UC-NRLF B M 3M7 3D7 ^.1^ .A.DeWolfe Howe + THE BOSTON |l i SYMPHONY 1 THE BOSTON SYMPHONY ORCHESTRA AN HISTORICAL SKETCH ■f^h U:v^wMA is , ^^l^-WAa/vo^w-nn^w THE BOSTON SYMPHONY ORCHESTRA AN HISTORICAL SKETCH BY M. A. DeWOLFE HOWE BOSTON AND NEW YORK HOUGHTON MIFFLIN COMPANY I914 COPYRIGHT, I9I4, BY M. A. DEWOLFE HOWE ALL KIGHTS RESERVED Puhlished November igi^ PREFACE IT is to be said at the outset that this book is not the work of a musical critic, but of an editor and annalist. The task has been to con- struct from a considerable body of record the story of the Orchestra. Much of the material — especially in papers relating to Mr. Higginson's more personal dealings with the enterprise — has never been in print before. Much has been found also in the bound volumes of newspaper clippings about the Orchestra brought together by Mr. Allen A. Brown and preserved in the Allen A. Brown Collection at the Boston Public Library. The critical passages drawn from this source, in their reflection of the local musical opinion of the Orchestra in its successive stages, are believed to contribute an important element to the record. To Miss Barbara Duncan, custodian of the Allen A. Brown Collection, the author is indebted for the preparation of the Appendices at the end of the volume. To Mr. Ellis, Mr. Walter, and other members of the staff of Symphony Hall, and to V PREFACE several unofficial friends of the Orchestra, many- thanks are due for suggestion and advice. It is a fortunate coincidence that the book can appear at the time of Mr. Higginson's eightieth birthday. Boston, October 15, 19 14. CONTENTS I. Preliminary i II. The Beginnings under Georg Henschel, i88i- 1884 25 III. The Establishing under Wilhelm Gericke, 1884-1889 lOI IV. The Service of Arthur Nikisch and Emil Paur, 1889-1898 153 V. The Second Term of Wilhelm Gericke, 1898- 1906 182 VI. Dr. Karl Muck, Max Fiedler, and again Dr. Muck, 1906-1914 209 VII. Conclusions 222 Appendix A. The Soloists 231 B. The Personnel 242 C. The Repertoire 252 Index 275 ILLUSTRATIONS Henry Lee Higginson (photogravure) .... Frontispiece From the bust by Bela L. Pratt, placed in Symphony Hall, Boston, igil. From a photograph by Curtis £5" Cameron. The Germania Orchestra 8 Carl Bergmann, Conductor, seated at center. Carl Zerrahn standing at extreme left. From a lithograph in the library of the Harvard Musical Association. The Boston Symphony Orchestra before the " Great Organ " in Music Hall. Georg Hen- SCHEL, Conductor 66 From a photograph by James Notman. Three Conductors 114 WiLHELM GeRICKE, 1884-1889, 1898-I906. From a photograph by Elmer Chickering. Arthur NiKiscH, 1889-1893. From a photograph. Georg Henschel, i 881-1884. From a photograph. The Boston Symphony Orchestra in Symphony Hall, Boston, 191 3. Dr. Karl Muck, Conductor 192 From a photograph by Newcomb ^ Robinson. The Six Concert-Masters 204 BeRNHARD LiSTEMANN, 1881 iSSj. From a photograph. Willy Hess, 1904— 1907, 1908-1910. From a photograph by Garo. ix ILLUSTRATIONS Franz Kneisel, 1885- 1903. From a photograph by Gassford, New Tork. Carl Wendling, 1907- 1908. From a photograph by Garo. Anton Witek, 191 o- From a photograph by Garo. E. Fernandez Arbos, 1903-1904. From a photograph. Three Conductors 216 Karl Muck, 1906-1908, 1912- From a photograph by Garo. Max Fiedler, 1908-1912. From a photograph by Garo. Emil Paur, 1893-1898. From a photograph by Notman Photograph Company. THE BOSTON SYMPHONY ORCHESTRA THE BOSTON SYMPHONY ORCHESTRA I PRELIMINARY ABOUT twenty years ago the amusing Max Beerbohm wrote an essay on " 1880," as a year already so remote that it should be subjected to the historical method of treatment. "To give an accurate and exhaustive account of that pe- riod,'* he said, "would need a far less brilliant pen than mine." Perhaps it is better that the compre- hensive narrative should remain a little longer unwritten. But before it is too late to profit by personal memories, there are many pieces of the story to be told. One of them has to do with the Boston Sym- phony Orchestra, which was established in 1881. It is a local matter, and it relates to the single art of music. But it is also much more than a local matter, since the Orchestra has exerted a wide- spread influence ; and it relates to more than one I BOSTON/SyMPHONY ORCHESTRA art, since the founding and maintenance of the Orchestra have exemplified a spirit applicable to many opportunities for enriching the life of a community and a country. Regarding the Orches- tra, then, as the flourishing plant which, since 1 88 1, it has grown to be, we should look first of all at the soil in which it was planted — and at the planter. The musical history of Boston before the mid- dle of the nineteenth century is a somewhat bar- ren field of study. The earlier Puritans did little or nothing to cultivate music. Indeed, they con- fined the practice of the art so strictly to psalmody that the development of Boston into a home of the best music may be counted one of the anom- alies of evolution. The first considerable organ- ization of music-lovers in Boston owed its origin to a religious and patriotic occasion — the Peace Jubilee in King's Chapel on the conclusion of the War of 1 812. From the excellent choir of Park Street Church and from other sources a chorus was brought together for the singing of portions of the "Creation," the "Messiah," and other works appropriate to the celebration of peace, 2 PRELIMINARY and from this chorus the Handel and Haydn So- ciety was formed in 1 8 1 5. " The ambitious char- acter of the society," writes Mr. Louis C. Elson in his "History of American Music," **is indi- cated by the fact that, in 1823, it wrote to Bee- thoven offering him a commission to write an oratorio especially for its use." The commission was never executed, though an entry in one of Beethoven's notebooks shows that he intended to do something about it. For the most part the town relied for its music upon what it could provide for itself — and that was not much. In 1837a seceding society, " The Musical Institute of Boston," sought to divide the field of oratorio with the Handel and Haydn. It is a curious circumstance that musical journals — the "Euterpiad" (including the "Minerviad" for feminine readers), the " Boston Musical Gaz- ette," and the "Musical Magazine" — existed in the second, third, and fourth decades of the last century ; as if to say that music must be dis- cussed in Boston even when there was least to provoke remark. The fact is that there were always amateur musicians, and the amateurs — 3 BOSTON SYMPHONY ORCHESTRA the real lovers — of an art are frequently those who save it. So much of the spiritual awakening of New England is identified with the movement which expressed its " transcendentalism " in the ** Dial" and the Brook Farm experiment, that it is inter- esting to find in the first number of the " Dial " (July, 1840) an article on "The Concerts of the Past Winter," by John S. Dwight, soon to be- come a Brook Farmer, and long to remain the chief apostle of music in Boston. He described a concert of the "Amateur Orchestra," assisted by the " Social Glee Club," and, more than half prophetic of things to come, wrote : — This promises something. We could not but feel that the materials that evening collected might, if they could be kept together through the year, and induced to practise, form an orchestra worthy to execute the grand works of Haydn and Mozart. Orchestra and audience would improve together, and we might even hope to hear one day the " Sinfonia Eroica," and the " Pastorale " of Beethoven. . . . We want two things: Frequent public performances of the best music, and a constant audience of which the two or three hundred most musical persons in the community shall be the nu- cleus. Good music has been so rare that, when it comes, PRELIMINARY those who know how to enjoy such do not trust it, and do not go. To secure these ends, might not a plan of this kind be realized ? Let a few of our most accomplished and refined musicians institute a series of cheap instrumen- tal concerts, like the Quartette Concerts, or the " Classic Concerts" of Moscheles in England. Let them engage to perform quartettes, etc., with occasionally a symphony, by the best masters and no others. Let them repeat the best and most characteristic pieces enough to make them a study to the audiences. To insure a proper au- dience there should be subscribers to the course. The two or three hundred who are scattered about and really long to hear and make acquaintance with Beethoven and Haydn, could easily be brought together by such an attraction, and would form a nucleus to whatever audience might be collected, and would give a tone to the whole. ... It might be but a labor of love at the outset; but it would create in time the taste which would patronize and reward it. The fulfilment of some of these dreams for music in Boston was nearer than Dwight him- self may have realized. In the winter of 1 840- 41, the Boston Academy of Music, formed in 1833 for educational purposes, gave a series of or- chestral concerts, at which the symphonies of Bee- thoven were first heard in Boston. "Some may yet remember," wrote Dwight in 1870, "how 5 BOSTON SYMPHONY ORCHESTRA young men and women of the most cultured circles, whom the new intellectual dayspring had made thoughtful and at the same time open and impressible to all appeals of art and beauty, used to sit there through the concert in the far- off upper gallery, or sky-parlor, secluded in the shade, and give themselves up completely to the influence of the sublime harmonies that sank into their souls, enlarging and coloring henceforth the whole horizon of their life." To the other orches- tral concerts which followed in due course upon this first series, the young enthusiasts of Brook Farm, as George William Curtis long afterwards recalled the experience, " would come to town to drink in the symphonies, and then walk back the whole way (seven miles) at night, elated and unconscious of fatigue, carrying home with them a new genius, beautiful and strong, to help them through the next day's labors." The temptation to look carefully at every step in the local history of music must be resisted. It is sufficient to say in this place that the Academy concerts, ending in 1 847, were followed by those of the Musical Fund Society, and the Germania 6 PRELIMINARY Orchestra, an excellent band of travelling musi- cians, who left Berlin in the upheavals of 1848, and visited Boston and other American cities from 1849 ^° 1^54- Their personal history and for- eign origin added a romantic element to the pro- nounced artistic appeal of their music. The in- fluence they exerted on musical taste, not only in Boston but throughout the country, has won the warmest acknowledgments. Yet the primi- tive taste of the time is suggested in a bit of reminiscence preserved by William F. Apthorp in his annotations upon a Symphony Concert pro- gramme of 1 896 : — At one of the public afternoon rehearsals, — for we had afternoon rehearsals then, as now, — all the seats on the floor of the Music Hall had been taken up, and the small audience occupied the galleries. There used to be no printed programmes at these rehearsals, but Bergmann [leader of the Germanians] would announce the several numbers viva voce — often in the most re- markable English. One of the numbers on the occa- sion I now speak of was the " Railway Galop," — com- poser forgotten, — during the playing of which a little mock steam-engine kept scooting about (by clockwork ?) on the floor of the hall, with black cotton wool smoke coming out of the funnel. BOSTON SYMPHONY ORCHESTRA The vagaries of taste, however, did not end with the fifties. The " Great Organ " was not installed in the Music Hall till 1863. It lent it- self, said Mr. Apthorp in the reminiscences al- ready quoted, to " adventurous combinations. I remember one evening when a fantasia on themes from Wallace's * Maritana ' was played as a duet for mouth harmonica and the Great Organ ; a combination, as the programme informed us, * never before attempted in the history of mu- sic ! ' " It should be said at once that crudities like these were sporadic, not typical, and that the soil was really undergoing a constant and effective preparation for the flourishing of the Boston Symphony Orchestra. The Music Hall was built in 1852, from which time forward it was un- necessary to ask a visiting Jenny Lind to sing in the Fitchburg Railroad Station. In the project of building the Music Hall, as in many other musical enterprises of the time, the Harvard Musical Association bore a leading part. This club, founded in 1837 by a group of young Harvard men who wished to continue beyond 8 I ^ — <-. as ^■«^^^ PRELIMINARY their college days the musical interests which had brought them together in the Pierian Sodality, never ceased in its private meetings to nourish a local devotion to the best music. Its dominat- ing spirit for more than a half-century was John Sullivan Dwight. Through his "Journal of Mu- sic," begun in 1852 and continued until 1881, the Association, responsible in large measure for the Music Hall, may be said to have related itself again to the public. The " Journal " was, to an uncommon degree, a personal product, — the utterance of a man wholly devoted to an art and firm in his belief that it must be practised and enjoyed according to the severest canons of classical taste. If this was a personal view, it was also fairly representative of the Association upon which Dwight so strongly impressed himself. As time went on, younger men chafed against his extreme conservatism ; but now that the period has passed into history, there can be little doubt that the Boston community was fortunate in hav- ing throughout its musically formative years a leader of taste and opinion whose standards were so substantial and high as those of Dwight. 9 BOSTON SYMPHONY ORCHESTRA The orchestral concerts of the Musical Fund Society continued until 1855. In 1857, the Philharmonic Society concerts began, under the leadership of Carl Zerrahn, one of the musicians who found his way to Boston with the Germania Orchestra. These concerts formed an important link in the chain of which the next link was pro- vided by the Harvard Musical Association. They came to an end in 1863 — when martial music was inevitably drowning out all other. When the war was over, the Harvard Musical Association inaugurated, in the season of 1866—67, the series of orchestral concerts which did not come to an end till the Boston Symphony Concerts were firmly established. Carl Zerrahn was the con- ductor of the Harvard concerts; the orchestra numbered fifty — the best available local play- ers. Through the first five or six seasons they were so successful that a loss of popularity after this time did not cause any financial loss to the enterprise as a whole. For the decline in popu- larity two causes may be assigned : the classical severity of the programmes, leading, as Mr. Apthorp has written, to the almost proverbial 10 PRELIMINARY phrase of the time, " dull as a symphony con- cert"; and the revelation of what such concerts might be that came with the early visits of Theo- dore Thomas's Orchestra to Boston. It was this, probably more than anything else, which pointed the way to still better things, orchestrally, than Boston had known. Yet it is true that the Har- vard Musical Concerts were what Mr. Apthorp has called them — the link between the old and the new musical Boston ; and because this is so, it is well to quote Dwight's own words, as the words of highest authority, about the underlying aims of these concerts : — The strength of the enterprise lay in these guaran- tees : I. Disinterestedness : it was not a money-making speculation ; it had no motive but good music and the hope of doing a good thing for art in Boston ; in that it took up the traditions of the old Academy. i. The guarantee of the nucleus of fit audience, — persons of taste and culture, subscribing beforehand to make the concerts financially safe, and likely to increase the num- ber by the attraction of their own example. 3. Pure programmes, above all need of catering to low tastes; here should be at least one set of concerts in which one might hear only composers of unquestioned excellence, and into which should enter nothing vulgar, coarse, " sensational," but only such as outlives fashion. 4. The I I BOSTON SYMPHONY ORCHESTRA guarantee to the musicians both of a better kind of work and somewhat better pay than they were wont to find. It was hoped that the experiment would "pave the way to a permanent organization of orchestral con- certs, whose periodical recurrence and high, uncompro- mising character might be always counted on in Bos- ton." It was in fact a plan whereby the real lovers of good music should take the initiative in such concerts and control them, keeping the programmes up to a higher standard than they are likely to conform to in the hands of those who give concerts only to make money.' The ideals thus described by the authoritative spokesman for the Harvard Musical Association were substantially realized in the concerts which for seventeen years prepared the Boston public for the orchestra it has now been enjoying for more than thirty years. The soil was well pre- pared for the planting. We may now turn to the planter. Henry Lee Higginson, born in New York, November i8, 1834, of the New England stock which for two centuries before his birth had done less for the arts than for the virtues, departed early from the accepted paths of the young men ' Memorial History of Boston, iv, 446. 12 PRELIMINARY of his time and station. He ought to have grad- uated from Harvard College, which he entered in 1 85 1 with the class to which Alexander Agas- siz and Phillips Brooks belonged. But lacking the best of health, he left it after two years. He ought to have continued — if precedent were to rule — in the Boston counting-house of S. and E. Austin, in which he then took employment; but before the end of 1856, he found himself in Europe, where he stayed for four years, devoting himself chiefly to the study of music at Vienna. Many letters to his father are preserved, and from these it may be seen that in his early twenties his views on the place of money-gathering and spending in the general scheme of life were — thanks to the example and influence of an unself- ish parent — definitely formed. From Paris, for example, he writes to his father, January 21, 1857: " What is money good for, if not to spend for one's friends and to help them ? You 've done so all your life — let me do so too while I can, for it is in me (I have always known it) to be a close man, a miser. I know about this." This frank recognition of the personal danger involved 13 BOSTON SYMPHONY ORCHESTRA in the pursuit of money for its own sake — with its bit of self-analysis reading so strangely after the lapse of nearly sixty years — is expressed with some frequency in these early letters. They re- veal no less clearly the writer's lively interest in business matters and his shrewd intelligence about them. In definite outline also they image forth the young man's feeling for music, and the satis- faction he found in self-expression by means of it. At first he is seen travelling about Europe. For a companion he had his cousin and most in- timate friend, Charles Russell Lowell, who wrote, in May of 1857, *° another close friend, John C. Bancroft : — Henry is going to study music for three years. . . . With immense good sense he sees that he will be far more of a man and no less of a merchant when he has duly cultivated the best gift nature gave him. It is the first good fruit of his coming abroad. He is even now engaged in India adventures which are likely to be good : that is clearly his vocation, to be a sound merchant and true friend. In September the young student of music is established in Vienna, and writes thus to his father : — 14 PRELIMINARY As every one has some particular object of supreme interest to himself, so I have music. It is almost my inner world ; without it, I miss much, and with it I am happier and better. You may remember that I wished to study music some few years ago when in Europe before. On my return home other studies took up my time so much that music had to be neglected, much against my will. The same was true when in the store. It is quite true that I had plenty of spare hours during my apprenticeship, but it is, in my opinion, very false to suppose that a knowledge of anything so difficult as music can be gained, when the best hours of the day and the best energies of the man are consumed by the acquiring of another knowledge. Of course men more busily employed than I was have applied themselves to and conquered great things in science, in art, etc., etc.; but they are exceptions certainly, and / nothing of the kind. At any rate, I did not learn anything more of music during those nineteen months. I felt the want of it greatly, and was very sorry to give up the thing dearest to me. When I came out here I had no plans, as you know. Trade was not satisfying to the inner man as a life-occupation. Out here I have consulted, and have decided to try to learn something of music ex- and internally, i.e., of playing and of harmony or thorough-bass. If I find that I am not profiting at all by my work, I shall throw it up and go home. If I gain something, I shall stick to it. You will ask, " What is to come of it all if successful ? " I do not know. But this is clear. I have then improved my own powers, 15 BOSTON SYMPHONY ORCHESTRA which is every man's duty. I have a resource to which I can always turn with delight, however the world may go with me. I am so much the stronger, the wider, the wiser, the better for my duties in life. I can then go with satisfaction to my business, knowing my resource at the end of the day. It is already made, and has only to be used and it will grow. Finally it is my province in education, and having cultivated myself in it, I am fully prepared to teach others in it. Education is the object of man, and it seems to me the duty of us all to help in it, each according to his means and in his sphere. I have often wondered how people could teach this and that, but I understand it now. I could teach people to sing, as far as I know, with delight to myself Thus I have a means of living if other things should fail. But the pleasure, pure and free from all disagreeable conse- quences or after-thoughts, of playing and still more of singing myself, is indescribable. In Rome I took about eight lessons of a capital master, and I used to enjoy intensely the singing to his accompaniment my exer- cises and some little Neapolitan songs. My reasons for studying harmony are manifest. I cannot properly un- derstand music without doing so; moreover, it is an excellent exercise for the mind. As to writing music, I have nothing to say ; but it is not my expectation. It is like writing poetry ; if one is prompted to do so, and has anything to say, he does it. But I entirely disavow any such intention or aim in my present endeavor, — and this I wish to be most clearly expressed and under- stood, should any one ask about me. I am studying for my own good and pleasure. And now, old daddy, I hope i6 PRELIMINARY you will be able to make something out of this long letter. You should not have been troubled with it, but I thought you would prefer to know all about it. It is only carrying out your own darling idea of making an imperishable capital in education. My money may fly away ; my knowledge cannot. One belongs to the world, the other to me. This long passage from a longer letter, written by a young man only twenty-three years old, will serve at least to show how vital a place the love of music held in his plans for the years ahead. There was yet, of course, no indication of the form in which his devotion to music should ex- press itself. The money, which might fly away, while knowledge remained a permanent posses- sion, was at that time slender in amount. But in these limited resources there was far less of trial than in a serious misfortune which early befell the young student. A severe headache lasting for three days drove him to a bleeder, — a barber, — who drew eight ounces of blood from his left arm. This was on a Saturday. On the following Monday and Tuesday, Henry Higginson returned to his piano practising, with the consequence of a long-enduring and hampering lameness. The 17 BOSTON SYMPHONY ORCHESTRA pains in the head were nothing new, and before long there were added to them the suffering and inconvenience resulting from a blow upon a knee which had been hurt in boyhood. Altogether the letters, unconsciously, give a picture of the determined fulfilment of a purpose under condi- tions of extreme difficulty. At the same time there are frequent tokens of keen pleasure in the daily life and the results of devoted study. A few passages from letters, which in their en- tirety give evidence of the most affectionate re- lations with a devoted father, will afford glimpses of the Vienna experiences. On October 27, 1 857, he wrote : — I am in Vienna, studying music hard and economiz- ing hard, and here I am a fixture for six months or a year at least. It is pretty hard and stupid work, but it is work and to my taste^ and makes me happier and more contented than I have been for a long time. A year later, after the disabling of his arm, and learning from an eminent physician that it was injured probably for life — not so much from the blood-letting as from over-exertion in early prac- tising, he wrote, October 19, 1858: — 18 PRELIMINARY When I look back at those six weeks when I played, I could cry heartily. It is a hard line for me, and cuts deeper than you think. What I had wished for years was at hand, with every possible help; and in that time I really learned much. Now it is over forever. I can never play freely again. I almost wonder that I man- aged to bear up as much as I did. If you will sit down and play the same five keys with your five fingers for five min- utes, you '11 feel it sharply in your arms as I did then ; yet I forced myself to play about two hours (with many intervals, of course) these same things and, besides, to read and play new pieces too, three and four hours a day. It made my arms, back, and head ache. Yet I, relying on my strength, went on, and when this trouble began, I had got so hardened as to mind it but little in the body; the head was suffering somewhat, at times severely. In reality, I 'd reached the last limit, and when the severe headache and bleeding came and were over, I went hard to work again, and the game was over. Thus a young man ruins himself. I came home and swore like a pirate for a day; then coming to my senses I decided to sing away, study composition, etc., hard, magnetize, and await the result. The playing is very necessary to me now to carry on the other studies, but I cannot have it yet. ... I 've hurt myself many times by doing things which other people avoid as a matter of course. On March ii, 1858, he wrote: — About myself, my arm and shoulder are still very 19 BOSTON SYMPHONY ORCHESTRA lame and prevent me from playing. I 've lost five months' practice. Dear old daddy, you don't realize the magnitude of the work which I 've undertaken. I 've already told you that I must ascertain my own abilities in music, if there be any, in what direction they lie, and what I can best do. This requires much time. Consider the time given to the study of medicine or law in our superficial country, two or three years or more. Music requires as much time at least. I do not take it up as a business, a calling for life, but I do hold myself free to do that same if it seems worth while. Do not you see the economy of making yourself the means of so much pleasure to yourself? The practice of economy is suggested in the following bit from a letter of March 7, 1859: — I 've given lessons in English here this winter, but it is very hard to compete with the Germans, who will work for 25 to 50 cents an hour, which I cannot do. I shall take pupils again, if I get them, but this means of getting money saves me much time, which I can well otherwise employ. A little English instruction is agreeable and good as an exercise in German for me. Hopes of recovery for the injured arm kept recurring, and at one time led to the serious con- sideration of going into business in Vienna, for the sake of keeping in touch with music. The long-protracted absence from home called for no little explanation and defence. At length, on 20 PRELIMINARY March i, i860, Henry Higginson wrote to his father that he was preparing to leave Vienna: "I have long intended to go at about this time, but have avoided saying anything about it, be- cause my plans might have been altered by cir- cumstances and thus disappointed." After telling how much he has enjoyed his musical life, and especially the companionship and playing of his friend Epstein, he says: " Up to the present time almost I have hoped to be able to play, but it cannot be, and therefore I, seeing that my musi- cal studies cannot be prosecuted to advantage without playing, have determined to leave here. If you consider the whole thing, and remember that I enjoy in the depths of my soul music as nothing else, you '11 easily comprehend my stay." Early in May he bade good-bye to Vienna ; and after about six months of travel in Europe sailed from England for home in November of i860. What he brought back, with him cannot well be measured in concrete terms. It was not the technical mastery of voice, piano, or composi- tion which might have served as the starting- point of a professional career in music. It was 21 BOSTON SYMPHONY ORCHESTRA rather the broader apprehension of what music might mean to an individual and to a commu- nity, even to a nation. It was also an intense patri- otism nourished as patriotism often is by absence from home, and a strong sense of the responsibil- ity resting upon every one to give what he best can give to the world in which he lives. The native country to which he returned was on the eve of war. What he could give at once was himself; and this gift he made, going early to the front, and fighting hard and late. The cause for which he fought, the love of his coun- try, became the dearer to him through the death of some of his best friends. One of them, Charles Lowell, wrote to him only a month before he met his soldier's end : — Don't grow rich; if you once begin you '11 find it much more difficult to be a useful citizen. Don't seek office ; but don't "disremember" that the useful citi- zen holds his time, his trouble, his money, and his life always ready at the hint of his country. The useful citizen is a mighty, unpretending hero, but we are not going to have a country very long unless such heroism is developed. There ! what a stale sermon I 'm preach- ing ! But, being a soldier, it does seem to me that I should like nothing so well as being a useful citizen. 22 PRELIMINARY Mr. Higginson's own use of these words in his speech at the presentation of Soldiers Field to the students of Harvard justifies others in regarding them almost as a commission under which he proceeded to act as faithfully as under his commission as an officer of the United States Government. One injunction of his friend — " don't grow rich *' — he seems to have re- garded rather as a challenge than as a command. If he could disobey it and still become a useful citizen, might not his usefulness be even the greater? Whether he ever asked himself such a question or not, the circumstances of his life in the years immediately following the war lent themselves to his accumulation of abundant means. The native aptitude for business which appeared in the letters of his student days at Vienna found sufficient excuse for exercising it- self as soon as the pursuits of peace called for rehabilitation ; for, in the midst of the war- time, — in December of 1863, — he had mar- ried, and thus incurred all the responsibilities which provide the incentive for successful work. The time and the young man's surroundings 23 BOSTON SYMPHONY ORCHESTRA yielded golden opportunities. In 1865 he was working in Ohio at the development of oil wells. Active devotion to other interests qualified him to enter on January i, 1868, the Boston banking firm of Lee, Higginson & Co., and through the decade of the seventies — the years, as we have seen, in which the concerts of the Harvard Musi- cal Association and, especially, the visits of the Theodore Thomas Orchestra were emphasizing the need of established music in Boston — he toiled at his business, all the more eagerly, one may well imagine, because of a vision constantly behind it. The time came when he could say at home : " I can drop businesss now, retire, and lead a life of comparative leisure ; or I can con- tinue to work and by my earnings establish an orchestra. This has been the dream of my life. I should like to do it if you agree with me." Because there was no disagreement on this point, there is a story of the Boston Symphony Orchestra to be told. II THE BEGINNINGS UNDER GEORG HENSCHEL 1881-1884 THE history of an institution must resolve itself, more or less directly, into a record of the work of individuals. Whether an orches- tra contains seventy men, as the Boston Sym- phony Orchestra did at first, or a hundred, as at present, it is obviously impossible to tell what each of these players has done for it. Without their work it could not have existed ; yet the story, if it is to hold any elements of life, must be a personal story — and the present story can be told only with special emphasis upon the aims and performances of the founder and sustainer of the Orchestra, and the work of its successive leaders. It is inevitable also that a special interest should attach to the records of the early years. It was then that the Orchestra had its place to make with a public, the articulate portion of which, as represented in the press, was given perhaps more freely to hostile than to friendly 25 BOSTON SYMPHONY ORCHESTRA criticism, to a questioning suspicion of motives than to a generous acceptance of intention and results. This was not wholly unnatural. There were generals before Alexander, and there were orchestras in Boston before the Boston Symphony Orchestra. Their struggling existence was clearly endangered by the appearance of a new organi- zation with a "backing " of conspicuous strength. But the endurance of this strength had still to be proved. Meanwhile local musicians, single and collective, had their supporters, honestly jealous of any usurpation of an established place in the local scheme of things. From their sup- porters came much of the opposition to the new orchestra. If some of their expressions are now brought to view, it is with no desire to revive forgotten hostilities, but merely that the stages through which the Orchestra attained its later place may be duly recorded. By the time that place was attained the enterprise had acquired a momentum which permitted the guiding to sup- plant the forming hand. It is therefore in the earlier annals of the Orchestra that the larger measure of interest is contained. 26 BEGINNINGS UNDER HENSCHEL The records in general are fairly abundant. They are chiefly to be found in the columns of contemporary newspapers. From that source alone nearly all the story might be drawn ; but, fortunately, it is not necessary to restrict the pres- ent narrative to the already printed word. In the spring of 1 88 1, while the plans for the enterprise to be launched in the autumn of that year were still in process of formation, Mr. Higginson wrote, under the heading " In Re the Boston Symphony Orchestra," a statement of his own purposes re- garding the project he had had so long at heart. To those who may have read it at that time it must have seemed a document of surprising prom- ise. The surprise after an intervening third of a century must be that so many of its promises have been fulfilled. Thus it reads : — My original scheme was this, viz: To hire an or- chestra of sixty men and a conductor, paying them all by the year, reserving to myself the right to all their time needed for rehearsals and for concerts, and allow- ing them to give lessons when they had time; to give in Boston as many serious concerts of classical music as were wanted, and also to give at other times, and more especially in the summer, concerts of a lighter kind of music, in which should be included good dance- 27 BOSTON SYMPHONY ORCHESTRA music; to do the same In neighboring towns and cities as far as is practicable, but certainly to give Harvard University all that she needs in this line ; to keep the prices low always, and especially where the lighter con- certs are in question, because to them may come the poorer people ; 50 cents and 25 cents being the meas- ure of prices. Such was the idea, and the cost presented itself thus : Sixty men at $1500 = $90,000+^3000 for conductor and + $7000 for other men (solo players of orchestra, concert-master, i.e., first violin, etc., etc.) = $100,000. Of this sum, it seemed possible that one half should be earned, leaving a deficit of $50,000, for which $1,000,- 000 is needed as principal. Of course, if more money came in by means of larger earnings or of a larger fund, men should be added to the orchestra. The plan adopted has been to engage such good musicians as are in Boston for twenty concerts in Bos- ton, paying them each $3.00 for every rehearsal (two private and one public rehearsal) and $6.00 for every concert, the days and hours being specified. Subse- quently, six concerts, to be given in the Sanders The- atre of the University, were added, for which $6.00 a concert was to be paid to each musician, no rehearsals being needed, as the programmes can be selected from the Boston concerts. The concert-master, Mr. B. Liste- mann, as being in charge of all the stringed instru- ments (such is the custom everywhere), and as having the scores and the parts to mark, is paid more than the other musicians. Of course the same is true of the con- ductor of the orchestra, whoever he may be, and is a 28 BEGINNINGS UNDER HENSCHEL matter of agreement. This latter gentleman should, in my opinion, select the musicians, when new men are needed, select the programmes, subject to the judgment or criticism of myself or my representative, conduct all the rehearsals and concerts, rule over the orchestra and the soloists, whom he should also engage, and gener- ally be held responsible for the proper production of all his performances. I think that he would need assist- ance in some of the business part of his work, — and think that a librarian of the music and assistant in de- tails might easily be found. At present my belief is that we shall incline after one season to the following course : To engage a conductor for the whole year at a fixed salary, and to give him sundry jobs to do ; to engage eight or ten musicians of a superior grade, younger than those here, at a fixed salary also, who should be ready at my call to play any- where ; — and then to draw around them the best of our Boston musicians, thus refreshing and renewing the present orchestra, and getting more nearly possession of it, and so to give more and more concerts, govern- ing ourselves by the demand here and elsewhere. Nat- urally, it is impossible to say what is wanted, but ex- periments will tell. I do not know whether a first-rate orchestra will choose to play light music, or whether it can do so well. I do not believe that the great opera- orchestra in Vienna can play waltzes as Strauss's men play them, although they know them by heart and feel them all through their toes and fingers — simply be- cause they are not used to such work — and I know also that such work is in a degree stultifying. Myjudg- 29 BOSTON SYMPHONY ORCHESTRA ment would be that a good orchestra would need, dur- ing the winter season, to keep its hand in by playing only the better music, and could relax in summer, playing a different kind of thing. But I should always wish to eschew vulgar music, i.e., such trash as is heard in the theatres, sentimental or sensational nonsense ; and on the other side I should wish to lighten the heavier programmes by good music, of a gayer nature. This abounds, is as classical and as high in an artistic sense, and is always charming. For instance, in operas the best old French musicians gave us gems, — like Mehul, Boieldieu, Auber, Gretry, etc., — and their overtures are delightful. In short, all the catholicity possible seems to me good. I do not like Wagner's music,' and take little interest in much of the newer ' Writing from Vienna to his father, December 23, 1883, Mr. Hig- ginson said : "The opera house has been chiefly occupied with Wag- ner's operas of late. The whole list of them (excepting the last) has been given, and I 've heard them all as a matter of education. They're very exhausting from their noise, length, and intricacy in form and Btructure, They appeal far too much to the senses of various kinds, and I 'm very glad that they are past." In writing for the Transcript about a "Wagner Matinee" which, on December 31, 1890, followed a regular concert at which Beethoven, Schubert, and Mendelssohn were represented, John Sullivan D wight expressed himself as follows : " Was there really so much deep, sincere, heartfelt enjoyment ? To what ex- tent was the crowd composed of the same musically loyal spirits ? Does not the music appeal more to the unmusical, at least to many whom better music had always failed to reach ? Was not the enjoyment more sensational, the charm most operative on more coarse-grained natures ? ' ' The extent to which Wagner has been played from the very begin- ning is a token of the entire freedom with which the leaders have made their programmes. 30 BEGINNINGS UNDER HENSCHEL composers, but I should not like to bar them out of our programmes. People of education equally objected to the later compositions of Beethoven as those of a luna- tic. Possibly they are right. But of course anything unworthy is to be shut out. I would ask that the soloists sing good music always and that if possible concerts for the production of the best songs be given. I would also originate if possible good chamber-concerts. They are very charming and peaceful — the proper place for the best songs and for piano music. All in good time, such concerts might be given by the men, who should be fetched out on fixed salaries, and by the local or by star-pianists. It is always pleasant to give any new singer or player one or two chances to appear for the first time, if the aspirant is good. As regards public rehearsals, the conductor should be instructed that he is to drill his orchestra, and to correct it and to cause it to repeat again and again dur- ing these, just as during any rehearsals, and in no way to regard them as concerts. If the general plan of giving concerts succeeds, which the public will determine, and if we fetch out a con- ductor and ten musicians or so, and find that also suc- cessful, I should incline to engaging the full orchestra as originally intended, with a view to enlarging the present scheme. The men will gladly come in, because this orchestra will be the chief concert-orchestra of this city, and because a fixed salary is agreeable. Then, I think that the orchestra might play with the singing- societies, one and all, and perhaps with the opera-corn- 31 BOSTON SYMPHONY ORCHESTRA panics coming here, and also on any extraordinary occasions. I should not care to do such work for less than a fair market price, except in the case of the sing- ing-societies, which seek only education and legitimate pleasure. These societies might use well a larger orches- tra, but probably take as few men as possible to avoid expense. The good of the cause requires us to furnish what the music of the concert needs, — and that is our only gauge of price. I think the orchestra should be composed as fol- lows : — Wind instruments, etc., about 20 1st violins, 12 2d violins, I2 Violas, 10 Violoncellos, 8 Bass-violins, 8 In all 70 If we could have 14 first violins, etc., so much the better, and perhaps the proportions are not quite correct. Of course much of this depends on the sum at com- mand. It is my intention to bring this up to one mil- lion dollars and as much more as may be, for two million dollars might well be used. I think that 70 men could be engaged and kept at 1 1,500 apiece yearly, giving us all the time needed for rehearsals and concerts. This, with a good salary for the conductor and for two concert-masters, 1 5,000 + $3,000 + $1,000 = $11 5,000. The winter-concerts which we give should bring in on average $1,000, — 32 BEGINNINGS UNDER HENSCHEL And with fifty concerts, we should have $50,000 The summer-concerts and the other earnings might be 35^000 $85,000 This leaves against us a balance of $25,000 To which add for the hall, soloists, advertis- ing, etc. 25,000 To be supplied $50,000 The chance is that more would be needed, but time will tell. But, assuming these figures to be right, 1 1,000,000 would suffice. I think that we shall need soloists for great orchestral concerts in the winter, and at times in the summer. One more thing should come from this scheme, namely, a good, honest school for musicians. Of course it would cost us some money, which would be well spent. I think that younger musicians, the scholars growing up here, should be taken into the orchestra as a school of training, and should be gradually incorporated into that body, thus supplying fresh and good material, — this of course hingeing on their quality as musicians, and on their education. I should hope also that a thoroughly good society of men and women, who each can sing at sight, would be formed for the purpose of studying the old church music, like the old Italian and old German composi- tions. This work which might be taken by our con- ductor in his spare hours — but it is beside our purpose. The question of pensions for the members of the orchestra has been on my mind, but it seems better 33 BOSTON SYMPHONY ORCHESTRA that each musician should lay aside yearly something and thus pension himself. However, I may be wrong in all this. My two best advisers outside of my own household have been Mrs. George D. Howe, who knows and loves music well, and who has been most cordial and efficient in the whole matter, and Mr. John P. Lyman, who has a great love of music, excellent sense-training, and ability as a business man, and who is attending to the business details of the scheme. These two friends will help the good cause to the end, no doubt. If this scheme seems too extensive, I will only add that it is a wish and not an intention — to be carried out exactly according to the judgment of my executors. H. L. HiGGINSON. Such was the carefully thought-out plan. Whether the paper embodying it was written just before or just after the choice of a first con- ductor for the Orchestra, it seems to have been **in the air" that the project was near its birth, and that that event would occur immediately upon Mr. Higginson's discovery of the leader for whom he was waiting. The local conductors, Carl Zerrahn, Bernhard Listemann, Louis Maas, and others, had, in varying degree, done notable service to the cause of music in Boston ; but the concerts occasionally given by Theodore Thomas 34 BEGINNINGS UNDER HENSCHEL had set a standard which the local leaders could hardly have been expected to attain ; and per- haps some true instinct may have whispered that the quickest and surest way to prestige and pop- ular success lay through the glamour of a pic- turesque and striking personality, a man whose laurels had been won in foreign cities and not in the Music Hall of Boston. There is nothing to show that such an instinct was at work, yet there can be little doubt that the selection of Mr. Georg (now Sir George) Henschel to lead the new orchestra brought to the undertaking an ele- ment of the romantic, the debatable, the essen- tially popular, that stood it in good stead. The very circumstances of his choice were such as to arrest the public attention. On March 3, 1 88 1, the Harvard Musical Association gave the last concert of its sixteenth season. One of the numbers on the programme was " Concert Over- ture [Ms. 1870] First time. Henschel." Mr. Henschel, composer, baritone singer, and teacher, born in Germany thirty-one years before, had recently come from London with his pupil, Miss Lilian Bailey, a Boston singer of rare musical and 35 BOSTON SYMPHONY ORCHESTRA personal charm, whom he was soon to marry. As a compliment to Carl Zerrahn and J. S. Dwight, who had shown them many kindnesses, they offered their services at the Harvard Mu- sical Concert. Their offer was accepted, and Mr. Henschel was asked to conduct his own Concert Overture. For the purposes of this volume he has recently recalled his connection with the Boston Symphony Orchestra. His Concert Overture, he writes, " received an excellent rendering and had quite a success. Whether it was that perhaps I had succeeded in infusing some of my own youth- ful enthusiasm into the orchestra, among the members of which there was many a one who in point of age could have been my father or even my grandfather — anyhow, a few days after the concert, I had a letter from Major Higginson, asking me to meet him." Another version of the occurrence was given by William F. Apthorp in the "Boston Evening Transcript" of September 30, 191 1. The result of the young leader's conducting, according to this account of the matter, " was an overwhelm- ing *Veni, Vidi, Vici' success. It may even be 36 BEGINNINGS UNDER HENSCHEL said that the quality of the composition itself was well-nigh lost sight of in the general enthusi- asm for the vigor, power, and effectiveness of the performance. Here seemed to be a man who held an orchestra in the hollow of his hand, and could make it do what he listed! Mr. Higginson, who was in the audience, may be fancied as breath- ing a soft, but heartfelt, * Eureka ! ' " An early friend and servant of the Orchestra has recalled the further fact that when Mr. Hen- schel took the baton to lead the playing of his composition he did not mount the conductor's platform, but stood among the musicians, of whom he seemed thus to be remarkably one. In the recalling of this circumstance it is also remem- bered that so signal an identification of leader and orchestra impressed Mr. Higginson as a strong point in favor of Georg Henschel as the man he was seeking. As an evidence that the impression made by his performance was not confined to the one or two hearers who had the needs of a new orches- tra in mind, it is worth while to give portions of a letter to the "Courier" signed "W," and dated 37 BOSTON SYMPHONY ORCHESTRA March 6, three days after the Harvard Musical Concert: — We have always been impressed that Henschel had some great trait about him. As a singer he has been seen at his worst; as a pianist he must be regarded as possessing rare abilities; as a composer he is eminent; but as a conductor he rises preeminent. Let it be said to his great credit that since Anton Rubinstein con- ducted his "Ocean Symphony " at the TremontTemple, no such masterly, magnetic conducting has been seen in Boston as was observed in Mr. Henschel while di- recting his Overture at the last Harvard Symphony Concert. When we say this, we bear in mind every conductor, local and otherwise, who has wielded the baton before a Boston audience. No doubt many recol- lect the wonderful results that Rubinstein produced at once with an orchestra wholly unused to his conducting. From the moment Rubinstein took the baton the mu- sicians became something else than what we had al- ways known them. His magnetic presence and the power of his genius possessed them and awakened them to a new life. They saw and felt before them the man that controlled them. Their best efforts were at his command. It has remained for Mr. Henschel to repeat this revelation, and to show a Boston audience in what consists a great conductor. . . . The Harvard Musical Association announces that during the season of 1 8 8 1-8 2 it will give its seventeenth series of symphony concerts. Let them make no mis- take now that accidentally, but fortunately, the man 38 BEGINNINGS UNDER HENSCHEL has been discovered whose powers are eminent enough to raise orchestral music from its languishing condition in Boston. Let them see to it that your concerts are not to furnish an opportunity for further exhibition of mediocrity in conducting, nor for the trial of a novice in the case of a change, or to furnish routine towards the cultivation of one whose ambition looks toward the goal, but whose abilities can never reach it, except in imagination. In our opinion, with Mr. Georg Henschel as conductor and with the old fogyism wiped out and more progressive ideas substituted in the counsels of the managers, the Harvard Musical Association will receive the support of the patrons of music in this city, and become, next season, an artistic and financial success. The success predicted here for the Harvard Musical Association was, however, destined for the organization at the head of which Georg Henschel was to stand. A few words from his recollections of these early days have already been used. The rapid progress of events may now be followed by proceeding with the narrative dropped at the point of his summons to a meet- ing with Mr. Higginson, at the house of Mrs. George D. Howe: — At that meeting Mr. Higginson revealed to me his plan of founding a new orchestra in Boston, and asked me if eventually I would undertake to form such an 39 BOSTON SYMPHONY ORCHESTRA orchestra and conduct a series of concerts with it; add- ing that of course he quite understood singing to be a more lucrative thing than conducting so that, as — if I accepted — I could not earn as much money by sing- ing as if I were free, he would make my salary such as to make it worth my while. I would be absolutely my own master, no one would interfere with my programme making — there would, in fact, be no committee, etc. I answered that it had always been my ambition to be a conductor, that I just had quite a success as such in London when I did Brahms' "Triumphlied" for the first time in England, that the offer was a very tempting one, and, that if he would give me a little time for con- sidering the matter, I was almost sure I 'd be glad to accept it. That was the first interview. We agreed not to speak about the matter to any one, and Higginson said I'd hear from him again. In March of that year, I was married to Miss Bailey, and the very day after the wed- ding I received a telegram, at Washington, from Mr. Higginson offering me the engagement, which I ac- cepted. A week later I returned with my young wife to Boston where Mr. Higginson and I settled details. In order not to make "boses Blut" — as Mr. Higgin- son, who was an excellent German scholar, put it — i. e. to say, in order not to give offence at first, Mr. Higginson advised me to engage for the first season only the available local players. I submitted to Mr. Higginson my idea of what I thought the programmes of such concerts should be, viz.: in the first part: Overture, a Solo, either vocal or instrumental, and the 40 BEGINNINGS UNDER HENSCHEL Symphony; the second part to be short and of con- siderable lighter, popular character. He approved of that, as also of my plan of giving — in so long a series of concerts — every one of the nine Beethoven Sym- phonies, of course in numerical order. We both thought it wise to make the contract for one year only, so as to leave us both free at the end of the season. The understanding at which Mr. Higginson and Mr. Henschel arrived must have been reached with some celerity, for on March 30 the Boston newspapers contained the following announce- ment: — THE BOSTON SYMPHONY ORCHESTRA IN THE INTEREST OF GOOD MUSIC Notwithstanding the development of musical taste in Boston, we have never yet possessed a full and per- manent orchestra, offering the best music at low prices, such as may be found in all the large European cities, or even in the smaller musical centres of Germany. The essential condition of such orchestras is their stability, whereas ours are necessarily shifting and uncertain, be- cause we are dependent upon musicians whose work and time are largely pledged elsewhere. To obviate this difficulty the following plan is offered. It is an effort made simply in the interest of good music, and though individual inasmuch as it is independent of societies or clubs, it is in no way antagonistic to any previously existing musical organization. Indeed, the 41 BOSTON SYMPHONY ORCHESTRA first step as well as the natural impulse in announcing a new musical project, is to thank those who have brought us where we now stand. Whatever may be done in the future, to the Handel and Haydn Society and to the Harvard Musical Association we all owe the greater part of our home education in music of a high charac- ter. Can we forget either how admirably their work has been supplemented by the taste and critical judgment of Mr. John S. Dwight, or by the artists who have identified themselves with the same cause in Boston? These have been our teachers. We build on foundations they have laid. Such details of this scheme as concern the public are stated below. The orchestra is to number sixty selected musicians ; their time, so far as required for careful training and for a given number of concerts, to be engaged in ad- vance. Mr. Georg Henschel will be the conductor for the coming season. The concerts will be twenty in number, given in the Music Hall on Saturday evenings, from the middle of October to the middle of March. The price of season tickets, with reserved seats, for the whole series of evening concerts will be either ^lo or $5, according to position. Single tickets, with reserved seats, will be seventy-five cents or twenty-five cents, according to position. Besides the concerts, there will be a public rehearsal on one afternoon of every week, with single tickets at twenty-five cents, and no reserved seats. The intention is that this orchestra shall be made 42 BEGINNINGS UNDER HENSCHEL permanent here, and shall be called " The Boston Sym- phony Orchestra." Both as the condition and result of success the sym- pathy of the public is asked. H. L. HiGGINSON. For the immediate public reception of this an- nouncement, a single article from a daily news- paper will sufficiently speak: — The straightforward, business-like statement concern- ing a series of symphony concerts to be given next season, which appeared a few mornings since over the signature of H. L. Higginson, was entirely satisfying to those personally acquainted with Mr. Higginson, but the independent character of the statement left the pub- lic at large in doubt as to its genuineness. It is hardly a matter of surprise that, after the problem "How can a permanent orchestra be sustained in Boston ? " had puz- zled the brains of enthusiasts in the cause of music here for a decade or more, the reliability of such a complete solution should be questioned at first. Mr. Higginson has practically said by his announcement: "I will supply Boston with an orchestra of 60 musicians. Mr. Georg Henschel will conduct it, and 20 concerts will be given, with programmes selected by Mr. Henschel, each Satur- day evening from the middle of October, 1881, to the middle of March, 1882 ; the admission will be 25 and 50 cents, and the tickets will be put on sale to the pub- lic at large without restrictions." It is perfectly evident that, under no circumstances, will the receipts equal the expenditures for this series of concerts, and Mr. Hig- 43 BOSTON SYMPHONY ORCHESTRA glnson does not expect that they will. . . . He desires no assistance and has made his plans public, after the careful consideration which any successful business man gives all matters before entering upon their accom- plishment. It is entirely safe to assert that no citizen of Boston ever matured a plan for the advantage of his fellows with less ostentation than Mr. Higginson in this affair, and the practical benefit to Boston can hardly be overestimated. No programme will be pre- sented until the orchestra has had it in ample rehearsal, and no pecuniary considerations will hamper the con- ductor in this careful preparation for each performance. The final rehearsal will be made public at a uni- form charge of 25 cents, and, as these will occur in the afternoon, opportunities will be afforded for all classes to hear the Boston Symphony Orchestra during the coming season, that being the name selected. Mr. Hig- ginson claims no merit for this radical innovation upon the traditions of public concert giving, holding it to be a duty, which every American owes, to do something with the means at his command for the benefit of his fellows. He has not taken this step with a view to an- tagonize any one, or any body or association, but merely to supply Boston with a permanent orchestra which shall reflect ^credit upon the city, and he has taken what to him was the most practical way to accomplish this result. It was not in Boston only that the project at- tracted attention and commendation. As if to foreshadow both the possibilities and the realities 44 BEGINNINGS UNDER HENSCHEL of the effect in other cities of such a foundation as the Boston Symphony Orchestra, a San Francisco paper soon exclaimed : " What a wealth of enjoy- ment is promised in Mr. Higginson's modest little circular ! Oh ! for a few such men in our midst ! We could name half a dozen of our wealthy citizens, who, either individually or collectively, would not feel a pang at the paltry loss of a few hundred dollars ! " Thus at the very outset the significance of the enterprise was capable of more than a local interpretation. That the documentary character of this record of beginnings may be resumed, it is well to turn at the present point to an " Account of the Bos- ton Symphony Orchestra" dictated by Mr. Hig- ginson in October, 191 1, — just thirty years after the opening of the first season. Though its earlier paragraphs touch on matters with which the pre- ceding pages have dealt in some detail, they could not be dropped without a loss in that sense of unity which binds together the vague and the def- inite plans for a permanent Symphony Orchestra in Boston. The opening pages of this "Account" are as follows : — 45 BOSTON SYMPHONY ORCHESTRA During some years of my youth, spent in Germany and especially in Austria, whither I went to study mu- sic, I conceived the hope to see an orchestra in Boston which should play as well as the great orchestras of Europe and give concerts at a reasonable price. Naturally, I lived much with musicians as well as with other people, and came to know their ways and methods of study and of execution, and saw how good concerts were produced. After two years, it became clear that I had no talent for playing or for composition ; that there was, in short, no soil in which to cultivate a garden ; and so I came home to the troubles of i860 and the Civil War. That war taught a great many men that if we were to have a country worthy of the name, we must work for it, educate it, as well as fight for it, and this duty lay upon every individual citizen, be it man or woman. Such had been the creed of the men with whom I had lived from boyhood, and as most of them were killed in the war, my duty was the greater in order to fill up the gap which their death had left. The end of the Civil War left me without an occu- pation or money, and with a wife whom it was my first duty to support ; so for many years my hope for music lay asleep. At last, in one or two years ending in 1880, luck had turned my way, and enabled me to take up this project in earnest early in 188 1. I knew where to ask about the cost of musicians, and knew what musi- cians went to make an orchestra. I needed a conductor, as Mr. Zerrahn was worn out, and just at that time Georg Henschel came to this town 46 BEGINNINGS UNDER HENSCHEL to sing, and from the way he conducted an overture of his own at a Harvard Musical concert, it seemed that he might be trusted to begin my work. He was a mu- sician of varied talents, but had no experience as a con- ductor. With his assistance and approval I engaged the needed men — almost all musicians who lived here. The plans were made, the announcement of the con- certs was put forth, and we were to be ready to start in the autumn of 1881. I had reckoned that the concerts would cost me about $20,000 a year deficit, for I knew the prices necessary to pay the men, and reckoned on low fees for entrance. By the help of a kind friend, control of the Boston Music Hall had been acquired, which was necessary, as many and long rehearsals were essential to my idea of an orchestra. I told Mr. Henschel that the concerts should be short — an hour and a half to an hour and three-quarters ; that they should begin punctually at eight o'clock in the evening and at half past two o'clock in the afternoon, the latter being the public rehearsal, and the former being the concert ; that the conductor was to have the sole artistic direction of everything ; that he was to have the right to demand as many rehearsals as he saw fit ; and that, in my opinion, nothing but con- stant, steady, intelligent playing and rehearsing under one conductor and one conductor alone would make the Orchestra good. From long knowledge of the Austrian ways, I knew that all these points were essential, and also was sure that we must not bore the public by long concerts. At first, Mr. Henschel did not agree that the men should 47 BOSTON SYMPHONY ORCHESTRA play only under one conductor, but in a few weeks he came to see that this condition was right. . . . As the professional musicians of the town played here and there, gave lessons, took out-of-town engage- ments, and, in short, were unable to rehearse as much as was necessary, the concerts could not rise to the proper point. At any rate, such was my idea. Two questions were before me: Could I bring the Orchestra up to the proper point, which meant an able and experienced conductor and good musicians devoted to the work, and could I pay the bill ? The latter point I was willing to risk, and for the former I was willing to struggle. Considering the newness of the scheme, the concerts went on well enough during the first winter, and were well received. The public was generous and kindly then, as it always has been. Toward the end of the season I gave out that the concerts would go on, and that I should ask the men to play only under one con- ductor. This caused trouble at once, and all but four men of the Orchestra refused my terms. The news- papers took their side, and one prominent critic accused me of trying to make a "corner in musicians." The men sent a delegate to see me. This delegate was pleas- ant and clever and laughed at my statement that the concerts would go on and that it was only a question of who would play. Therefore, on the next public re- hearsal day I went to the green-room of the Music Hall and asked the men to come in after the rehearsal, which they did. I then said to them : " I made a propo- sition to you which you have rejected. I withdraw my BEGINNINGS UNDER HENSCHEL proposition. The concerts will go on as they have this year, and in this hall. If any of you have anything to say to me in the way of a proposition, you will make it" — and that meeting was over. During the next few days almost every man came to me and asked to be engaged. The delegate from the Orchestra was not one of them. During the second and third years Mr. Henschel conducted as before, gaining experience and skill in his work, — and the concerts, so far as I remember, were fair, and were growing better. People would say to me: " Is n't the Orchestra splendid ? " to which I replied : " It is not, — it is learning, and will be good by and by." Mr. Henschel was engaged for one year and then for two years more, and toward the end of the second year I went to Europe for pleasure, and with the in- tention of seeking another conductor. Therefore, I did not hear the concerts the third year, except the last of the season. The one year and two years more of Mr. Hen- schel's conductorshlp in Boston were years of vivid excitement in the musical community. The very idea of an orchestra established on the basis of the new organization — under private auspices for public benefit, with a conductor to whose hands were committed the resources of an un- heard-of artistic and financial freedom — was 49 BOSTON SYMPHONY ORCHESTRA startling enough to account for many early mis- conceptions. The unconventional aspect of the whole affair was rendered the more striking by the pronounced personality of the first conductor. Somebody more nearly colorless might have car- ried the Orchestra through its early years without exciting special remarks. By slower degrees the Orchestra might have become the "institution" into which it rapidly grew. In the eighties the word " temperamental " had not acquired the vogue it has had through some of the interven- ing years ; but the quality for which it stands existed then as now, and it was precisely that quality — in Mr. Henschel and his conducting — which divided the local music-lovers into the camps of his admirers and his opponents. Now that it has all become a matter of history, one can see in the very brilliancy of the first season — in the conductor's fire which brought delight to many but led one critic to remark, "Not that we object to fire, but we would rather be warmed by it than roasted in a furious conflagration" — an element of the highest value to the young organi- zation. In the strangeness, then, of the enterprise 50 BEGINNINGS UNDER HENSCHEL as a whole, and in the impossibility of looking with mere indifference upon such an artist as Georg Henschel, must be found the reason why the record of the early years is so largely a record of partisan discussion. Hardly had Mr. Henschel's appointment to the leadership of the Orchestra been announced when a local journal, on April i6, 1881, de- clared : — Some protest is certainly needed to stem this tide of adulation that rises and breaks at the feet of Mr. Henschel. We have had conductors in Boston and good ones. It is a mistaken idea of Mr. Henschel's friends — if not of his own — that we have waited here, all unconscious of our own poverty and great needs, for this musical trinity combined in the person of Mr. Henschel — oratorio exponent, composer, and orches- tral conductor. We are not, and have not been, half as ignorant as they suppose. Whatever the musical needs of Boston may have been, Mr. Henschel lost no time in pre- paring to meet them. Of these preparations and of his own attitude toward the reception of his work by the public and the critics, he has written as follows in the statement from which extracts have already been made : — 51 BOSTON SYMPHONY ORCHESTRA As it was my intention to take my wife to Europe that summer, Mr. Higginson commissioned me to ac- quire, whilst there, a Hbrary for the Orchestra and when, after a few months' sojourn in Europe, I returned to Boston I brought with me a fairly representative library of orchestral music, classical and modern, which I myself indexed, catalogued, placing each separate work in a case of its own, numbering, entitling the parts, etc., thus forming the nucleus of what now must be a formidable fine library. A month before the first con- cert — [October 22, 1 88i] — we commenced to rehearse and, needless to say, there was much speculation going on in the papers as to how the matter would turn out. Popularly, it was a decided, genuine success from the first. The public rehearsals for which tickets were only issued at the doors — indeed, I am not sure if the people did not simply pay their twenty-five cents at the door in passing into the building — were crowded. I remember my surprise when, on going to the public rehearsal for the last concert, at which the Ninth Sym- phony was performed, I found a crowd waiting for ad- mission which reached from the old Music Hall to the church on Tremont Street. Of course a great many peo- ple had to turn back and I myself, in the Hall, had diffi- culty to reach the conductor's desk, as every available space even on the platform was occupied by audience. The press, however, as you will see in the papers of the period, was rather divided in their opinion of Mr. Higginson's wisdom as regards the venture, especially as regards his choice of a conductor of so little experi- ence. One paper — I think it was called the " Saturday 52 BEGINNINGS UNDER HENSCHEL Gazette," a distinctly society paper — showed, and for some time maintained, a decidedly hostile attitude. The musical season to which Mr. Henschel returned in the early autumn of 1881 gave every promise of uncommon richness in orchestral con- certs. Besides the twenty performances of the Symphony Orchestra, the Harvard Musical Asso- ciation and the Philharmonic Society announced, between them, forty-one concerts — sixty-one in all. It was correctly pointed out in one of the newspapers that, in spite of the presence of three leaders — Henschel, Zerrahn, and Maas — there would be "but one orchestra in Boston, larger, better rehearsed, with its good elements made more of, and its weak points better strengthened than we had ever had before. Each society will have its own conductor, but the orchestra will be essentially the same." When the tickets for the first season of the Boston Symphony Orchestra concerts were placed on sale, early in September, there was an astonishing demand for them. At six o'clock on the morning when the sale began, seventy-five persons stood in the line, some hav- ing been there all night, and one being credited 53 BOSTON SYMPHONY ORCHESTRA with appearing on the scene at three o'clock of the previous afternoon. " Some people," said the ** Transcript," on September 9, " aghast at the rush for tickets, ask, in astonishment, where all the audience comes from. Where have all these symphony-concert goers been during the last ten years, that they have hidden themselves so com- pletely from public view ? . . . Cheap prices have had some effect, but not so much as many persons suppose. * Fashion ' is an ugly word to use in connection with art matters, but all matters have their nether side." The taunt that " fash- ion " was a powerful motive with many concert- goers was frequently repeated through the early years. No doubt its operations were as strong in certain quarters as a genuine love of music was in others, for fashion is bound to exert its sway. The fortunate thing for Boston during the reign of this motive was that fashion had such an art as that of the best orchestral music to wreak it- self upon. It is reasonably certain that some of those who came, if not to scoff, at least to endure, remained, if not to pray, at least to enjoy. While the devout and those who would seem 54 BEGINNINGS UNDER HENSCHEL so were preparing themselves for the first con- cert, Mr. Henschel and the Boston musicians were more definitely doing likewise. The spirit in which the early rehearsals were undertaken may be felt in the following letter from the leader to his men: — To THE Members of the Boston Symphony Or- chestra. Gentlemen, — I beg leave to say a few words to you now, in order to avoid waste of time after our work has once begun. Wherever a body of men are working together for one and the same end as you and I, the utmost of unity and mutual understanding is required in order to achieve anything that is great or good. Every one of us, engaged for the concerts we are on the point of beginning, has been engaged because his powers, his talents have been considered valuable for that purpose. Every one of us, therefore, should have a like interest as well as a like share in the success of our work, and it is in this regard that I address you now, calling your attention to the following principal points, with which I urgently beg of you to acquaint yourselves thoroughly : — I. Let us be punctual. Better ten minutes before than one behind the time appointed. II. Tuning as well as playing will cease the moment the conductor gives the sign for doing so. III. No member of the Orchestra, even supposing 55 BOSTON SYMPHONY ORCHESTRA that his presence be not needed for the moment, will leave the hall during the time of the rehearsals and con- certs without the consent of the conductor. IV. The folios containing the parts will be closed after each rehearsal and concert. V. Inasmuch as we are engaged for musical purposes, we will not talk about private matters during the time of the rehearsals and concerts. Hoping that thus working together with perfect un- derstanding, our labors will be crowned with success, I am, gentlemen, Your obedient servant, Georg Henschel. Mr. Henschel's idea of the kind of programme to be chosen, as expressed in his words already quoted, was well exemplified at the first concert. When the first audience of the Boston Symphony- Orchestra assembled in Music Hall, it was pro- vided with the programme here reproduced. With the audience the concert found the high- est favor. The construction of the programme, with overture, soloist, and finally the symphony before the intermission, which was followed by lighter music intended to send the hearers home in good humor, seemed ideal. Indeed, it is held by some of the most faithful of Boston concert- S6 Boston Music Hall. BOSTON SYMPHONY ORCHESTRA, MR. GEORG HENSCHEL, Conductor. I. C0NCERT. Saturday, October 22d. at 8, P. M. PROGRAMME. OVEUTUKE, Op. 124, "Dcdiciilion of the IIou.se." BEETHOVEN. AIR. (Oiphous.) ......•• CLUCK. SYMPHONY in B flat. JtAYDN. (No. 12 of nieilkoprs edition.) BALLET MUSIC. (Rosamundc.) .... SCHUBERT. SCENA. (Odysseus!) MAX BRUCH. FESTIVAL OVERTUliE WEBER. SOLOIST: MISS ANNIE LOUISE GARY. BOSTON SYMPHONY ORCHESTRA goers that no subsequent leader has surpassed Georg Henschel in the difficult art of programme- making. The fervor with which he inspired the Harvard Musical Orchestra in the momentous concert of March 3 made itself felt once more. In the belief of William F. Apthorp, expressed thirty years later, it was, for some strange rea- son, never so fully shown again. However that may be, the spirit of the music so affected the audience that when the English national air was recognized in Weber's Festival Overture, " the people" — in the "Traveller's" account of the in- cident — "arose en masse and remained standing until the close. This delicate and appropriate compliment was a feature not down on the pro- gramme, and was all the more worthy of praise, coming as it did from a universal sentiment of respect to Her Majesty and the mother country." The strangeness of the circumstance, as it appears to our later view, is that so recently as 1881 the melody which brought the audience to its feet was known for " God Save the Queen," and not "America." The musical critics of the local press found 58 BEGINNINGS UNDER HENSCHEL much to commend in this first concert, though there was dissatisfaction with the seating of the Orchestra according to a plan which was not long retained, and — more particularly — with Mr. Henschel's "un-Haydnesque" and altogether un- traditional manner of conducting Haydn's sym- phony. The tempi at which, especially for the first year, he took familiar pieces of classic music afforded one of the chief grounds for adverse criti- cism. Before many concerts had been given, this criticism, in some of the local journals, became positively clamorous. Before the end of Novem- ber such violent language had been used that a writer, over the signature " Pro Bono Publico,'* felt called upon to contribute to the " Herald " a long letter entitled " Mr. Georg Henschel's Critics Criticized." After reviewing the musical situation in Boston, the letter proceeded with severe and specific personal comments upon the writers connected with the " Saturday Evening Gazette," the "Advertiser," and the "Tran- script," and brought itself thus to an end: — Let me ask, is it fair, just, honorable, or even decent for the managers of these papers to permit such critics 59 BOSTON SYMPHONY ORCHESTRA to vilify, malign, abuse, and ridicule a gentleman of Mr. Henschel's abilities, a born musician, a student of or- chestra music for years, an artist, who has appeared be- fore the public, under the leadership of no less than eighty different conductors in various parts of the world, and who has passed all his time, when not profession- ally engaged in the great musical events of the last dec- ade, in watching the methods of the master musicians of Great Britain and the Continent ; a man who is re- cognized as a brother musician and peer by the leading composers of Europe, and, withal, a simple, earnest, devoted worker for the highest and best in music at all times ? Is it courteous, to say no more, to permit such criticisms upon concerts given under circumstances never known before in the world's history, concerts given to the people of Boston, as an educational institution, through the public spirit and liberality of a single pri- vate citizen, and he a man so modest and unassuming that he selects the name, Boston Symphony Orchestra, for the organization which, but for his own efforts and generous expenditure, would never have existed ? If the gentlemen of the press desire to organize a clamor against Mr. Henschel, they will find his friends quite ready to meet them. The fact has been established that Mr. Henschel is a success as a conductor. He has had serious difficulties to overcome on account of the indifferent and demoralized condition of his men. He has not yet been able to prevent some of the old fid- dlers from doubling their backs like a cobbler, and draw- ing their bows as they would so many wax-ends ; but he has, nevertheless, added new blood, and imparted 60 BEGINNINGS UNDER HENSCHEL much of his own enthusiasm, ardor, and life into the mechanical old stagers, so that the result has been an agreeable surprise to all of us, and which has never been seen under the baton of any other conductor. As a whole, the orchestra is certainly equal to any one we have ever had in Boston, and, if it is not already, by the end of the season I doubt not it will be the best one of its class in America. To this the criticized critics made eager re- sponse. "Of course," said the "Saturday Even- ing Gazette," in a reply some thousands of words in length, "we have not the remotest intention of replying to the ill-mannered scurrilities of a poltroon who sneaked into print and into ma- licious representation under a false name. The only real injury he has done has been to Mr. Henschel, who may exclaim, *Save me from such friends as this ! ' " A less partisan writer on musical matters de- plored the arraying of opinion "*on sides,' the one side only vaunting the merits, the other only decrying the defects. Letters have been published on both sides, and, as is usual in such cases, con- vince nobody, but add to the acrimony of the debate." 6i BOSTON SYMPHONY ORCHESTRA In a letter to John S. Dwight, Mr. Higgin- son wrote, March i8, 1882: — The papers, as representing a few uncandid or hasty and at least ill-mannered so-called critics, have lashed themselves into a fury which is truly comic. It suggests a little boy making faces at himself in a mirror. But I am rather surprised that should allow himself to write false statements and then to comment on them in so childish a fashion. Of course he does n't intend to utter lies, but he does, for half-truths are lies in mean- ing. Of one certainly can expect only the habits of a wild beast. Altogether there was exhibited a temper which did scant credit to those who expressed them- selves most freely. Some of the humor which naturally found its way into the discussion was good-natured, and some the reverse. One of the occasions for jocose remark sprang from that versatility of Mr. Henschel's which permitted, and amply justified, his appearance in various roles. Writing one week of a concert to come, Mr. Louis C. Elson, with characteristic vivacity, fore- saw "a good deal of Henschel in the programme. That gentleman will appear as pianist, composer, and conductor, and he has already appeared as a 62 BEGINNINGS UNDER HENSCHEL singer in the series. That is a good deal for one man to do. But he will do it all with satisfaction to the public, which seems to be entirely capti- vated by him. The only thing he cannot do is to appear as a string quartette, or sing duets with himself." There was considerably less of friendly feeling in an elaborate mock-programme of an " Eggschel Concert; Conductor, Henor Egg- schel," brought out in a form modelled upon that of the Symphony Concerts. Conductor, composers, performers, manager, all bore the name of " Eggschel," and the titles of the vari- ous numbers were "Zum Andenken," "Vergiss- mein-nicht," "And Don't you Forget it," "Sou- viens-toi," "Non ti scordar di me," "Ne obli- viscaris," and "Then you '11 remember me." There was indeed no danger that Georg Hen- schel would escape the attention of the Boston public. The very purveyors of such wit as that of the mock-programme were helping to hold the gaze of the community upon him. Mean- while his own hold upon members of the Orches- tra bore its testimony to the true success of the work he was doing. On February 20, 1882, the 63 BOSTON SYMPHONY ORCHESTRA Boston correspondent of "Music," a journal pub- lished in New York, wrote: — The musicians are very fond of their leader, and thoroughly dislike the naughty critics, when they find fault with him. This makes criticism in Boston very lively, and gives a degree of excitement to the writing of reviews, which prevents the critic from suffering from ennui. This fermentation occasions a mild sur- prise in London, where the "Musical World" blandly remarks : " Henschel is still in vogue in Boston." The expression "in vogue" does not express it by any means. He is a creed — devoutly accepted by some; scornfully rejected by others. The last concert, Feb- ruary 1 8th, occurred on the occasion of his birthday (he was thirty-two years old), and was not celebrated, as those of Mozart and Beethoven had been, by a series of compositions from the pen of the maestro; but the Orchestra, nevertheless, observed the occasion by presenting him with a silver salad set, after the con- clusion of the symphony. It was a fitting recognition, and one which we were glad to see made in public. Those who carp at its pubHcity should remember the many tokens which Mr. Zerrahn has received under similar circumstances. I, for one, am glad to recognize the great merit and services of this conductor. He has done more for Boston's music than any other man has accomplished in the same space of time. I earnestly hope he may stay to reap the result of the harvest he has sown. And as the blind, unreasoning flattery of his too enthusiastic admirers fades out, the antagonism which 64 BEGINNINGS UNDER HENSCHEL it awakes in the critics will also die away, and the real worth of the great musician stand more firm than ever. In his letter of the following week, the corre- spondent of "Music" pronounced Henschel "a veritable Brahmin in his passion for Brahms," and declared, "there are more dissonances in Music Hall now in a week than there used to be in a year. The medicine administered to Boston at present may be thus analyzed: — Extract of Brahms . . . .3 parts. Essence of Berlioz . . . .2 parts. Spirit of Henschel . . . . .1 part. Shake well before taking." His next communication (March 11) con- tained a document of such moment in the annals of the period and so comparatively temperate an expression of the feeling which the document excited that the letter may well be used entire : — March 6. — It is a good thing for Mr. Henschel that he received his silver salad set from his Orchestra two weeks ago. Just at present there is no desire to give Mr. Henschel anything except censure. The cause of this sudden revulsion of feeling is that Mr. Hen- schel's efforts at musical reform appear to have sud- denly become a little too sweeping, and seem to include 6s BOSTON SYMPHONY ORCHESTRA the centralization of Boston's music in the hands of this conductor. Within a few weeks past the members of the Boston Orchestra have received a circular, of which the following is a copy : — Boston, Feb. 25, 1882. Mr. , Dear Sir, — I wish to engage you for the next season as . . . under the following conditions : — I. The Orchestra will have as conductor, Mr. Georg Hen- schel, and as leader, Mr. Bernhard Listemann. II. Your services will be required on each week, between October i and April i, on the following days: Wednesday morning, afternoon and evening: Thursday morning, after- noon and evening : Friday morning and afternoon ; Saturday morning and evening. III. On Wednesday and Thursday all your time will, of course, not be required, but you must be ready when needed. You will be expected to play during these four days either at concerts or at rehearsals, as required. If it is necessary to give a concert occasionally on Friday you will be asked to give that evening in place of another. IV. On the days specified you will neither play in any other orchestra nor under any other conductor than Mr. Henschel, except if wanted in your leisure hours by the Handel and Haydn Society, nor will you play for dancing. V. I offer you . . . weekly, and also your expenses when travelling on business of the Orchestra. It is the intention, if the circumstances are as favorable as at present, to make this a permanent orchestra of the highest order. Its success will depend very greatly on your efforts and on your cooperation. I wish to offer my sincere thanks for your labor and zeal 66 THE BOSTON SYMPHONY ORCHE; BEFORE THE " GREAl A, GtOkG HENSCHEL, CONULCTOR -'9i (3). Howland, Elizabeth K. (Piano.) 'o9-'i2 (2). Hubbard, Eliot. (Baritone.) '84-'87-'9i (3). Hunt, Helen Allen. (Contralto.) 'o7-'i2-'l3 (3). Huntington, Agnes. (Contralto.) '85 (3). Huss, Henry H. (Piano.) '86-'94 (2). Hutcheson, Ernest. (Piano.) 'o2-'o6-'lo (4). Hyland, Clinton A. (Bass.) '99 (i). Jackson, Leonora. (Violin.) *oo (6). Jacoby, Josephine. (Contralto.) '98 (3). Jahn, Marie. (Soprano.) '91 (3). Janson, Agnes. (Contralto.) '00 (l). Januschowsky, Georgina von. (Mezzo-soprano.) '97 (2). Joachim, Amalie. (Contralto.) '92 (i). Johnson, Herbert. (Tenor.) '99-'oi-'o2 (4). Jomelli, Jeanne. (Soprano.) 'lo-'ii (3). Jonas, Albert. (Piano.) '97 (2). Jordan, Jules. (Tenor.) '83 (i). Joseffy, Rafael. (Piano.) '86-'87-'9O-'96-'97-'98-'04-'0S (31). Juch, Emma. (Soprano.) '84-'8s-*87-'88-'89-*92-'94 (21). Kalisch, Paul. (Tenor.) '88 (8). Kaschoska, Felicia. (Soprano.) '93 (12). Keller, Josef. (Violoncello.) '05 (i). Kellogg, Fanny. (Soprano.) '82 (i). Kelsey, Corinne Rider-. See Rider-Kelsey, Corinne. Keyes, Margaret. (Contralto.) 'o9-'io (4). Kileski-Bradbury, Evta. (Soprano.) 'oo-'o4-'o5 (3). King, Julie Rive-. (Piano.) '86-'9i-'92 (3). Kirkby-Lunn, Louise. (Contralto.) 'o3-'io-'ii (10). ^35 APPENDIX Klaberg, Clara. (Violin.) '06 (i). Kloepfel, Louis. (Trumpet.) '13 (2). Kneisel, Franz. (Violin.) '8s-'86-'87-'88-'89-'90-'9I-'92-'93-'94-'9S-'9&- '97-'98-'99-'oo-'oi-'o2 (87). Kneisel, Franz. (Viola.) '86-'88-'92-'9S-'99 (20). Kneisel, Franz. (Viola d'amore.) 'gS-'oi (6). Knowles, Mrs. H. T. (Soprano.) '82-'83 (2). Koenen, Tilly. (Contralto.) '00 (i). Krasselt, Rudolf. (Violoncello.) 'o3-'o4-'os (16). Kreisler, Fritz. (Violin.) 'oi-'o2-'o5-'o7-'o8-'io-'l2-'l3-'l4 (38). Kutscherra, Elsa. (Soprano.) '95 (4). Lambert, Alexander. (Piano.) '85 (i). Lamond, Frederic. (Piano.) '02 (4). Lamson, Gardner. (Bass.) '92 (l). Lang, B. J. (Piano.) '83-'84-'8s-'86-'89 (6). Lang, B. J. (Organ.) '83 (i). Larrabee, Florence. (Piano.) '09 (i). Lawson, Corinne M. (Soprano.) '89 (i). Lehmann, Lilli. (Soprano.) '86-'87-'88 (12). Lenier, Louise. (Contralto.) '92-93 (2)- Lent, Mrs. Ernest. (Piano.) '94-'9S (2). Lerner, Tina. (Piano.) '08 (i). Lhevinne, Josef. (Piano.) '08 (2). Libby, J. A. (Bass.) '86 (i). Lichtenberg, Leopold. (Violin.) '84-'8s (3). Liebe, Teresa. (Violin.) '82 (i). Liebe, Theodore. (Violoncello.) '82 (l). Liebling, Estelle. (Soprano.) '01 (i). Listemann, Bernhard. (Violin.) '8l-'82-'83-'84 (24). Little, Lena. (Mezzo-soprano.) '9i-'93-'96-'97 (6). LoefHer, Charles Martin. (Violin.) '83-'84-'8s-'86-'87-'88-'89-'90-'9l-'93- '94-'9S-'97-'98 (50). Loeffler, Charles Martin. (Viola.) '92 (l). LoefSer, Charles Martin. (Viola d'amore.) '98-'oi-'04 (10). Longy, Georges. (Oboe.) '09-'i3 (5). Lunn, Louise Kirkby-. See Kirkby-Lunn, Louise. Lutschig, Waldemar. (Piano.) '05 (l). Maas, Louis. (Piano.) '82-'8s (2). MacCarthy, Maud. (Violin.) '02-03-04 (8). MacDowell, Edward A. (Piano.) '89-'92-'94-'96-'97 (5). MacMillan, Francis. (Violin.) '10 (i). Magrath, George. (Piano.) '83 (i). Mahr, Emil. (Violin.) '89 (i). Mann, Joseph. (Trumpet.) '13(2). Maquarre, Andre. (Flute.) '99-'o6-'o7-'l2-'l3 (lo). Marchesi, Blanche. (Mezzo-soprano.) '99 (l). Margulies, Adele. (Piano.) '83-'8s-'87 (3). 236 APPENDIX Marshall, Gertrude. (Violin.) '13 (i). Marshall, John P. (Organ.) 'i2-'i4 (2). Marsick, Martin. (Violin.) '96 (2). Marteau, Henri. (Violin.) '92-'93-'o6 (7). Martin, Carl E. (Bass.) '86-'89 (2). Martin, Frederick L. (Bass.) '99-'oi-*02 (3). Materna, Amalia. (Soprano.) '94-'96 (7). Mauguiere, M. (Tenor.) '94 (i). Mead, Olive. (Violin.) '98-'99-'o2-*04-'os (10). Meisslinger, Louise. (Mezzo-soprano.) 'SS-'Sg (8). Melba, Nellie. (Soprano.) '9O-'94-'95-'96-'97-'oi-'03-'07-'l0 (28). Mero, Yolande. (Piano.) '11 (i). Merrill, Carl. (Trumpet.) '13 (2). Merrill, L. B. (Bass.) '04 (i). Methot, Minnie. (Soprano.) '04 (l). Meyn, Heinrich. (Baritone.) '9l-'92-*93 (7). Mielke, Antonia. (Soprano.) '91 (6). Miller, Christine. (Contralto.) '14 (i). Mills, VVatkin. (Baritone.) '95 (i). Milwaukee Arion Club. '90 (i). Mole, Charles. (Flute.) '87-'89-'90-'9l-'92-'93-'94 (12). Morawski, Ivan. (Baritone.) '89 (i). Morena, Berta. (Soprano.) 'o9-'io-'il (3). Morgan, Geraldine. (Violin.) '92 (i). Mueller, VVilhelm. (Violoncello.) '82-83 (4). Neitzel, Otto. (Piano.) '06(1). Neruda, Norman. See Halle, Lady. New England Conservatory Choral Club. '08 (l). Nichols, Marie. (Violin.) '05 (3). Nikisch, Mrs. Arthur. (Soprano.) '90-'9i-'92-'93 (29). Noack, Sylvain. (Violin.) 'o9-'io-'ii-'i2-'i3 (10). Norcross, Webster. (Bass.) '86 (i). Nordica, Lillian. (Soprano.) '83-'85-'9i-'92-'93-'94-'98-'o2-'i2 (23). Nowell, George M. (Piano.) '8s-'93 (2). Nowell, Willis E. (Violin.) '85 (i). O'Brion, Mary E. (Piano.) '83-'86-'88 (3). Olitzka, Rosa. (Contralto.) '95-'oo (2). Ondricek, Franz. (Violin.) '95 (4). Ormond, Lilla. (Mezzo-soprano.) 'o6-'o7-'o8-*n-'l2 (9). Oumiroff, Bogea. (Baritone.) '02 (i). Overstreet, Corneille. (Piano.) '11 (i). Pachmann, Vladimir de. (Piano.) '9i-'o4 (10). Paderewski, Ignace Jan. (Piano.) '9i-'92-'93-'99-'o2-'o5-'o7-'o9-'i4 (33). Palmer, Courtlandt. (Piano.) '01 (2). Parker, George J. (Tenor.) '86-'88-'89-'93 (4). Parker, Horatio W. (Organ.) 'o2-'o4 (2). APPENDIX Parlow, Kathleen. (Violin.) 'ii-'i2 (13). Pauer, Max. (Piano.) '13 (5). Paur, Mrs. Emil. (Piano.) '93-'94 (4). Perabo, Ernst. (Piano.) '84 (i). Petschnikoff, Alexander. (Violin.) 'oo-'o6 (2). Philippbar, Miss. (Contralto.) '91 (i). Phillipps, Mathilde. (Contralto.) '82 (l). Philomena [Female] Quartet. (Boston.) '85 (l). Pittsburgh Mozart Club. '87-'89-'90-'93 (4). Planfon, Pol. (Bass.) '94-'96-'97 (6). Poole, Clara. (Contralto.) '88 (i). Powell, Maud. (Violin.) '87-92-0 i-'o;-' 1 2 (s). Powers, Francis F. (Singer.) '91 (i). Preston, John A. (Piano.) '82 (i). Proctor, George. (Piano.) '96-'97-'98-'oo-'o3-'o4-'oS-*o6-'07-'l2-'l4 (14)- Pugno, Raoul. (Piano.) '02 (4). Rachmaninoff, Sergei. (Piano.) '09-' 10 (6). Radecki, Olga von. (Piano.) '82-'83-'86-'o7 (6). Randolph, Harold. (Piano.) '97-02-' 10 (3). Rappold, Marie. (Soprano.) 'o8-'l2 (4). Rattigan, James. (Tenor.) '10 (i). Reichmann, Theodore. (Baritone.) '90-'9I (4), Reisenauer, Alfred. (Piano.) 'os-'o6 (4). Reiter, Xaver. (Horn.) '89 (2). Remmertz, Franz. (Bass.) '85 (i). Renter, Florizel von. (Violin.) '02 (i). Rice, Mrs. Alice B. (Soprano.) '11 (2). Riddle, George. (Reader.) '86-'92-'94 (3). Rider-Kelsey, Corinne. (Soprano.) 'og-'io-'ll (12). Rieger, William H. (Tenor.) '91 (4). Rive-King, Julie. See King, Julie Rive-. Rogers, Francis. (Baritone.) '00 (l). Rolla, Kate. (Contralto.) '96 (i). RoUwagen, Louise. (Contralto.) '84 (4). Rosenthal, Moritz. (Piano.) '88-'96-'98-'o6 (9). Roth, Otto. (Violin.) '89-'90-'9i-'92-'93-'94-'oi (8). Ruebner, Cornelius. (Piano.) 'oj (i). Ruegger, Elsa. (Violoncello.) '99-'o2-'o3-'o6 (lo). Rummel, Franz. (Piano.) 'go-'gi (2). Saint-Saens, Camille. (Piano.) '06 (i). Saint-Saens, Camille. (Organ.) '06 (i). Saleza, Albert. (Tenor.) '99 (3). Samaroff, Olga. (Piano.) 'o6-'o7-'o8-'o9-'io-'l2 (26). Sanford, Samuel S. (Piano.) '02 (i). Sapio, Clementine de Vere-. (Soprano.) '90-'9l-'95-'99-'oo (17). Sargent, Sullivan A. (Bass.) '92-'o6-'o4 (3). Sassoli, Ada. (Harp.) '03 (i). 238 APPENDIX Sauer, Emil. (Piano.) '98-*99-'o8 (s). Sauret, Emile. (Violin.) '96-'o4 (3). Sautet, A. (Oboe.) '88 (i). Scalchi, Sofia. (Contralto.) '87-*94-'95 (4)- Scharwenka, Xavier. (Piano.) '9i-'92-'ii-*i3 (4). Schelling, Ernest. (Piano.) 'o5-'o8-'o9 (9). Schiller, Madeline. (Piano.) '82-'83 (3). Schmidt, Louis. (Violin.) '82-'84 (4). Schnitzer, Germaine. (Piano.) 'o7-'o9-'i3 (3). Schnitzler, Ignatz. (Violin.) '92-'94-'9S-'97-'oo (6). Schott, Anton. (Tenor.) '95 (5). Schroeder, Alwin. (Violoncello.) '9l-'92-'93-'94-'95-*96-'97-'98-'99-'oo- 'oi-'o2-'o3-'o8-'io-'ii-'i2 (86). Schumann-Heink, Ernestine. (Contralto.) '99-'oo-'o2-'o3-'o4-'o7-'o8-'o9- '11 (23)- Schuecker, Heinrich. (Harp.) '86-'92-'o3 (3). Schulz, Leo. (Violoncello.) '89-'90-'9i-'94-'95-'96-*97-'98 (12). Sembrich, Marcella. (Soprano.) '99-'oo-'lo (7). Seydel, Irma. (Violin.) '12 (i). Sherwood, William. (Piano.) '8i-'82-'84-'92-'93 (7). Shirley, Clarence B. (Tenor.) '14 (i). Siemens, Frieda. (Piano.) '01 (i). Sieveking, Martinus. (Piano.) *9S-'96 (6). Siloti, Alexander. (Piano.) '98 (2). Simms, Hattie L. (Soprano.) '83 (i). Sites, Mrs. Minna. (Piano.) '86 (i). Slivinski, Josef. (Piano.) '02 (i). Smith, Marie Barnhard. See Barna, Marie. Smith, Winifred. (Violin.) '03 (i). Snelling, Lillia. (Mezzo-soprano.) '07 (i). Spencer, Janet. (Contralto.) 'oi-'o2-'io-'il (4). Starkweather, Mrs. Maud. (Soprano.) '86 (i), Stasny, Carl. (Piano.) '92-'94-'o3 (3). Staudigl, Josef. (Bass.) '97-98 (2). Stavenhagen, Bernhard. (Piano.) '95 (2). Stein, Gertrude May. (Contralto.) '97-'99-'oo-'o9 (12). Steinbach-Zahns, Mme. (Soprano.) '90 (21). Stewart, Rose. (Soprano.) '83-'84-'87-'89-'90-'99 (6). Steininger, Anna Clark. (Piano.) '85-'86-'90 (5). Stern, Constanton. (Piano.) '93 (i). Stosch, Leonard von. (Violin.) '92-'93 (2). Strasser, E. (Clarinet.) '84 (2). Sumner, George. (Piano.) '81 (l). Sundelius, Marie. (Soprano.) 'ii-'i3-'i4 (4). Szumowska, Antoinette. (Piano.) '95-'96-'98-'99-'o3-'04-'os-'o6 (18). Ternina, Milka. (Soprano.) '96-'oo-'oi-'l2 (15). Teyte, Maggie. (Soprano.) '13 (i). Thomson, Cesar. (Violin.) '94 (7). 239 APPENDIX Thompson, Edith. (Piano.) 'oo-'io (3). Thursby, Emma. (Soprano.) '90 (2). Thursday Morning Club. (Musical Art Club.) 'o3-'o6-'lI (3). Ticknor, Howard M. (Reader.) '84-'8s (2). Titus, Marian. (Soprano.) '97-'98-'99 (6). Toedt, Theodore J. (Tenor.) '8i-'83-'84-'86 (6). Tonlinquet, Marie. (Contralto.) '97 (2). Trebelli, Antoinette. (Soprano.) '94 (i). Trebelli, Zelie. (Contralto.) '87 (i). Tua, Teresina. (Violin.) '87 (2). Tucker, Hiram G. (Piano.) '83-'87-'90 (3). Urack, Otto. (Violoncello.) 'i2-'i3 (6). Urso, Camilla. (Violin.) '88-'92 (2). Utassi, Etelka. (Piano.) '88 (i). Van Endert, Elizabeth. (Soprano.) '14 (10). Van Hoose, Ellison. (Tenor.) 'oi-'o3-'o4-'oS (l2^ Van Norden, Berrick. (Tenor.) '10 (i). Van Rooy, Anton. (Baritone.) 'o2-'o8 (5). Van Yorx, Theodore. (Tenor.) 'oi-'o4-'o9 (4). Vieh, George C. (Piano.) 'io-'i3 (2). Vere-Sapio, Clementine de. See Sapio, Clementine de Vere Walker, Edyth. (Soprano.) '06 (i). Walker, William W. (Bass.) '00 (i). Ward, Alice C. (Soprano.) '82 (2). Warnke, Heinrich. (Violoncello.) 'os-'o6-'o7-'o8-'o9-'io-'il-'i2-'l3 (25). Washington Choral Society. '89 (i). Webber, Charles F. (Tenor.) '83-'84-'86-'89 (5) Webber, Mrs. Charles F. (Soprano.) '84 (l) Weld, Frederick. (Bass.) '10 (i). Welsh, Ita. (Mezzo-contralto.) '84 (i). Wendling, Cari. (Violin.) 'o7-'o8 (7). Wentworth, Alice. (Soprano.) '9i-'92 (2). Wetzler, Minnie. (Piano.) '93 (3). Whinnery, Abbie. (Contralto.) '83 (i). White, Carolina. (Soprano.) '11 (2). White, Priscilla. (Soprano.) '92-'93 (4). Whiting, Arthur B. (Piano.) '83-'88-'96-'97-'oi (5). Whitney, Myron W., Jr. (Baritone.) 'o4-'o6-'o9 (4). Whittier, Harriet S. (Soprano.) '94 (l). Wickham, Madge. (Violin.) '88 (i). Wienszkowska, Melanie. (Piano.) '98 (l). Wilks, Norman. (Piano.) '13 (5). Williams, Evan, (Tenor.) '98-'99-'oo (5). Williams, Grace B. (Soprano.) '04 (i). Wilson, G. Clark. (Singer.) '95 (i). Winant, Emily. (Contralto.) '8i-'82-'83-'84-'8s-'86-'89 (lo). 240 APPENDIX Winch, William J, (Tenor.) '8s-'89-'90-'9i-'92 (9). Winternitz, Felix. (Violin.) 'o2-'os (2). Witek, Anton. (Violin.) 'io-'ii-'i2-'i3-'i4 (21). Witherspoon, Herbert. (Bass-baritone.) 'oo-'l2 (3). Woltmann, Pauline. (Contralto.) '04 (i). Wood, Anna Miller. (Contralto.) '98-'o6 (2). Wiillner, Ludwig. (Baritone.) '08 (i). Wyman, Julie. (Mezzo-soprano.) '88-'9O-'9l-'92-'94-'9S-'04 (20). Ysaye, Eugene. (Violin.) '94-'o4-'l3 (8). Zach, Max. (Viola.) '04 (4). Zimbalist, Efrem. (Violin.) 'll (l). Zimnxermann, Paul. (Tenor.) '89 (i). 241 APPENDIX B THE PERSONNEL. The terms of service of the six conductors, and of all members of the Orchestra, are given be- low. The summary that follows gives the composition of the Orchestra in the first season under each conductor in turn. THE CONDUCTORS Georg Henschel 1881- 1884 Wilhelm Gericke 1884- ■1889 Arthur Nikisch 1889-1893 Emil Paur 1893- 1898 Wilhelm Gericke 1898- I 906 Karl Muck I 906- I 908 Max Fiedler 1908- 1912 Karl Muck 19 12- THE PLAYERS Abloescher, J. Trombone 1891-1898 Adamowski, J. 'Cello 5 1889-1901 ( 1 902- 1 907 Adamowski, T. Violin 1 1884-1887 I 1888-1907 Agnesy, K. Bass 1907- Akeroyd, E. Clarinet 1888-1889 Akeroyd, J. Violin 1881-1913 Akeroyd, V. Violin 1881-1887 Allen, C. N. Violin 1881-1882 Alloo, M. Trombone 1911- Arbos, E. F. Concert-: master 1903-1904 Bagley, E. M. Trumpet 1881-1886 Bak, A. Violin 1900- Baraniecki, A. Violin 1913- Bareither, G. Bass 5 1882-1885 I 1887-1907 Barleben, C. y Viola Violin ' I 894-1900 ; 1903-1912 Barth, C. 'Cello 1894- Barth, C. Bass 1888-1903 242 APPENDIX Barth, W. Drums 1900-1901 Battles, A. Flute 1908-191 I Bayrhoffer, C. 'Cello 1881-1882 Beckel, J. Bass 1885-1888 Behr, C. 'Cello 1881-1891 Behr, J. Violin 1881-1884 Belinski, A. V. Violin, 1902-1903 Belinski, M. 'Cello 5 1902-1903 (1909- Bennett, J. C. Violin 1884-1885 Beresina, C. Violin 1885-1886 Berger, H. Violin 1890- Berliner, W. Viola 1912- Bernhardi, E. F., Jr. Bassoon 1883-1886 Beyer, E. Viola 1881-1885 Birnbaum, E. A. Violin 1903-1904 Blaess, A. 'Cello I 896- I 902 Bletterraann, J. Bass 1881-1885 Blumenau, W. Viola 1912- Boehm, G. Violin 1890-1892 Boernig, H. Bass I 892- I 894 Bower, H. Cymbals 1904-1907 Bowron, B. Trumpet 5 1881-1885 i 1886-1887 Brenton, H. E. Trumpet 1902-1907 Brooke, A. Flute 1896- Burkhardt, H. Violin 1891-1892 Triangles, etc. 1905- Butler, H. J. Bass 5 1881-1902 i 1903-1907 Campanari, G. 'Cello 1885-1893 Campanari, L Violin 1884-1886 Chevrot, A. Flute 1912- Cook, T., Jr. Violin 1884-1885 Currier, F. S. Violin 1905-1912 Cutter, B. Viola 5 1881-1882 i I 884-1 885 Czerwonky, R. Violin I 907- I 908 Dannreuther, G. Violin 1881-1883 Debuchy, A. Bassoon 1901-1907 Dehn, J. W. Violin 1882-1884 De Lisle, Ch. Violin 1888-1892 Demuth, L. Oboe 1883-1896 De Ribas, A. L Oboe 1881-1882 De Seve, A. Violin 5 1881-1882 I 1883-1885 Deutsch, S. Violin 1885-1888 243 APPENDIX Dietsch, C. Dorn, W. Dworak, J. F. Eichheim, H. Eichler, C. H. Eichler, J. E. Eichler, J. E., Jr. Elkind, S. Eller, M. Eltz, P. Eltz, R. Fabrizio, C. Ferir, Emil Fiedler, B. Fiedler, E. Fischer, P. Fiumara, P. Flockton, J. M. Folgmann, E. Forster, E. Fosse, P. Fox, P. Franko, S. Freygang, A. Fries, W. Fritsche, O. Fuhrmann, M. Gantzberg, J. Gebhard, W. Geiersbach, K. Gerardi, A. Gerhardt, G. Gewirtz, J. Giese, F. K. E. Gietzen, A. Goddard, D. A. Golde, E. Goldschmidt, G. Goldstein, A. Goldstein, H. Goldstein, S. Gordon, T. Greene, H. A. Bassoon Violin Tuba Violin Violin Violin Violin Bass Oboe Bassoon Viola Violin Viola Violin Violin Oboe Violin Bass 'Cello Viola Oboe Flute Violin Harp 'Cello Bass clarinet Bassoon Violin Horn Viola Violin Bass Violin 'Cello Viola Trombone Tuba Clarinet Bass Violin Violin Violin Bass 1882-1893 1881-1882 1900-1910 1891-1912 1881-1885 1881-1894 1886-1912 I 894- I 908 1884-1885 1881-1883 1881-1882 1910-1912 1903- 1897- 1885-1910 1881-1882 1885- 1881-1882 1912- 1910-1914 1912-1914 •1881-1885 1886-1887 1889-1891 . 1892-1912 1885-1886 1881-1886 1881-1882 1901-1907 19 12- 1888-1891 1907-1912 1884-1886 1912- 1885- 1913- 1884-1889 1904- 1886-1887 1888-1898 I 889-1 894 1882-1895 1907- 1885- 1892-1893 1881-1894 244 APPENDIX Grethen, A. Grisez, G. Grunberg, E. Griinberg, M. Guenzel, F. H. Guetter, A. Gumpricht, A. Gunderson, R. Habenicht, W. Hackebarth, A. Hadley, A. Hahn, F. E. Hain, F. Haldemann, H. Hampe, Carl Hanneman, D. Hartmann, H. Hausknecht, J. Hayne, E. Heberlein, H. Heim, G. F. Heindl, A. Heindl, E. M. Heindl, H. Hekking, A. Helleberg, J. Hemmann, H. Hess, M. Hess, W. Higgins, C. F. Hoffmann, J. Holy, A. Hoyer, H. Huber, E. Hiibner, E. Human, T. Jacquet, L. Jaeger, A. Jaenicke, B. Violin Clarinet Viola Violin Bassoon Bassoon Horn Violin Violin Horn 'Cello Violin Horn Violin Trombone Violin Violin Contra-bassoon •] Violin 'Cello Trumpet •Cello Flute Viola 'Cello Bassoon and coatra>bassoon Oboe Horn Concert-master Violin Violin Harp Viola Bass Horn Violin Flute Bass Horn 1882-1884 1904-1914 5 1889-1892 i 1893-1896 1910- 1886-1906 1891-1894 1881-1882 1913- 1912- j 1882-1885 I 1890-1913 1904-1912 1892-1897 1891- 1881-1883 ( 1886-1891 i 1892-1914 1888-1893 5 1881-1882 l 1884-1885 1881-1882 on call only 1912-1914 1899-1908 1906- 5 1881-1894 ( I900-I907 1881-1896 I88I-19I1 I889-I891 1901-1910 1882-1883 I90S- ( 1904-1907 1 1908-1910 i 1881-1883 1 1884-1889 1890- I9I3- 1887-1912 1907- I9I2- 1882-1891 I895-I898 1910- I9I3- 245 APPENDIX Jennewein, L. Jonas, E. Kaestl, M. Kandler, F. Kautzenbach, A. Keller, J. Keller, K. Kenfield, L. S. Kirchner, A. Klein, M. Kloepfel, L. Kluge, M. Knecht, J. Kneer, J. Kneisel, F. Kneisel, J. Koessler, M. Kohlert, J. Kolster, A. Korth, M. Krafft, F. W. Krasselt, R. Krauss, O. H. Kuehn, R. Kuntz, A. Kuntz, D. Kunze, M. Kurth, R. Lafricain, E. N. Lebailly, M. Lenom, C. Lichtenberg, L. Lippoldt, L. Listemann, B. Listemann, F. Litke, H. Litke, P. Loeffler, C. M. Loeffler, E. Longy, G. Lorbeer, H. Lorenz, O. Ludwig, C. F. Bass 'Cello Violin Tympani 'Cello 'Cello 'Cello Trombone Bassoon Violin Trumpet Viola Viola Violin Concert-master Violin Violin Flute Violin 'Cello Violin 'Cello Viola Violin Violin Violin Bass Violin Trumpet Clarinet Oboe Violin Horn Concert-master Violin Bassoon Bassoon Violin 'Cello Oboe Horn Tuba Castanets 1881-1890 1882-1886 1892-1893 1907- 1907-1910 1898- 1895-1910 1900- 1895-1896 1883-1886 1898- 1885-1913 1887-1897 1887-1890 1885-1903 1885-1904 1912- 1885-1886 1883-1912 1881-1890 1888-1912 1903-1904 I 894- I 909 f 1885-1887 I 1888-1891 1896-1910 1881-1914 1894- 5 1883-1891 1 1892- ( 1887-1893 < 1896-1897 { 1900-1902 1901-1904 1901- 1882-1885 1881-1886 1881-1885 1881-1885 5 1894-1901 ( 1907-1908 1896-1901 1882-1903 1882-1909 1898- 1891- 1907-1913 190S-1907 246 APPENDIX Ludwig, C. R. Ludwig, O. Mahn, F. L. Mann, J. Manoly, L. E. Maquarre, A. Maquarre, D. Marble, E. B. Marquardt, J. Mattersteig, P. Mausebach, A. Meisel, C. Melzian, W. Merrill, Carl Messerschmidt, A. Metzger, P. Meyer, F. Michael, J. Miersch, E. Miersch, J. Milcke, M. Mimart, Paul Mingels, H. Moldauer, A. Mole, C. MoUenhauer, Emil Moore, D. H. Mosbach, J. Mueller, F.. Mueller, Friedrich C. Mueller, P. Mueller, VVilhelm Mullaly, H. MuUaly, J. C. Nagel, R. Nast, L. Neumann, S. Nichols, W. C. Noack, S. Novacek, 0. Tympani Bass Violin Cornet Bass Flute Flute Violin Violin Tuba Trombone Violin Bass tuba Trumpet Bass Clarinet Trombone Violin Horn j Violin Violin Clarinet 'Cello Violin Flute Violin Trombone Contra-bassoon Bassoon 5 Oboe I \ English horn ) Trumpet 'Cello Violin Violin 'Cello 'Cello Tympani Tuba and librarian Violin Violin 1890-1910 1908- 5 1887-1888 I1889- 1891- 1882-1885 1898- 1903-1909 (■ 1882-1907 J 1908-1913 I 886- I 889 1913- 1898- 5 1881-1882 1 1883-1885 1885-1888 1904-1914 1881-1883 1882-1905 I 897- I 900 1885-1900 1913- 1891-1892 1905-1906 1905- 5 1885-1891 \ 1893-1902 1885-1907 1887-1896 1884-1889 1881-1886 1910- 1908- 1885- 1888-1900 1882-1885 1881-1883 f 1884-1885 < 1885-1890 ( 1905-1913 1894- 1904- 1910- 1881-1891 1908- 1891-189* 247 APPENDIX Oliver, F. A. Violin 1881-1887 Ondricek, K. Violin 1893-1906 Pabst, G. Bass 1885-1887 Pat2, G. A. Viola 5 1881-1887 I 1888-1891 Pauer, 0. H. Viola 1911-1914 Pechmann, Leo Oboe 1883-1884 Phair, J. A. Horn 190S-1913 Pinfield, C. E. Violin 191 2- Post, Louis Viola and contra-bassoon 1881-1894 Pourtau, Leon Clarinet I 894-1 898 Proctor, J. B. Violin 1881-1885 Regestein, Ernst Bassoon 1 1881-1882 ( 1904-1912 Reibi, C. 'Cello 1885-1894 Reinhart, A. Bass ^ 1888-1892 ( 1 894-1 895 Reiter, J. Horn 1889-1890 Reiter, Xaver Horns 1886-1890 Rennert, Bruno Violin 1907-19 I I Resch, A. Horn 1913- Rettberg, A. Drums 1898-1912 Ribarsch, A. Violin 1907- Rietzel, Wm. Viola 188 1-1894 Rigg, A. Trombone 5 1881-1886 i 1891-1897 Rissland, K. Violin 1894- Rogers, L. J. Assistant librarian 1912- Rohde, W. Viola 1885-1886 Rose, E. i 'Cello 1891-1900 Ross, Wilhelm Oboe 1882-1883 Roth, Otto Violin 1887- Ryan, T. Viola 1883-1885 Sadony, P. Bassoon 1905- Sailer, Adolph 'Cello 1887-1889 Sauer, G. F. Viola 5 1890-1892 i 1894-1909 Sauerquell, J. Librarian 1889- Sautet, A. Oboe 1887-1912 Scheurer, K. Viola 1907-1909 Schlimper, F. W. Viola 1881-1882 Schmedes, Hakon Violin 1903-1905 Schmid, K. Horn 1907-1909 Schmidt, Ernst 'Cello 1882-1885 Schmidt, L., Jr. Violin 1882-1885 Schneider, Julius Horn 1885-1893 248 APPENDIX Schnitzler, I. Violin 1892-1900 Schormann, E. Horn 1881-1891 Schroeder, Alwin 'Cello _ 1891-1903 1910-1912 Schuchmann, Frank E. Violin 1881-1907 Schuecker, Heinrich Harp 1886-1913 Schulz, Leo 'Cello 1889-1898 Schumann, C. Horn 1881-1912 Schurig, R. Bass 1902- Schwerley, P. Viola 19 12- Selmer, A. Clarinet 1898-1901 Senia, T. B, Percussion 1904- Seydel, T. Bass 1894- Shuebruk, R. Trumpet 1885-1887 Simpson, H. D. Tympani 1881-1898 Smalley, R. 'Cello I 1903-1904 < 1906-19 I 2 Sokoloff, N. Violin 1 904- 1 907 Spoor, S. Viola 191 1- Sprunt, C. Violin 1900-1904 Staats, C. L. Bass clarinet I 896- I 897 Stein, Aug. Bass ^1881-1885 ( 1887-1888 Steinke, B. •Cello 1912- Steinmann, H. Bass 1881-1882 Stewart, George W. 'Trombone 1881-1891 Stockbridge, A. B. 'Cello 1881-1883 Stolz, E. Trombone 1891-1892 Strasser, E. Clarinet 1881-1888 Strauss, H. 5 Violin i Viola J 1881-1882 I 1 884- 1 887 Strube, G. Violin 1890-1913 Stumpf, Karl Bass clarinet 1907- Suck, Aug. 'Cello 1881-1885 Suck,D. H. Violin 1881-1882 Svecenski, Louis Violin and Viola 1885-1903 Swornsbourne, W. W. Violin 1882-1908 Tak, E. Violin 1912- Taubert, Otto Violin 1885-1894 Theodorowicz, J. Violin 5 1 898-1903 ( 1907- Thomae, A. Tuba I 898-1900 Tischer-Zeltz, H. Violin ^1885-1891 ( 1892-1914 Tower, R. E. Viola 1881-1883 Traupe, W. 5 Viola I Violin 1901-1905 1905-1907 Trautmann, C. Violin 1881-1884 249 APPENDIX Urack, Otto Vannini, A. Van Raalte, A. Van Wynbergen, C. Von Ette, Edw. Warnke, H. Warnke, J. Weintz, C. J. Weiss, Albert Weiss, E. Wendler, G. Wendling, Carl Werner, H. Whitmore, O. A. Wiegand, E. Witek, A. Wittmann, F. Zach, Max Zahn, F. 'Cello Clarinet Violin Viola Viola 'Cello 'Cello Viola Oboe Violin Horn Concert-master Violin Clarinet Bass Concert-master Viola Viola 5 Viola i Percussion 1912-1914 1903- 1881-1882 1910- 1881-1888 190S- 1908- 1881-1883 1896-1898 1889-1890 1909- 1907-1908 1908- 1881-1882 1885-1887 1910- 1913- 1886-1907 1891- SEASON OF 1881-1882 Conductor — Georg Henschel First violins, 13; second violins, 11; violas, lO; violoncellos, 8j double basses, 8; flutes, 2; oboes, 2; clarinets, 2; bassoons, 2; contra-bassoon, i; horns, 4; trumpets, 2; trombones, 3; tuba, i; tympani, l; harp, I. Total, 72 (including 4 temporary members). SEASON OF 1884-1885 Conductor — Wilhelm Gericke First violins, 15; second violins, 14; violas, 9; violoncellos, 8; double basses, 8; flutes, 4; oboes, 4; clarinets, 2; bassoons, 2; horns, 4; trumpets, 5; trom- bones, 3; tuba, i; tympani, I; harp, I; bass drum 1. Total, 81 (including 7 temporary members), SEASON OF 1889-1890 Conductor — Arthur Nikisch First violins, 17; second violins, 14; violas, 10; violoncellos, 9; double basses, 8; flutes, 3; oboes, 3; clarinets, 2; bassoons, 2; horns, 5; cornets, 2; trombones, 3; tuba, i; tympani, l; harp, 1; librarians, 2. Total, 84. 250 APPENDIX SEASON OF 1893-1894 Conductor — Emil Paur First violins, 16; second violins, 14; violas, lO; violoncellos, 8; basses, 8; flutes, 3; oboes (and English horn), 3; clarinets, 2; bassoons, 2; horns, 4; cor- nets, 2; trombones, 3; tuba, i; drums, i; tympani, i; harp, i; librarian, i. Total, 8r. SEASON OF 1 898-1 899 Conductor — Wilhelm Gericke First violins, 16; second violins, 14; violas, 10; violoncellos, 10; basses, 7; flutes, 3; oboes (and English horn), 3; clarinets, 2; bassoons, 3; horns, 4; trumpets, 3; trombones, 3; drums, i; tympani, i; harp, i; tuba, l; librarian, I. Total, 83. SEASON OF 1906-1907 Conductor — Karl Muck First violins, 16; second violins, 14; violas, 10; violoncellos, ll; basses, 8; flutes, 4; oboes, 3; English horn, l; clarinets, 3; bass clarinet, i; bassoons, 4; horns, 6; trumpets, 5; trombones, 3; tuba, i; tympani, i; drums and casta- nets, 1; cymbals, l; triangle, etc., i; tambour, 1; harp, i; librarian, 1. Total, 96. SEASON OF 1908-1909 Conductor — Max Fiedler First violins, 16; second violins, 15; violas, 10; violoncellos, 10; basses, 8 flutes, 5; oboes, 3; clarinets, 3; bassoons, 3; English horn, i; bass clarinet,'i contra-bassoon, l; horns, 8; trumpets, 4; trombones, 3; tuba, i; harp, l tympani, 2; percussion, 4; librarian, 1. Total, 100. SEASON OF 1912-1913 Conductor — Karl Muck First violins, 16; second violins, 14; violas, 10; violoncellos, 10; basses, 8; flutes, 4; oboes, 3; clarinets, 3; bassoons, 3; English horn, i; bass clarinet, i; contra-bassoon, i; horns, 8; trumpets, 4; trombones, 4; tuba, i; harp, i; tympani, 2; percussion, 3; organ, i; librarians, 2. Total, 100. 251 APPENDIX C THE REPERTOIRE. The following list includes all orchestral compositions performed by the Orchestra from 1881-82 to 19 1 3-14, whether in Boston or in other places. The date given is that of the first performance, O., indicating October; N., November; D., December; J., January; F., February; Mr., March; A., April; My., May. Unless other- wise noted, the performance took place in Boston. The figure in parenthesis denotes the number of times the work has been given. Akimenko, Theodor. Lyric poem, Op. 20, F. 26, '04 (3). Albert, Eugen d'. Concerto, piano and orch.. No. 2, Op. 12, F. 3, '05 (5). — Concerto, violoncello and orch., Op. 20, Mr. 8, '01 (8). — "Esther," overture, F. 2, '94 (i). — "The improvisator," overture, J. i, '04 (5). — "The ruby," prelude, N. 29, '95 (2). — Symphony, No. i, D. 2, '92 (i). Ambrosio, Alfred d'. Concerto, violin and orch.. Op. 29, D. 20, '07 (i). Arensky, Anton. Concerto, piano and orch., Op. 2, O. 13, '99 (2). — "Nala and Damayanti," introduction, J. 23, '03 (i). Andersen, Carl Joachim. Concerstuck, flute and orch. (Cambridge), A. 6, '99 (i). AuBER, Daniel F. E. "Black domino," overture, D. 31, '98 (3). — "Carlo Broschi," overture, N. 16, '94 (10). — "Fra Diavolo," overture (Phila- delphia), Mr. 28, '96 (i). — "Lac des fees," overture, N. 17, '82 (i).— "Masaniello," overture, O. 13, '82 (i). — "La part du diable," overture, J. 20, '82 (2). — "Prodigal son," overture, A. 11, '95 (i). Bach, Carl Phillip Emmanuel. Symphony, E-flat-major, No. 2, A. 10, '08 (2). — Symphony, D-major, N. 25, '81 (3). Bach, Johann Sebastian. Andante and Gavotte for strings (arr. by Bachrich), Mr. 30, '85 (9). — Chaconne, D-minor (orchestrated by Raff), A. 26, '89 (3). — Concerto, "Brandenburg," No. 3, Mr. 8, '07 (4). — Con- certo for piano and orch., F-minor, J. 2, '13 (i). — Concerto for trumpet, flute, oboe, violin, and orch., No. 2, F-major, D. 27, '01 (2). — Concerto for 252 APPENDIX two violins and string orch., D-minor, O. lo, '90 (i). — Concerto for violin and orch., No. i, A-minor, D. 5, '02 (4). — Concerto for violin and orch., No. 2, E-major, D. 3, '04 (3). — Passacaglia (orchestrated by Esser), J. 28, '87 (6). — Pastoral from Christmas Oratorio (arr. by R. Franz), N. 21, '84 (8). — Prelude, Adagio and Gavotte for strings (arr. by Bach- rich), 0. 17, '84 (26). — Prelude and Fugue (arr. by Abert), N. 6, '85 (3). — Suite, B-minor, No. 2, F. 12, '86 (4). — Suite, D-major, No. 3 (Air and Gavotte only), Mr. 16, '83 (i). — Suite, D-major, No. 3, D. 3 1, '87 (14). — Suite for flute and strings, B-minor, No. 2, J. 19, '94 (12). — Sinfonia (Shepherd's music), from Christmas Oratorio, D. 21, '94 (5). — Three sonato movements for orch. (Arr. by Gericke), J. 30, '85 (7). — Toccata in F. (orchestrated by Esser), J. 20, '82 (4). Balakireff, M. a. Overture on theme of a Spanish march, N. 24, 'n (i). — Symphony, C-major, Mr. 13, '08 (i). Bantock, Granville. "Dante and Beatrice," poem for orch., O. 27, '11 (i). — "The Pierrot of the minute," comedy overture, O. 22, '09 (5). Bargiel, Woldemar. Adagio for violoncello and orch., Op. 38, D. 9, '81 (6). — "Medea," overture, O. 31, '84 (3). — "Prometheus," overture, O. 19, '83 (2). Baitmgartner, H. Adagio from a Symphony, My, 21. '86 (i). Beach, Mrs. H. H. A. Concerto for piano and orch., Op. 45, A. 6, '00 (i). — Symphony, E-minor ("Gaelic"), O. 30, '96 (4). Beethoven, Ludwig van. Andante cantabile from Trio, Op. 97, N. 7, '84 (3). — Concerto for piano and orch., No. 3, A. 21, '88 (7). — Concerto for piano and orch., No. 4, D. 16, '81 (29). — Concerto for piano and orch.. No. 5, J. 27, '82 (48). — Concerto for violin and orch., D-major, Op. 61, O. 30, '85 (47). — Concerto for violin, violoncello, and piano, Op. 56, J. 20, '82 (2). — "Coriolanus," overture, F. 10, '82 (35). — "Dedication of the House," overture, O. 21, '81 (14). — "Egmont," overture, D. 16, '8l (72). — "Egmont," Clarchen's death, F. 15, '95 (2). — "Fidelio," over- ture, F. 22, '83 (20). — "King Stephen," overture, D. 8, '83 (7).— "Leonore," overture, No. I, F. 17, '82 (9). — "Leonore," overture. No. 2, F. 24, '82 (16). — "Leonore," overture No. 3, Mr. 3, '82 (in). — "Na- mensfeier," overture, Mr. 22, '83 (31). — "Prometheus," finale, N. 17, '82 (11). — "Prometheus," selections from, D. 28, '88 (i). — "Prome- theus," overture, J. 18, '84 (3). — Quartet for strings, Op. 59, No. 3, D. 26, '84 (2). — Romanza for violin and orch., Op. 50, J. 14, '98 (3). — "Ruins of Athens," overture, F. 8, '84 (2). — "Ruins of Athens," Turkish march, D. 28, '83 (3). — Septet, Op. 20, J. 16, '85 (i). — Symphony, No. i, O. 28, '8i (21). — Symphony, No. 2, N. il, '81 (40). — Symphony, No. 3, N. 18, '81 (89). — Symphony, No. 4, D. 2, '81 (50). — Symphony, No. 5, D. 16, '81 (114). — Symphony, No. 6, J. 6, '82 (44). — Symphony, No. 7, F. 3, '82 (84). — Symphony, No. 8, F. 17, '82 (59). — Symphony No. 9, Mr. 10, '82 (14). — [.?] Symphony ("Jena"), C-major, D. 29, '11 (i). APPENDIX Beitdix, Victor. Symphony, No. 4, A. 26, '07 (i). Bennett, William Sterndale. Concerto for piano and orch, No. 4, J. 25, '14 (i). — "The Naiads," overture, F. i, '83 (3). Benoit, Peter. Symphonic poem for flute and orch., N. 16, '94 (2). Berger, Wilhelm. Symphony, B-flat-major, Op. 71, N. 3, '99 (2). Berlioz, Hector. "Benvenuto Cellini," overture, A. 6, '88 (54). — "The corsair," overture, J. 10, '95 (i). — "Damnation of Faust," Menuet, Dance of sylphs, Hungarian march, D. 22, '82 (28). — "Fehnic Judges," overture, D. 5, '02 (3). — "Harold in Italy," symphony, F. 15, '84 (27). — "King Lear," overture, J. 11, '84 (ll). — "Rob Roy," overture, J. 21, '10 (s). — "Roman Carnival," overture, J. 5, '83 (65). — "Romeo and Juliet," symphony, F. 17, '88 (ii). — "Symphonic Fantastique," D. 18, '8S (18). Bernard, £mile. Concerto for violin and orch., G-major, J. 8, '86 (l). — Romance for flute and orch., J. 27, '92 (i). Bird, Arthur. A carnival scene, J. 6, '92 (Young People's) (i). — Two episodes for orch., N. i, '89 (i). BiscHOFF, Hermann. Symphony, Op. 16, J. 3, '08 (7). Bizet, Georges. "L'Arlesienne," suite. No. i, N. 16, '87 (Young People's) (36). — "L'Arlesienne," suite. No. 2, My. 7, '86 (Popular) (ll). — "Carmen," entr'acte and ballet music (Providence), N. 25, '96 (4). — "Children's games," little suite, D. 24, '96 (9). — "Patrie," overture, J. 3, '96 (6). — "Roma," suite. No. 3, F. 8, '84 (2). BoccHERiNi, LuiGi. Minuet in A., N. 25, '81 (3). BoEHE, Ernst. "Taormina," tone poem, Op. 9, N. 29, '07 (3). — Ulysses' departure and shipwreck, from "The Voyage of Ulysses," Op. 6, Mr. 2, '06 (I). Boellmann, Leon. Symphonic variations for violoncello and orch. (Wash- ington), F. 21, '11 (s). Boieldieu, FRAN901S Adrien. "Caliph of Bagdad," overture, N. 30, '83 (i). — "La dame blanche," overture (Popular), My. 28, '86 (l). Borodin, Alexander. Eine Steppenskizze aus Mittel-Asien, F. 26, '92 (3)- — Symphony, No. i, J. 3, '90 (3). — Symphony, No. 2, D. 13, 'l2 (6). Bossi, Enrico. Goldonian intermezzi. Op. 127, O. 6, '11 (5), APPENDIX BouRGAULT-DucouDRAY, Louis ALBERT. "The burial of Ophelia," 0'i6, '96 (a). Brahms, Johannes. Academic Festival, overture, N. 17, '82 (54). — Con- certo for piano and orch.. No. I, N. 30, '00 (2). — Concerto for piano and orch., No. 2, Mr. 14, '84 (17). — Concerto for violin and orch., D-major, Op. 77, D. 6, '89 (33). — Concerto for violin and violoncello, A-minor, Op. 102, N. 17, '93 (10). — Hungarian dance, No. j, J. 12, '83 (i). — Hungarian dances, Nos. I, 2, 6, N. 28, '84 (ii). — Hungarian dances, Nos. I, 2, 3 (Worcester), D. 17, '84 (4). — Hungarian dances, Nos. 11, 13, I, O. 6, '82 (i). — Hungarian dances, Nos. 11, 12, 13, 14, 15, J. 23, '03 (2). — Hungarian dances, Nos. 15, 17, 21, Mr. 20, '96 (3). — Serenade, A-raaJor, Op. 16, N. j, '86 (2). — Serenade, D-major, Op. 11, O. 27, '82 (3). — Symphony, No. i, D. 9, '81 (59). — Symphony, No. 2, F. 24, '82 (78). — Symphony, No. 3, N. 7, '84 (43). — Symphony, No. 4, J. 22, '86 (39). — Tragic overture, O. 28, '81 (28). — Variations on a theme by J. Haydn, D. 5, '84 (28). — Waltzes, Op. 39, A. 26, '89 (13). Brockway, Howard. Sylvan suite, A. 5, '01 (i). — Symphony, D-major, Op. 12, A. 5, '07 (i). Bruch, Max. Concerto, violin and orch., No. i, O. 20, '82 (29). — Concerto, violin and orch.. No. 2, Mr. i, '89 (8). — Concerto, violin and orch.. No. 3, Mr. 4, '92 (9). — Fantasia on Scottish airs. Op. 46, N. 23, '88 (19). — Kol Nidrei, violoncello and orch., N. 15, '89 (7). — "Lorelei," prelude, D. 15, '82 (6). — Romanza, violin and orch., Op. 42, F. 16, '94 (i). — Serenade, A-minor, violin and orch., F. 10, '05 (3). — Symphony, No. 3, Mr. 2, '83 (i). Bruckner, Anton. Symphony, No. 3, Mr. 8, '01 (i). — Symphony, No. 4, F. 10, '99 (i). — Symphony No. 5, D. 27, '01 (i). — Symphony No. 7, J. 4, '87 (7). — Symphony No. 8, Mr. 12, '09 (3). — Symphony No. 9, Mr. 31, '04 (4). Brull, Ignaz. "Macbeth," overture, F. i, '01 (i). Bruneau, Alfred. "Messidor," entr'acte symphonique, O. 16, '03 (5). BiJLOw, Hans von. Funerale, Op. 23, No. 4, A. 6, '94 (i). Burmeister, Richard. Concerto, piano and orch., D-minor, J. 2, '90 (i)." BusoNi, Ferruccio. Comedy overture. Op. 38, N. 24, '05 (i). — "Ge- harnischte," suite, Mr. 30, '06 (i). — Symphonic suite, Op. 25 (Gigue- Gavotte- Allegro), F. 19, '92 (i). — Symphonic tone poem, A. 14, '93 (i). — " Turandot," suite, F. 17, 'll (i). Caetani, Roffredo. Symphonic prelude, A-minor, J. 27, '05 (i). ^55 APPENDIX Chabrier, Emmanuel. " Bourree fantastique," for orch. (arr. by F. Motll.), Mr. 3, '99 (6). — "Espaiia," rhapsody for orch., O. 15, '97 (30). — "Gwendoline," overture, O. 23, '96 (11). — "Gwendoline," prelude to Act II (Philadelphia), F. 7, '94 (10). Chadwick, George W. "Adonais," elegiac overture, F. 2, '00 (i). — "Aph- rodite," symphonic fantasie, A. 4, '13 (i). — "Cleopatra," symphonic poem, D. 14, '06 (4). — "Euterpe," concert overture, A. 22, '04 (i). — "Melpomene," dramatic overture, D. 23, '87 (8). — Pastoral prelude, J. 29, '92 (i). — Scherzo in F. for orchestra, Mr. 7, '84 (l). — Sinfonietta D-major, F. 11, '10 (i). — Suite symphonique, E-flat-major, A. 13, 'll (l). — Symphonic sketches, F. 7, '08 (3). — Symphony, No. 2, B-flat, D 10, '86 (2). — Symphony, No. 3, F-major, O. 19, '94 (4). — "Thalia," overture, J. 12, '83 (i). — Theme, variations and fugue for organ and orch., A. 8, '09 (i). Charpentier, Gustave. "Impressions of Italy," suite, Mr. 29, '01 (8). Chausson, Ernest. Symphony, B-flat, Op. 20, D. 4, '05 (Philadelphia), (4). — "Viviane," symphonic poem, J. 31, '02 (7). Cherubini, Luigi. "The Abencerrages," overture, Mr. 2, '88 (3). — "AH Baba," overture, D. 30, '81 (i). — " Anacreon," overture, O. 24, '84 (27). — "Faniska," overture, N. 18, '81 (i). — "L'hotelliere portugaise," over- ture, N. 3, '82 (i). — "Lodoiska," overture, O. 27, '11 (3). — "Medea," overture, O. 26, '83 (3). — "Water carrier," overture, F. 22, '84 (10). Chopin, Frederic. Andante and polonaise, piano and orch., N. 3, '82 (6). — Concerto, piano and orch., No. i, E-minor, D. 22, '82 (27). — Concerto, piano and orch.. No. 2, F-minor, Mr. 3, '83 (27). Clapp, Philip Greeley. "Norge," tone poem (Cambridge), A. 29, '09 (l). — Symphony, E-minor, A. 10, '14 (i). Coerne, Louis Adolphe. "Hiawatha," symphonic poem, A. 4, '94 (i). Converse, Frederick Shepherd. "Endymion's Narrative," romance for orch., A. 9, '03 (2). — "Festival of Pan," romance for orch., D. 21, '00 (2). — "Jeanne d' Arc," dramatic scenes for orchestra, Mr. 6, '08 (2). — "Mystic Trumpeter," orchestral fantasy, J. 25, '07 (2). — "Night" and "Day," two poems for piano and orch., J. 20, '05 (i). — "Ormazd," symphonic poem (Cambridge), F. 8, '12 (2). — Symphony, D-minor, J. 13, '98 (i). Cornelius, Peter. "Barber of Bagdad," overture, 0. 26. '88 (17). CowEN, Frederic H. Symphony, No. 3 ("Scandinavian"), J. 26, '83 (6). — Symphony, No. 4 ("Welsh"), D. 23, '87 (i). — Symphony, No. 6, ("Idyllic"), N. 23, '00 (i). 256 APPENDIX CuRRT, Arthur Mansfield. "Atala," symphonic poem, A. 21, '11 (i). Davidoff, Carl. Concerto, violoncello and orch.. No. 3, N. 25, '92 (4). Davison, Archibald T. "Hero and Leander," overture (Cambridge), A. 23, '08 (I). Debussy, Achille Claude. "The afternoon of a faun," Prelude for orch., D. 30, '04 (24). — "Iberia," "Images," No. 2, for orch., A. 21, '11 (7). — "Rondes des Printemps," "Images," No. 3, for orch., N. 25, '10 (3). — "The Sea," three orchestral sketches, Mr. i, '07 (s). — "Printemps," Suite for orch., J. 23, '14 (i). — "Three Nocturnes," Nos. I-II (Phila- delphia), D. 4, '05 (3). — Nos. I-II-III, D. II, '08 (2). De Koven, Reginald. Dance and march of the gnomes, J. 6, '92 (Young People's) (i). Delibes, Leo. "Sylvia," ballet music: Cortege de Bacchus, O. 26, '83 (2). — Intermezzo and valse lente, Pizzicati, F. 10, '82 (7). — Pizzicati (Wake- field), 0. 17, '83 (i). — Waltz, My. 14, '86 (Popular) (i). — Prelude, intermezzo and Waltz, Pizzicati, Cortege de Bacchus (Cambridge), A. 4, '95 (4). Delius, Frederick. "Brigg fair," English rhapsody for orch., D. 2. *io (l). — "Paris," a night piece for orch., N. 26, '09 (l). Demersseman, Jules Auguste. Concert fantasie, fiute and orch., on themes from "Oberon," N. 13, '89 (Young People's) (4). . De Swerb, Jules. Concerto for violoncello and orch., D-minor, N. 7, '84 (2). Dittersdorf, Karl von. Symphony, C-major, J. 15, '97 (i). Dohnanyi, Ernst von. Concerto, piano and orch., E-minor, N. 2, '00 (5). — Concertstuck, violoncello and orch. (Indianapolis), J. 29, '08 (2). — Symphony, D-minor, N. 27, '03 (3). Draeseke, Felix. Jubilee overture, D. 8, '99 (2). Dubois, Theodore. "Frithjof," overture, F. 5, '04 (i). Ducasse, Roger. Suite fran^aise in D-major, A. 15, '10 (i). Dukas, Paul. "The Sorcerer's Apprentice," 0. 21, '04 (21). Duparc, Henri. "Lenore," symphonic poem, N. 4, '96 (i). Dvorak Antonin. "Carnival," overture, J. 4, '95 (23). — Concerto for 257 APPENDIX violin and orch., A-minor, N. i6, 'cx) (5). — Concerto for violoncello and orch., B-minor, D. 18, '96 (12). — "An hero's song," symphonic poem, N. 17, '99 (i). — " Husitska," overture, N. 25, '92 (12). — "Legends," Op. 59 (first set), N. 5, *86 (2). — "Nature," overture, D. 6, '95 (41). — "Othello," overture, F. 5, '97 (9). — "The peasant a rogue," overture, Mr. 7, '84 (i). — Rondo for violoncello and orch., Mr. 27, '97 (2). — Scherzo capriccioso, Op. 66, J. 27, '88 (22). — Slavonic dance, No. 3, D. 12, '82 (l). — No. 8, F. 22, '84 (i). — Slavonic dances, Nos. 4, i, N. 4, '81 (i). — Nos. 6, 15, Mr. 16, '83 (i). — Slavonic rhapsody, No. i, D. 22, '86 (3). — Slavonic rhapsody. No. 2, 0. 20, '93 (6). — Slavonic rhapsody, No. 3, O. 23, '96 (4). — Suite in D, Op. 39, O. 21, '87 (25). — Symphonic variations on an original theme. Op. 78, F. 21, '89 (9). — Symphony, No. i, D-major, O. 26, '83 (6). — Symphony No. 2, D-minor, O. 22, '86 (11). — Symphony, No. 4, G-major, F. 26, '92 (6). — Symphony No. 5, E-minor ("From the new world"), D. 29, '93 (48). — " Waldesruhe," adagio for violoncello (Cambridge), J. 24, '95 (6). — "The Wood Dove," symphonic poem, 0. 13, '05 (4). EcKER, VVenzel. Concert overture, A. 21, '88 (i). EcKERT, Carl. Concerto, violoncello and orch., A-minor, Op. 26, N. 15, '89 (3). Elgar, Edward. "Chanson de Matin" (Washington), N. 7, '05 (2). — "Chanson de Nuit" (Washington), N. 7, '05 (2). — "Cockaigne," over- ture, N. 29, '01 (7). — "In the South," concert overture, D. 29, '05 (9). — Symphony, No. I, A-flat-major, F. 26, '09 (5). — Symphony, No. 2, E-flat-major, D. i, '11 (i). — Variations on an original theme ("Enigma"), Op. 36, D. 24, '03 (6). Enesco, Georges. Rhapsodic roumaine, Op. II, No. I, F. 16, '12 (4). — Suite for orch.. Op. 9, Mr. 31, '11 (s). Ernst, Heinrich. Concerto for violin and orch.. Op. 23 (Providence), N. 16, '82 (3). — Fantasia for violin on airs from Rossini's "Othello," N. 30, '94 (i). — Hungarian song for violin and orch. (Cambridge), N. 5, '85 (5). Ertel, Jean Paul. "The Midnight Review," symphonic poem. Op. 16, A. 16, '08 (i). EssER, Heinrich. Suite No. 2, A-minor, 0. 14, '87 (i). Faure, Gabriel. "Pelleas and Melisande," suite. Op. 80, D. 16, '04 (5). FiBiCH, Zdenko. "A Night at Karlstein," overture. Op. 26, J. 30, '03 (3). Floerscheim, Otto. "Consolation," symphonic poem, Op. 21, D. 10, '86 (i). — "Elevation," symphonic poem, J. 27, '88 (i). — Prelude and fugue, F. S, '92 (i). — Scherzo, Mr. 14, '90 (i). 258 APPENDIX FooTE, Arthur. Four character pieces after the Rubaiyat of Omar Khayyam, Op. 48, A. 19, '12 (i). — "Francesca da Rimini," symphonic prologue, Op. 24, J. 23, '91 (3). — "In the Mountains," overture. Op. 14, F. 4, '87 (3). — Serenade for string orchestra. Op. 25, Intermezzo and Gavotte, A. 6, '93 (i). — Praeludium, Intermezzo and Gavotte (Salem), A. II, '93 (i). — Suite for strings, No. 2, Op. 21, My. 14, '86 (2) (Popular). — Suite in D-minor, Op. 36, Mr. 6, '96 (2). — Suite in E-major, Op. 63, A. 16, '09 (2). Forsyth, Cecil. "Chant celtique," for viola and orch., A. 26, '12 (i). Franck, Cesar. "The accursed huntsman," symphonic poem, Mr. i, '01 (11). — "The Aeolidae," symphonic poem, F. 16, '00 (9). — "The Re- demption," symphonic piece from, D. 27, '07 (i). — "Psyche and Eros," D. I, '05 (5). — Symphonic variations for piano and orch. (Philadelphia), J. 16, '01 (3). — Symphony in D-minor, A. 14, '99 (25). Fried, Oskar. Prelude and double fugue for string orch., Op. 10, Mr. 28, '07 (I). FucHS, Robert. Serenade, No. i. Op. 9, Mr. 6, '85 (2). — Serenade, No. 2, Op. 14, O. 24, '84 (2). — Serenade, No. 3, N. 4, '87 (3). — Symphony, C-major, 0. 30, '85 (2). Cade, Niels W. "In the Highlands," overture, F. 3, '82 (2). — "Michel Angelo," overture, O. 2, '88 (i). — "Novelletten" for strings. Op. 53, Mr. 23, '88 (i). — "Ossian," overture, O. 20, '82 (8). — Symphony, B-flat, No. 4, Mr. 22, '83 (3). — Symphony, C-minor, J. 14, '87 (2). Gericke, Wilhelm. Concert overture (W. Ecker), 0. 30, '85 (i). — Sere- nade for strings, three movements, Mr. 12, '86 (2). Gernsheim, Friedrich. Concerto for violin and orch.. Op. 42, 0. 22, '97 (i). — Symphony in E-flat, No. 2, D. 8, '82 (i). — "To a Drama," tone poem. Op. 82, J. 27, '11 (i). Gilbert, Henry F. Comedy overture on negro themes, A. 13, '11 (3). GiLSON, Paul. "La Mer," symphonic sketches, Mr. 24, '93 (2). Glazounoff, Alexander. "Carnival," overture, A. 8, '04 (i). — Concerto for violin and orch.. Op. 82, O. 27, '11 (i). — "The Kremlin," symphonic picture, Op. 20, J. 26, '06 (i). — Lyric poem, Op. i, O. 15, '97 (i). — Overture solennelle. Op. 73, F. 14, '02 (9). — "Raymonda," suite from, Op. 573, J. 24, '02 (i). — "Spring," musical picture. Op. 34, A. 8, '09 (i). — Symphony, No. 4, E-flat, O. 23, '03 (8). — Symphony, No. 5, B-flat- major, N. 23, '06 (25). — Symphony, No. 6, C-minor, O. 20, '99 (5). Glinka, Michael I. "Konnarinskaja," N. 16, '83 (5). — "Russian and Ludmilla," overture, Mr. 2, '94 (i). 259 APPENDIX Gluck, Christoph Willibald. Ballet suite (arr. by Gevaert), D. 2, '81 (81). — "Don Juan," selections from ballet (arr. by Kretschmar), D. 24, '96 (i). — Gavotte in A. (arr. by Brahms), J. 25, '84 (i). — "Iphegenia in Aulis," overture, J. 4, '84 (12). — "Orpheus," Reigen Seliger Geister und Furien Danse, from, J. 11, '89 (2). GoDARD, Benjamin. Concerto romantique, N. 16, '83 (3). — " Jocelyn," suite No. I, F. 12, '96 (5). — "Symphonie orientale," F. 13, '91 (6). — "Le Tasse," danse des bohemiens, Mr. i, '84 (i). — " Valse," for flute and orch. (Providence), J. 27, '92 (i). GoETZ, Hermann. "Spring," overture, Mr. 29, '95 (i). — Symphony, F- major, Mr. 18, '87 (17). Goldmark, Carl. Concerto for violin and orch., A-minor, D. 5, '90 (11). — "Cricket on the Hearth," Prelude to Part HI, N. 20, '96 (7). — "In Italy," overture, F. 3, '05 (7). — " In the Spring," overture, A. 18, '90 (25). — "Merlin," chorus and dance of spirits, J. 9, '03 (3). — "Penthesilea," overture, F. 19, '86 (7). — "Prometheus Bound," overture, O. 31, '90 (11), — "Sakuntala," overture, O. 27, '82 (64). — "Sappho," overture (Cambridge), N. 18, '94 (11). — Scherzo in A-major, N. 2, '00 (2). — Symphony ("Rustic Wedding"), No. I, J. 23, '85 (27). — Symphony, No. 2, A. 6, '88 (s). Goldmark, Rubin. "Hiawatha," overture, J. 12, '00 (10). — "Samson," tone poem, Mr. 13, '14 (2). GoLTERMANN, Georg. Cantilena for violoncello and orch., F. 25, '98 (i). — Concerto for violoncello and orch.. Op. 14, O. 18, '89 (i). Gordigiani, Luigi. Notturnino (Cambridge), 0. 30, '02 (2). Gounod, Charles Francois. "La Colombe," entr' acte (Newport), O. 11, '83 (ix). — Funeral march of a Marionette, O. 27, '02 (7). — Hymn to St. Cecilia for string orch. (Fall River), O. 18, '88 (4). — "Philemon and Baucis," dance of Bacchantes, F. 29, '84 (2). — "Queen of Sheba," ballet music (Cambridge), D. 6, '83 (6). — Vision of Jeanne d' Arc, for violin and orch., J. 20, '92 (i). Graedner, Hermann. Capriccio, Op. 4, Mr. 8, '89 (l). — Concerto for violoncello and orch., Op. 45, Mr 12, '09 (3). — "Lustspiel," overture, F, 17, '88 (i). Grammann, Karl. Prelude, "Melusine," Op. 24, J. 6, '82 (3). Gretry, Andre Ernest Modeste. "Cephalus and Procris," three dances from (arr. by Mottl), N. 13, '08 (7). 260 APPENDIX Grieg, Edward Hagerup. Concerto for piano and orch., A-minor, O. 28, '81 (22). — "From Holberg's Time," suite, A. 12, '89 (2). — "In Au- tumn," overture, A. 19, '07 (4). — Old Norwegian romance with varia- tions, N. 17, '11 (i). — "Peer Gynt," suite, No. i, Nos. i, 2, 3, 4, J. 24, '90 (44). — "Peer Gynt," suites, Nos. i and 2; i, 2, 3, 4, of No. i, and I, 3, 4 of No. 2, 0. 15, '09 (i). — Symphonic dances. Op. 64, J. 26, '00 (2). — Two melodies for string orch., Op. 34, F. 2, '83 (3). Grimm, J. 0. Symphony in D-minor, F. 22, '84 (i). GuiLMANT, Felix Alexandre. Symphony No. i, D-minor, A. 9, '03 (i). Hadley, Henry Kimball. "The Culprit Fay," rhapsody, N. 18, '10 (i). — "Salome," tone poem, A. 12, '07 (i). — Symphony, No. 2, "The Four Seasons," A. 14, '05 (i). — Symphony, No. 3, B-minor, A. 10, '08 (i). Halm, August. Symphony, D-minor, A. 22, '10 (i). Hamerik, Asger. Concert romance for violoncello and orch., A. 8, '97 (i). Handel, Georg Friedrich. Concerto for oboe and strings, F. 17, '88 (4). — Concerto for organ and orch., No. 4, D-minor, O. 19, '00 (i). — Concerto for strings and wind, F-major, D. 24, '91 (17). — Concerto grosso, No. 5 in D, J. 30, '91 (i). — Concerto grosso. No. 6 in G-minor, F. 21, '95 (i). — Concerto grosso. No. 7, F. 29, '84 (i). — Concerto grosso, No. 10 in D- minor, F. 23, '94 (3). — Concerto grosso, No. 12 in B-minor, F. 27, '85 (2). — "Largo," N. 14, '84 (55). — Overture No. i, D-major, D. 24, '96 (7). — "Water Music," D. 11, '85 (4). Harcourt, Eugene. "Tasso," overture, Mr. 23, '06 (i). " Hartmann, Emil. "A Northern Campaign," overture. Op. 25,'F. 16, '94 (i). Hausegger, Sieguund von. "Barbarossa," symphonic poem, A. 18, '02 (i). Haydn, Josef. Concerto for violoncello and orch., in D, N. 21, '90 (7). — Symphony No. i (B and H.), N. 13, '91 (4). — Symphony No. 2 (B. and H.), D. 5, '84 (23). — Symphony No. 3, E-flat, J. 29, '86 (i). — Symphony in D-major ("The Clock") (B. and H., No. 4), A. 5, '95 (i). — Symphony No. 5, D-major, N. 16, '00 (2). — Symphony No. 6 (B. and H.) (" Surprise "), D. 9, '87 (11). — Symphony No. 7 (B. and H.), O. 20, '82 (7). — Symphony No. 8 (B. and H.), D. 15, '05 (l). — Symphony, C-minor, No. 9, A. 12, '89 (7). — Symphony, No. 10 (B. and H.), D. 19, '02 (i). — Symphony in G, No. II ("Military"), N. 2,' 83 (4). — Symphony in B-flat, No. 12 (B. and H.), O. 21, '81 (6). — Symphony in G-major, No. 13 (B. and H.),N. 8, '89 (26). — Symphony in D-major ("La Chasse"), Mr. 3, '99 (5). — Sym- phony in C-major ("The Bear"), D. 6, '89 (6). — Symphony in G ("O.xford"), N. 19, '86 (11). — Symphony in C-major, (Rieter-Bieder- mann No. 3), A. 21, '99 (2). — Variations on the Austrian National Hymn, D. 12, '84 (6). 26] APPENDIX Henschel, Georg. Ballad for violin and orch. (Salem), F. 21, '84 (3). — Concerto for piano and orch., E-flat, D. I, '82 (5). — "Hamlet," suite. Op. 50, A. 14, '92 (i). — Serenade in canon form for strings. Op. 23, J. 18, '84 (I). . Henselt, Adolf Concerto for piano and orch., F-minor, Op. 16, F. 3, '82 (16). Herbeck, Johann Franz von. "Tanz Momente," F. 20, '85 (2). Herold, Louis Joseph Ferdinand. " Zampa," overture, J. 6, '82 (4). Heuberger, Richard. "Cain," overture, N. 12, '86 (i). — Variations on a theme by Schubert, D. 19, '90 (i). Hiller, Ferdinand von. Capriccio, "The Sentinal," D. 30, '81 (6). — Concerto for piano and orch., Op. 69, N. 9, '83 (i). HiNTON, Arthur. Concerto for piano and orch., D-minor, Op. 24, Mr. 6, '08 (I). Holbrooke, Josef. "Queen Mab," poem for orch., Op. 45, J. 3, '13 (2). Hopekirk, Helen. Concert piece in D-minor for piano and orch., A. IJ, '04 (i). — Concerto for piano and orch. in D-major, D. 27, '00 (i). HuBER, Hans. Symphony No. 2 in E-minor, O. 24, '02 (4). Hummel, Johann Nepomuk. Concerto for piano and orch. in B-minor, Op. 29, D. 21, '83 (i). Humperdinck, Engelbert. "The Forced Marriage," overture, D. 20, '07 (5). — "Hansel and Gretel," Prelude, D. 22, '97 (9). — "Hansel and Gretel," Dream music and pantomine, N. i, '95 (i). — Humoresque, N. II, '92 (2). — "The King's Children," selections from, D. 24, '96 (4). — A Moorish rhapsody, O. 27, '99 (5). Huss, Henry Holden. Concerto for piano and orch., B-major, Op. 10, D. 28, '94 (s). — Rhapsody for piano and orch., O. 29, '86 (i). Indy, Vincent d'. "The Enchanted Forest," symphonic legend, Op. 8, O. 30, '03 (5). — "Medea," suite, Op. 47, F. 9, '00 (i). — "Istar," sym- phonic variations, F. 17, '99 (8). — "Saugefleurie,"Legende (Baltimore), D. 6, '05 (3). — "The Stranger," entr'acte from, Mr. 4, '04 (i). — " Sum- mer Day on the Mountain," Op. 61, A. 24, '08 (2). — Symphony, B-fliat- major. No. 2, J. 6, '05 (i). — Symphony on a Mountain Air, Op. 25, A. 4, '02 (6). — "VVallenstein," trilogy, O. 18, '07 (8). Jaques-Dalcroze, Emile. Concerto for violin and orch., C-minor, Op. 50, Mr. 9, '06 (s). 262 APPENDIX Joachim, Josef. Concerto for violin and orch., Op. ii, N. 25, '81 (5). Johns, Clayton. Berceuse and scherzo for strings, Mr. 22, '94 (i). JuoN, Paul. "Vaegtevise," fantasy on Danish folk-songs, Op. 31, D. 26, '13 U). Kahn, Robert. Overture, "Elegy," Mr. 8, '95 (2). Kaun, Hugo. "Minnehaha," symphonic poem, No. i, J. 29, '04 (l). Klengel, Julius. Capriccio for violoncello and orch.. Op. 8 (Buffalo), My- 3> '92 (i?)- — Scherzo for violoncello and orch. (Cambridge), J. 21, '92 (I). Klughardt, August. Concerto for violoncello and orch.. Op, 59, D. 20, '12 (2). — Symphony No. 3 in D-major, Mr. 6, '91 (i). Knorr, Iwan. Variations on an Ukraine folk-song. Op. 7, Mr. 29, '95 (i), KoESSLER, Hans. Symphonic variations, Mr. 14, '02 (3). Korbay, Francis. "Nuptiale" for orch., Ap. 6, '88 (i). Krug, Arnold. "Othello," symphonic prologue, J. 14, '87 (6). Lachner, Franz. Suite in D-minor, Op. 113, march from, 0. 28, '81 (2). — Suite entire, N. 30, '88 (6). Lalo, Edouard. Concerto for violin and orch.. Op. 20, D. 23, '10 (i). — Concerto for violoncello and orch., D-minor (Philadelphia), A. 27, '91 (10). — Fantasie norwegienne for violin and orch., D. 19, '84 (3). — "Na- mouna," suite, J. 3, '96 (4). — Rhapsody for orch. ("Norwegian"), D. 21, '88 (5). — "Le roi d'ys," overture, N. 20, '91 (9). — "Symphonic espagnole," for violin and orch., Op. 21, N. 11, '87 (29). Lang, Margaret Ruthven. Dramatic overture, A. 7, '93 (i). Lancer, Ferdinand. Concerto for flute and orch., N. 16, '87 (i). — "Dom- roschen," Introduction, A. 11, '95 (i). Lavignac, Albert. Serenade for flute and orch. (Providence), J. 27, '92 (i). Lendvai, Erv?in. Symphony in D-major, Op. 10, F. 14, '13 (2). LiADOFF, Anatol. "Baba-Yaga," Op. 56, J. 6, '11 (i). Lindner, August. Concerto for violoncello and orch., Op. 34, D. a8, '88 (2). 263 APPENDIX Lindner, E. "Serenade," for violoncello and orch. (Cleveland), My. 8, '93 (2)- Liszt, Franz. "Battle of the Huns," symphonic poem, Mr. 29, 'or (4). — "Christus," march of the Three Holy Kings, D. 19, '02 (i). — "Christus," Shepherd's song at the cradle and march of Three Holy Kings, D. 28, '06 (i). — Concerto for piano and orch., E-flat, No. i, O. 16, '85 (62). — Concerto for piano and orch., A-major, No. 2, F. 22, '84 (30). — "Concerto pathetique," for piano and orch. (arr. by Burmeister), O. 25, '01 (2). — "Dance of Death," for piano and orch. (Cambridge), J. 9, '02 (6). — "Faust," Episode from Lenau's, N. 18, '87 (23). — Faust symphony (with chorus), Mr. 10, '99 (2). — Faust symphony (without chorus), Mr. 22, '94 (2). — Faust symphony, "Gretchen," movement, N. 20, '85 (2). — "Festklange," symphonic poem, D. 27, '89 (8). — "Hungaria," symphonic poem, J. 23, '14 (4). — Hungarian fantasy for piano and orch., Mr. 3, '82 (4). — Hungarian rhapsody. No. i, D. 24, '85 (24). — Hungarian rhapsody. No. 2, J. 25, '84 (23). — Hungarian rhapsody. No. 2 (arr. by Liszt and Doppler), N. 2, '83 (13). — Hungarian rhapsody, No. 3, O. 28, '98 (i). — Hungarian rhapsody, No. 6 ("The Carnival in Pesth"), F. 19, '97 (?)• — "Ideale," symphonic poem, J. 25, '89 (5). — Polonaise, No. 2, E-flat, O. 21, '88 (7). — "Les Preludes," symphonic poem, D. 9, '81 (82). — "Mazeppa," symphonic poem (New York), Mr. 29, '94 (9). — "Or- pheus," symphonic poem, J. 16, '85 (4). — Sermon of St. Francis of Assisi to the birds (arr. by Mottl.), D. 2, '04 (6). — Spanish rhapsody for piano and orch. (arr. by Busoni), J. 26, '94 (8). — Symphony after Dante's "Divina Commedia," F. 26, '86 (4). — "Tarantelle de bravura" (Provi- dence), J. I, '90 (i). — "Tasso," symphonic poem, F. 9, '83 (35). LiTOLFF, Henry Charles. Concerto for piano and orch. ("Symphonie national hollandaise"). No. 3, Op. 45, D. 13, '89 (4). — "King Lear," ^ overture, J. 6, '92 (2) (Young People's). LocATELLi, PiETRO. Sonata for violoncello (Cambridge), J. 6, '98 (2). LoEFFLER, Charles Martin. "Death of Tintagiles," symphonic poem, J. 7, '98 (11). — "Devil's villanelle," Op. 9, N. 24, '05 (3). — Divertimento in A-minor for violin and orch., J. 4, '95 (6). — Fantastic concerto for violoncello and orch., F. 2, '94 (8). — "Pagan poem," Op. 14, N. 22, '07 (4). — Les veillees de I'Ukraine, suite for violin and orch., N. 20, '91 (7). Maas, Louis. Concerto for piano and orch., C-minor, Op. 12, J. 6, '82 (2). MacDowell, Edward Alexander. Concerto for piano and orch.. No. I, A-minor, N. 18, '92 (3). — Concerto for piano and orch.. No. 2, D-minor, A. 12, '89 (14). — "Lamia," symphonic poem. Op. 29, O. 23, '08 (4). — "Launcelot and Elaine," symphonic poem. Op. 25, J. 10, '90 (6). — Suite in A-minor, Op. 42, O. 23, '91 (9). — Suite No. 2 in E-minor ("In- dian"), Op. 48, J. 31, '95 (16). — Two poems for orch., "Hamlet" and "Ophelia," Op. 22, J. 27, '93 (i). 264 APPENDIX Mackenzie, Alexander. "La belle dame sans merci"; ballade for orch., F. l8, '87 (2). — "Pibroch," suite for violin and orch.. Op. 42, J. 30, '03 (3). Magnard, Alberic. " Chant funebre " (Philadelphia), D. 4, '05 (3). Mahler, Gustav. Symphony No. 5, C-sharp-minor, F. 2, '06 (9). Mandl, Richard. Overture to a Gascon chivalric drama (Cambridge), Mr. 2, *ii (2). Maquarre, Andre. "On the Sea Cliffs," Mr. 26, '09 (i). Marschner, Heinrich. "Hans Heiling," overture (Popular), My. 14, '86 (8), Mascagni, Pietro. Intermezzo sinfonico from "Cavalleria Rusticana " (Providence), N. 18, '91 (i). Massenet, Jules. "Le Cid," ballet music, J. 6, '92 (i) (Young People's). — "Les Erinnyes," incidental music, J. 14, '98 (7). — Entr'acte, finale only, Mr. 7, '84 (i). — "Esclarmonde," suite, Mr. 2, '92 (5). — Hun- garian scene, N. 27, '04 (i). — "Phedre," overture, F. 17, '82 (5). — "Scenes Alsaciennes," J. 19, '83 (i). — "Scenes pittoresques," F. 5, '86 (3). Mehul, £tienne. "Joseph," overture, N. 18, '81 (i). Mendelssohn, Bartholdy, Felix. "Athalie," overture, D. 9, '81 (13). — "Calm sea and prosperous voyage," J. i, '86 (25). — "Camacho's Wed- ding," overture, N. 11, '81 (4). — Capriccio for piano and orch., B-minor, N. 3, '82 (3). — Concerto for piano and orch.. No. i, G-minor (Milwau- kee), My. 5, '87 (7). — Concerto for violin and orch., E-minor, F. 17, '82 (51). — "The fair Melusine," overture, F. 27, '8$ (17). — " Fingal's Cave," overture ("The Hebrides"), J. 4, '83 (Worcester) (29).— "Mid- summer Night's Dream," incidental music to, A. 13, '94(1); — overture, F. 9, '83 (18); overture, scherzo, notturno, and wedding march, D. 5, '84(16); — wedding march, Mr. 10, '82 (3); — notturno, O. 26, '83 (2); — scherzo, D. 2, '87 (9); — scherzo, and notturno (Cambridge), J. 19, '93 (2); overture, scherzo, and wedding march, A. 26, '01 (i). — Overture in C, Op. loi, F. I, '84 (i). — "Ruy Bias," overture, O. 20, '82 (19). — " St. Paul," over- ture, Mr. 30, '83 (i). — "Son and Stranger," overture, J. 23, '85 (i). -^ Symphony in A-minor, No. 3 ("Scotch"), J. 19, '83 (37). — Symphony in A-major, No. 4 ("Italian"), O. 24, '84 (28). — Symphony in D-major, No. 5 ("Reformation"), J. 20, '82 (4). Meyerbeer, Giacomo. "Star of the North," overture, N. 27, '04 (i). — "Struensee," overture, F. 28, '90 (i). — "Struensee," polonaise, N. 24, '82 (2). MoLiQUE, Bernhard. Conccrto for violin and orch., in A-minor, No. 5, F. I, '89 (i). - A. 26, '94 (2). 265 APPENDIX MoNSiGNY, Pierre Alexandre. Chaconne et rigaudon (Aline), (arr. by Gevaert), O. 13, '82 (9). Moor, Emmanuel. Concerto, piano and orch., Op. 57, A. 16, '08 (i). Moscheles, Ignaz. "Maid of Orleans," overture, Mr. 3, '82 (7). MoszKOWSKi, MoRiTZ. Concerto, for violin and piano in C, Op. 30, J. 4, '89 (10). — "The Nations," suite, Op. 23, Mr. 20, '89, (Young People's). — Suite No. I, Op. 39 A. 13, '88 (15). Mozart, Wolfgang Amadeus. Adagio and fugue for strings (K. 546), N. 2$, '10 (i). — Andante with variations in D-minor from Divertimento No. 17 (K. 334), O. 18, '95 (i). — Concerto for flute and harp in C, J. 11, '84 (4). — Concerto for horn and orch., J. 30, '89 (2) (Young People's.) — Concerto for piano and orch. B-flat, No. 4 (Cambridge), D. 2, '86 (i). — Concerto for piano and orch. (K. 26), D-major (Cambridge), N. 17, '98 (i). — Concerto for piano and orch., D-minor, F. 19, '86 (3). — Concerto for piano and orch. (K. 503), Mr. 22, '83 (i). — Concerto for two pianofortes and orch., E-flat (K. 365), O. 19, '83 (2). — Concerto for violin and orch., A-major (K. 219), (Providence), D. 31, '07 (4). — Concerto for violin and orch., D-major (K. 218), A. 19, '12 (3). — Concerto, symphonic, for violin and viola, first movement, J. i, '92 (i). — "Don Giovanni," over- ture, D. 18, '85 (8). — Fantasia in C-minor for piano and orch., J. 27, '82 (i). — "Magic flute," overture, D. 2, '81 (26). — "Marriage of Figaro," overture, J. 28, '87 (13). — Masonic funeral music, J. 27, '82 (6). — Not- turno and serenade in D for four small orchestras, J. 27, '82 (2). — Quintet, G-minor for strings, Adagio only, D. 31, '87 (i). — "II seraglio," overture, D. 22, '82 (2). — Serenade ("Haffner"), ist, 2d, 3d, and 8th movements, N. 13, '85 (6). — Serenade ("Haflfner"), ist, 2d, 3d, 4th, 6th, and 8th movements, J. 2, '14 (i). — Serenade for wind instruments, No. Ii, E- flat-major, A. 5, '95 (i). — Symphony, C-major (B. and H. No. 6) (Provi- dence), N. 16, '82 (2). — Symphony C-major (K. 338), Mr. 31, '99 (2). — Symphony C-major (K. 425), Mr. 16, '00 (2). — Symphony, C-major, (K. 551) ("Jupiter"), F. 6, '85 (24). — Symphony, D-major (K. 385), J- 9, '85 (3)- — Symphony, D-major (K. 504), J. 27, '82 (6). — Symphony, D-major, Op. 22, Mr. 18, '87 (6). — Symphony, D-major ("Parisian"), Op. 88, O. 28, '87 (5). — Symphony, E-flat (K. 543), J. 25, '84 (23). — Symphony, G-minor (K. 183), O. 27, '99 (2). — Symphony, G-minor (K. 550), N. 4, '81 (30). — Three German dances (K. 605), J. 17, '08 (4). — "Titus," overture, D. 21, '83 (i). — Turkish march (arr. by Herbeck), O. 23, '8S (7). Mraczek, Joseph Gustav. Symphonic burlesque after Wilhelm Busch's "Max and Moritz," Mr. 14, '13 (4). Mueller-Berghaus, Carl. Romance for violoncello and orch., N. 30, '83 (I). 266 APPENDIX NicoDE, Jean Louis. "The Sea," symphonic poem, Mr. 2, '92 (i). — Symphonic variations, Op. 27, F. 7, '90 (i). Njcolai, Otto, "The Merry Wives of Windsor," overture, N. 4, '81 (18). — Overture on the choral, "A Safe Stronghold our God is still" (no chorus), J. I, '09 (i). NoREN, Heinrich Gottlieb. " Kaleidoskop," theme and variations for orch., D. II, '08 (2). NosKowsKi, SiEGMUND, "The Steppe," symphonic poem. Op. 66, Mr. 15, '07 (3). Paderewski, Ignace Jan. Concerto for piano and orch., A-minor, Op. 17, Mr. 13, '91 (14). — Symphony in B-Minor, Op. 24, F. 12, '09 (7). Paganini, Nicolo. Caprice for violin and orch., A-minor, Op. i, J. 14, '98 (2). — Concerto for violin and orch. in D-major, No. i (Newport), O. II, '83 (15). — Concerto (in one movement) for violin and orch., D- major, A. 22, '92 (12). — "Moto perpetuo," for string orch., A. 25, '90 (4). Paine, John K. "Azara," ballet music, Mr. 9, '00 (11). — "Birds of Aristophanes," prelude, N. 17, '05 (2). — Columbus march and hymn, F. 3, '93 (i). — "An Island Fantasy," symphonic poem, Op. 45, A. 19, '89 (3). — "CEdipus Tyrannus," prelude, Mr. 10, '82 (6). — Symphony, A-major, No. 2 (" In the Spring"), F. 29, '84 (2). — "The Tempest," symphonic poem, Mr. 9, '83 (3). Parker, Horatio W. "Cahal Mor of the wine-red hand," rhapsody for baritone and orch., Mr. 29, '95 (i). — Concerto in E-flat for organ and orch., D. 26, '02 (2). — "Northern ballad," Op. 46, D. 29, '99 (i). Pfitzner, Hans. "The little Christ Elf," overture, N. 15, '07 (3). Phelps, E. C. Concert overture (Brooklyn), Mr. 27, '97 (i). Popper, David. "Papillons," for violoncello and orch., J. i, '84 (7). — "Spinnlied," for violoncello and orch. (Providence), N. 18, '91 (3). Rachmaninoff, Sergei. Concerto for piano and orch., No. i, F-sharp- minor, D. 16, '04 (2). — Concerto for piano and orch.. No. 2, C-minor (New York), D. 3, '08 (8). — "The Island of the Dead," symphonic poem, D. 17, '09 (8). — Symphony in E-minor, No. 2, O. 14, '10 (16). Raff, Joseph Joachim. Concerto for piano and orch., in C-minor, Op. 185, F. 8, '84 (3);— allegro only (Worcester), J. 4, '83 (i).— "La fee d'amour," concert piece for violin and orch., Mr. 24, '93 (i). — "Ein' feste Burg," overture, N. 13, '03 (i). — Suite Op. loi, Adagietto, N. 2, '83 (i). — Symphony, No. I ("To the Fatherland "), J. 31, '90 (i). — Symphony, No. 3 ("In the woods"), O. 16, '85 (26). — No. 5 ("Lenore"), J. 12, '83 (6). —No. II ("The Winter"), J. 18, '84 (i). 267 APPENDIX Rameau, Jean-Philippe. Ballet suite, A. 6, 'oo (2). Ravel, Joseph Maurice. "Ma mere I'oye," D. 26, '13 (5). Reger, Max. Comedy overture, O. 6, '11 (2). — Concerto in the ancient style for orch., D. 13, '12 (6). — Serenade for orch., Op. 95, A. 12, '07 (i). — Symphonic prologue to a tragedy, O. 15, '09 (2). — Variations and fugue on a merry theme of J. A. Hiller (1770), Op. 100, F. 14, '08 (5). Reinecke, Carl. Concerto for violoncello and orch., D-minor, Op. 82 (2 movements), Mr. 6, '91 (i). — "Dame Kobold," overture, J. 12, '83 (i). — "Der Gouverneur von Tours," entr'acte, Mr. 22, '95 (i). — "King Manfred," entr'acte, N. 3, '82 (15). — "King Manfred," overture, O. 21, '92 (4). Reinhold, Hugo. Concert overture in A-major, D. 3, '86 (3). — Inter- mezzo,My. 14, '86 (i) (Popular). — Prelude, menuet, and fugue for strings, J. 22, '86 (7). Reznicek, Emil. "Donna Diana," overture, D. 6, '95 (2). — "Schlemihl," symphonic biography, A. 24, '14 (i). — Symphonic suite in E-minor, N. 22, '07 (3). Rheinberger, Joseph. Concerto for organ, three horns, and strings. Op. 137, D. 27, '07 (i). — "Wallenstein," symphony, D. 4, '85 (l). Riemenschneider, Georg. "Todtentanz," Mr. 3, '93 (i). RiETZ, Julius. Concert overture, Op. 7, N. 2, '83 (3). RiMSKi-KoRSAKOFF, NicoLAi. "The Betrothed of the Tzar," overture, N. 14, '02 (12). — Caprice on Spanish themes, F. 14, '08 (18). — Concerto for piano and orch., Op. 30 (Cambridge), J. 15, '14 (i). — "The Russian Easter," overture, Op. 36, 0. 22, '97 (i). — "Sadko," a musical picture, Op. 5, Mr. 24, '05 (i). — "Scheherazade," symphonic suite, A. 16, '97 (34). — Symphony, No. 2 ("Antar"), Mr. 11, '98 (2). RiTTER, Alexander. Olaf's wedding dance, Mr. i, '07 (i). Roentgen, Julius. Ballad on a Norwegian folk melody. Op. 36, N. 16, '00 (I). Ropartz, J. Guy. Fantasia in D-major, A. 28, '05 (i). Rossini, Gioachino Antonio. "Barber of Seville," overture, N. 13, '89 (i) (Young People's). — "William Tell," overture (Newport), O. 11, '83 (19). Rubinstein, Anton. "Anthony and Cleopatra," overture, A. 3, '91 (i). — 268 APPENDIX "Bal costume," Mr. 5, '90 (8) (Young People's). — Concerto for piano and orch., G-major, No. 3, Op. 45, J. 5, '83 (8). — Concerto for piano and orch., D-minor, No. 4, Op. 70, F. 9, '83 (35). — Concerto for piano and orch., E-flat-major, Op. 94, No. 5, D. 18, '08 (2). — Concerto for violin and orch.. Op. 46, Mr. 3, '88 (i). — Concerto, D-minor, for violoncello and orch., No. 2, Op. 96, O. 24, '02 (s). — "Demetrius of the Don," overture, J. 31, '96 (i). — "The Demon," ballet music, O. 16, '85 (7). — "Don Quixote," musical character picture. Op. 87, F. 16, '94 (i). — Fantasie for two pianos, F-minor, Op. 73, J. 22, '86 (i). — "Feramors," ballet music, D. 8, '82 (23). — Symphony, No. 2 ("Ocean"), O. 12, '83 (7). — Symphony, No. 4, in D-minor ("Dramatic"), D. 8, '93 (4). — Symphony in G-minor ("Russian"), O. 6, '82 (2). — Symphony in A-major, No. 6, N. 11, '87 (2). — "The Vine," ballet music, D. 19, '84 (7). Saint Saens, Charles Camille. "The Barbarians," overture, J. 8, '04 (5). — "Bolero " (Cambridge), 0. 30, '02 (2). — Concerto for piano and orch., G-minor, No. 2, D. 8, '82 (29). — Concerto for piano and orch., C-minor, No. 4, F. 24, '82 (13). — Concerto for piano and orch., F-major, No. 5, Mr. 4, '04 (2). — Caprice waltz for violin and orch. (arr. by Ysaye) (Philadelphia), D. 7, '04 (i). — Concerto for violin and orch., No. I, A-major, Mr. 6, '85 (5). — Concerto for violin and orch.. No. 3, B-minor, J. 3, '90 (23). — Concerto for violoncello and orch., A-minor, Op. 33, D. 9, '81 (22). — Concert piece for violin and orch., Op. 62, F. 16, '94 (i). — "Danse Macabre," symphonic poem, N. 3, '82 (41). — "The Deluge," prelude (Brooklyn), J. 11, '95 (l). — "Henry VIII," ballet music, D. 21, '83 (8). — Introduction and rondo capriccioso for violin and orch.. Op. 28, D. 14, '83 (5). — "La Jeunesses d' Hercule," symphonic poem, O. 19, '83 (7). — " Phaeton," symphonic poem, O. 14, '87 (7). — "Le rouet d' Om- phale," symphonic poem, N. 23, '88 (44). — Rhapsodic d'Auvergne for piano and orch., J. I, '86 (i). — Romance for violin in C, Op. 48, N. 11, '81 (i). — "Samson and Dalila," Dance of priestesses and bacchanale, Mr. 2, '83 (i). — Suite in D-major, Op. 49, O. 16, '96 (i). — Symphony No. I, E-flat-major, N. 25, '04 (i). — Symphony, No. 2, A-minor, N. II, '92 (i). — Symphony, No. 3, C-minor, F. 15, '01 (5). Sauer, Emil. Concerto for piano and orch., No. i, E-minor, O. 16, '08 (i). Scharwenka, Philipp. " Fruehlingswagen," symphonic poem, O. 28, '92 (I). Scharwenka, Xavier. Concerto for piano and orch.. No. i, B-flat-minor, F. 6, '91 (6). — Concerto for piano and orch.. No. 4, F-minor, F. 10, 'ii (I). ScHEiNPFLUG, Paul, Overture to a comedy of Shakespeare, J. 22, '09 (4). ScHELLiNG, Ernest. Fantastic suite for piano and orch., J. 24, '08 (5). Schillings, Max. "Hexenlied," recitation with orch., F. 28, '09 (i). — 269 APPENDIX "Ingewelde," prelude to Act II (Providence), O. 21, '96 (3). — "Meer- gruss and Seemorgen," fantasies for orch., 0. 31, '13 (i). — "Moloch," harvest festival from, J. 15, '09 (i). — "CEdipus Rex," symphonic pro- logue, F. 28, '02 (i). — "The Piper's Holiday," prelude, A. 6, '06 (i). ScHjELDERUP, Gerhard. "Opferfeuer," Summer Night on the Fiord, and Sunrise over the Himalayas, from, F. 14, '08 (i). ScHMiTT, Florent. "La Tragedie de Salome," N. 28, '13 (4). Schubert, Franz. "Alfonse and Estrella," overture, J. 26, '83 (5). — Fantasie in F-minor (arr. by Mottl), Op. 103, J. I, '86 (5). — Funeral march in E-flat-minor (arr. by Liszt), O. 30, '85 (11). — March in B-minor (arr. by Liszt), O. 12, '83 (4). — Overture in B-major, Mr. 29, '89 (i). — Overture in E-minor, N. 23, '88 (6). — Overture in Italian style. Op. 170, D. 28, '83 (3). — "Rosamunde," ballet music, O. 21, '81 (3). — "Rosa- munde," ballet music and entr'actes music, Mr. 5, '86 (12). — "Rosa- munde," overture, D. 12, '84 (6). — Symphony No. 4 ("Tragic"), Mr. 14, '84 (3). — Symphony, No. 5, B-flat, F. 9, '83 (3). — Symphony in C- major, No. 6, N. 28, '84 (2). — Symphony in B-minor (" Unfinished "), F. 10, '82 (82). — Symphony in C-major, No. 9, J. 13, '82 (53). Schumann, Georg. "The dawn of love," overture, Mr. 13, '03 (3). — " In carnival time," suite, J. 22, '04 (2). — Symphonic variations on the choral "Wernur denlieben Gott lasst waken," O. 25, '01 (2). — Variations and fugue on a merry theme, D. 14, '06 (3). Schumann, Robert. "Bride of Messina," overture, D. i, '82 (i). — Con- certo for piano and orch., A-minor, O. 6, '82 (54). — Concerto for violon- cello and orch., A-minor, F. 3, '88 (5). — Concertstuck for piano and orch., Op. 92, Mr. II, '87 (5). — "Genoveva," overture, Mr. 9, '83 (49).— "Hermann and Dorothea," Mr. 13, '85 (i). — "Julius Caesar," overture, Mr. 29, '01 (i). — "Manfred," overture, F. 24, '82 (24); — overture, scherzo and finale. Op. 52, N. 25, '81 (17). — Pictures from the Orient (arr. by Reinecke), N. 21, '84 (3). — Symphony in B-fiat, No. I, Mr. 3 '82 (75). — Symphony in C-major, No. 2, D. 30, '81 (56). — Symphony in E-fiat, No. 3 ("Rhenish"), N. 23, '83 (29). — Symphony in D-minor, No. 4, N. 10, '82 (66). ScHUTT, Eduard. Concerto for piano and orch., F-minor, No. 2, J. i, '97 (s). Scriabine, Alexander. "Le poeme de 1' extase," O. 21, '10 (i). Sgambati, Giovanni. Concerto for piano and orch., G-minor, Op. 15, 0. 31, '90 (i). — Symphony, No. i, D-major, N. 9, '94 (9). — " Te Deum Laud- amus," for orch. and organ, N. 27, '04 (2). Sibelius, Jean. Concerto for violin and orch., in D-minor, Op. 47, A. 19, 270 APPENDIX '07 (2). — "Finlandia," symphonic poem, N. 20, '08 (20). — "Karelia," overture, N. 17, '11 (i). — "King Christian," suite, eiegie, and musette from, A. I, '10 (i). — "A Saga," tone poem, Mr. 4, '10 (3). — "A song of Spring," N. 20, '08 (3). — "The Swan of Tuonela," legend (Cambridge), Mr. 2, '11 (2). — Symphony, No. i, E-minor, J. 4, '07 (19). — Symphony, No. 2, D-major, Mr. 11, '04 (4). — Symphony, No. 4, A-minor, O. 24, '13 (2). — Valse triste, A. I, '10 (2), Binding, Christian. Concerto for piano and orch. (New Bedford), A. 8, '13 (i). — Concerto for violin and orch., A-major, Op. 45, N. 17, '05 (2). — " Episodes chevaleresques," suite, Op. 35, F. 24, '05 (3). — " Rondo infinito," N. 19, '09 (i). — Symphony, D-minor, No. i, J. 6, '98 (5). Singer, Otto. Symphonic fantasie, Mr. 23, '88 (i). SiNiGAGLiA, Leone. "Le baruffe Chiozzotte," overture, Mr. 10, '11 (i). Smetana, Friedrich. "From Bohemia's groves and meadows," sym- phonic poem, D. 7, '00 (5). — "The Kiss," overture, A. 7, '05 (i). — "Libussa," overture, O. 20, '05(1). — "The Moldau," symphonic poem, N. 21, '90 (26). — "Richard III," symphonic poem, A. 24, '03 (i). — "Sarka," symphonic poem, J. 25, '95 (i). — "The sold bride," overture, D. 30, '87 (47). — " Vysehrad," symphonic poem, A. 24, '96 (10). — " Wal- lenstein's camp," symphonic poem, J. i, '97 (4). Spohr, Louis. Concerto for violin and orch., No. 7, Mr. 20, '91 (i). — Concerto for violin and orch., No. 8, N. 11, '81 (13). — Concerto for violin and orch.. No. 9, J. 27, '88 (9). — Concerto for violin and orch., No. II, F. 26, '86 (i). — "Faust," overture, J. 15, '86 (i). — "Jessonda," overture, N. 23, '83 (7). — Symphony, No. 3, C-minor, J. 29, '92 (i). — Symphony, No. 4, in F. ("Consecration of tones"), D. 2, '87 (2). Spontini, Gasparo. "Olympia," overture, J. 25, '84 (4). Stanford, C. Villiers. Symphony, No. 3 ("Irish"), F. 21, '90 (i). Strauss, Johann. "Beautiful Blue Danube," waltz with male chorus, Mr. 12, '11 (i). — "Moto perpetuo," a musical joke, A. II, '95. (i) — Polka, "Singer's joy," for orchestra (Philadelphia), Mr. 28, '96 (i). — "Wine, woman and song" (Philadelphia), Mr. 28, '96 (2). Strauss, Richard. Burleske in D-minor for piano and orch., A. 17, '03 (i). — Concerto for violin and orch., D-minor, Op. 8 (New York), Mr. 21, '03 (2). — "Death and Transfiguration," tone poem, F. 5, '97 (36). — "Don Juan," tone poem, O. 30, '91 (42). — "Don Quixote," variations on a theme of knightly character, F. 12, '04 (8). — "Festliches Praeludium," D. 12, '13 (i). — "Feuersnot," love scene, Mr. 7, '02 (12). — "Guntrum," preludes to Acts I and II, N. 8, '95 (8). — "A hero's life," tone poem, D. 6, '01 (11). — "In Italy," symphonic fantasy, D. 21, '88 (5). — "Mac- 271 APPENDIX beth,"tone poem,Mr."i7, 'ii (i). — "Salome," dance from, A. 26, '12 (i). — Symphonia domestica, F. 15, '07 (13). — Symphony in F-minor, N. 3, '93 (5)- — "Thus Spake Zarathustra," tone poem, O. 29, '97 (12). — "Till Eulenspiegel's Merry Pranks," rondo, F. 21, '96 (41), Strube, Gustav. Concerto for violin and orch., F-sharp-minor, D. 22, '05 (6). — Concerto for violin and orch., G-major, Op. 13, D. 10, '97 (2). — Concerto for violoncello and orch., E-minor, O. 29, '09 (i). — Fantastic dance for viola and orch., Mr. 27, '08 (2). — Fantastic overture, Op. 20, Mr. II, '04 (2). — "Longing," symphonic poem for viola and orch., A. 20, '05 (2). — "Lorelei," symphonic poem, J. 24, '13 (i). — "Maid of Orleans," overture, Op. 8, F. 15, '95 (i). — "Narcissus and Echo," sym- phonic poem, J. 24, '13 (i). — "Puck," comedy overture, Mr. 18, '10, (12). — Rhapsody for orchestra. Op. 17, A. 19, '01. (i) — Symphony, B- minor, A. 2, '09 (2). — Symphony, C-minor, A. 2, '96 (l). SuK, Josef. "A Fairy Tale," suite, Op. 16, N. 28, '12 (2). — Symphony, E-major, Op. 14, 0. 28, '04 (4). SvENDSEN, JoHAN S. "Camival in ^ aris," Op. 9, D. 4, '91 (7). — "Nor- wegian rhapsody," No. 2, Op. 19, N. 15, '89 (4). — Romance for violin and orch. (Washington), N. i, '92 (i). — Symphony, B-fiat, No. 2, J. 4, '84 (4). — "Zorahayda," legend for orch.. Op. 11, N. 25, '92 (2). Taneieff, Sergei. "Oresteia," overture, Op. 6, N. 30, '00 (6). — Symphony, No. I, in C, N. 22, '01 (i). Thieriot, Ferdinand. Sinfonietta in E-major, Op. 55, F. 17, '93 (i). Thomas, Ambroise. "Mignon," overture (Young People's), A. 2, '90 (8). Tinel, Edgar. Three symphonic pictures from "Polyeucte," Op. 21, F. 8, '07 (i). TscHAiKOWSKY, Peter Ilitch. Conccrto for piano and orch., No. i, B-flat- minor, F. 20, '85 (38). — Concerto for piano and orch., No. 2, G-major, F. 4, '98 (2). — Concerto for violin and orch., No. 2, D-major, 2d and 3d movements, D. I, '93 (5); — entire (Cambridge), A. 7, '04 (22). — "Fan- taisie de concert," for pianoand orch., Op. 56 (New York), J. 12, '92 (2). — "1812," overture, D. 29, '93 (20). — "Francesca da Rimini," fantasy for orch.. Op. 32, N. I, '95 (16). — "Hamlet," symphonic poem, Mr. 4, '92 (6). — Italian Capriccio, Op. 45, O. 22, '97 (18). — "Manfred," symphony, A. 26, '01 (8). — "March Slave," F. 23, '83 (i). — "Mozartiana" suite. Op. 61, N. 18, '98 (i). — "Nutcracker," suite, D. 13, '08 (18). — "Romeo and Juliet," overture fantasia, F. 7, '90 (26). — Serenade for strings. Op. 48, O. 12, '88 (3). — Suite, "Characteristic," Op. 53, "Children's dreams" from, N. 5, '09 (i). — Suite, No. i, D-minor, Mr. 17, '99 (4). — Suite, No. 3, G-major, O. 16, '91 (13). — Symphony, No. 2, C-minor, F. 12, '97 (i). — Symphony, No. 3, D-major, D. i, '99 (4). — Symphony, No. 4, F- 272 APPENDIX minor, id and 3d movements, O. 17, '90 (15); — entire, N. 27, '96 (30). — Symphony, No. s,E-minor, O. 21, '92 (41). — Symphony, No. 6, B-minor, ("Pathetic "), D. 28, '94 (76). — Variations on a rococo theme for violon- cello and orch., O. 30, '08 (9). — "The Voyvode," orchestral ballad, D. 4, '03 (I). Urack, Otto. Symphony in E-major, No. i, Mr. 6, '14 (i). Van der Stucken, Frank. "Pagina d'amore," J. 6, '92 (i) (Young People's). — "Pax triumphans," symphonic prologue, D. 22, '04 (i). — "William Ratcliff," symphonic prologue, F. i, '01 (i). ViEUXTEMPS, Henri. Concerto for violin and orch., No. 1 (Cambridge), A. 10, '02 (i). — Concerto for violin and orch.. No. 4, D-minor, Mr. 13, *8s (7). — Concerto for violin and orch., A-minor, No. 5, O. 17, '84 (13). — Fantasy on Slavonic melodies for violin and orch., N. 17, '82 (8). ViOTTi, Giovanni Battista. Concerto for violin and orch., A-minor, N. 29, '95 (5). Vivaldi, Antonio. Concerto for violin with organ and string orch., Mr. 7, '13 (i). VoGRicH, Max. Concerto for piano and orch., E-minor, F. 8, '89 (4). Volkmann, Robert. Concerto for violoncello and orch., A-minor, Op. 33, F. I, '84 (12). — Festival overture, Op. 50, J. 3, '90(2). — " King Richard," overture, Mr. 13, '85 (12). — Serenade for strings, No. i, Valse lente from (Providence), J. 25, '93 (l). — Serenade for strings, No. 2, N. 24, '82 (9). — Serenade for strings, D-minor, No. 3, F. 6, '85 (15). — Symphony, D- minor, No. i, O. 17, '84 (11). — Symphony, B-flat, No. 2, D. 21, '83 (4). Wallace, William. "Villon," symphonic poem, A. 19, '12 (i). Wagner, Richard. Centennial march, F. 21, '95 (2). — A Faust overture, J' I9> '83 (48). — "Flying Dutchman," overture (New Bedford), Mr. 12, '12 (11). — "Gotterdammerung," funeral music, F. 16, '83 (28). — "Got- terdammerung," Siegfried's Rhine journey (Chicago), My. 16, '93 (2). — "Gotterdammerung," song of the Rhine daughters, N. 23, '83 (i). — Selections from "Siegfried,"a nd "Gotterdammerung" (arr. by Richter), J. 6, '88 (33). — Huldigungsmarsch, N. 10, '82 (16). — Kaisermarsch, D. 30, '81 (24). — "Lohengrin," prelude, Mr. 14, '84 (53). — "Lohengrin," preludes to Acts I and III (Washington), Mr. 24, '96 (13). — "Lohengrin" prelude to Act III (Cambridge), J. 3, '95 (19). — "Lohengrin," the legend, Act III, O. 13, '82 (14). — "The Mastersingers of Nuremberg," overture, N. 1 1, '81 (159). — The " Mastersingers of Nuremberg," introduc- tion to Act III, D. 4, '85 (7). — "Mastersingers of Nuremberg," introduc- tion to Act III, dance of apprentices and procession of Mastersineers, F. 10, '82 (16). — "Parsifal," prelude, N. 10, '82 (32). — "Parsifal," Good APPENDIX Friday Spell, F. 15, '84 (12). — "Rheingold," prelude and first scene, A. 21, '93 (i). — "Rheingold," entrance of Gods into Valhalla and lament of Rhine daughters (Cambridge), J. 3, '95 (6). — "Rienzi," overture, O. 13, '82 (59). — "Siegfried," VValdweben, A. 9, 'll (2). — "Siegfried Idyl," F. 16, '83 (81). — Symphony in C, F. 24, '88 (3). — "Tannhauser," overture, D. 15, '82 (147). — "Tannhauser," overture and bacchanale (Paris ver- sion), D. 31, '90 (6). — "Tannhauser," march, J. 18, '84 (2). — "Tann- hauser," prelude to Act III (Cambridge), J. 3, '95 (8). — "Tristan and Isolde," prelude, F. 16, '83 (13). — "Die Walkure," ride of the Valkyries, (Popular), My. 28, '86 (27). — "Die Walkure," Wotan's farewell and fire charm (Philadelphia), Mr. 22, '97 (6). Webber, Amherst. Symphony C-minor, D. 29, '05 (i). Weber, Carl Maria von. "Abu Hassan," overture, Mr. 20, '96 (4). — Concertina for clarinet, Op. 26, J. 4, '84 (2). — Concertstiick for piano and orch., Op. 79, D. 18, '8s (11). — "Euryanthe," overture, D. 8, '82 (84). — "Der Freischiitz," overture, O. 27, '82 (93). — Invitation to the dance, (arr. by Berlioz) (Cambridge), Mr. 22, '83 (40). — " Jubel," overture, O. 21, '81 (16). — "Oberon," overture, J. 13, '82 (113). — Polacca bril- liante for piano and orch. (arr. by Liszt), J. 5, '83 (3). — "Preciosa," overture, D. 24, '85 (r). — "Ruler of spirits," overture, Mr. i, '01 (i). Weingartner, Felix. "The Elysian Fields," symphonic poem, Mr. 6, '03 (i). — "Lustige Ouverture," D. 12, '13 (i). — Symphony, G-major, Op. 23, A. 12, '01 (i). — Symphony, No. 3, E-major, Mr. 8, '12 (i). Weld, Arthur. "Italia," dramatic suite, F. 28, '90 (i). Whiting, Arthur. Concert overture, F. 5, '86 (i). — Concerto for piano and orch., D-minor, Op. 6, N. 16, '88 (i). — Fantasie for piano and orch., Op. II (Cambridge), Mr. 12 '96 (3). — Suite for strings and four horns, Op. 8, Mr. 13, '91 (i). WiDOR, Charles Marie. Choral and variations for harp and orch.. Op. 74, F. 27, '03 (2). WiENLAWSKi, Henri. Concerto for violin and piano, No. 2, D-minor, Op. 22, J. 4, '87 (6). — Fantasy for violin and orch., on Gounod's "Faust," Mr. 16, '86 (4). WiTKOwsKi, G. Symphony, D-minor, A. 3, '03 (i). Wolf, Hugo. Italian Serenade, Mr. 31, '05 (3). — "Penthesilea," sym- . phonic poem, N. 18, '04 (2). Zollner, Heinrich. "Midnight at Sedan," suite, F. 21, '96 (2). INDEX INDEX Adamowski, Josef, 122; leaves orches- tra, 213. Adamowski, Timothee, 122- leaves orchestra, 213. Aldrich, Richard, 225. Apthorp, William F., on a concert of the Germania Orchestra, 7; quoted, 8; on Henschel's conducting, 36; on Brahms, 84; quoted, 11$; editor of programme book, 139. Arbos, E. Fernandez, 205. Bailey, Lillian. See Mrs. G. Henschel. Beerbohm, Max, quoted, i. Beethoven, Ludwig van, commis- sioned to write oratorio for Handel and Haydn Society, 3; symphonies first performed in Boston, 5; Hen- schel's plan to play all the sympho- nies, 41 ; " Dedication of the House " conducted by Henschel, 57, 206; "Missa Solennis" at opening of Symphony Hall, 195. Bischoff, symphony, 212. Boston Academy of Music, 5. "Boston Daily Advertiser," quoted, 69-71,72-73, "8. "Boston Evening Transcript," quoted, 54, 68, 98-99, 116, 117, 166-67, 172-73, 182-85, 196, 212. "Boston Herald," quoted, 59-61. "Boston Journal," quoted, 178, 180. "Boston Musical Gazette," 3. "Boston Traveller," quoted, $8, 130, 13^37- Bourgogne, La, sinking of, 188. Brahms, Johannes, his music disliked, 84, 109; his letter to Henschel, quoted, 93; variations on theme by Haydn, 126, memorial concert, 179; among the classics, 213. Brennan, William H., 87. Bruckner, Anton, symphony No. 7, 109; effect on audience, 125. Bull, Mrs. Ole, 145. Cecilia Society, 195. Chad wick, George W. 118. Chorus, adjunct to orchestra, 95. Comee, Frederic R., 87. Concert-masters, the, 204-05. Concerts, length of, 47; attendance, first season, 74; in New England cities, 85; first in Steinway Hall, N.Y., 112; criticisms of N.Y., 129; benefit, 142; concert for school chil- dren, May, 1886, 141; testimonial to Gericke, 144; success in other cities under Nikisch, 162; at "World's Fair," Chicago, 1893, 162; benefit for San Francisco earthquake sufferers, 207; com- memoration of 30th anniversary of orchestra, 217. Cotting, C. E., 198. "Courier," quoted, 38-39. Cross, Charles R., 198. Curtis, George William, 6. Deficit, second season, 85; approxi- mate aggregate, 106. Dresel, Otto, 153. Dwight, John S. article In the "Dial," 4; his "Journal of Music." 9; quoted, 30 n.; letter to, 62; on read- ing the programme book, 139; 145; on new music, 159. Ellis, Charles A., manager, 86. Elson,Louis C, his "Historyof Amer- ican Music" quoted, 3; quoted, 62, 94-95; valentine to Henschel, 277 INDEX 98; on temper of the audiences, 120; cnreceptionofStrauss's/'Inltaly," 126; on Gericke's farewell concert 144. Epstein, Julius, 103, 105, 107, 155. "Euterpiad," the, 3. Fiedler, B., no. Fiedler, Max, engaged as conductor, 215; popularity of his programmes, 216; last concert, 218. Fitchburg (Mass.)> concerts, 85. "Gazette, Saturday Evening," quot- ed, 61, 69, 81-82, 125. Gericke, Wilhelm, 95; in Vienna, 103; engaged as conductor, 104; discour- aged, 104; refuses to conduct con- cert in New York, 105; his account of his first term as conductor, 106- 14; biographical, 114; first con- cert, 117; discipline improves or- chestra, 143; farewell party at home of Mrs. Ole Bull, 145; fare- well dinner at Tavern Club, 145- 52 ; engaged as Paur's successor, 181; comment on his return in "Transcript," 182; comment by Mr. Higginson, 185; his account of his second term as conductor, 186- 87; criticism of programmes, 189; resigns, 207; benefit concert, 207; conducts San Francisco benefit concert, 208. Germania Orchestra, 7. Hale, Philip, editor of programme book, 139. Handel, Georg Friedrich, "Largo," 118. Handel and Haydn Society, founded, 3- Harvard Musical Association, found- ed, 8; orchestral concerts, 10; ceases concerts, 78. Harvard University, 28, 85, 210. Henschel, Georg, his "Concert Over- ture" first performed, 35; his ac- count of his connection with orchestra, 36, 39-41, 52-53, 99; letter in "Courier" on his conduct- ing, 38; meets Mr. Higginson, 39; marriage, 40; engaged as conductor, 40; adverse criticism of, 50, 51; ac- quires library for orchestra, 52; letter to men of orchestra, 55; criti- cism of, 59; presented with silver set by orchestra, 64; his passion for Brahms, 65; ends conductorship, 98; final concert of, 99; conducts Pension Fund Concert, 206. Henschel, Mrs Georg (Lillian Bailey), 35, 81. Hess, Willy, 205. Higginson, Henry Lee, biographical, 12-14; letter to his father, 15; arm disabled, 17; letters, 19, 20; leaves Vienna, 21; marriage, 23; in Ohio, 24; enters firm of Lee, Higginson & Co., 24; "In re the Boston Sym- phony Orchestra," 27-34; engages Henschel, 37; announces Boston Symphony Orchestra concerts, 41- 43; accountof orchestra, 46-49, 103 -06, 155, 157, 185 ; on Henschel's critics, 62; circular to orchestra, 1882, 66; criticism of circular, 68; announces second season of con- certs, 73; speech at Tavern Club farewell to Gericke, 146-52; letter to Otto Dresel, quoted, 154; on the Musician's Protective Union, 157; asks public to subscribe for new hall, 1893, 166; letter to "Tran- script" on need of hall, 169; com- ment on Gericke's return, 185; speech at opening of Symphony Hall, 197; bust placed in Sym- phony Hall, 217; speeches at Har- vard Clubs, New York and Chicago, 222; quoted, 224. "Home Journal," quoted, jj. Howe, Mrs. George D., 34, 39. Indy, Vincent d', 205, 206. Jacquet, Leon, 188. Jahn, Wilhelm, 107. 278 INDEX Kneisel, Franz, engaged as concert- master, 104; conducts "World's Fair" concerts, 162; leaves orches- tra, 204. Kneisel Quartette, 123, 205. Lang, B. J., 84, 115; lectures, 118. Leipzig, Gewandhaus, 195. Leipzig, Stadt Theater, 155, 174. Lichtenberg, Leopold, 122. Lind, Jenny, 8. Listemann, Bemhard, 28, 34, 122, 184. Loeffler, Charles M., 123; leaves orchestra, 205. Lowell, Charles Russell, 14, 22. Lowell (Mass.), concerts, 85. Luther, Martin, memorial concert, 96. Lyman, John P., 34, 85. Lynn (Mass.), concerts, 85. Maas, Louis, 34. Melba, Nellie, 190. "Minerviad," the, 3. Mock programme, a, 63. Moldauer, A., no. Mozart, W. A., concert for monu- ment fund, 142. Muck, Dr. Karl, biographical, 209; estimate of orchestra, 210; ideas on programme making, 211; resigns, 215; receives title of "General Musical Director" from German Emperor, 218; returns to Boston in 1912, 219. Mudgett, L. H., 87. "Music," quoted, 64, 65-68. Music Hall, Boston, built, 8; secured for Symphony Concerts, 47; "Great Organ" removed from, 116; move- ment for new hall to replace, 164; criticisms of, 165; last Symphony Concert in, 192; poem by William S. Thayer at opening in 1852, 193; 195- "Music Hall Bulletin," established, 138. Musical Fund Society, concerts, 6, 10. Musical Institute of Boston, 3. "Musical Magazine," the, 3. Musician's Protective Union, 156. New Bedford (Mass.), concerts, 85. Newport (R. L), concerts, 85. "New York Times," quoted, 129. Nikisch, Arthur, 154; biographical, 155; encounter with Musician's Protective Union, 1889, 156; con- ducts without score, 160; popular- ity in other cities, 162; misun- derstanding about contract, 163; resigns, and becomes Director-gen- eral of Royal Opera at Buda-Pesth, 163. Norcross, Mr., builder of Symphony Hall, 197. "Organ, Great," in Music Hall, 8, 116, 164. Paderewski, Ignace Jan, 190. Paine, John K., " Spring Symphony" given, 98; lectures, 118. Park Street Church choir, 2. Parker, H. T., on the stages of the orchestra, loi; on Paur as con- ductor, 177; on audiences, 226. Paur, Emil, biographical, 174; his account of his connection with orchestra, 174-76; estimate of, by H. T. Parker, 177; beating time with foot, 178; gives works of Richard Strauss, 179; ends con- ductorship, 180. Peace Jubilee, King's Chapel, 2. Peck, A. P., 86. Pension Fund, 201-203; concerts, 187, 206. Perkins, Charles C, 199. Personnel of orchestra, changes, 121; criticism of changes, 124; number of harps and horns increased, 213. Philharmonic Society, founded, 10; ceases concerts, 78. Pianos, advertising of, stopped, 79. "Pops," the, no, 140. Portland (Me.), concerts, 85. Pourtau, Leon, 188. 279 INDEX Pratt, Bela, L. 218. Programme book, established, 139. Programmes, Henschel's idea of, 56; facsimile of first, 57; facsimile of Wagner Memorial, 83; Gericke's criticized, 120, 143, 189; Dr. Muck's ideas on, 2n; "Transcript" on Dr. Muck's, 212; Fiedler's, 216. Providence (R. I.), concerts, 85. Richter, Hans, 103 ; signs contract as conductor, 173; contract broken, 174; 209. Roby, F. G., 85. Roth, Otto, no. Rubinstein, Anton, 38, 142. Saint-Saens, Camille, "Danse Ma- cabre," elicits first encore, 119. Sabine, Wallace C, 195, 198. Salem (Mass.), concerts, 85. Sanders Theatre, concerts, 85. San Francisco, concert for earth- quake sufferers, 207. Schroeder, Alvvin, 204. Steinway, William, 1 1 2. Strauss, Richard, "In Italy," first performed, 109, 126; "Ode to Dis- cord," inspired by symphony, 127; Paur's attitude toward, 179; "Hel- denleben," 187; praises orchestra, 187; conducts Pension Fund Con- cert, 187; 206. Svecenski, Louis, no; leaves orches- tra, 204. Symphony Hall, movement to build, 164; signers of appeal for building, 168; building deferred, 171; sites suggested, 171; McKim, Mead & White begin designs, 172; opened, 192; programme of opening con- cert, 195; extract from ode by Owen Wister, 195; speech by Mr. Higginson, 197-201. Telephone, plan for concerts by, 95. Thayer, William S., 193. Theodorowicz, Julius, 204. Thomas, Theodore, Orchestra visits Boston, II, III, 183. Tickets, price of, 43; demand for, 53; speculators, 75, 135; method of sell- ing by auction introduced, 87; high premiums, 91; at twenty-five cents, 91; change of prices, 92. Trips, to other cities, suggested, log; first made, in; influence of, 128; humorous incidents of, 131; to the West, 1889, 144; temporarily aban- doned, 177. Wagner, Richard, Mr. Higginson and J. S. Dwight on, 30 n.; memorial concert, February, 1883, 81; fac- simile of programme, 83; "Parsi- fal" Vorspiel played, 83; memorial concert, February 1883,97; among the classics, 213. Wallace, William Vincent, fantasia on "Maritana," 8. Walter, W. E., 87; on humors of out- of-town concerts, 131-33. Weber, Carl Maria von, "Festival" overture played, 58. Weiss, Albert, 188. Weissenborn, E. A., 80. Wendling, Carl, 205. Wilson, George H., 138. Wister, Owen, passage from poem read at opening of Symphony Hall, 195- Witek, Anton, 205. Worcester (Mass.), concerts, 85. Young People's Popular Concerts, 141. Zach, Max, no. Zerrahn, Carl, 10, 53. CAMBRIDGE . MASSACHUSETTS U . S . A ;( ■ ;,V;i/ 14 DAY USE RETURN TO DESK FROM WHICH BORROWED MUSIC LIBRARY This book is due on the last date stamped below, or This book is^au ^ ^^^^ ^^ ^^.^^ ^^^ d. Renewed books are subjectto^mmedmt^^ LD 21-50m-6,'60 (B1321sl0)476 General Library . University of Califorma Berkeley WIL200.8.B7.B7 C037317783 ■>,s\hm'^ 0037317763 303891 ^ UNIVERSITY OF CAUFORNIA LIBRARY DATE DUE Music Library University of California at Berkeley MIMIIIIIIMIMMiiiHV i