 
 66
 
 Songs with Orchestra: 
 
 a. Hymns 
 
 b. Pilgers Morgenlied, Op. 33, Nos. 3 
 
 and 4 2 
 
 Songs with Piano: 
 
 a. Liebeshymnus 2 
 
 b. Sehnsucht 2 
 
 c. Lied des Steinklopfers 2 
 TCHAIKOVSKY Symphony No. 5, in E- 
 
 Minor, Op. 64 2 
 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 2 
 
 Concerto No. 2, in G-Major, Op. 44, for 
 
 Piano and Orchestra 2 
 
 WAGNER Overture, "Tannhxuser" 1 
 
 Prelude, "Lohengrin" 1 
 
 Prelude and Liebestod from "Tristan und 
 
 Isolde" 2 
 
 Prelude, "Die Meistersinger" 1 
 
 A "Faust" Overture 2 
 
 WEBER Overture, "Der Freischutz" 2 
 
 WEINGARTNER Symphonic Poem, "The 
 
 Elysian Fields," Op. 21 2 
 
 Symphonic Poem, "King Lear," Op. 20 1 
 
 1904 During the Sixty-Third Season 1905 
 433rd to 450th Concert 
 
 CONDUCTORS 
 
 GUSTAV F. KOGEL WASSILY SAFONOFF 
 
 EDOUARD COLONNE KARL PANZNER 
 
 FELIX WEINGARTNER 
 
 New York 
 
 BACH Concerto Grosso No. 3, in G-Major 
 
 (4th Brandenburg) 2 
 
 BEETHOVEN S y m p h o n y No. 2, in 
 
 D-Major, Op. 36 2 
 
 67
 
 Symphony No. 9, in D-Minor, Op. 125 
 
 (Choral) 2 
 
 Overture, "Coriolanus," Op. 62 2 
 
 Concerto No. 4, in G-Major, Op. 58, for 
 Piano and Orchestra 2 
 
 BERLIOZ Symphony No. 3, in G, "Harold in 
 
 Italy" 2 
 
 Excerpts from "The Damnation of Faust" 
 "Minuet of the Will-o-the Wisps" 2 
 
 "Danse of the Sylphs" 2 
 
 "Rakoczy March" 2 
 
 BRAHMS Symphony No. 4, in E-Minor, Op. 
 
 98 2 
 
 BRUCH Concerto No. 1, in G-Minor, Op. 26, 
 
 for Violin and Orchestra 2 
 
 CHARPENTIER S u i t e , "Impressions of 
 
 Italy" 2 
 
 D'ALBERT Concerto in C-Major, Op. 20, 
 
 for Violoncello and Orchestra 2 
 
 DVORAK Overture, "Husitzka," Op. 67 2 
 
 GLAZOUNOFF Symphony No. 6, in C- 
 
 Minor, Op. 58 2 
 
 GLUCK Overture, "Iphigenia in Aulis" (Wag- 
 ner ending) 2 
 
 HANDEL Concerto grosso No. 5, in D-Major 
 (Kogel) 
 
 LALO Overture, "Le Roi d' Ys" 2 
 
 LISZT A "Faust" Symphony 2 
 
 Symphonic Poem, "Battle of the Huns" 2 
 Concerto No. 1, in E-flat-Major, for Piano 
 and Orchestra 2 
 
 MOZART Overture, "The Magic Flute" 2 
 
 SAINT-SAENS S y m p h o n y No. 2, in A- 
 
 Minor, Op. 55 2 
 
 SCHUBERT Fantasy in C-Major, Op. 15, 
 "The Wanderer," for Piano and Or- 
 chestra (Liszt) 2 
 
 TCHAIKOVSKY Symphony No. 4, in F- 
 
 Minor, Op. 36 
 Symphony No. 5, in E-Minor, Op. 64 2 
 
 68
 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 2 
 
 Fantasy Overture, "Romeo and Juliet" 2 
 Concerto in D-Major, Op. 35, for Violin 
 
 and Orchestra 2 
 
 WAGNER Overture, "The Flying Dutchman" 2 
 
 "Bacchanale," from "Tannhaeuser" 2 
 Prelude and Liebestod from "Tristan und 
 
 Isolde" 2 
 
 Prelude, "Die Meistersinger" 2 
 Siegfried Idyll 
 
 WEBER Overture, "Euryanthe" 2 
 
 Overture, "Oberon" 2 
 WEINGARTNER Symphony No. 2, in E- 
 
 flat-Major, Op. 29 2 
 
 1905 During the Sixty-Fourth Season 1906 
 451st to 468th Concert 
 
 CONDUCTORS 
 
 WILLEM MENGELBERG WASSILY SAFONOFF 
 
 VICTOR HERBERT ERNST KUNWALD 
 
 MAX FIEDLER FRITZ STEINBACH 
 
 New York 
 
 BEETHOVEN Symphony No. 3, in E-flat- 
 
 Major, Op. 55, "Eroica" 2 
 Symphony No. 5, in C-Minor, Op. 67 2 
 Symphony No. 8, in F-Major, Op. 93 2 
 Overture, "Egmont," Op. 84 2 
 Overture, "Leonore No. 3" 2 
 Concerto No. 5, in E-flat, Op. 73, (Em- 
 peror) for Piano and Orchestra 2 
 Concerto in D-Major, Op. 61, for Violin 
 
 and Orchestra 2 
 Recitative and Aria "Abscheulicher," from 
 
 "Fidelio" 2 
 
 69
 
 BERLIOZ O v e r t u r e, "Roman Carnival," 
 
 Op. 9 2 
 
 BRAHMS Symphony No. 2, in D-Major, 
 
 Op. 73 2 
 
 Concerto in D-Major, Op. 77, for Violin 
 
 and Orchestra 2 
 
 DVORAK Symphony No. 5, in E-Minor, Op. 
 
 95, "The New World" 2 
 
 ECKERT, Karl Aria from "William of 
 
 Orange," "Though I speak with the 
 
 tongues of men and of angels. ..." 2 
 
 ELGAR Variations on an Original Theme, 
 
 Op. 36 2 
 
 GRIEG Concerto in A-Minor, Op. 16, for 
 
 Piano and Orchestra 2 
 
 HERBERT, Victor S u i t e , "Romantique," 
 
 Op. 31 2 
 
 JONGEN, Joseph Concerto for Violoncello 
 
 and Orchestra 2 
 
 LISZT Symphonic Poem, "Les Preludes" 2 
 
 MENDELSSOHN Overture, "A Midsum- 
 mer Night's Dream" 2 
 MOZART Concerto in D-Minor, for Piano 
 
 and Orchestra 2 
 
 RAFF Symphony No. 3, "Im Walde" 2 
 
 RIM SK Y-KORS AKOFF Symphonic Suite, 
 
 "Scheherazade," Op. 35 
 SCHUBERT Theme and Variations from the 
 
 Quartet in D-Minor, for Strings (Death 
 
 and the Maiden) 2 
 
 SCHUMANN Symphony No. 4, in D-Minor, 
 
 Op. 120 2 
 
 STRAUSS Tone Poem, "Don Juan," Op. 20 2 
 Symphonic Poem, "The Life of a Hero," 
 
 Op. 40 2 
 
 Symphonic Poem, "Till Eulenspiegel and 
 
 His Merry Pranks" 2 
 
 Songs with Piano: 
 
 Traum durch die Dammerung" 2 
 
 "Cacilie" 2 
 
 70
 
 TCHAIKOVSKY Symphony in B-Minor, 
 
 "Manfred," Op. 58 2 
 
 Symphony No. 6, in B-Minor, Op. 74 
 
 "Pathetique" 2 
 
 Serenade for Strings in C-Major, Op. 48 2 
 Concerto No. 1, in B-flat-Minor, Op. 23 
 
 for Piano and Orchestra 2 
 
 WAGNER Scene and Aria from "Rienzi," 
 ("Gerechter Gott") and ("In seiner 
 Bliithe") 2 
 
 Prelude, "Die Meistersinger" 2 
 
 WOLF Songs with Piano 
 
 "Verborgenheit" 2 
 
 "Der Freund" 2 
 
 1906 During the Sixty-Fifth Season 1907 
 469th to 484th Concert 
 
 WASSILY SAFONOFF - CONDUCTOR 
 
 New York 
 
 BACH Sonata in E-flat (Organ Sonata, ar- 
 ranged for orchestra by H. H. Wetzler) 2 
 BEETHOVEN Symphony No. 3, in E-flat, 
 
 Op. 55, "Eroica" 
 
 Symphony No. 4, in B-flat-Major, Op. 60 2 
 
 Overture, "Coriolanus," Op. 62 2 
 
 Overture, "Leonore No. 3" 2 
 
 Scene and Aria, "Ah, Perfido," Op. 65 2 
 Concerto in D-Major, Op. 61, for Violin 
 
 and Orchestra 2 
 BRAHMS Symphony No. 3, in F-Major, 
 
 Op. 90 2 
 
 CHERUBINI Overture, "Anakreon" 2 
 
 GLINKA Overture, "Russian and Ludmilla" 2 
 
 GRIEG Lyric Suite (for Orchestra) 2 
 
 Concerto in A-Minor, Op. 16, for Piano 
 
 and Orchestra 2 
 
 71
 
 HAYDN Symphony in C-Minor (B.&H. 
 
 No. 9) 2 
 
 Recitative and Aria, "With Verdure Clad," 
 
 from "The Creation" 2 
 
 HERBERT, Victor C o n c e r t o No. 2, in 
 
 E-Minor, Op. 30, for Violoncello and 
 
 Orchestra 2 
 
 LISZT Two Episodes from Lenau's "Faust" 
 
 a. Nocturnal Procession 2 
 
 b. Dance in the Village Tavern 2 
 MENDELSSOHN Symphony in A-Major, 
 
 Op. 90, "Italian" 2 
 
 MOZART "Eine kleine Nachtmusik" ( f or 
 
 Strings) (Kochel 525) 2 
 
 RIMSKY-KORSAKOFF Suite, "Christmas 
 
 Eve" 2 
 
 RUBINSTEIN Concerto No. 4, in D-Minor, 
 
 Op. 70, for Piano and Orchestra 2 
 
 SCHUBERT Symphony in C-Major (B.&H. 
 
 No. 7) 2 
 
 SCHUMANN Symphony No. 2, in C-Major, 
 
 Op. 61 2 
 
 Overture, "Manfred," Op. 115 2 
 
 SIBELIUS Concerto in D-Minor, Op. 47, for 
 
 Violin and Orchestra 2 
 
 TCHAIKOVSKY Symphony No. 5, in 
 E-Minor, Op. 64 2 
 
 Fantasia, "Francesca da Rimini," Op. 32 2 
 Concerto No. 1, in B-flat-Minor, Op. 23, 
 
 for Piano and Orchestra 2 
 
 WAGNER Overture, "Tannhaeuser" 2 
 
 Prelude to Act 111, "Die Meistersinger" 2 
 Walther's Prize Song, from "Die Meister- 
 singer" 2 
 Ride of the Valkyries from "Die Walkure" 2 
 Siegmund's Love Song, from "Die Walkure" 2 
 A Faust Overture 2 
 WEBER Overture, "Oberon" 2 
 
 72
 
 1907 During the Sixty-Sixth Season 1908 
 485th to 502nd Concert 
 
 WASSILY SAFONOFF - CONDUCTOR 
 
 New York 
 
 BACH Prelude, Choral and Fugue (arranged 
 
 by Abert) 2 
 
 BEETHOVEN Symphony No. 5, in C-Minor, 
 
 Op. 67 2 
 
 Symphony No. 6, in F-Major, Op. 68, 
 
 (Pastoral) 2 
 
 Symphony No. 8, in F-Major, Op. 93 2 
 
 Andante con moto, for Strings, from Op. 
 
 59, No. 3 2 
 
 Scene and Aria, "Abscheulicher," from 
 
 "Fidelio" 2 
 
 BERLIOZ Symphony No. 3, in G-Major, 
 
 "Harold in Italy" 2 
 
 "The Captive," a Revery for Contralto and 
 
 Orchestra 2 
 
 "The Flight into Egypt," (Tenor solo, 
 
 chorus, and Orchestra) 2 
 
 BRUCH Scotch Fantasia, Op. 46, for Violin 
 
 and Orchestra 2 
 
 CHOPIN Concerto No. 2, in F-Minor, Op. 
 
 21, for Piano and Orchestra 2 
 
 DVORAK Symphony No. 5, in E-Minor, 
 
 Op. 95, "The New World" 2 
 
 GLAZOUNOFF "The Isle of Love" 2 
 
 GRIEG Suite No. 1, from "Peer Gynt," Op. 
 
 46 2 
 
 Concerto in A-Minor, Op. 16, for Piano 
 
 and Orchestra 2 
 
 HOFMANN Concerto No. 3, in A-Minor, 
 
 for Piano and Orchestra 2 
 
 LALO Concerto in D-Minor, for Violoncello 
 
 and Orchestra 2 
 
 73
 
 MENDELSSOHN Overture," Fingal's Cave," 
 
 Op. 26 2 
 
 METZL, Vladimir Symphonic Poem, "The 
 
 Sunken Bell" 2 
 
 MOZART Concerto in D-Major, for Violin 
 
 and Orchestra (Kochel 218) 2 
 
 RIMSKY KORSAKOFF Easter Overture, 
 
 Op. 36 2 
 
 RUBINSTEIN Symphony No. 2, in C-Major, 
 
 "Ocean," Op. 42 2 
 
 SCRIABINE Symphony No. 1, in E-Major, 
 Op. 26 (with soprano and tenor solos 
 and chorus) 2 
 
 STRAUSS Tone Poem, "Death and Trans- 
 figuration," Op. 29 2 
 Hymnus, Op. 33, No. 3 (Voice and Or- 
 chestra) 2 
 TCHAIKOVSKY Symphony No. 4, in 
 
 F-Minor, Op. 36 2 
 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 2 
 
 Fantasy Overture, "Romeo and Juliet" 2 
 
 Concerto No. 1, in B-flat-Minor, Op. 23, 
 
 for Piano and Orchestra 2 
 
 VIVALDI Concerto in C-Major, for Violin 
 
 and Orchestra 2 
 
 WAGNER Overture, "Rienzi" 2 
 
 Prelude, "Die Meistersinger" 2 
 
 Siegfried's Death and Briinnhilde's Immo- 
 lation Scene from "Gotterdammerung" 2 
 Prelude and Glorification from "Parisfal" 2 
 WEBER Overture, "Der Freischutz" 2 
 
 74
 
 1908 During the Sixty-Seventh Season 1909 
 503rd to Slsth Concert 
 
 WASSILY SAFONOFF - CONDUCTOR 
 
 New York 
 
 BACH Toccata in F-Major (Esser) 2 
 
 BEETHOVEN Symphony No. 3, in E-flat, 
 
 Op. 55, "Eroica" 2 
 
 Symphony No. 7, in A-Major, Op. 92 2 
 
 HADLEY, Henry T one Poem, "Salome," 
 
 Op. 55 2 
 
 HAYDN Symphony in G-Major (B. & H. 
 
 No. 13) 2 
 
 MENDELSSOHN "Italian" Symphony in 
 
 A-Major, Op. 90 2 
 
 From "A Midsummer Night's Dream" 
 
 a. Overture 2 
 
 b. Scherzo 2 
 
 c. Nocturne 2 
 
 d. Wedding March 2 
 Concerto in E-Minor, Op. 64, for Violin 
 
 and Orchestra 2 
 
 Scena for Soprano and Orchestra, "In- 
 felice," Op. 94 2 
 
 RUBINSTEIN Fantasia in C-Major, Op. 84, 
 
 for Piano and Orchestra 2 
 
 SAINT-SAENS Concerto No. 3, in B-Minor, 
 
 Op. 61, for Violin and Orchestra 2 
 
 SCHUBERT Symphony in B-Minor, "Unfin- 
 ished" 2 
 
 SCHUMANN Overture, "Manfred," Op. 115 2 
 Concerto in A-Minor, Op. 54, for Piano 
 and Orchestra 2 
 
 SMETANA Symphonic Poem, "Vltava" 2 
 
 STAHLBERG Symphony, "Abraham Lin- 
 coln" 2 
 
 STRAUSS Tone Poem, "Thus Spake Zara- 
 
 thustra," Op. 30 2 
 
 75
 
 TCHAIKOVSKY Symphony in B-Minor, 
 
 Op. 58, "Manfred" 2 
 
 Symphony No. 5, in E-Minor, Op. 64 2 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 2 
 
 Italian Caprice, Op. 45 2 
 
 Elegy from Serenade in C-Major 2 
 
 Slavic March, Op. 31 2 
 
 VOLKMANN Concerto in A-Minor, Op. 33, 
 
 for Violoncello and Orchestra 2 
 
 WAGNER Overture, "Tannhaeuser" 2 
 
 Prelude, "Lohengrin" 2 
 
 Good Friday Spell, from "Parsifal" 2 
 
 WEBER Overture, "Euryanthe" 2 
 
 1909 During the Sixty-Eighth Season 1910 
 519th to 564th Concert 
 
 CUSTAV MAHLER - CONDUCTOR 
 
 N.Y. On Tour 
 
 BACH Suite for Orchestra (From 2nd 
 
 and 3rd; arranged by Mahler) 5 3 
 
 Concerto No. 2, in E-Major, for 
 
 Violin and Orchestra 1 
 
 BEETHOVEN Symphony No. 2, in D- 
 
 Major, Op. 36 1 
 
 Symphony No. 3, in E-flat-Major, 
 
 Op. 55, "Eroica" 3 
 
 Symphony No. 4, in B-flat-Major, 
 
 Op. 60 1 
 
 Symphony No. 5, in C-Minor, Op. 67 4 1 
 Symphony No. 6, in F-Major, Op. 68, 
 
 "Pastoral" 
 
 Symphony No. 7, in A-Major, Op. 92 1 
 Symphony No. 9, in D-Minor, Op. 
 
 125 (Choral) 2 
 
 Overture, "Coriolanus," Op. 62 4 
 
 Overture, "Egmont," Op. 84 
 Overture, "Leonore No. 1" 1 
 
 76
 
 Overture, "Leonore No. 2" 1 
 
 Overture, "Leonore No. 3" 3 1 
 
 Overture, "Consecration of the 
 
 House" 2 
 
 Overture, "Fidelio" 1 
 
 Overture, "Zur Namensfeier," 
 
 Op. 115, in C-Major 1 
 
 Choral Fantasia in C-Minor, Op. 80 2 
 Scene and Aria, "Ah, Perfido," 
 
 Op. 65 3 
 
 Concerto No. 4, in G-Major, Op. 58, 
 
 for Piano and Orchestra 1 
 
 Concerto in D-Major, Op. 61, for Vio- 
 lin and Orchestra 1 1 
 BERLIOZ Fantastic Symphony No. 1, in 
 
 C-Major, Op. 14a 3 5 
 
 Overture, "Roman Carnival," Op. 9 2 
 BIZET Aria from "Fair Maid of Perth" 1 
 BRAHMS Symphony No. 3, in F-Major, 
 
 Op. 90 4 
 
 Gesang aus Singal 1 
 
 Concerto in D-Major, Op. 77, for Vio- 
 lin and Orchestra 2 
 BRUCKNER Symphony No. 4, in E-flat 
 
 Major, "Romantic" 1 
 
 BUSONI Orchestral Suite, "Turandot" 2 
 DEBUSSY Prelude, "L'Apres-midi d'un 
 
 Faune" 2 
 
 Three Nocturnes (a. "Clouds," b. Fes- 
 tivals" and "Sirens") 2 
 DUKAS "The Sorcerer's Apprentice," 
 
 Scherzo After a Ballad of Goethe 2 
 DVORAK Overture, "Nature," Op. 91 2 
 Scherzo Capriccioso, Op. 66 1 
 
 FIEDLER "The Tambourin Player" 
 
 (Song) 3 
 
 GRfiTRY Recitative and Aria "C'est 
 
 ici," from "Cephale et Procris" 1 
 
 77
 
 GRIEG "In the Hall of the Mountain 
 
 King," from "Peer Gynt" Suite 1 
 
 Concerto in A-Minor, Op. 16, for 
 
 Piano and Orchestra 1 
 
 HANDEL Aria, "Quanto Dolci," from 
 
 "Flavio" 1 1 
 
 Largo from "Xerxes" 1 
 
 HAYDN Symphony in D-Major (B. & 
 
 H. No. 2) 1 
 
 Aria, "9n Mighty Pens," from "The 
 
 Creation" 1 
 
 LISZT Symphonic Poem, "Les Pre- 
 ludes" 2 
 Symphonic Poem, "Mazeppa" 3 
 Concerto No. 2, in A-Major, for 
 
 Piano and Orchestra 1 
 
 MAHLER Symphony No. 1, in D-Major 2 
 Five "Children's Death Songs" : 
 
 a. "Nun will die Sonne" 1 1 
 
 b. "Nun seh' ich wohl" 1 1 
 
 c. "Wenn dein -Miitterlein" 1 1 
 
 d. "Oft denk' ich" 1 1 
 
 e. "In diesen Wetter" 1 1 
 (For solo voice and Orchestra) 
 
 MASSENET Legende, "The Juggler of 
 
 Notre Dame" 1 
 
 MENDELSSOHN Concerto in E-Minor, 
 
 Op. 64, for Violin and Orchestra 2 
 
 MOZART Symphony in C-Major, "Ju- 
 piter" 1 
 Aria from "Figaro," "Deh vieni" 1 
 Aria from "Figaro," "Voi die Sapete" 1 
 
 PFITZNER Overture, "Das Christ- 
 
 elflein," Op. 20 1 
 
 RACHMANINOFF Concerto No. 3, in 
 D-Minor, Op. 30, for Piano and Or- 
 chestra 1 
 
 RAMEAU "Rigaudon," from "Dardan- 
 
 us" 1 
 
 78
 
 SCHUBERT Symphony in B - Minor, 
 
 "Unfinished" 3 
 
 "Wanderer," Fantasy in C-Major, 
 
 Op. 15, for Piano and Orchestra 
 
 (Liszt) 3 
 
 Serenade (Song) 1 
 
 SCHUMANN Symphony No. 4, in D- 
 
 Minor, Op. 120 4 
 
 Concerto in A-Minor, Op. 54, for 
 
 Piano and Orchestra 1 
 
 SMETANA Overture, "The Bartered 
 
 Bride" 5 
 
 Aria, "The Bartered Bride," for 
 
 Tenor 1 
 
 STRAUSS Tone Poem, "Don Juan," 
 
 Op. 20 3 
 
 Tone Poem, "Death and Transfigura- 
 tion," Op. 29 2 
 Symphonic Poem, "Till Eulenspiegel 
 
 and His Merry Pranks," Op. 24 5 
 
 Prelude to Act I, "Guntram" 1 
 
 Prelude to Act II, "Guntram" 1 
 
 "Hymnus" (Song) 3 
 
 TCHAIKOVSKY Symphony No. 6, in 
 
 B-Minor, "Unfinished" 3 
 
 Orchestral Fantasy, "Romeo and 
 
 Juliet" 3 
 
 Festival Overture "1812" 1 
 
 Concerto No. 1, in B-flat-Minor, Op. 
 
 23, for Piano and Orchestra 1 
 
 VIEUXTEMPS Concerto No. 5, in 
 
 A-Minor, Op. 37, for Violin and 
 
 Orchestra 1 
 
 WAGNER "The Messengers of Peace," 
 
 from "Rienzi" (Chorus) 1 
 
 Overture, "The Flying Dutchman" 3 
 Overture, "Tannhaeuser" 4 
 
 Aria, "Dich, theure Halle," from 
 
 "Tannhaeuser" 1 
 
 Prelude, "Lohengrin" 2 
 
 79
 
 Prelude and Liebestod from "Tristan 
 
 und Isolde" 4 
 
 Prelude, "Die Meistersinger" 5 3 
 
 "Walther's Prize Song," from "Die 
 
 Meistersinger" 2 
 
 Sach's Second Monologue, "Wahn! 
 
 Wahn !" from "Die Meistersinger" 1 
 Wotan's Farewell and Magic Fire 
 
 Scene, from "Die Walkure" 1 
 
 Siegmund's Love Scene, from "Die 
 
 Walkure" 1 
 
 Siegfried's Death, from "Gotterdam- 
 
 merung" 2 
 
 Prelude, "Parsifal" 1 
 
 A Faust Overture 4 
 
 Siegfried Idyll 4 
 
 Kaiser March 2 
 
 Songs with Orchestra: 
 
 "Schmerzen" 1 
 
 "Im Treibhaus" 1 
 
 WEBER Concertpiece in F-Minor, 
 
 Op. 90, for Piano and Orchestra 2 
 WEI NGARTNER Songs for solo voice 
 
 and orchestra: 
 
 "Erdriese" 2 
 
 "Letzter Tanz" 2 
 
 WOLF Songs: 
 
 "Spring" ("Er ist's") 
 
 "Anakreons Grab" 2 
 
 "Der Rattenfanger" 
 
 1910 During the Sixty-Ninth Season 1911 
 565th to 619 Concert 
 
 GUSTAV MAHLER - CONDUCTOR 
 
 N.Y. On Tour 
 
 BACH Suite for Orchestra (arranged 
 from Second and Third Suites, by 
 Mahler) 3 3 
 
 80
 
 BEETHOVEN S y m p h o n y No. 3 in 
 
 E-flat-Major, Op. 55, "Eroica" 1 
 
 Symphony No. 5, in C-Minor, Op. 67 2 
 Symphony No. 6, in F-Major, Op. 68, 
 
 "Pastoral" 3 
 Symphony No. 7, in A-Major, Op. 92 3 
 Symphony No. 8, in F-Major, Op. 93 2 
 Overture, "Coriolanus," Op. 62 2 
 Overture, "Leonore No. 3" 2 
 Overture, "Egmont," Op. 84 1 
 Overture, "King Stephen," Op. 117 2 
 Concerto No. 5, in E-flat, Op. 73, 
 for Piano and Orchestra ("Em- 
 peror") 2 
 BERLIOZ Three Movements from Sym- 
 phony, "Romeo and Juliet": 
 
 a. Capulet's Fete; 2 
 
 b. Love Scene; 2 
 
 c. Scherzo Queen Mab 2 
 Three Excerpts from "The Damnation 
 
 of Faust": 
 
 c. Scherzo Queen Mab 2 
 
 a. Will-o'-the-Wisps; 1 
 
 b. Dance of the Sylphs; 1 
 
 c. Rakoczy March 1 
 BIZET Suite No. 1, "L'Arlesienne" 4 
 
 Suite No. 3, for Orchestra, "Roma" 2 
 BOSSI Intermezzo Goldoniani for Strings, 
 
 Op. 127 2 
 BRAHMS Symphony No. 1, in C-Minor, 
 
 Op. 68 2 
 BRUCH Concerto No. 1, in G-Minor, 
 
 Op. 26, for Violin and Orchestra 1 
 
 BUSONI "Berceuse filegiaque" 2 
 CHABRIER Rhapsody for Orchestra, 
 
 "Espafia" 4 
 Ode to Music, for chorus, tenor solo, 
 
 and orchestra 3 
 
 CHADWICK Overture, "Melpomene" 2 
 
 CHERUBINI Overture, "Anakreon" 2 
 
 81
 
 DEBUSSY Rondes de Printemps 2 
 
 "Iberia" 3 
 
 DVORAK Symphony No. 5, in E-Minor, 
 
 Op. 95, "The New World" 4 
 
 Overture, "Carneval," Op. 92 2 
 
 ELGAR Variations on an Original Theme, 
 
 Op. 36 2 
 
 "Sea Pictures," Op 37 (Songs): 
 
 a. The Sea Slumber Song 2 
 
 b. In Heaven (Capri) 2 
 
 c. Sabbath Morning at Sea 2 
 
 d. Where Corals Lie 2 
 ENESCO Suite for Orchestra, Op. 9 3 
 GLAZOUNOFF Musical Picture, "Le 
 
 Printemps," Op. 34 
 GOLDM ARK Overture, " S a k u n t a 1 a," 
 
 Op. 13 1 
 
 Overture, "Spring," Op. 36 1 
 
 Concerto in A-Minor, Op. 28, for Vio- 
 lin and Orchestra 2 
 GRIEG Suite No. 1, "Peer Gynt," Op. 
 
 46 1 
 
 Sigurd Jorsalfar 1 
 
 Before the Cloister Gate (with solos 
 
 and chorus) 1 
 
 HADLEY, Henry Rhapsody for Or- 
 chestra, "The Culprit Fay" 2 
 LALO Overture, "Le Roi d' Ys" 1 
 "Aubade," from the Opera "Le Roi 
 
 d' Ys" 3 
 
 LISZT Symphonic Poem, "Les Preludes" 2 
 
 Symphonic Poem, "Tasso" 1 
 
 "Mephisto" Waltz 1 
 
 LOEFFLER, Ch. M. "La Villanelle du 
 
 Diable," Op. 9 
 
 MAC DOWELL The Saracens and Love- 
 ly Alda, Op. 30 
 
 Concerto No. 2, in D-Minor, Op. 23, 
 for Piano and Orchestra 1 
 
 82
 
 MAHLER S y m p h o n y No. 4, in 
 
 G-Major (with soprano solo) 3 
 
 "Morning in the Fields" (Song) 2 
 
 "A Tale of the Rhine" (Song) 2 
 
 MARTUCCI Concerto in B-flat-Minor, 
 
 Op. 66, for Piano and Orchestra 2 
 MASSENET "Le Reve de des Grieux" 
 
 from "Manon" 3 
 
 Aria, "Zarastra," from "Le Mage," 
 
 for Tenor 3 
 
 MENDELSSOHN Symphony No. 4, 
 
 Op. 90, "Italian" 2 
 
 Overture, "Fingal's Cave," Op. 26 2 
 Overture, "Melusine" 2 
 
 Overture, "A Midsummer Night's 
 
 Dream" 2 
 
 Concerto in E-Minor, Op. 64, for Vio- 
 lin and Orchestra 1 
 MOZART Symphony in G-Minor 2 
 Ballet Music from "Idomeneo" 3 
 "Deutsche Tanze" 3 
 PFITZNER Overture, "Das Katchen von 
 
 Heilbronn" 2 
 
 RIMSKY-KORSAKOFF Symphonic 
 
 Suite, "Scheherazade," Op. 35 1 
 
 SAINT-SAENS Concerto No. 4, in 
 
 C-Minor, Op. 44 2 
 
 "Printemps qui commence" 1 2 
 
 "Mon coeur s'ouvre a ta voix 1 2 
 
 (From "Samson and Dalila") 
 SCHARWENKA, Xaver Concerto No. 
 4, in F-Minor, Op. 82, for Piano 
 and Orchestra 1 
 
 SCHILLINGS Introduction to Act III, 
 
 "Der Pfeiffertag" 2 
 
 SCHUBERT Symphony in B - Minor, 
 
 "Unfinished" 3 
 
 Symphony in C-Major (B. & H. 
 No. 7) 3 
 
 83
 
 SCHUMANN Symphony No. 2, in C- 
 
 Major, Op. 61 2 
 
 Symphony No. 3, in E-flat, Op. 97 
 
 (Rhenish) 3 
 
 Overture, "Manfred," Op. 115 2 
 
 SIBELIUS C oncerto in D-Minor, 
 
 Op. 47, for Violin and Orchestra 2 
 SINIGAGLIA Overture, "Le baruffe 
 
 Chiozzotte," Op. 32 2 
 
 SMETANA Symphonic Poem, "Vltava" 2 
 Bohemian Cradle Song, from "The 
 
 Bartered Bride" 2 
 
 STANFORD Irish Symphony in 
 
 F-Minor, Op. 28 2 
 
 STRAUSS Tone Poem, "The Life of a 
 
 Hero," Op. 40 2 
 
 Tone Poem, "Death and Transfigura- 
 tion," Op. 24 2 
 Symphonic Poem, "Till Eulenspiegel 
 
 and His Merry Pranks" 2 
 
 "Thus spake Zarathustra" 3 
 
 "Pilgrim's Morning Song" (Song) 2 
 
 "Verfiihrung," Op. 33, No. 1 (Song) 2 
 "Freundlich Vision," Op. 48, 
 
 No. 1 (Song) 2 
 
 "Heimliche Aufforderung," Op. 27, 
 
 No. 3 (Song) 2 
 
 SVENDSEN "Carnival in Paris" 2 
 
 TCHAIKOVSKY Symphony No. 2, in 
 
 C-Minor, Op. 17 3 
 
 Symphony No. 5, in E-Minor, Op. 64 1 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 2 
 
 Symphonic Poem, "Francesca da Ri- 
 mini," Op. 32 2 
 Suite No. 1, in D-Minor, Op. 43, for 
 
 Orchestra 3 
 
 WAGNER Overture, "Rienzi" 2 
 
 Recitative and Aria, "Gerechter Gott," 
 and "In seiner Bluthe," from "Rien- 
 
 84
 
 Overture, "The Flying Dutchman" 6 2 
 Overture, "Tannhaeuser" 2 1 
 Overture and Bacchanale from "Tann- 
 haeuser" 3 
 Introduction and Aria, "Dich, theure 
 
 Halle," from "Tannhaeuser" 3 
 Elizabeth's Prayer, from "Tann- 
 haeuser" 1 
 Prelude, "Lohengrin" 4 1 
 Elsa's Dream, from "Lohengrin" 3 
 Prelude and Liebestod, from "Tristan 
 
 und Isolde" 5 4 
 Prelude, "Die Meistersinger" 3 3 
 Introduction to Act III, "Die Meister- 
 singer" 3 
 Sach's Second Monologue, "Wahn! 
 
 Wahn!" from "Die Meistersinger" 3 
 Ride of the Valkyries, from "Die 
 
 Walkiire" 3 2 
 
 Magic Fire Scene from "Die Walkiire" 1 
 
 "Waldweben," from "Siegfried" 1 
 Siegfried's Rhine Journey from "Got- 
 
 terdammerung" 1 1 
 Siegfried's Death from "Gotterdam- 
 
 merung" 2 
 Briinnhilde's Immolation and Finale 
 
 from "Gotterdammerung" 2 
 Waltraute's Scene from Gotterdam- 
 merung'" 2 
 Prelude and Glorification from "Par- 
 sifal" 1 
 Good Friday Spell from "Parsifal" 1 1 
 A Faust Overture 2 
 Siegfried Idyll 2 2 
 Kaiser March 1 
 Songs 
 
 "Schmerzen" 2 
 
 "Im Treibhaus" 2 
 
 "Stehe Still" 2 
 
 "Traume" 3 
 
 85
 
 WEBER Overture, "Der Freischutz" 3 
 
 Overture, "Oberon" 2 1 
 Invitation to the Dance (arranged by 
 
 Weingartner) 1 2 
 
 1911 During the Seventieth Season 1912 
 620th to 696th Concert 
 
 JOSEF STRANSKY CONDUCTOR 
 
 N.Y. On Tour 
 
 BACH Brandenburg Concerto No. 3, in 
 
 G-Major 2 
 
 Concerto in C-Major, for two Pianos 
 
 and Orchestra 2 
 
 BARGIEL " Adagio," Op. 38, for Violon- 
 cello and Orchestra 2 1 
 BEETHOVEN Symphony No. 3, in E- 
 
 flat-major, Op. 55, "E-oica" 2 
 
 Symphony No. 5, in C-Minor, Op. 67 2 
 Symphony No. 8, in F-Major, Op. 93 3 
 Symphony in C-Major, "J ena " 1 
 
 Overture, "Leonore No. 3" 2 3 
 
 Concerto in D-Major, Op. 61, for 
 
 Violin and Orchestra 2 1 
 
 Concerto No. 5, in E-flat, Op. 73, 
 
 "Emperor" for Piano and Orchestra 1 
 BERLIOZ Symhony No. 3, in G, "Harold 
 
 in Italy" 2 
 
 Overture. "The Corsair," Op. 21 
 Rakoczy March 3 1 
 
 BOYLE, George F. Concerto in D-Minor, 
 
 for Piano and Orchestra 3 1 
 
 BRAHMS Symphony No. 1, in C-Minor, 
 
 Op. 68 22 
 
 Variations on Haydn's "Chorale St. 
 
 Antoni," Op. 56a 2 
 
 Concerto No. 1, in D-Minor, Op. 15, 
 for Piano and Orchestra 2 
 
 86
 
 BROOME, Edward "A Hymn of Trust," 
 
 for solos, chorus and orchestra 1 
 
 BRUCKNER Symphony No. 5, in B-flat- 
 
 Major 2 
 
 CADMAN "When Cherries Bloomed 1 
 
 "At the Feast of the Dead" 1 
 
 (Japanese Songs with Piano) 
 
 CHARPENTIER Aria, "Depuis le jour," 
 
 from "Louise" 2 
 
 CHOPIN Concerto No. 2, in F-Minor, 
 
 Op. 21, for Piano and Orchestra 2 
 
 DEBUSSY "Mandoline," (Song with 
 
 Piano) 3 2 
 
 DELIUS Tone Poem, "In a Summer 
 
 Garden" 2 
 
 DONIZETTI Aria, "Una furtiva lagri- 
 ma," from "L'Elisir d'Amore" for 
 Tenor 1 
 
 DVORAK Symphony No. 5, in E-Minor, 
 
 Op. 95, "The New World" 4 7 
 
 Symphony in E-flat, "Posthumous" 2 
 Rondo, Op. 94, for Violoncello and 
 
 Orchestra 2 1 
 
 FRANCK, Cesar Symphony in D-Minor 2 4 
 Morceau Symphonique from "The Re- 
 demption" 3 
 
 GLAZOUNOW Concerto in A-Minor, 
 
 Op. 82, for Violin and Orchestra 3 
 
 GLUCK Overture, "Iphigeneia in Aulis" 
 
 (Wagner ending) 3 
 
 GOLDM ARK Symphony in E-flat-Major, 
 
 Op. 26, "A Rustic Wedding" 2 
 
 GOUNOD Aria, "Salve dimora," from 
 
 "Faust" for tenor 2 
 
 GRIEG Overture, "In Autumn," Op. 11 2 
 Two Elegiac Melodies, for String Or- 
 chestra, Op. 34, a. "Heart Wounds" ; 4 2 
 b. "The Last Spring" 4 8 
 
 HAYDN Symphony in D-Major (B.&H. 
 
 No. 2) 2 
 
 Symphony in C-Minor (B.&H. No. 9) 3 
 
 87
 
 HERBERT, Victor Prelude to Act 111, 
 
 "Natoma" 1 
 
 LAUCELLA Symphonic Poem, "Con- 
 salve" 1 
 LISZT Symphony after Dante's "Divina 
 
 Commedia" 2 
 
 Symphonic Poem No. 2, "Tasso" 4 15 
 
 Symphonic Poem, "Die Ideale," Op. 12 2 
 Hungarian Rhapsody No. 1, in F-Minor 1 
 Concerto No. 2, in A-Major, for Piano 
 and Orchestra 2 
 
 MAHLER Funeral March from Sym- 
 phony No. 5 2 
 MENDELSSOHN Symphony No. 3, in 
 
 A-Minor, Op. 56, "Scotch" 1 
 
 Overture, "Ruy Bias," Op. 95 
 Scherzo "A Midsummer Night's 
 
 Dream" 1 
 
 Concerto in E-Minor, for Violin and 
 Orchestra 1 12 
 
 Oratorio, "Elijah," for solos, chorus, 
 
 and Orchestra 1 
 
 MOZART Symphony in C-Major, "Ju- 
 piter" 2 
 Overture, "The Magic Flute" 2 
 Overture, "Die Entfiihrung aus dem 
 
 Serail" 3 2 
 
 Aria, "Dein bin ich," from "II re 
 
 pastore" 1 
 
 Aria, "II mio Tesoro," from "Don 
 
 Giovanni" 2 
 
 NOBLE, T. Tertius Part song for Chorus, 
 
 "Fierce was the Wild Billow" 1 
 
 POINTER Part song for Chorus, "Tis 
 
 sweet to hear the Merry Lark" 1 
 
 PUCCINI Aria, "Che gelida manina" 
 
 from "La Boheme" for Tenor 1 
 
 RACHMANINOFF Song with Piano, 
 
 "Springtide" 4 1 
 
 REGER Variations and Fugue on a Merry 
 Theme by Hiller, Op. 100 
 
 88
 
 RUBINSTEIN Concerto No. 5, in E-flat- 
 Major, Op. 94, for Piano and Or- 
 chestra 2 3 
 SAINT-SAENS S y m p h o n i c Poem, 
 
 "Phaeton," Op. 39 2 
 
 Introduction and Rondo Capriccioso, 
 
 Op. 28, for Violin and Orchestra 1 12 
 Concerto in A-Minor, Op. 33, for 
 
 Violoncello and Orchestra 1 
 
 SCHUBERT Symphony in C-Major (B. 
 
 &H. No. 7) 3 
 
 Overture, "Rosamunde," Op. 26 2 
 
 "Wanderer" Fantasy for Piano and 
 
 Orchestra (Liszt) 1 
 
 Song with Piano, "The Erl-King" 3 2 
 
 SCHUMANN Symphony No. 1, in B- 
 
 flat-Major, Op. 38 31 
 
 Concerto in A-Minor, Op. 54, for Piano 
 
 and Orchestra 2 1 
 
 Song with Piano, "Der Nussbaum" 1 
 SMETANA Symphonic Poem, "Vltava" 4 
 Symphonic Poem, "Vysehrad" 4 
 
 STAHLBERG Two Symphonic Sketches 
 
 from "Im Hochland" 1 
 
 STANCE Song with Piano, "Damon" 3 2 
 STRAUSS T one Poem, "Death and 
 
 Transfiguration," Op. 24 3 
 
 Love Scene from "Feuersnot" 6 9 
 
 Serenade for thirteen wind instru- 
 ments, Op. 7 2 
 SVENDSEN Legend e for Orchestra, 
 
 "Zorahayda," Op. 11 1 
 
 TCHAIKOVSKY Symphony No. 4, in F- 
 
 Minor, Op. 36 48 
 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 2 1 
 
 Overture, "1812" 3 
 
 Concerto in B-flat-Minor, Op. 23, for 
 
 Piano and Orchestra 1 
 
 Concerto in D-Major, Op. 35, for 
 
 Violin and Orchestra 1 2 
 
 89
 
 Song with Piano, "Im wogenden 
 
 Tanze" 1 
 
 VAN DER PALS Two Symphonic 
 Sketches, Nos. 1 and 2, Op. 14 
 
 a. "Autumn" 1 
 
 b. "Spring" 1 
 
 WAGNER Prayer, "Almighty Father," 
 
 from "Rienzi" 1 
 
 Overture, "The Flying Dutchman" 3 
 Overture, "Tannhaeuser" 3 4 
 
 Elizabeth's Aria, from "Tannhaeuser" 4 
 
 Elsa's Dream from "Lohengrin" 3 
 
 Narrative, "In distant land," from 
 
 "Lohengrin" 1 
 
 Prelude and Liebestod from "Tristan 
 
 und Isolde" 4 4 
 
 Isolde's Narrative, from "Tristan und 
 
 Isolde" 1 3 
 
 Prelude, "Die Meistersinger" 4 8 
 
 Wotan's Farewell and Magic Fire 
 
 Scene from "Die Walkiire" 1 
 
 Siegfried's Death from "Gotterdam- 
 
 merung" 1 3 
 
 Brunnhilde's Immolation and Finale from 
 
 "Gotterdammerung" 2 
 
 Prelude and Glorification from "Par- 
 sifal" 2 1 
 Good Friday Spell from "Parsifal" 2 
 Siegfried Idyll 4 
 Kaiser March 3 
 Songs with Orchestra: 
 "Stehe Still" 2 
 "Traume" 2 
 "Schmerzen" 2 
 WAGNER, Siegfried Overture, "Bru- 
 
 der Lustig" 1 
 
 WEBER Overture, "Euryanthe" 3 8 
 
 Overture, "Der Freischutz" 4 8 
 
 Scene and Aria from " O b e r o n " 
 (Ocean, thou Mighty Monster) 2 
 
 90
 
 WEINGARTNER Symphony No. 3, in 
 
 E-Major, Op. 49 2 
 
 WOLF, Hugo S o n g s with Orchestra, 
 
 "Verborgenheit" 2 
 
 "Der Freund" 2 
 
 "Er Ist's" (Spring) 2 
 
 WOLF-FERRARI Songs with Orchestra 
 
 "Un verde praticello" 2 
 
 "lo dei salute ve ne mando" 2 
 
 "E tanto c' e pericol" 2 
 
 "O si che non sapevo" 2 
 
 1912 During the Seventy-First Season 1913 
 697th to 779th Concert 
 
 JOSEF STRANSKY - - - CONDUCTOR 
 
 N.Y. On Tour 
 
 ALCOCK Unaccompanied Choral Part 
 
 Song, "Voix Celestes" 1 
 
 AMBROSE Part Song for Chorus, 
 
 "Stay home my Heart" 1 
 
 BEETHOVEN Symphony No. 1, in C- 
 
 Major, Op. 21 
 
 Symphony No. 5, in C-Minor, Op. 67 2 6 
 Symphony No. 6, "Pastoral" in F- 
 
 Major, Op. 68 4 
 
 Symphony No. 7, in A-Major, Op. 92 4 6 
 Symphony No. 9, in D-Minor, Op. 125, 
 
 "Choral" 2 
 
 Overture, "Prometheus" 2 
 
 Concerto No. 3, in C-Minor, Op. 37, 
 
 for Piano and Orchestra 1 
 
 BERLIOZ Overture, "Benvenuto Cellini," 
 
 Op. 23 32 
 
 BIZET Suite No. 1, "L'Arlesienne" 4 1 
 
 BRAHMS Symphony No. 3, in F-Major, 
 
 Op. 90 2 
 
 91
 
 Concerto in D-Major, Op. 77, for 
 
 Violin and Orchestra 3 6 
 
 Concerto No. 2, in B-flat, Op. 83, for 
 
 Piano and Orchestra 2 
 
 Concerto in A-Minor, Op. 102, for 
 
 Violoncello and Orchestra 2 
 
 Song with Piano, "Sapphic Ode, Op. 
 
 94, No. 4 2 
 
 BROOME Part Song with Orchestra, 
 
 "Hoist the Sail" 1 
 
 BRUCH Aria of Penelope from 
 
 "Odysseus," Op. 41 23 
 
 Aria, "Ave Maria," from "The Cross 
 
 of Fire" 1 10 
 
 Aria, "Andromache's Lament," from 
 
 "Achilles" 2 
 
 "Scotch" Fantasy for Violin and Or- 
 chestra 1 
 Concerto No. 1, in G-Minor, Op. 26, 
 
 for Violin and Orchestra 3 
 
 BRUCKNER Symphony No. 6, in A- 
 
 Major 2 
 
 CHOPIN Concerto No. 2, in F-Minor, 
 
 Op. 21, for Piano and Orchestra 2 
 CLAY, Spencer Song with Piano, "The 
 
 foggy dew" 1 
 
 COLERIDGE-TAYLOR R h a p s o d i c 
 
 Dance, "Bamboula" 2 
 
 Aria" Onaway, Awake Beloved," from 
 
 "Hiawatha," for Tenor 1 
 
 Part Song with Orchestra, "The Lee 
 
 Shore" 1 
 
 CORELLI, Arcangelo Concerto (Christ- 
 mas) for Violin solo, Strings and 
 Organ 2 
 
 DEBUSSY First Rhapsody for Clarinet 
 
 and Orchestra 2 1 
 
 DVORAK Symphony No. 5, in E-Minor, 
 
 Op. 95, "The New World" 3 
 
 Overture, "My Home-Land," Op. 62 2 
 
 92
 
 Overture, "Carinval," Op. 92 46 
 
 Serenade for Strings, Op. 22 2 
 
 ESPOSITO S o n g with Piano, "The 
 
 Lark in the Clear Air" 1 
 
 FAURE Song with Orchestra for Tenor, 
 
 "Clair de Lune," Op. 46, No. 2 2 
 
 FRANCK, Cesar Symphony in D-Minor 2 
 Tone Poem, "The Wild Huntsman" 2 
 GARDINER Choral Ballad, "News from 
 
 Whydah" 1 
 
 GERMAN Unaccompanied Part Song, 
 
 "My bonnie lass" 1 
 
 GERNSHEIM T o n e Poem, "To a 
 
 Drama," Op. 82 1 
 
 GLUCK Overture, "Alceste" 4 
 
 GOLDMARK Symphony, "A Rustic 
 
 Wedding," Op. 26 22 
 
 Overture, "Sakuntala," Op. 13 1 
 
 GRAENER Symphonietta for Strings and 
 
 and Harp, Op. 27 1 
 
 GRIEG Suite No. 1, "Peer Gynt" 2 7 
 
 Two Elegiac Melodies for Strings, 
 Op. 34 
 
 a. "Heart Wounds" 1 1 
 
 b. "The Last Spring" 1 1 
 Concerto in A-Minor, Op. 16, for 
 
 Piano and Orchestra 2 
 
 HADLEY Overture, "In Bohemia" 1 
 
 Cantata, Legend of Granada 1 
 
 HAYDN Symphony in D-Major (B.&H. 
 
 No. 2) 1 
 
 Symphonv in G-Major, "Surprise" 
 
 '(B.&H. No. 6) 2 
 
 KNIGHT, G. H. Unaccompanied Part 
 
 Song, "Song of the Bell" 1 
 
 KORNGOLD, Erich Overture to a Play 2 
 LALO Concerto No. 1, Op. 20, for Violin 
 
 and Orchestra 1 
 
 LINDNER Concerto in E-Minor, Op. 34, 
 for Violoncello and Orchestra 1 
 
 93
 
 LISZT A "Faust" Symphony 2 
 
 Symphonic Poem, "Tasso" 4 
 
 Symphonic Poem, No. 3, "Les Pre- 
 ludes" 4 12 
 Symphonic Poem, No. 11, "The Battle 
 
 'of the Huns" 2 
 
 Concerto No. 2, in A-Major, for Piano 
 
 and Orchestra 1 3 
 
 MANNEY Part Song, "A Song at Sun- 
 rise" 1 
 MARSHALL Song with Piano, "I hear 
 
 you calling me" 1 
 
 MASSENET Overture, "Phedre" 1 
 
 Suite, "Alsatian Scenes" 2 4 
 
 Aria of Chimene from "Le Cid" 1 
 
 "Le Reve de Manon," from "Manon" 
 
 (for Tenor) 2 
 
 MENDELSSOHN Symphony No. 3, in 
 
 A-Minor, Op. 56, "Scotch" 2 
 
 Overture, "Melusina," Op. 32 21 
 
 Overture, "Ruy Bias," Op. 95 1 6 
 
 From "A Midsummer Night's Dream" 
 Nocturne 1 
 
 Scherzo 1 1 
 
 Wedding March 1 
 
 MENDELSSOHN Concerto No. 1, in G- 
 
 Minor, Op. 25 2 
 
 Concerto in E-Minor, Op. 64, for 
 
 Violin and Orchestra 1 
 
 MEYERBEER A r i a , "O, Paradise," 
 
 from "L'Africaine" 2 
 
 MOZART S ymphony in G-Minor 
 
 (Kochel 550) 2 
 
 Symphony in C-Major, "Jupiter" 1 
 
 Overture, "The Marriage of Figaro" 3 2 
 Overture, "Cosi fan Tutte" 3 
 
 French Horn Concerto, in E-flat- 
 
 Major 2 
 
 RAFF Symphony No. 5, "Lenore," in E- 
 
 Major, Op. 177 3 
 
 94
 
 RATHBONE C a n t a t a , "Vogelweid" 
 
 (Chorus) 2 
 
 REGER "A Romantic Suite," Op. 125 2 
 Concerto in Old Style, Op. 123 1 
 
 RHEINBERGER "Vision," No. 5, Op. 
 
 156, (for Strings by A. W. Kramer) 1 
 RITTER Olaf's "Wedding Dance" 2 
 
 ROSSINI Overture, "William Tell" 1 
 
 RUBINSTEIN Ballet Music, "Feramors" 1 1 
 
 Kamenoi Ostrow, No. 22 (Herbert) 1 
 SAINT-SAENS Symphony No. 3, in 
 
 C-Minor, Op. 78 2 
 
 Symphonic Poem, No. 2, "Phaeton," 
 Op. 39 1 
 
 Symphonic Poem, "Danse Macabre," 
 Op. 40 1 
 
 "Spring Song," for Orchestra, from 
 
 "Samson and Dalila" 2 
 
 Concerto in A-Minor, Op. 33, for 
 
 Violoncello and Orchestra 2 
 
 SCHUBERT Symphony in C-Major (B. 
 
 & H. No. 7) 2 2 
 
 Symphony in B-Minor, "Unfinished" 2 1 
 Ballet Music (from "Rosamunde") 2 
 Entr'acte (from "Rosamunde") 2 1 
 
 Marche Hongroise (Liszt) 4 
 
 Song with Piano, "Restless Love" 2 
 
 Song with Piano, "Death and the 
 
 Maiden" 2 
 
 Song with Orchestra, (by Mottl,) 
 
 "Death and the Maiden" 2 3 
 
 Song with Orchestra, (by Berlioz,) 
 
 "The Erl-King" 2 3 
 
 SCHULZ, Leo American Festival Over- 
 ture 1 
 SCHUMANN Symphony No. 3 (Rhen- 
 ish), in E-flat-Major, Op. 97 2 
 Overture, "Manfred," Op. 115 2 
 SMETANA "From Bohemia's Woods 
 
 and Fields" 3 2 
 
 95
 
 STAHLBERG Symphonic Scherzo, 
 
 Op. 28 2 
 
 STANFORD Irish Symphony, Op. 28 1 
 STRANSKY Symphonic Songs with 
 
 Orchestra, "Moonrise" 2 
 
 "Requiem" 2 
 
 STRAUSS, Richard Tone Poem, "Don 
 
 Juan," Op. 20 36 
 
 Tone Poem, "Death and Transfigura- 
 tion" 2 1 
 Prelude to "Guntram" 2 
 Love Scene, "Feuersnot" 1 4 
 Songs with Orchestra: 
 
 "Hymn of Love," Op. 32, No. 3 1 6 
 "To-morrow," Op. 7, No. 4 16 
 
 "Cacile," Op. 27, No. 2 15 
 
 STRAUSS, Johann Waltz, "Blue Dan- 
 ube" 1 
 TCHAIKOVSKY Symphony No. 4, in 
 
 F-Minor, Op. 36 1 
 
 Symphony No. 5, in E-Minor, Op. 64 4 10 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 3 
 
 Fantasy Overture, "Romeo and Ju- 
 liet" 2 
 Concerto No. 1, in B-flat-Minor, Op. 
 
 23, for Piano and Orchestra 2 
 
 Concerto in D-Major, Op. 35, for 
 
 Violin and Orchestra 2 1 
 
 VIVALDI Concerto in G-Minor, for 
 
 Violin and Orchestra 1 
 
 WAGNER Overture, "Rienzi" 4 1 
 
 Overture, "The Flying Dutchman" 4 4 
 Overture, "Tannhaeuser" 1 4 
 
 Elizabeth's Aria, "Dich, t h e u r e 
 
 Halle," from "Tannhaeuser" 1 7 
 
 Prelude Act III, "Tannhaeuser's Pil- 
 grimage" 1 
 Prelude, "Lohengrin" 3 
 Prelude to Act III, "Lohengrin" 1 
 
 96
 
 Elsa's Dream, "Lohengrin" 1 6 
 
 Prelude and Liebestod from "Tristan 
 
 und Isolde" 4 1 
 
 Prelude, "Die Meistersinger" 3 2 
 
 Prize Song, for Violin, by Wilhelmj, 
 
 from "Die Meistersinger" 1 
 
 Prize Song, for Tenor, from "Die 
 
 Meistersinger" 2 
 
 Ride of the Valkyries, from "Die 
 
 Walkiire" 5 2 
 
 "Waldweben," from "Siegfried" 4 1 
 
 Siegfried's Death and Funeral March, 
 
 from "Gotterdammerung" 2 
 
 Siegfried's Rhine Journey, from 
 
 "Gotterdammerung" 4 
 
 Good Friday Spell, from "Parsifal" 4 1 
 Siegfried Idyll 1 2 
 
 A Faust Overture 4 
 
 Songs with Orchestra: 
 
 "Dreams" 2 3 
 
 "Slumber Song" 2 
 
 WEBER Overture, "Euryanthe" 4 
 
 Overture, "Der Freischiitz" 1 
 
 Overture, "Preciosa" 2 
 
 Song with Piano, "Folk Song" 2 
 
 WEINGARTNER A Merry Overture, 
 
 Op. 53 33 
 
 WOLF Song with Piano, "The Friend" 2 
 
 1913 During the Seventy-Second Season 1914 
 780th to 850th Concert 
 
 JOSEF STRANSKY - CONDUCTOR 
 
 N.Y. On Tour 
 
 BACH Prelude, Choral and Fugue (ar- 
 ranged by Abert) 4 2 
 Brandenburg Concerto No. 3, in G- 
 Major 1 
 
 97
 
 BARGIEL "Adagio," for Violoncello 
 
 and Orchestra i 
 
 BEETHOVEN Symphony No. 3, in 
 
 E-flat-Major, Op. 55, "Eroica" 3 
 
 Symphony No. 5, in C-Minor, Op. 67 3 
 Symphony No. 6, in F-Major, Op. 68, 
 
 "Pastoral" 2 
 
 Symphony No. 8, in F-Major, Op. 93 3 2 
 Overture, "Fidelio" 3 2 
 
 Overture, "Leonore No. 3" 1 1 
 
 Concerto in D-Major, Op. 61, for 
 
 Violin and Orchestra 2 
 
 Romance, in F-Major, for Violin and 
 
 Orchestra 3 
 
 "Adelaide," with Orchestra 1 
 
 Two Songs with Orchestra from "Eg- 
 
 mont" "Freudvoll und Leidvoll" 
 
 and "Die Trommel geriihret" . 1 
 "Minuet," for Violin, with Piano ac- 
 companiment 1 
 BERLIOZ S y m p h o n i e Fantastique, 
 
 No. 1, in C-Major, Op. 14a 2 
 
 Overture, "King Lear," Op. 4 21 
 
 Overture, "Le Carnaval Remain," 
 
 Op. 9 22 
 
 "The Death of Dido," from "The 
 
 Trojans," with Orchestra 1 
 
 BIZET Suite No. 1, "L'Arlesienne" 2 1 
 
 Aria of Micaela, from 'Carmen," 
 
 with Orchestra 1 
 
 BOCCHERINI "Minuet" 1 
 
 BRAHMS Symphony No. 2, in D-Major, 
 
 Op. 73 2 
 
 Variations on a Theme of Haydn, 
 
 Op. 56a 1 
 
 Two Hungarian Dances 2 
 
 "Von Ewiger Liebe," Standchen," 
 
 "Der Schmied" (Songs with Piano) 1 1 
 
 98
 
 BRUCH Concerto No. 2, in D-Minor, 
 
 Op. 44, for Violin and Orchestra 2 
 Concerto in G-Minor, Op. 26, for 
 Violin and Orchestra 2 7 
 
 CHADWICK Overture, "Euterpe" 1 
 
 Stabat Mater Speciosa (Unaccom- 
 panied) 2 
 
 CHARPENTIER Suite, "Impressions of 
 
 Italy" 2 
 
 Aria, "Depuis le jour," from "Louise" 2 
 
 COOLIDGE Mother Goose Nursery 
 Rhymes (Traditional), "Little Boy 
 Blue," "Ding Dong Bell," "Little 
 Miss Muffett," "Solomon Grundy" 
 ( Songs with Piano) 1 
 
 D'ALBERT C oncerto in C-Major, 
 
 Op. 20, for Violoncello and Orchestra 2 
 
 DEBUSSY Prelude to "L'Apres Midi 
 
 d'un Faune" 2 4 
 
 DELIBES From "Sylvia Valse lente 
 
 and Pizzicato 1 
 
 DUKAS "L'Apprenti Sorcier" Scherzo 
 
 After a Ballad of Goethe 4 9 
 
 DVORAK Symphony No. 5, in E-Minor, 
 
 Op. 95, "The New World" 3 1 
 
 Two Slavic Dances, Nos. 1 and 3 1 
 
 "Rondo," for Violoncello and Orches- 
 tra 1 
 
 FLECK "Abseits" (Song with Orches- 
 tra) 1 
 
 GILBERT A Comedy Overture on Ne- 
 gro Themes 2 
 
 GLINKA Fantasia, "Kamarinskaja" 1 
 
 GODARD Symphony Orientale, Op. 84 2 
 
 GOLDMARK "Rustic Wedding," Sym- 
 phony, Op. 26 1 
 Overture, "Spring" 3 
 
 GRfiTRY-MOTTL Ballet Suite 3 2 
 
 GRIEG Lyric Suite 1 1 
 
 "Peer Gynt" Suite No. 1, Op. 46 1 
 
 99
 
 Two Norwegian Dances 1 
 
 Lento Funebre (Orchestrated by A. 
 
 Walter Kramer) 1 
 
 Concerto in A-Minor, Op. 16, for 
 
 Piano and Orchestra 2 1 
 
 HANDEL Concerto Grosso, in C-Major, 
 
 for Orchestra 2 
 
 Largo 1 
 
 HAYDN Symphony in G-Major (Mili- 
 
 taire) 1 
 
 Symphony in G-Major (Surprise) 1 
 
 Second Movement, Symphony in 
 
 G-Major (Surprise) 1 
 
 HUMISTON Southern Fantasy 1 
 
 INGRAHAM A Nonsense Rhyme, "The 
 Owl and the Pussy Cat" (Song 
 with Piano) 1 
 
 KOECHLIN "Si tu le veux" (Song 
 
 with Piano) 1 
 
 LA FORGE "Expectancy" (Song with 
 
 Piano) 1 
 
 LALO Overture to "Le Roi d'Ys" 2 
 
 Concerto in D, for Violoncello and 
 
 Orchestra 1 
 
 LANG Wind (for Double Chorus, Eight 
 
 Parts, Unaccompanied) 2 
 
 LISZT A Symphony to Dante's "Divina 
 Commedia" (for Orchestra and 
 Chorus) 2 
 
 Symphonic Poem, "Tasso Lamento e 
 
 Trionfo" 
 
 Symphonic Poem, "Les Preludes" 3 3 
 
 Hungarian Rhapsody No. 1, in F 2 3 
 Rakoczy March 1 
 
 "Drei Zigeuner" (Song with Piano) 1 
 LISZT SEIDL Spanish Rhapsody 2 
 
 MASSENET Suite, "Scenes Pitto- 
 
 resques" 1 
 
 Posthumia Aria, from "Roma," with 
 Orchestra 1 
 
 100
 
 "Gavotte," from "Manon," with Or- 
 chestra 1 
 "Ouvre tes yeux bleus" (Song with 
 Piano) 1 
 
 MENDELSSOHN Overture, "Fingal's 
 
 Cave" 2 
 
 From "A Midsummer Night's Dream" : 
 "Nocturne" 1 
 
 "Scherzo" 2 
 
 Concerto in E-Minor, Op. 64, for Vio- 
 lin and Orchestra 2 
 
 MOLIQUE Andante from Concerto, 
 Op. 45, for Violoncello and Or- 
 chestra 1 
 
 MOSZKOWSKI Spanish Dance 1 
 
 MOUSSORGSKY "Hopak" (Song with 
 Piano) 
 
 MOZART Overture, "Figaro's Wed- 
 ding" 2 
 Concerto, in A-Major, for Clarinet 
 
 and Orchestra 1 
 
 Aria, "Deh vieni non tardar," from 
 
 "Nozze di Figaro" 1 
 
 Biondina's Aria from "Entfiihrung 
 aus dem Serail," (with Orchestra) 
 
 NICOLAI Overture, "Merry Wives of 
 
 Windsor" 1 
 
 NOREN "Kaleidoscope," Original Theme 
 
 and Variations for Orchestra 2 
 
 OFFENBACH Entr'acte (Barcarole), 
 
 from "Tales of Hoffmann" 1 
 
 OLD NEGRO FOLK SONGS AND 
 TALES "Swing Low, Sweet 
 Chariot" (Primitive and Unaccom- 
 panied) ; "I'm Gwine to Alabamy" 
 (Harmonized by H. T. Burleigh) ; 
 "I'm a Seekin' fo' a City, Hallelu- 
 jah" (Harmonized by H. T. Bur- 
 leigh) ; "Sat'd'y Night" (A Play 
 Song), (Primitive) ; "Uncle Remus" 
 
 101
 
 Story of the Wonderful Tar Baby" 
 (Joel Chandler Harris) 1 
 
 PFITZNER "Sonst" (Song with Piano) 1 
 PIERNfi Le Mariage de Marion ( for 
 
 Chorus, Unaccompanied) 2 
 
 POPPER "Elfentanz," with Orchestra 
 (for Violoncello) 1 
 
 RACHMANINOFF "Peasant Song," 
 
 with Orchestra 2 
 
 REGER A Ballet Suite, Op. 130 4 
 
 RICKETT M o t h e r Goose Nursery 
 Rhymes (Traditional), "Georgy, 
 Porgy," "Pussy Cat," "Ba, Ba, 
 Black Sheep," "Baby Bunting," 
 "Mistress Mary" (Songs with Pi- 
 ano) 1 
 RIMSKY-KORSAKOFF Capriccio Es- 
 
 pagnol, Op. 34 3 
 
 "Chanson Indoue," (with Orchestra) 2 
 
 "Shepherd Lehl," (with Orchestra) 2 
 
 "To Gather Berries," from the Opera 
 "Snegourotchka" (Song with Pi- 
 ano) 1 
 Air from the Opera "The Czar's 
 
 Bride" (Song with Piano) 1 
 
 ROPARTZ Symphonic Etude, "The 
 
 Hunt of Prince Arthur" 2 
 
 ROSSINI Overture, "William Tell' 1 
 
 RUBINSTEIN "Der Pandero" (Song 
 
 with Piano) 1 
 
 SAINT-SAENS S y m p h o n i c Poem, 
 
 "Danse Macabre," Op. 40 1 
 
 Concerto No. 4, in C-Minor, Op. 44, 
 
 for Piano and Orchestra 1 
 
 Introduction and Rondo Capriccioso, 
 
 Op. 28, for Violin and Orchestra 2 5 
 Aria, "Samson, recherchant ma pres- 
 ence," from "Samson and Delilah," 
 with Orchestra 2 1 
 
 Spring Song, from "Samson and De- 
 lilah," with Orchestra 1 
 
 102
 
 Caprice sur des airs Danois et Russes, 
 for Flute, Oboe, Clarinet and Pi- 
 ano, Op. 79 1 
 SARASATE "Zigeunerweisen," for Vio- 
 lin, (with Piano Accompaniment) 1 
 SCHARWENKA Polish National Dance 1 
 SCHUBERT Symphony in C-Major, 
 
 No. 7 1 
 
 Symphony in B-Minor, "Unfinished" 3 1 
 Entr'acte and Ballet Music from 
 
 "Rosamunde" 1 
 
 "Du bist die Ruh," (with Orchestra) 
 
 arranged by Arnold Schonberg) 2 
 
 Ellen's Songs (Nos. 1, 2 and 3), from 
 Sir Walter Scott's "Lady of the 
 Lake," orchestrated by Henry J. 
 Wood. 
 
 "Soldier Rest, Thy Warfare O'er" 1 2 
 "Huntsman Rest, Thy Chase Is Done" 1 2 
 "Ave Maria" 1 2 
 
 SCHUBERT, Wilhelmj "Ave Maria," 
 for Violin, with Piano Accompani- 
 ment 1 
 SCHUMANN Symphony No. 3, in E-flat- 
 
 Major, Op. 97 (Rhenish) 1 
 
 Overture, Scherzo and Finale, Op. 52 2 
 Concerto in A-Minor, Op. 54, for 
 
 Piano and Orchestra 1 
 
 Concerto in A-Minor, Op. 129, for 
 
 Violoncello and Orchestra 1 
 
 SECCHI "Lungi dal caro bene" (Song 
 
 with Piano) 1 
 
 SMETANA Symphonic Poem, "Vltava" 1 
 
 STRAUSS, J. Waltz, "Blue Danube" 1 
 
 Waltz, "Wiener Blut" 
 Overture, "Die Fledermaus" 1 
 
 Valse, "G'schichten aus dem Wiener- 
 
 wald" 1 
 
 STRAUSS, R. Tone Poem, "Death and 
 
 Transfiguration," Op. 24 25 
 
 Tone Poem, "Don Juan," Op. 20 1 
 
 103
 
 Tone Poem, "Ein Heldenleben," Op. 40 2 
 Festival Prelude, Op. 61, for Or- 
 chestra and Organ 2 
 Love Scene from "Feuersnot" 1 
 Songs with Piano: 
 
 "Morgan" 1 2 
 
 "Heimliche Aufforderung" 1 2 
 
 SUPPfi O v e r t u r e, "The Beautiful 
 
 Galathea" 1 
 
 THOMAS, A. Overture, "Mignon" 1 
 
 TCHAIKOVSKY Symphony No. 4, in 
 
 F-Minor, Op. 36 44 
 
 Symphony after Byron's "Manfred," 
 
 Op. 58' 2 2 
 
 Symphony No. 5, Op. 64, in E-Minor 1 5 
 Second Movement, Symphony No. 5, 
 
 in E-Minor, Op. 64 1 
 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 2 1 
 
 Theme and Variations, from Suite 
 
 No. 3, Op. 55 1 
 
 Marche Slav, Op. 31 5 
 
 Overture, "1812" 1 
 
 The Nutcracker Suite 1 
 
 Concerto No. 1, in B-flat-Minor, 
 
 Op. 23, for Piano and Orchestra 2 
 Concerto in D-Major, Op. 35, for 
 
 Violin and Orchestra 2 
 
 VERDI Aria, "O don fatale," from "Don 
 
 Carlos," with Orchestra 1 
 
 WAGNER Overture, "Rienzi" 5 6 
 
 Prayer, from "Rienzi" 2 
 
 Aria, "Gerechter Gott," from "Rienzi" 2 1 
 Overture, "The Flying Dutchman" 4 3 
 Monologue, from "The Flying Dutch- 
 man 1 
 Overture, "Tannhaeuser" 4 1 
 " Tannhaeuser's Pilgrimage, " from 
 
 "Tannhaeuser" 2 
 
 Prelude, "Lohengrin" 1 
 
 Prelude to Act III, "Lohengrin" 5 2 
 
 104
 
 Narrative from "Lohengrin" 1 
 
 Bridal Chorus, from "Lohengrin" 
 
 (with Chorus) 1 
 
 Prelude and Liebestod, from "Tristan 
 
 und Isolde" 5 4 
 
 Prelude, "Die Meistersinger" 4 
 
 "Am Stillem Herd" from "Die Meis- 
 tersinger" 1 
 Prize Song, from "Die Meistersinger" 1 
 "Prize Song," from "Die Meister- 
 singer" for Violin and Orchestra, 
 Wilhelmj arrangement 1 3 
 Chorus, "Awake," from "Die Meister- 
 singer" 1 
 "Ride of the Valkyries," from "Die 
 
 Walkiire" 6 5 
 
 Wotan's Farewell and Magic Fire 
 
 Scene, from "Die Meistersinger" 1 
 
 "Waldweben" from "Siegfried" 2 1 
 
 Siegfried Idyll 5 1 
 
 "Schmiedelieder," from "Siegfried" 2 
 "Siegfried's Rhine Journey," from 
 
 "Gotterdammerung" 4 1 
 
 "Siegfried's Death" from "Gotter- 
 dammerung" 1 
 Prelude, "Parsifal" 2 
 Good Friday Spell from "Parsifal" 4 
 Prelude and Glorification from "Par- 
 sifal" 1 
 A Faust Overture 2 
 "Traume," (with Orchestra) 
 "Traume," (for Violin and Orchestra) 1 3 
 Kaiser March 2 
 WEBER Overture, "Der Freischutz" 1 
 Overture, "Oberon" 3 
 WOLF "Verborgenheit," "In dem 
 Schatten meiner Locken," 
 Tretet ein, hoher Krieger," 
 "Er ist's (Songs with Piano) 2 
 WOLF-FERRARI "Rispetto" (Song 
 
 with Piano) 1 
 
 105
 
 1914 During the Seventy-Third Season 1915 
 851st to 931st Concert 
 
 JOSEF STRANSKY - CONDUCTOR 
 
 N.Y. On Tour 
 
 BACH Prelude, Choral and Fugue (ar- 
 ranged by Abert) 2 
 Suite in D-Major 3 
 Shepherd Music, from the "Christ- 
 mas Oratorio" 1 
 BEETHOVEN S y m p h o n y No. 3, in 
 
 E-flat-Major, Op. 55, "Eroica" 2 
 
 Symphony No. 5, in C-Minor, Op. 67 4 2 
 Symphony No. 7, in A-Major, Op. 92 3 
 Overture, "Coriolanus," Op. 62 11 
 
 Overture, "The Dedication of the 
 
 House" 2 
 
 Overture, "Leonore No. 3," Op. 72 2 2 
 Concerto in D-Major, Op. 61, for 
 
 Violin and Orchestra 3 
 
 Triple Concerto, Op. 56, for Violin, 
 
 Violoncello, Piano and Orchestra 1 
 Aria, "Abscheulicher, wo eilst du hin," 
 
 from "Fidelio" 1 
 
 Songs with Orchestra: 
 
 "Freudvoll und Leidvoll" 1 3 
 
 "Die Trommel geruhret" 1 
 
 "Wonne der Wehmut" 1 2 
 
 "Die Himmel ruhmen des Ewigen 
 
 Ehre" 1 2 
 
 "Adelaide" 2 1 
 
 BELLINI A r i a , "Casta Diva," from 
 
 "Norma" 2 
 
 BERLIOZ Overture, "Benvenuto Cellini" 2 
 
 Overture, "Carneval Remain," Op. 9 3 
 Excerpts from "The Damnation of 
 Faust" 
 
 Dance of the Sylphs 4 4 
 
 106
 
 Will-o'-the-Wisps 4 4 
 
 Hungarian March 4 5 
 
 BIZET Suite No. 1, "L'Arlesienne" 3 1 
 
 BOCCHERINI Menuetto 1 
 
 BRAHMS Symphony No. 4, in E-Minor, 
 
 Op. 98 3 1 
 
 Tragic Overture, Op. 81 2 
 
 Two Hungarian Dances 2 1 
 
 Songs with Orchestra: 
 
 "Wir Wandelten, wir zwei" 2 
 
 "Auf dem Kirchhofe" 2 
 
 Songs with Piano : 
 
 "Vor dem Fenster" 2 3 
 
 "Nachtigall" 2 
 
 "Standchen" 2 
 
 "Der Schmied" 2 
 
 "Wiegenlied" 2 
 
 "Feldeinsamkeit" 2 1 
 
 "Schwalbe, sag mir an" 2 1 
 
 "Botschaft" 2 1 
 
 BREWER A. Herbert Song with Pi- 
 ano, "The Fairy Pipers" 1 
 BRUCH Concerto in G-Minor, Op. 26, 
 
 for Violin and Orchestra 1 1 
 
 Scotch Fantasy, for Violin and Or- 
 chestra 1 
 "Kol Nidrei," for Violoncello and Or- 
 chestra 2 
 "Ave Maria," from "The Cross of 
 
 Fire" 1 
 
 BRUHNS Songs with Piano: 
 
 "Fairy Toys," from "Ib and Little 
 Christina" (Hans Christian An- 
 derson) 1 
 "Castle Caramel" 1 
 BUNGERT Song with Piano, "Die Lore- 
 ley" 1 
 BURCK "Meditation," for strings 1 
 CARPENTER Songs with Piano: 
 
 When I Bring Colored Toys" 1 
 
 "Practising" 1 
 
 107
 
 CHABRIER Rhapsody for Orchestra, 
 
 "Espana" 2 
 
 CHARPENTIER Aria, "D e p u i s le 
 
 jour," from "Louise" 2 
 
 CHOPIN Polonaise, Op. 40, No. 1 1 
 
 Concerto No. 1, in E-Minor, for 
 
 Piano and Orchestra 2 3 
 
 COOLIDGE, Elizabeth Songs with Piano : 
 "Little Boy Blue" 1 
 
 "Ding, Dong Bell" 1 
 
 "Little Miss Muffett' 1 
 
 "Solomon Grundy" 1 
 
 DELIBES Ballet Suite, "Sylvia" 2 
 
 DEBUSSY Prelude, "The Afternoon of 
 
 a Faun" 2 1 
 
 Song with Piano, "The Little Shep- 
 herd" 1 
 DUKAS "The Sorcerer's Apprentice" 
 
 Scherzo After a Ballad of Goethe 4 4 
 DVORAK Symphony No. 4, in G-Major, 
 
 Op. 88 2 
 
 Symphony No. 5, in E-Minor, 
 
 Op. 95, "The New World" 4 14 
 
 Overture, "Carneval" 1 
 
 Overture, "Nature" 3 
 
 Slavic Dance 1 
 
 FALCK Songs with Piano: 
 
 "The World is so Full of a Number 
 of Things" (Robert Louis Steven- 
 son) 2 
 "Marching Song" (Robert Louis Stev- 
 enson) 2 
 "Robert E. Lee" 1 
 FOOTE Four Character Pieces, Op. 48 
 (After the Rubaiyat of Omar 
 Khayyam) 1 1 
 FRANCK Symphonic Variations, for 
 
 Piano and Orchestra 1 
 
 108
 
 GERMAN Song with Piano, "The Cam- 
 el's Hump," from the "Just So" 
 Stories of Rudyard Kipling 2 
 
 GEVAERT Song with Piano : "Entre le 
 boeuf et 1'ane gris" (arranged by 
 Carl Engel) , 1 
 
 GLUCK Overture, "Iphigeneia in Aulis" 
 
 (Wagner ending) 1 
 
 GOLDM ARK Symphony, "A Rustic 
 
 Wedding," Op. 26 1 
 
 GOTTSCHALK, Louis Songs with Pi- 
 ano: "Pocahontas," "Benjamin 
 Franklin," "George Washington," 
 "Thomas Jefferson," "Lafayette," 
 "Abraham Lincoln" 1 
 
 GRETRY Aria, "Naissantes fleurs," 
 
 from "Cepale et Procris" 2 
 
 GRIEG "Peer Gynt," Suite No. 1 12 
 
 "Peer Gynt," Suite No. 2 2 
 
 Solvejgs's Song, from "Peer Gynt," 
 
 Suite No. 2 1 
 
 Two Elegiac Melodies for String Or- 
 chestra, Op. 34: 
 
 "Heart Wounds" 1 
 
 "The Last Spring" 1 
 
 Concerto in A-Minor, Op. 16, for 
 
 Piano and Orchestra 1 1 
 
 Song with Piano: "Ein Traum" 1 
 
 HADLEY Tone Poem, "Lucifer" 2 
 
 HAENDEL Concerto, for Oboe, Organ 
 
 and Strings 1 
 
 HAYDN Symphony in G-Major, "Sur- 
 prise" 1 1 
 Symphony in C-Minor, Op. 9 (B. & 
 
 H.) 2 
 
 "Farewell" Symphony 1 
 
 HERBERT Love Scene, from Suite for 
 
 String Orchestra 1 
 
 American Dance, "Al Fresco" 1 
 
 HERMANN, Hans Song with Piano, 
 
 "Freund Husch" 1 
 
 109
 
 HINTON "Endymion," Suite No. 1 1 
 
 HUMPERDINCK Prelude and Dream 
 
 Music, from "Haensel and Gretel" 2 
 Song with Orchestra, "Es schaukeln 
 
 die Winde" 1 
 
 INGRAHAM, George Song with Piano, 
 
 "The Owl and the Pussy Cat" 1 
 
 JENSEN Songs with Piano; "Waldes- 
 
 gesprach," "Am Ufer des Flusses" 1 
 KAHN Song with Piano, "Praeludium" 1 
 KORNGOLD Sinfonietta, Op. 5 2 
 
 LAUCELLA Prelude and Temple Dance 1 
 LIEURANCE Song with Piano, "Lulla- 
 by" (Indian Song) 
 
 LISZT Symphony to Dante's "Divina 
 Commedia" (for Chorus, Soprano 
 Solo and Orchestra) 2 
 
 Symphonic Poem, "Les Preludes" 1 
 
 Symphonic Poem, "Tasso" 3 
 
 Hungarian Rhapsody No. 1, in F 4 
 
 Hungarian Rhapsody No. 2 (Or- 
 chestrated by Miiller-Berghaus) 2 
 Hungarian Fantasy, for Piano and 
 
 Orchestra 
 Concerto in E-flat-Major, for Piano 
 
 and Orchestra 2 
 
 MAC DOWELL Suite No. 2, "Indian," 
 
 Op. 48 1 
 
 MAYSEDER-HELLMESBERGER Ball 
 
 Scene 1 
 
 MfiHUL Overture, "La Chasse du jeune 
 
 Henri" 2 
 
 MENDELSSOHN Overture, "Fingal's 
 
 Cave" 1 
 
 From "A Midsummer Night's Dream" 
 Nocturne 1 
 
 Scherzo 2 
 
 Wedding March 1 
 
 Concerto in E-Minor, Op. 64, for 
 Violin and Orchestra 1 
 
 110
 
 Songs with Piano; "Auf Fliigeln des 
 
 Gesanges," "Gruss," "Der Mond" 1 1 
 
 MOLIQUE Andante, for Violoncello and 
 
 Orchestra 2 
 
 MONTEVERDI Aria, "II Lamento d'Ari- 
 
 anna," for Soprano and Orchestra 3 
 
 MOSZKOWSKI Spanish Dance, "Ma- 
 
 laguena" 2 
 
 MOZART Symphony in C-Major, "Ju- 
 piter" 1 
 Aria of Donna Anna, "Non mi deo," 
 from "Don Giovanni," for Soprano 
 and Orchestra 2 
 Aria, "Voi che Sapete," from "The 
 
 Marriage of Figaro" 1 
 
 Aria, "Dove So no," from "The 
 
 Marriage of Figaro" 1 
 
 Song with Piano, "Cradle Song" 1 
 
 NEIDLINGER, W. H. Song with Piano, 
 
 "The Funny Little Gnome" 1 
 
 NORWEGIAN FOLK SONGS Swed- 
 ish Folk Song, "Necken's Polska," 
 Ole Bull, "Saeterjenten's Sondag," 
 Swedish Folk Song, "Varvindar 
 friska," Ch. Sinding, "Det skreg 
 en Fugl," H. Kjerulf, "A Raevne 
 la" 1 
 
 PEEL Song with Piano, "The Cow" 2 
 
 POPPER "Elfentanz," for Violoncello 
 
 and Orchestra 4 
 
 RACHMANINOFF "Peasant Song," 
 
 with Orchestra 3 
 
 REGER A Ballet Suite, Op. 130 2 
 
 Song with Orchestra, "Waldeinsam- 
 
 keit" 1 
 
 Song with Orchestra, "Maria Wiegen- 
 lied" 1 
 
 RICKETT, Edmond Songs with Piano, 
 "Pussy Cat," "Ba, Ba, Black Sheep," 
 "Baby Bunting," "Mistress Mary" 1 
 
 111
 
 RIMSKY-KORSAKOFF Capriccio Es- 
 
 pagnol 2 6 
 
 Symphonic Suite, "Scheherazade," 
 
 Op.35 4 
 
 Chanson Indoue (Song with Orches- 
 tra) 
 
 Shepherd Lehl (Song with Orchestra) 3 
 ROGERS Songs with Piano, "Wind 
 
 Song," "The Star" 1 
 
 ROPARTZ Symphony No. 4, in C-Major 1 
 ROSSINI Overture, "William Tell" 1 
 
 Prayer, from "William Tell" 2 
 
 Aria, "La Danza," from "Les 
 
 Soirees Musicales" 2 
 
 RUBINSTEIN B a 1 1 e t Music, from 
 
 "Feramors" 1 
 
 Concerto No. 4, in D-Minor, Op. 70, 
 
 for Piano and Orchestra 1 
 
 SAINT-SAENS Symphonic Poem, 
 
 "Danse Macabre" 1 
 
 Aria, "Samson et Dalila" 1 
 
 SCHUBERT Symphony in B-Minor, 
 
 "Unfinished" 3 2 
 
 Symphony in C-Major 1 
 
 Ellen's Songs (Nos. 1, 2 and 3), 
 from Sir Walter Scott's "Lady of 
 the Lake," orchestrated by Henry J. 
 Wood: 
 
 a. "Soldier, Rest, Thy Warfare 
 
 O'er" 1 3 
 
 b. "Huntsman, Rest, Thy Chase Is 
 
 Done" 1 3 
 
 c. "Ave Maria" 1 3 
 "Standchen" 1 1 
 "Ave Maria" 1 
 
 SCHUMANN S y m p h o n y No. 1, in 
 
 B-flat-Major, Op. 38 2 
 
 Concerto in A-Minor, Op. 54, for 
 
 Piano and Orchestra 3 1 
 
 SINDING Song with Piano, "Ein Mai- 
 
 entag" 1 
 
 112
 
 SMETANA Overture, 'The Bartered 
 
 Bride" 3 1 
 
 Symphonic Poem, "Vltava" 3 
 
 SPOHR Concerto No. 9, in D-Minor, 
 
 for Violin and Orchestra 3 
 
 STOJOWSKI Suite, Op. 9, for Orchestra 1 
 STRAUSS, J. Viennese Waltz, "South- 
 ern Roses" 2 
 Overture, "Die Fledermaus" 1 
 STRAUSS, Richard Tone Poem, "Death 
 
 and Transfiguration, Op. 24 14 
 
 Tone Poem, "Don Juan," Op. 20 32 
 
 Symphonic Poem, "Till Eulenspiegel 
 
 and His Merry Pranks" 4 
 
 "Love Scene," from "Feuersnot" 1 1 
 
 Songs with Orchestra: 
 
 "Morgen" 2 1 
 
 "Standchen" 1 
 
 "Cacilie" 1 1 
 
 Songs with Piano : 
 
 "Meinem Kinde" 1 
 
 "Einkehr" 1 
 
 STRAWINSKY "Feuerwerk" 2 1 
 
 SULLIVAN The Little Gray Lamb (Re- 
 citation with Orchestra) 1 
 SUPP Overture, "Light Cavalry" 1 
 SZENDREI Song with Piano, "Weih- 
 
 nachts Legende" 1 
 
 TCHAIKOVSKY Symphony No. 4, in 
 
 F.-Minor, Op. 36 1 1 
 
 Symphony No. 5, in E-Minor, Op. 64 3 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 4 5 
 
 Overture, "Romeo and Juliet" (Fan- 
 tasy after Shakespeare) 3 
 Capriccio Italienne, Op. 45 51 
 Suite, "The Nutcracker," Op. 71a 3 
 Theme and Variations from Suite 
 
 No. 3, Op. 55 1 
 
 Andante Cantabile, from String 
 Quartet, Op. 11 2 
 
 113
 
 TCHAIKOVSKY Concerto in D-Major, 
 
 Op. 35, for Violin and Orchestra 1 
 
 Variations on a Rococo Theme, for 
 
 Violoncello and Orchestra 2 2 
 
 Song with Piano, "Child Jesus Once a 
 Garden Made" ( from an old Russian 
 legend by Pletschjew) 2 
 
 THOMAS, A. Overture, "Mignon" 1 
 
 VERDI Aria, from "La Forza del De- 
 
 stino" 2 
 
 WAGNER Overture, "Rienzi" 2 
 
 Overture, "The Flying Dutchman" 4 
 
 Aria, "Die Frist ist um," from "The 
 Flying Dutchman" 2 
 
 Prelude, Act I, "Lohengrin" 3 
 
 Prelude, Act III, "Lohengrin 
 
 Overture, "Tannhaeuser" 5 
 
 Bacchanale, from "Tannhaeuser" 2 
 
 Aria, "Dich, theure Halle," from Tann- 
 haeuser" 1 
 
 Prelude and Liebestod, from "Tristan 
 und Isolde" 5 
 
 Prelude and Liebestod (with Soprano 
 and Orchestra) 2 
 
 Prelude, "Die Meistersinger" 5 4 
 
 Entrance of the Gods into Walhalla, 
 from "Das Rheingold" 3 
 
 Ride of the Valkyries, from "Die 
 Walkiire" 4 1 
 
 "Waldweben," from "Siegfried" 3 1 
 
 Siegfried's Rhine Journey, from Got- 
 terdammerung" 4 2 
 
 Prelude and Glorification from "Parsi- 
 fal" 1 
 
 Good Friday Spell, from "Parsifal" 4 
 
 A Faust Overture 2 
 
 Siegfried Idyll 
 
 Dreams 3 
 
 Songs with Orchestra: 
 
 "Traume" 1 
 
 114
 
 "Im Treibhaus" 1 
 
 "Schmerzen" 1 
 
 WEBER Overture, "Der Freischiitz" 3 2 
 
 Overture, "Oberon" 4 2 
 
 Aria, "Ocean, du Ungeheuer," from 
 
 "Oberon" 2 
 
 Aria of Agatha, "Wie nahte mir der 
 Schlummer," from "D e r F r e i- 
 schiitz" 1 
 
 WELLS John B. Song with Piano, 
 
 "The Elf Man" 1 
 
 WOLFF Song with Piano, "Fairy Tales" 1 
 
 1915 During the Seventy-Fourth Season 1916 
 932nd to 1018th Concert 
 
 JOSEF STRANSKY - CONDUCTOR 
 
 N.Y. On Tour 
 
 BACH Suite in D-Major 1 4 
 
 Passacaglia, for Orchestra (Esser) 1 
 Prelude, Choral and Fugue (arranged 
 
 by Abert) 1 1 
 
 "Magnificat" (for Soprano, Contralto, 
 
 Tenor and Bass solos; Chorus and 
 
 Orchestra) 3 
 
 Concerto in D-Minor, for Piano and 
 
 Orchestra 1 
 
 BEETHOVEN S y m p h o n y No. 3, in 
 
 E-flat-Major, Op. 55, "Eroica" 3 2 
 
 Symphony No. 5, in C-Minor, Op. 67 5 2 
 
 Symphony No. 8, in F-Major, Op. 93 2 1 
 Symphony No. 9, in D-Minor, Op. 125 
 (for Soprano, Contralto, Tenor and 
 
 Bass solos; Chorus and Orchestra) 3 
 
 Overture, "Coriolanus," Op. 62 4 
 
 Overture, "Egmont" 3 2 
 
 Overture, "Leonore No. 3," Op. 72 2 2 
 
 115
 
 Concerto No. 5, in E-flat, Op. 72, 
 
 "Emperor," for Piano and Orchestra 2 
 Songs with Orchestra: 
 
 "Freudvoll und Leidvoll" 1 2 
 
 "Die Trommel geriihret" 1 2 
 
 BERLIOZ Overture, "Benvenuto Cellini," 
 
 Op. 23 3 
 
 Scherzo, "Queen Mab" 3 5 
 
 BINGHAM Orchestral Fantasy 1 
 
 BIZET "Scenes Bohemiennes" 1 
 
 Suite No. 1, "L'Arlesienne" 2 
 
 Aria of "Micaela," from "Carmen" 1 
 
 BOCCHERINI Menuet 1 
 
 BRAHMS Symphony No. 2,inD-Major, 
 
 Op. 73 3 
 
 Tragic Overture, Op. 81 2 
 
 Concerto in D-Major, Op. 77, for 
 
 Violin and Orchestra 2 
 
 Songs with Piano : 
 "Immer leiser wird mein Schlum- 
 mer," "Botschaft," "Wenn du nur 
 zuweilen lachelst," "Der Schmied," 
 "Sandmannchen" 2 
 
 "Auf dem See," "O liebliche Wan- 
 gen" 1 
 BRUCH Concerto No. 1, in G-Minor, 
 
 Op. 26, for Violin and Orchestra 1 
 
 CARPENTER Song with Piano, "When 
 
 I Bring Colored Toys" 2 
 
 CHARPENTIER Suite, "Impressions of 
 
 Italy" 1 
 
 Aria, "Depuis le jour," from "Louise" 1 
 
 CHOPIN Octave Study in B-Minor, 
 
 Op. 25, No. 10 (for Solo Piano) 1 
 CORNELIUS Song with Piano, "Em 
 
 Ton" 1 
 
 DARGOMISKY "Cosatchoque," Fan- 
 
 tansie on a Cossack Dance 1 
 
 DEBUSSY P r e 1 u d e , "L'Apres-midi 
 
 d'un Faune" 2 
 
 116
 
 DE LANGE Song with Piano, "Dutch 
 
 Serenade" 3 
 
 DELIUS C oncerto in C-Minor, for 
 
 Piano and Orchestra 1 
 
 DUKAS "The Sorcerer's Apprentice" 
 
 Scherzo After a Ballad of Goethe" 3 3 
 DVORAK Symphony No. 4, in G-Major, 
 
 Op. 88 23 
 
 Symphony No. 5, in E-Minor, Op. 95, 
 
 "The New World" 2 5 
 
 Scherzo Capriccioso 3 2 
 
 Concerto in B-Minor, Op. 104, for 
 
 Violoncello and Orchestra 1 
 
 FIBICH "At Evening," Idyll for Or- 
 chestra, Op. 39 2 
 FRANCK, Cesar Symphony in D-Minor 1 
 Symphonic Variations, for Piano and 
 
 Orchestra 2 2 
 
 GOLDM ARK Symphony, "A Rustic 
 
 Wedding," Op. 26 1 
 
 Overture, "Sakuntala," Op. 13 1 
 
 Overture, "Spring," Op. 36 4 
 
 Concerto in A-Minor, Op. 28, for Vio- 
 lin and Orchestra 2 
 GOUNOD Funeral March of a Marion- 
 ette 1 
 GRAINGER Shepherd's Hey" (English 
 Morris Dance Tune), Irish Tune 
 from "County Derry" (for Solo 
 Piano) 1 
 GRIEG Elegiac Melodies for String Or- 
 chestra, Op. 34, "Heart Wounds," 
 "The Last Spring" 1 
 Concerto in A-Minor, Op. 16, for 
 
 Piano and Orchestra 1 2 
 
 HAYDN First Movement of Symphony 
 
 No. 2, in D-Major 1 
 
 Concerto in D-Major, for Violoncello 
 
 and Orchestra 3 
 
 HORSMAN "Bird of the Wilderness" 
 
 (Song with Piano) 1 
 
 117
 
 KRAMER Two Sketches for Orchestra, 
 Op. 37a : 
 
 I. Chant Negre 1 
 
 II. ValseTriste 1 
 
 LALO Symphonic Espagnole, Op. 21, 
 
 for Violin and Orchestra 2 
 
 LEHMAN Song with Piano, "Charmers' 
 
 Song" 1 
 
 LISZT Symphonic Poem," Les Preludes" 3 
 
 Symphonic Poem, "Tasso" 2 3 
 
 Symphonic Poem, "The Battle of the 
 
 Huns" 
 
 Symphonic Poem, "Orpheus" 
 Hungarian Storm March 
 
 Hungarian Rhapsody No. 2 24 
 
 Concerto No. 2, in A-Major, for 
 
 Piano and Orchestra 2 
 
 Concerto in E-flat, for Piano and Or- 
 chestra 2 
 Hungarian Fantasy, for Piano and 
 
 Orchestra 1 1 
 
 Songs with Orchestra: 
 
 "Es muss ein Wunderbares sein" 
 "Angiolin dal biondo crin" 1 1 
 
 "Der Fischerknabe" 3 
 
 "Die Lorelei" 3 1 
 
 MAC DOWELL Symphonic Poem, 
 
 "Launcelot and Elaine," Op. 25 
 MAHLER Symphony No. 4, in G-Major 
 
 (for Orchestra and Soprano solo) 2 
 MARYON Poem, "Sphinx," for Bari- 
 tone and Orchestra 1 
 MASSENET Aria, "Vision Fugitive," 
 from "Herodiade," for Baritone 
 and Orchestra 1 
 MENDELSSOHN Overture, "Fingal's 
 
 Cave," Op. 26 33 
 
 Overture, "Ruy Bias," Op. 95 
 Spring Song 1 
 
 118
 
 From "A Midsummer Night's Dream" 
 
 Nocturne 1 1 
 
 Scherzo 1 
 
 MOSZKOWSKI Serenade 1 
 
 MOZART Symphony in G- Minor 
 
 (Kochel 550) 2 
 
 Aria, "II re Pastore" 1 
 
 Aria, "ZefFiretti lusinghieri," from 
 
 "Idomeneus" 1 
 
 Aria, "II mio tesoro intanto," from 
 
 "Don Giovanni" 1 
 
 NICOLAI Overture, "Merry Wives of 
 
 Windsor" 1 
 
 OLD ENGLISH Song with Piano, "I've 
 
 Been Roaming" 1 
 
 OLD WELSH Song with Piano, "All 
 
 Through the Night" 1 
 
 PADEREWSKI Polish Fantasia, 
 
 Op. 19, for Piano and Orchestra 2 3 
 PUCCINI Aria, "Un Bel Di," from 
 
 "Mme. Butterfly" 1 
 
 REGER Variations and Fugue for Or- 
 chestra on a Theme by Mozart, Op. 
 132 4 5 
 
 Valse from "Ballet Suite" 1 
 
 RIM SKY - KORSAKOFF Symphonic 
 
 Suite, "Scheherazade," Op. 35 1 
 
 Capriccio Espagnol 2 7 
 
 ROGERS Songs with Piano, "The Star" 3 
 
 "Wind Song" 1 
 
 RUBINSTEIN "Bal Costume" 1 
 
 SAINT-SAENS Symphonic Poem, 
 
 "Danse Macabre," Op. 40 1 
 
 Symphonic Poem, "Le Rouet d'Om- 
 
 "phale," Op. 31 
 
 Symphonic Poem, "Phaeton," Op. 39 1 
 March Militaire from Suite, 
 
 "Algerienne" 1 
 
 Ballet Music, from "Henry VIII" 1 
 
 Concerto No. 4, in C-Minor, Op. 44, 
 
 for Piano and Orchestra 1 1 
 
 119
 
 Concerto in A-Minor, Op. 33, for 
 
 Violoncello and Orchestra 2 2 
 
 Aria, "Mon coeur s'ouvre a ta voix," 
 
 from "Samson and Dalila" 3 
 
 SCHONBERG S y m p h o n i c Poem, 
 
 "Pelleas and Melisande" 2 
 
 SCHUBERT Symphony in B - Minor, 
 
 "Unfinished" 2 
 
 Entr'acte, "Rosamunde" 1 
 
 "Ave Maria" (for Mezzo Soprano 
 
 and Orchestra) 3 
 
 "Standchen" (Song with Orchestra) 1 
 
 SCHUMANN S y m p h o n y No. 2, in 
 
 C-Major, Op. 61 1 
 
 "Traumerei" 1 
 
 Concerto in A-Minor, Op. 54, for 
 
 Piano and Orchestra 2 2 
 
 Songs with Piano, "Rosebuds," "The 
 
 Sandman" and " Tis He" 1 
 
 Romanze in F- Sharp for Solo Piano 1 
 SEVERN Concerto in D-Minor, for Vio- 
 lin and Orchestra 1 
 SHARP Song with Piano, "Japanese 
 
 Death Song" 3 
 
 SIBELIUS Tone Poem, "Die Okeani- 
 
 den," Op. 73 2 
 
 SMETANA Sylmphonic Cycle, "Ma 
 
 Vlast" 2 
 
 Symphonic Poem, "Vltava" 2 
 
 SOMERVELL Song with Piano, "Shep- 
 herd's Lullaby" 1 
 SPOHR Overture, "Jessonda," Op. 63 1 
 STAHLBERG S u i t e for Orchestra, 
 
 Op. 33 1 
 
 STANFORD-GRAINGER "The Lepre- 
 chaun's Dance" No. 3 of Four 
 Irish Dances (for Solo Piano) 1 
 
 March Jig "Maguire's Kick" (for 
 Solo Piano) 1 
 
 120
 
 STRANSKY Symphonic Songs with Or- 
 chestra, "Moonrise" 2 2 
 "Requiem" 2 2 
 STRAUSS, J. Overture, "Die Fleder- 
 
 maus" 1 
 
 Valse, "Wiener Blut" 1 
 
 STRAUSS Tone Poem, "Don Juan," 
 
 Op. 20 3 
 
 Tone Poem, "Life of a Hero," 
 
 Op. 40 3 
 
 Tone Poem, "Death and Transfigura- 
 tion," Op. 24 3 
 Symphonic Poem, "Till Eulenspiegel 
 
 and His Merry Pranks" 2 
 
 Prelude to the Opera "Guntram" 2 
 
 Finale to the Opera "Salome" (with 
 
 Soprano Solo) 2 
 
 Love Scene, from "Feuersnot" 1 1 
 
 Songs with Orchestra : 
 
 "Gesang der Apollo Priesterin" 1 
 
 "Verfuhrung" 1 
 
 "Morgen" 1 
 
 Songs with Piano: "Befreit," "Mor- 
 gen," "Heimliche Aufforderung" 1 
 SUPPfi Overture, "Poet and Peasant" 1 
 TCHAIKOVSKY Symphony No. 4, in 
 
 F-Minor, Op. 36 6 
 
 Symphony No. 5, in E-Minor, Op. 64 2 1 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 
 
 Fantasy-Overture ,"Romeo and Juliet" 2 3 
 "Nutcracker" Suite 1 
 
 Concerto in D-Major, Op. 35, for Vio- 
 lin and Orchestra 1 
 TCHAIKOVSKY - GRAINGER Para- 
 phrase on the "Flower Waltz," 
 from the "Nutcracker" Suite 1 
 VERDI Aria, "Celeste Aida" 1 
 VOLKMANN Concerto in A-Minor, Op. 
 
 33, for Violincello and Orchestra 1 
 
 121
 
 WAGNER Overture, "Rienzi" 1 
 
 Overture, "The Flying Dutchman" 3 
 Prelude, "Lohengrin" 3 1 
 
 Prelude Act III, "Lohengrin" 4 1 
 
 Overture, "Tannhaeuser" 5 6 
 
 Bacchanale, "Tannhaeuser" 4 
 
 Prelude Act III, "Tannhaeuser" 1 
 
 Prelude and Liebestod from "Tristan 
 
 und Isolde" 5 6 
 
 Prelude, "Die Meistersinger" 6 6 
 
 "Entrance of the Gods into Valhalla," 
 
 from "Das Rheingold" 4 
 
 Ride of the Valkyries, from "Die 
 
 Walkiire" 2 
 
 "Waldweben," from "Siegfried" 4 
 
 Siegfried's Rhine Journey, from "Got- 
 
 terdammerung" 2 
 
 Finale, "Immolation Scene," from 
 
 "Gotterdammerung" 1 
 
 Good Friday Spell, from "Parsifal" 2 1 
 Prelude and Glorification, from 
 
 "Parsifal" 1 
 
 Siegfried Idyll 3 1 
 
 Dreams 1 2 
 
 Overture, "The Fairies" 2 
 
 Songs with Orchestra: 
 
 "Im Treibhaus" 1 
 
 "Traume" 2 
 
 "Schmerzen" 1 
 
 "Elsa's Dream," from "Lohengrin" 1 
 
 WEBER Overture, "Euryanthe" 1 
 
 Overture, "Der Freischutz" 1 1 
 
 Overture, "Oberon" 1 
 
 "Invitation to the Dance" (Orches- 
 trated by Weingartner) 2 
 Aria with Orchestra, "Wie nahte mir 
 der Schlummer," from "Der Frei- 
 chiitz" 1 
 
 122
 
 WOLF Songs with Piano: 
 
 "Das verlassene Maegdlein" 1 
 
 "Der Tambour" 1 
 
 "Er ist's" 1 
 
 The 1019th to the 1077th Concert were included in 
 the Tour of The Philharmonic Orchestra, made during 
 the Spring of 1916. 
 
 1916 During the Seventy-Fifth Season 1917 
 1078th to 1167th Concert 
 
 JOSEF STRANSKY - - CONDUCTOR 
 
 N.Y. On Tour 
 
 BACH Suite in D-Major 2 
 
 Prelude, Choral and Fugue (Arranged 
 
 by Abert) 3 4 
 
 Four Chorales: For the Christmas 
 Festival ; for the Fest of the An- 
 nunciation; for the Sixteenth Sun- 
 day After Trinity, "World, Fare- 
 well!"; for the Twenty - seventh 
 Sunday After Trinity, "Glory Now 
 to Thee be Given" 1 
 
 From the Mass in B-Minor; Gloria 
 in excelis Deo ; Et incarnatus ; Cru- 
 cifixus; Et resurrexit (for Chorus 
 and Orchestra) 1 
 
 BEETHOVEN Symphony No. 3, in E- 
 
 flat-Major, Op. 55, "Eroica" 3 
 
 Symphony No 4, in B-flat-Major, 
 
 Op. 60 
 
 Symphony No. 5, in C-Minor, Op. 67 3 7 
 Symphony No. 6, in F-Major, Op. 68, 
 
 "Pastoral" 1 
 
 Symphony No. 7, in A-Major, Op. 92 2 2 
 Overture, "Coriolanus" 2 
 
 Overture, "Leonore No. 3" 3 
 
 123
 
 Concerto in D-Major, Op. 61, for Vio- 
 lin and Orchestra 1 
 Concerto No. 5, in E-flat, Op. 73, 
 
 "Emperor," for Piano and Orchestra 1 1 
 Chorus, "Nature's Praise to God" (for 
 
 Chorus and Organ) 1 
 
 BIZET Suite No. 1, "UArlesienne" 1 2 
 
 Suite, "Child's Play" 1 
 
 Micaela Aria from "Carmen," for 
 
 Soprano and Orchestra 2 
 
 BRAHMS Symphony No. 2, in D-Major, 
 
 Op. 73 2 
 
 Symphony No. 4, in E-Minor, Op. 98 2 
 Academic Festival Overture 1 
 
 Concerto in D-Major, Op. 77, for 
 
 Violin and Orchestra 2 1 
 
 Serenade in D-Major 2 
 
 Two Hungarian Dances 1 
 
 BRUCH Concerto in G-Minor, Op. 26, 
 
 for Violin and Orchestra 3 
 
 CHABRIER Rhapsody for Orchestra, 
 
 "Espana" 3 3 
 
 CHARPENTIER Aria, "Depuis le jour," 
 
 from "Louise" 1 
 
 DEBUSSY Prelude, "L'Apres-midi d'un 
 
 Faune" 2 6 
 
 Two Nocturnes for Orchestra, "Nu- 
 
 ages," "Fetes" 3 1 
 
 DELIBES Ballet Suite, "Sylvia" 1 
 
 Bell Song, from "Lakme" (with Or- 
 chestra) 1 
 D'INDY Prelude to Act I, "Fervaal" 1 
 DUKAS "The Sorcerer's Apprentice," 
 
 Scherzo After a Ballad of Goethe 3 1 
 DUPARC "L'Invitation au Voyage" 
 
 (Song with Orchestra) 1 
 
 DVORAK Symphony No. 4, in G-Major, 
 
 Op. 88 12 
 
 Symphony No. 5, in E-Minor, Op. 95, 
 
 "The New World" 4 2 
 
 Slavic Dance 1 
 
 124
 
 ECKERT Concerto for Violoncello and 
 
 Orchestra 1 
 
 FRANCK, Cesar Symphony in D-Minor 1 1 
 Symphonic Poem, "The Wild Hunts- 
 man" 1 
 GADE Symphony No. 1, in C-Minor, 
 
 Op. 5 1 
 
 GEORGES "Hymne au Soleil" (Song 
 
 with Orchestra) 1 
 
 GLAZOUNOW Concerto for Violin and 
 
 Orchestra, Op. 82 2 
 
 GLUCK Overture, "Iphigenie in Aulis" 
 
 (Wagner ending) 1 
 
 GOLDMARK Symphony, "A Rustic 
 
 Wedding," Op. 26 1 3 
 
 Overture, "Spring," Op. 36 33 
 
 GOLDMARK, Rubin Symphonic Poem, 
 
 "Samson" 3 
 
 GRAINGER Suite, "In a Nutshell" 2 
 
 GRANADOS "The Nightingale," from 
 
 "Goyescas" (Song with Piano) 1 
 
 GRIEG Elegiac Melodies for String Or- 
 chestra, Op. 34, "Heart Wounds," 
 "The Last Spring" 2 8 
 
 March of the Dwarfs 1 
 
 Concerto in A-Minor, Op. 16, for 
 
 Piano and Orchestra 2 
 
 "Margaretlein," "Erstes Begegnen," 
 "Lauf der Welt" (Songs with 
 
 Piano) 1 
 
 HADLEY Symphonic Fantasie, in E-flat, 
 
 Op. 46 11 
 
 HAENDEL Largo (for Orchestra and 
 
 Organ) 1 
 
 "Where'er You Walk," from "Semele," 
 
 for Soprano, Orchestra and Organ 1 
 
 HAYDN Symphony in G-Major, "Sur- 
 prise" 1 
 Symphony in G-Major, "Militaire" 1 1 
 Symphony in G-Major, "Oxford" 2 
 
 125
 
 Last Movement of the "Farewell" 
 Symphony 1 
 
 HERBERT American Fantasy 1 
 
 HUMISTON A Song of Evening (Song 
 
 with Orchestra) 1 
 
 HUM PERDINCK Prelude to "Haensel 
 
 and Gretel" 1 1 
 
 Prelude to Act III, "Koenigskinder" 1 
 JENSEN "Am Ufer des Manzanares" 
 
 (Song with Piano) 1 
 
 KLUGHARDT Concerto in A-Minor, 
 Op. 59, for Violoncello and Or- 
 chestra 1 
 LEHMANN "The Cuckoo" (Song with 
 
 Piano) 1 
 
 LEONCAVALLO Aria from "Pagliacci" 1 
 LISZT "Faust" Symphony (for Chorus 
 
 and Orchestra, and Tenor Solo) 1 
 
 Symphonic Poem, "Les Preludes" 2 5 
 Symphonic Poem, "Tasso" 1 
 
 Symphonic Poem, "Die Ideale" No. 12 2 
 Hungarian Rhapsody No. 1 33 
 
 Hungarian Rhapsody No. 2 1 
 
 Hungarian Fantasy for Piano and 
 
 Orchestra 1 1 
 
 Concerto in E-flat-Major, for Piano 
 
 and Orchestra 2 1 
 
 "Die Drei Zigeuner," "Ueber alien 
 
 Gipfeln" (Songs with Piano) 1 
 
 MAC DOWELL Suite No. 2, Op. 48, 
 
 "Indian" 1 
 
 MENDELSSOHN "I t a 1 i a n" Sym- 
 phony 1 
 Overture, "Fingal's Cave" 1 6 
 From "A Midsummer Night's Dream 
 
 Nocturne 1 1 
 
 Scherzo 2 1 
 
 Concerto for Violin and Orchestra 1 
 
 MOSZKOWSKI Malaguena 1 
 
 MOUSSORGSKY "Hopak" (Cossack 
 
 Song), (with Orchestra) 2 1 
 
 126
 
 MOZART Overture, "Figaro's Wedding" 2 1 
 
 Overture, "The Magic Flute" 1 
 
 PUCCINI Aria from "Tosca" 1 
 
 RACHMANINOFF "Diese Herrliche 
 
 Nacht" (with Orchestra) 2 
 
 REGER Variations and Fugue for Or- 
 chestra on a Theme by Mozart, Op. 
 132 2 1 
 
 RIMSKY-KORSAKOFF Capriccio Es- 
 
 pagnol, Op. 34 23 
 
 ROSSINI Overture, "Barber of Seville" 1 
 RUBINSTEIN Concerto No. 4, in 
 D-Minor, Op. 70, for Piano and 
 Orchestra 3 
 
 SAINT-SAENS Symphony in A-Minor 1 
 Symphonic Poem, "Danse Macabre," 
 
 Op. 40 1 12 
 
 Marche Militaire 1 
 
 Concerto No. 2, in G-Minor, for 
 
 Piano and Orchestra 3 
 
 Concerto in A-Minor, Op. 33, for 
 
 Violoncello and Orchestra 1 
 
 SCHUBERT Symphony in B - Minor, 
 
 "Unfinished" 5 7 
 
 Symphony in C-Major, No. 7 2 
 
 Entr'acte and Ballet Music from 
 
 "Rosamunde" 1 
 
 SCHUMANN S y m p h o n y No. 2, in 
 
 C-Major, Op. 61 2 
 
 Overture, "Julius Caesar" 1 
 
 Overture, "Manfred," Op. 115 2 
 
 Concerto in A-Minor, Op. 54, for 
 
 Piano and Orchestra 2 
 
 "Provencaliscb.es Lied," "Mond- 
 nacht," "In's Freie" (Songs with 
 Orchestra) 1 1 
 
 SIBELIUS S y m p h o n y No. 2, in 
 
 D-Major 4 1 
 
 SIBELLA "Desir" (Song with Piano) 1 
 SINDING Concerto in A-Major, Op. 45, 
 
 for Violin and Orchestra 2 
 
 127
 
 SMETANA Symphonic Poem, "Vltava" 2 3 
 STRAUSS, Richard "Alpine" Symphony 2 
 
 Tone Poem, "Don Juan," Op. 20 1 
 
 Tone Poem, "Death and Transfigura- 
 tion," Op. 24 4 
 Symphonic Poem, "Till Eulenspiegel 
 
 and his Merry Pranks" 4 
 
 Symphonic Poem, "Macbeth" 2 
 
 Festival Music, from "Guntram" 2 
 
 Love Scene, from "Feuersnot" 1 
 
 STRAUSS, J. Valse, "The Blue Danube" 1 1 
 
 Waltz, "Artist's Life" 1 
 
 TCHAIKOVSKY Symphony No. 4, in 
 
 F-Minor, Op. 36 1 
 
 Symphony No. 5, in E-Minor, Op. 64 5 1 
 Symphony No. 6, in B-Minor, Op. 74, 
 
 "Pathetique" 1 
 
 Overture, "The Voyevode" 2 
 
 Orchestral Fantasy, "Romeo and Ju- 
 liet" 3 10 
 Concerto No. 1, in B-flat-Minor, Op. 
 
 23, for Piano and Orchestra 2 
 
 Concerto in D-Major, Op. 35, for Vio- 
 lin and Orchestra 3 
 Theme and Variations for Orchestra, 
 
 Op. 55 4 
 
 Scene from "Jeanne d'Arc," for 
 
 Soprano and Orchestra 1 
 
 Letter Scene, from "Eugen Oniegin," 
 
 for Contralto and Orchestra 2 
 
 Andante Cantabile 1 1 
 
 THOMAS, A. Overture, "Raymond" 1 
 
 VERDI Aria, "Caro Nome," from Rigo- 
 
 letto" 1 
 
 VOLKMANN Overture, "Richard III" 1 
 WAGNER Overture, "Rienzi" 
 
 Overture, "The Flying Dutchman" 3 
 Prelude, "Lohengrin" 3 1 
 
 Prelude Act I, "Lohengrin" 1 
 
 Prelude Act III, "Lohengrin" 
 Overture, "Tannhaeuser" 4 
 
 128
 
 "Bacchanale," from "Tannhaeuser" 3 
 Aria, "Dich, theure Halle, from 
 
 "Tannhaeuser" 1 
 
 Prelude to Act III, "Tannhaeuser" 3 
 Prelude and Liebestod, from "Tristan 
 
 und Isolde" 4 2 
 
 Prelude and Liebestod, from "Tristan 
 und Isolde" (for Soprano and Or- 
 chestra) 1 2 
 Prelude Act III, and Shepherd's Tune, 
 from "Tristan and Isolde" (arr. 
 by Wm. H. Humiston) 3 
 Prelude, "Die Meistersinger" 5 10 
 Prelude, Act III, "Die Meistersinger" 
 A Faust Overture 2 
 Entrance of the Gods into Valhalla, 
 
 from "Das Rheingold" 3 
 
 Ride of the Valkyries, from "Die 
 
 Walkiire" 4 1 
 
 Wotan's Farewell and Magic Fire 
 
 Scene, from "Die Walkiire" 3 3 
 
 Briinnhilde's Battle-Cry, from "Die 
 Walkiire" (for Soprano and Or- 
 chestra) 1 
 "Waldweben," from "Siegfried" 3 1 
 Siegfried's Rhine Journey, from 
 
 "Gotterdammerung" 3 
 
 "Immolation" Scene, from "Gotter- 
 dammerung" (for Contralto and 
 Orchestra) 2 
 
 Funeral March, from "Gotterdammer- 
 
 ung" 2 
 
 Good Friday Spell, from "Parsifal" 4 
 Prelude and Glorification, from "Parsi- 
 fal" 1 
 "Siegfried Idyll" 4 3 
 "Dreams" 3 5 
 Overture, "The Fairies" 1 
 Centennial March 2 
 
 129
 
 Songs with Orchestra: 
 
 a. Stehe Still 
 
 b. Traume 
 
 c. Schmerzen 
 
 WEBER Overture, "Der Freischiitz" 6 
 
 Overture, "Oberon" 1 1 
 
 "Invitation to the Dance" (Orches- 
 trated by Weingartner) 1 
 Concertstueck, in F-Minor, Op. 79, 
 
 for Piano and Orchestra) 1 
 
 Aria, "Ocean, du Ungeheuer," for 
 
 Mezzo Soprano and Orchestra 1 2 
 
 WIDOR Symphony No. 3, in E-Minor, 
 
 for Orchestra and Organ 1 
 
 WOLF Songs with Orchestra: "Ver- 
 borgenheit," "Der Freund," "Er 
 ist's" 1 
 
 ZIMBALIST Little Russia Folk Songs 
 
 (with Orchestra) 2 
 
 130
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
 This book is DUE on the last date stamped below. 
 
 JAN 1 8 '61, 
 
 Form L9-42n*-8,'49(B5573)444
 
 UC SOUTHERN REGIONAL LIBRARY FACILITY 
 
 A 000148349 4 
 
 MU