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CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
[OFFICIAL ] 
 
 ^> — S H C O N D — "# 
 
 lENNIAL MUSICAL f ESTIVAL 
 
 CHICAGO 
 
 JVEay 27, 28, 29, 30 and 31 
 
 1884 
 
 Theodore f homas 
 
 MUSICAL DIRECTOR 
 
 EDITED BY GEORGE P. UPTON 
 
 CHICAGO 
 KNIGHT AND LEONARD, PRINTERS 
 
 1884 
 
Entered, according to the Act of Congress, in the year eighteen hundred and eighty-four, by 
 
 CHICAGO MUSICAL FESTIVAL ASSOCIATION, 
 
 In the office of the Librarian of Congress, at Washington, D. C. 
 
Chicago Musical fEsxiv^iL ®KGAnizATion. 
 
 Watson F. Blair. 
 J. Harley Bradley. 
 Arthur J. Caton. 
 Geo. C. Clarke. 
 John M. Clark. 
 W. S. Crosby. 
 Geo. L. Dunlap. 
 N. K. Fairbank. 
 Marshall Field. 
 Charles D. Hamill. 
 Charles M. Henderson. 
 Charles L. Hutchinson. 
 Samuel Johnston. 
 J. P. Kelly. 
 G H. Koch. 
 
 Euson Keii h. 
 Henry W. Kinc;. 
 Rev. J. H. Kndwi.es. 
 Edward G. Mason. 
 Franklin MacVf.agh. 
 E. B. McCagg. 
 Cyrus H. McCor.mick, Jr. 
 A. C. McClurg. 
 Geo. M. Pullman, 
 Byron L. Smith. 
 A. A. Spraijuf:. 
 William Spraci'k. 
 George Sturges. 
 James VanInwagen. 
 Christian Wahl. 
 
OP^GANIZftTION. 
 
 PRESIDENT. 
 
 N. K. FAIRBANK. 
 
 VICE-PRESIDENTS. 
 
 GEORGE L. DUNLAP. 
 
 A. A. SPRAGUE. 
 
 SECRETARY. 
 
 PHILO A. OTIS. 
 
 TREASURER. 
 
 GEORGE STURGES. 
 
 (SJOMMIIPHIEES. 
 
 COMMITTEE ON MUSIC. 
 
 CHARLES D. HAMILL. 
 
 J. P. KELLEY. 
 
 PHILO A. OTIS. 
 
 JOHN M. CLARK. 
 
 COMMITTEE ON HALL. 
 
 JAMES VanINWAGEN. 
 
 W. S. CROSBY. 
 
 COMMITTEE ON FINANCE. 
 
 A. C. McCLURG. CHAS. L. HUTCHINSON. 
 
 J. HARLEY BRADLEY. 
 
 COMMITTEE ON PRESS AND PRIVILEGES. 
 
 GEO. C. CLARKE. EDWARD G. MASON. 
 
 FRANKLIN MacVEAGH. 
 6 
 
iUBSCRIBERS TO TRE f UARAJ^TEE f UJ^D. 
 
 J. McGregor Adams. 
 S., B. Barker. 
 Chas. J. Barnes. 
 A. C. Bartletj'. 
 John C. Black. 
 Watson F. Blair. 
 J. Harley Bradley. 
 Edward L. Brewster. 
 Burke, Walker & Co. 
 William H. Burnet. 
 Geo. C. Clarke. 
 R. T. Crane. 
 John Crerar. 
 W. S. Crosp.y. 
 AViRT Dexter. 
 John DeKoven. 
 J. W. Doane. 
 John B. Drake. 
 Geo. L. Dunlap. 
 N. K. Fairbank. 
 Marshall Field. 
 Wm. a. Fuller. 
 A. S. Gage. 
 L. J. Gage. 
 James B. Goodman. 
 W. C. D. Grannis. 
 Chas. D. Hamill. 
 T. W. Harvey. 
 C. M. Henderson. 
 Charles Henrotin. 
 
 Charles L. Hutchinson. 
 D. W. Irwin. 
 Edson Keith. 
 W. W. Kimball. 
 Henry W. King. 
 J. Russell Jones. 
 N. S. Jones. 
 Warren F. Leland. 
 Franklin MacVeagh. 
 A. C. McClurg. 
 Samuel M. Nickerson. 
 Murray Nelson. 
 Palmer House Co. 
 Erskine M. Phelps. 
 Geo. M. Pullman. 
 N. B. Ream. 
 Martin Ryerson. 
 H. E. Sargent. 
 A. F. Seeberger. 
 Charles Schwartz. 
 Byron L. Smith. 
 A. A. Sprague. 
 O. S. A. Sprague. 
 Anson Stager. 
 J. VanInwagen. 
 Geo. C. Walker. 
 Louis Wampold. 
 M. D. Wells. 
 G. H. Wheeler. 
 
Or^DEI^ OR gEr^POI^MANGBS. 
 
 May Twenty-seventh, 
 May Twenty-eighth, 
 May Twenty-ninth, 
 May Twenty-ninth, 
 May Thirtieth, 
 May Thirty-first, 
 May Thirty-first, 
 
 First Evening Concert. 
 Second Evening Concert., 
 First Afternoon Concert. 
 Third Evening Concert. 
 Fourth Evening Concert. 
 Second Afternoon Concert. 
 Fifth Evening Concert. 
 
 The evening concerts will commence promptly at 8 o'clock, and the 
 afternoon concerts promptly at 2 o'clock. 
 
 After the commencement of a concert, persons will not be allowed to 
 enter the auditorium until the close of a number, or at such opportune 
 time as will not disturb the music. 
 
 Owing to the length of the programme numbers, no encores will be 
 allowed. 
 
 The intermissions designated upon the programmes will extend from 
 fifteen to twenty minutes, and the concert will resume at the sound of the 
 trumpet. 
 
 Season tickets for seven concerts, including reserved seats, for 
 
 sale from May 5 to lo, $15.00 
 
 Single concert tickets, with reserved seats, for sale on and after 
 
 Monday, May 12, according to location, $2.50, $2.00 and $1.00 
 
 Any further information can be obtained by addressing 
 
 Milward Adams, Business Manager of the Festival, 
 Central Music Hall, Chicago, 111. 
 
THE SECOND BIENNIAL 
 
 Chicago Musical Festival 
 
 THE work of Theodore Thomas is always progressive and educational, and 
 to one who regards that work, as illustrated by his first concerts given 
 in this city, now fifteen years ago, the first experiments with chorus in 
 1873, the Apollo Club Festival, the Summer Night Concerts at the Exposition 
 Building, the gradual utilization of our local musical forces, leading up to the 
 first Festival of 1882, the successive advances he has made will be clearly 
 perceptible. 
 
 In all its elements, the efficiency of the orchestra, the strength and ability 
 of the chorus, the eminence of the solo artists, and the greatness of the works 
 to be performed, the Festival of 1884 marks a step in advance of that of 1882. 
 In the latter year the Wagner music was mainly interpreted by Frau Materna, 
 who had been honored by the composer with the principal place in the first 
 Bayreuth Festival. In this Festival we have the trio of artists who created 
 their respective roles in both the first and second Bayreuth Festivals, Frau 
 Materna, Herr Scaria, and Herr Winkelmann, from the Hofopernhaus, Vienna, 
 so that Mr. Thomas is enabled to still further enrich his programmes with 
 selections from Wagner's later works, and scenes from the older ones, " Lohen- 
 grin " and "Tannhauser," which he has never given here before. By the aid 
 of these artists, reinforced by Mme. Christine Nilsson and other soloists, he is 
 also enabled to present the larger part of "Tannhauser," with a choral and 
 orchestral setting also which will insure the most remarkable performance 
 ever heard in this country. Mme. Nilsson, whose fame as an oratorio singer 
 is hardly second to that which she enjoys as an operatic prima donna, will not 
 only appear as Elsa in '' Lohengrin," but will be heard at her best in Haydn's 
 " Creation." In addition to these artists. Miss Emma Juch, a singer of recog- 
 nized ability in this country and in England, and who has had much stage 
 experience, Mr, Remmertz, who is admirably qualified for festival work, Mr. 
 Toedt and Mr. Heinrich, will also appear and add to the strength of the solos. 
 
 The Chorus of 1884, like that of 1882, has been under the charge of Mr. 
 W. L. Tomlins, the sub- director of the Festival. Though the works to be 
 rehearsed were still larger, and have involved more arduous labor, he has dis- 
 charged his trust with that unflagging enthusiasm and conscientious fidelity 
 
 9 
 
I o The Second Biennial Chicago Musical Festival. 
 
 which have alwaj^s characterized him as a chorus-master. His intimate 
 knowledge of Mr. Thomas' ideas and methods, and his sympathy with the 
 objects he has in view, joined with his own musical intelligence and executive 
 ability, have peculiarly fitted him for his commission as the Musical Director's 
 lieutenant. The Chorus which he has trained will speak for him, and will 
 show how patiently and perseveringly they have followed in the path he has 
 marked out for them. The orchestra, it may safely be asserted, will be the 
 largest and most efficient Mr. Thomas has ever brought here. In the auxilia- 
 ries of wind and percussion instruments for certain works, like the Berlioz 
 " Requiem" and the " Dettingen Te Deum," amounting to twelve horns, twelve 
 trumpets, eight tenor trombones, eight bass trombones, six tubas, ten kettle 
 drums, two bass drums and ten pairs of cymbals, the strength and grandeur 
 of this orchestra have never been equaled in this country; while for the color 
 and beauty of tone which will be attained by its string band of one hundred 
 and seven pieces, it will be equally remarkable. 
 
 The general scheme of the concerts differs from that of 1882, which 
 embraced four evening and three afternoon concerts. Upon this occasion 
 there will be five evening and two afternoon concerts. The evening concerts 
 will be devoted exclusively to large works, — "The Creation," "Tannhauser," 
 the Berlioz "Requiem," extended selections from "Die WalkUre," the "Det- 
 tingen Te Deum," the colossal (if we may so term it) duet which forms the 
 finale of the third act of " Siegfried,'' Gounod's sacred trilogy, " The Redemp- 
 tion," and three great symphonies, the G Major of Mozart, the " Eroica " of 
 Beethoven, and the Ninth of Schubert. The two matinees are distinctive in 
 character. The first will be devoted to Wagner's music, including selections 
 from " Lohengrin," " Parsifal," the " GOtterdiimmerung," and the " Meister- 
 ssenger," preluded by the Centennial March. At the second matinee, in 
 addition to a miscellaneous list of numbers by the soloists and orchestra, the 
 audience will be entertained by the singing of nearly one thousand children, 
 whom Mr. Tomlins has had under his charge for a long time. Their perform- 
 ance will show what astonishing results may be produced from material, 
 originally crude and unformed, and will prove a revelation to those who 
 are not acquainted with this leader's skill in developing the voices of chil- 
 dren and grounding them in musical intelligence. 
 
 Such a grand Festival, so clearly planned and generously and broadly 
 organized, so free from all claptrap and sensationalism, must not only result 
 in a more healthy local interest in music, but arouse a keener and more intel- 
 ligent appreciation of the highest forms of musical art, and in all justice it 
 may be added, a higher and more enthusiastic appreciation of the genius of 
 the great conductor, Theodore Thomas, and the noble work he is doing for 
 music in America. 
 
List of Artists. ii 
 
 MUSICAL DIRECTOR. 
 
 THEODORE THOMAS. 
 
 SOPRANOS. 
 FRAU AMALIA FRIEDRICH-MATERNA MISS EMMA JUCH-, 
 
 (Court Singer, Imperial Opera, Vienna), 
 
 AND 
 
 MME. CHRISTINE NILSSON. 
 
 CONTRALTO. 
 
 MISS EMILY WINANT. 
 
 TENORS. 
 
 HERR HERMANN WINKELMANN MR. THEODORE J. TOEDT, 
 
 (Court Singer, Imperial Opera, Vienna), 
 
 MR. CHAS. W. BARNES. 
 
 BA SSES. 
 
 HERR EMIL SCARIA MR. FRANZ REMMERTZ, 
 
 (Court Singer, Imperial Opera, Vienna), 
 
 MR. MAX^HEINRICH, MR. GEO. H. BRODERICK. 
 
 CHORUS MASTER. 
 MR WILLIAM L. TOMLINS. 
 
 MAY FESTIVAL CHORUS, NINE HUNDRED VOICES. 
 
 Grand Festival Orchestra of 
 One Hundred and Sixty-Five Musicians. 
 
1 2 The Second Biennial Chicago Musical Festival 
 
 THE SOLOISTS. 
 
 FRAU FRIEDRICH-MATERNA, the great prima donna of the Bayreuth 
 Festival, whose fame is not confined to mere personal interest, but who 
 has achieved the rare distinction of identifying herself with a musical 
 epoch, and has thus contributed to the progress of music in the world, was 
 born at St. Georgen, Styria, July lo, 1847. She is the daughter of a local 
 schoolmaster, who was her first instructor in music. While still a child she 
 also studied with Capellmeister Netzer in Gratz. For a time she sang in 
 church and also in the theater of that place, making her first appearance in 1864 
 as the Apprentice in Suppe's " Flotte Burschen." Her success during the next 
 two years in operettas led to her engagement at the Carl Theater in Vienna, 
 where, during her performances of light work, she studied the opera seria 
 with Proch. Her singing of Elvira's great aria in "Don Giovanni " before 
 Esser and the manager of the Imperial Opera House led to her engagement, 
 and she made her debut at that house as Selika in " L'Africaine " with great 
 success. Her performance was greeted with such enthusiasm that, after per- 
 formances of Atnalia in " Un Ballo en Maschera " and Leonora in "Fidelio," 
 she was engaged for a term of three years, and soon reached the high position 
 which she has ever since maintained among the opera singers of the German 
 school, though her greatest triumphs still were before her. A prominent Ger- 
 man critic predicted that her greatest successes would be reached in Verdi's 
 operas, but this prophet was without honor everywhere, for her grandest tri- 
 umph was achieved in a diametrically opposite direction, -and in a school 
 which called for something higher than the florid embellishments and super- 
 ficial expression of the Italian aria, and demanded the broadest and most 
 intense form of dramatic declamation and the highest power of emotional 
 expression. After a remarkably successful performance in "Lohengrin," she 
 became one of the principal singers in the Wagner operas, and in 1876 was 
 selected by the great composer to sustain the role of Briinnhilde at the per- 
 formance of the Niebelungen Trilogy, at Bayreuth. In this important charac- 
 ter she made a success which gained for her a world-wide reputation and 
 created a part in which she stands without a rival. The following 3rear she 
 appeared in the Albert Hall Wagner concerts in London, and aroused as great 
 a sensation among the English as she had among her own countrymen. At 
 the Parsifal Festival she was again chosen to take the principal female part, 
 in which she made another brilliant success. This is her second visit to this 
 country, and as the principal soloist of the festival of 1882 she will be well 
 
The Soloists. 13 
 
 remembered in Chicago. She has a dignified and commanding stage pres- 
 ence, a soprano voice of great volume and compass and power of endurance, 
 rare musical and dramatic intelligence, and joins to unusual ability as an 
 actress the highest and grandest form of vocal expression. 
 
 M" 
 
 "ME, CHRISTINE NILSSON, who is no stranger to Chicago audiences 
 in opera, oratorio and concert, was born August 20, 1843, near Wexio, 
 in Sweden, and commenced the study of music at a very early age with 
 the Baroness Lenhusen. She afterward studied with Berwald, of Stockholm, 
 and Wartel, in Paris, and made her debut in "Traviata" at the Theatre Lyr- 
 ique, October 27, 1864, with great success. In 1867 she made her first appear- 
 ance at Her Majesty's, London, also as Violetta, and shortly after sang at the 
 Crystal Palace and the Birmingham Festival. She left the Theatre Lyrique 
 in the latter part of 1867, and was engaged by the Academic de Musique, 
 where she created the part of Ophelia in Ambroise Thomas' " Hamlet " with 
 immense success. In 1868 she appeared at Drury Lane, London, adding new 
 roles to her repertoire, and also at the Handel Festival. In the autumn of that 
 year she sang at Baden-Baden, appearing, for the first time, in the title role of 
 Mignon, and in the winter returned to the Academic. In the following year 
 she made an extended tour of England, singing in oratorio and opera. In the 
 summer of 1870 she sang the roles of Alice, the Countess in "Figaro," Desde- 
 niona and Mignon at Drury Lane, and in the autumn of that year came to 
 America, under Mr. Strakosch's management, and made a brilliant concert 
 tour. Since that time she has alternated between England and this country, 
 except in 1880, when she was in Spain, and in 1876, when she made a tour in 
 Scandinavia with wonderful success. With her career in this country the pub- 
 lic is familiar. It has been almost exceptional in the matter of popularity and 
 success. Her last season in Chicago was with the Abbey troupe last winter. 
 Few artists have had a more brilliant career in Chicago, or have achieved for 
 themselves a more general popularity. Her first appearance was in concert, 
 assisted by Miss Gary, Signor Brignoli, and the famous violinist, M. Vieux- 
 temps, about the year 1869, when her success amounted to an ovation. Since 
 that time she has appeared here in several opera seasons, making remarkable 
 successes in " Lohengrin," " Mignon " and the "Huguenots," among the many 
 operas in which she has taken part. She has also sung here in oratorio and 
 concerts, the last series of concerts being as brilliant as any which have ever 
 been given in this city. Her appearance at the Festival will be greeted with 
 a cordial welcome. She has a voice of great smoothness, sweetness and brill- 
 iancy, and unusually capable of expressing pathos, and with her vocal ability 
 she combines a large measure of dramatic power. 
 
14 The Second Biennial Chicago Musical Festival. 
 
 M' 
 
 'ISS EMMA JUCH, who has already sung in two operatic seasons in 
 Chicago, is an American singer. She made her professional debut in 
 London in the spring of 1881, appearing in the role of Filina in "Mig- 
 non," a part which it is needless to say makes some very exacting vocal 
 demands, and calls for a voice possessing large range and much flexibility. 
 She passed the ordeal with success, and shortly afterward came to this coun- 
 try, appearing for the first time in Chicago in Mapleson's season, January, 
 1882. She has a high soprano voice of fine quality, unusual flexibility, and of 
 that carrying power which adapts it for singing in a large hall like the present 
 one. 
 
 MISS WINA 
 time. In 
 contraltos. 
 
 "ISS WINANT has been before the public comparatively but a short 
 a few years she has risen to a first place among American 
 contraltos. Her debut was made at a Remenyi concert in New York 
 city, November 29, 1878, and in the following month she sang in Boston, Phil- 
 adelphia, Hartford, and other eastern cities, in concert numbers. In May, 
 1879, she made her first appearance in oratorio in Boston, with great success, 
 and this may be considered the foundation of her subsequent brilliant career, 
 as she soon after appeared as soloist in large works performed by the Handel 
 and Hadyn, the Harvard Symphony and Boston Symphony concerts in that 
 city, and the Philharmonic concerts of New York and Brooklyn. Within the 
 last four years she has sung in the Thursby and Gerster concerts, in the Bos- 
 ton Festival of 1882, in the Worcester (Mass.) Festival, September, 1881, and 
 in the Chicago Festival of 1882. Her clear and resonant voice and her broad 
 and dignified style of singing will commend her to the patrons of the Festival 
 and secure for her a hearty welcome. 
 
 HERR EMIL SCARIA, who comes a stranger to Chicago, but no stran- 
 ger by reputation, was born at Graz, in Austria, September 18, 1840, and 
 at first studied the law as his profession, but subsequently abandoned 
 it for music, and was a graduate from the same school in which Frau Materna 
 subsequently studied, little aware that their names would be made known to 
 the world through the same great achievement. He made his debut at Pesth 
 April 14, i860, in "The Huguenots," with success. In 1862 he went to Lon- 
 don, and continued his studies with Garcia. He then successively appeared 
 at Dessau, Leipsic and Dresden, and in 1872 made his appearance at the 
 Imperial Opera, Vienna, with which he has since been connected. Though an 
 accomplished singer in the Italian opera, his grandest successes have been 
 made in the Wagner roles, his greatest parts being the Flying Dutchman, Hans 
 
The Soloists. 15 
 
 Sachs in "The Meistersinger," Wotan in the " Niebelungen," and Guniemanz in 
 "Parsifal," the latter of which he created with wonderful success at the second 
 Bayreuth Festival. His voice is spoken of as "noble, rich, manly and sonor- 
 ous," and he is claimed by many critics as ,the greatest living basso. 
 
 HERR HERMANN WINKELMANN, the tenor, who also makes his 
 first appearance here, comes to this country as the third in the great 
 trio of singers to whom Wagner Intrusted his colossal works. His rep- 
 ertoire is immense, and is best stated in his answer to Mr. Thomas' dispatch : 
 "I sing all classical arias, and everything by Wagner." He was born at 
 Brunswick, in 1849, studied in Hanover and Paris, and made his first appear- 
 ance at Sondershausen. He was engaged for five years at the Hamburg 
 Stadt Theater, whence his fame as a Wagner singer spread all over Germany. 
 Offers were made to him on all sides, and he accepted that of the Imperial 
 Opera, Vienna. Almost immediately upon his arrival, Wagner's "Tristan and 
 Isolde" was put in preparation, and was soon produced for the first time in 
 that city, Frau Materna, Herr Scarla and himself taking the principal roles, 
 with the accompaniment of Hans Richter's fine orchestra. His most brilliant 
 success was achieved at the second Bayreuth Festival, where he created the 
 role of Parsifal. Like Frau Materna and Herr Scaria, he is a great actor. It 
 is to be regretted that in music which is so closely allied with the dramatic as 
 is Wagner's, we cannot hear the great trio of artists in the full sweep of their 
 power, but to have the opportunity of hearing them sing is of itself an unusual 
 privilege. 
 
 M' 
 
 'R. TOEDT, who shares the tenor roles in this Festival, was born in 
 New York in 1855, and in his seventh year became a Trinity Choir boy, 
 and remained in the service of the parish ten years. His studies were 
 pursued in his native city, principally with his sister, Mathilde E. Toedt, the 
 violinist, who was compelled by ill health to give up her instrument. Mr. 
 Toedt has only been in the profession as a tenor since the season of 1879-80, 
 when he made a concert tour with Carlotta Patti, and appeared in Chicago 
 for the first time. His work during the past four years has been confined 
 mainly to the East, where he has frequently sung, not only in concert, but in 
 oratorios. On Christmas of 1881 he sang in "The Messiah," at Cincinnati, 
 with Mme. Adelina Patti, Miss Cary and Mr. Whitney. He appeared, as will 
 be remembered, at the Chicago Festival of 1882, and has since that time sung 
 here in oratorio. He has also made a fine success as a song singer in Boston. 
 His voice possesses remarkable purity and beauty of quality, and his singing 
 is characterized by gracefulness and elegance of style. 
 
1 6 The Second Bien?iial Chicago Musical Festival. 
 
 MR. REMMERTZ has become a familiar favorite with festival audiences, 
 as he has borne a large and honorable part in nearly every great fes- 
 tival which has taken place in the United States. He is a native of 
 Diisseldorf, Germany, and when a young man studied architecture, under 
 Professor Wiegmann, in both the Royal School and the Academy of Painting. 
 With a predilection for music and singing, he went to Munich, where he 
 studied for a couple of years. Thence he went to Hanover, and studied with 
 Professor Lindhuld, and while under his tuition often sang before King 
 George, on personal invitations extended by the monarch. Mr. Remmertz 
 completed his education in Paris, with Delsarte. He then sang for a time in 
 the Royal Opera at Stuttgart, under the direction of Kucken. Not having a 
 special liking for the stage, he abandoned it, and sang for some years in con- 
 certs only, becoming an established favorite in Holland, and the cities of the 
 Rhine. During his career abroad he visited London on two different occa- 
 sions, with the Choral Union of Cologne. He came to this country in 1869, 
 has long been a resident of New York, and has sung in concerts in all the 
 large cities of the Union. His broad, majestic and sonorous voice is admira- 
 bly adapted for festival work. 
 
 M' 
 
 'R. MAX HEINRICH is a young baritone of unusual promise. He 
 has been before the public but a short time, and this is his first western 
 visit. He has hitherto appeared principally in New York and Phila- 
 delphia, and has on every occasion scored successes, especially in large works, 
 which indicate that he has a remarkable career before him. The parts in 
 which he will appear in this Festival are calculated to still further try his 
 powers, and his important position in a Festival of such grand dimensions will 
 give him a recognized place among our national singers. The fact that he 
 was secured for this Festival is of itself a sufficient guarantee of his artistic 
 qualities. 
 
First Evening Programme. 1 7 
 
 FIRST EVENING CONCERT. 
 
 Tuesday Evening, May 27. 
 
 I. SYMPHONY IN G MINOR Mozart. 
 
 1. Allegro Molto. j. Minuet : Allegro. 
 
 2. Andante. 4. Finale : Allegro Assai. 
 ! Orchestra. 
 
 INTERMISSION. 
 II. ORATORIO, " The Creation " Haydn. 
 
 (First and Second Parts.) 
 
 MADAME CHRISTINE NILSSON. 
 
 MR. THEODORE TOEDT. MR. FRANZ REMMERTZ. 
 
 Chorus and Orchestra. 
 
J 8 The Second Biennial Chicago Musical Festival. 
 
 SECOND EVENING CONCERT. 
 
 Wednesday Evening, May 28. 
 
 I. SYMPHONY, No. 3, " Eroica," op. 55 • • - Beethoven. 
 
 1. Allegro conBrio. j. Scherzo : Allegro Vivace. 
 
 2. Marcia Funebre. 4, Finale : Allegro Molto. 
 
 Orchestra. 
 
 INTERMISSION. 
 II. TANNHAUSER ... ... Wagner. 
 
 Act I. 
 
 (a) OVERTORE. 
 
 (*) Scene I. Bacchanale. Chorus of Sirens. 
 
 (c) Scene III. TannhAuser, a Young Shepherd and the Pilgrims. 
 
 {d) Scene IV. TannhAuser, the Landgrave and the Minstrel Knights. 
 
 Act II. 
 
 (a) Introduction. 
 
 (*) Scene I. Elisabeth. 
 
 [c) Scene II. Elisabeth, TannhAuser, and Wolfram. 
 
 ((/) Scene III. Elisabeth and the Landgrave. 
 
 (e) Scene IV. March and Chorus. 
 
 Act III. 
 
 (fl) Introduction. TannhAuser's Pilgrimage. 
 {b) Scene I. Elisabeth, Wolfram, and the Elder Pilgrlms. 
 [c) Scene II. Wolfram Alone. 
 
 {d) Scene III. TannhAuser, Wolfram. Later, Landgrave, Minstrels, Elder 
 and Younger Pilgrims. 
 
 Dramatis Pekson/E. 
 
 HERMANN, LANDGRAVE OF THURINGIA, Herr Emil Scaria. 
 
 TANNHAUSER .... ... Herr Hermann Winkelmann. 
 
 WOLFRAM VON ESCHENBACH . . . Herr Franz Remmertz. 
 
 WALTHER VON DER VOGELWEIDE . . Herr Theodore Toedt. 
 
 BITTEROLF . Herr Max Heinrich. 
 
 HEINRICH DER SCHREIBER Mr. Charles T. Barnes. 
 
 REINMAR VON ZWETER . . . Mr. George H. Broderick. 
 
 ELISABETH Frau Amalia Friedrich-Materna. 
 
 A YOUNG SHEPHERD . . ... Miss Emma Juch. 
 
 Chorus and Orchestra. 
 
First Matinee Programme. • 19 
 
 FIRST MATINEE. 
 
 Thursday Afternoon, May 29. 
 
 WAGNER PROGRAMME. 
 
 I. CENTENNIAL MARCH. 
 
 Orchestra. 
 
 II. LOHENGRIN. 
 
 — Act I. 
 
 («) VoRSPiEL, Orchestra. 
 Act II. 
 
 {b) Duo, "Ye Breezes," Scene II. 
 {c) Bridal Procession, Chorus. 
 
 Act III. 
 
 (d) Introduction, Orchestra. 
 
 (e) "Guided by Us," Chorus, Scene I. 
 
 (/) Grand Duo, " The Song has Died Away," Scene II. 
 (^) March, Orchestra and Chorus, Scene III. 
 
 LOHENGRIN . Herr Hermann Winkelmann. 
 
 ELSA Mme. Christine Nilsson. 
 
 ORTRUD Frau Amalia Friedrich-Materna. 
 
 INTERMISSION. 
 
 III. PARSIFAL. 
 
 (a) Vorspiel, Orchestra. 
 (*) Good Friday's Spell 
 (it) Funeral Procession. 
 
 PARSIFAL Herr Hermann Winkelmann. 
 
 GURNEMANZ . . . ... Herr Emil Scaria. 
 
 IV. GOTTERDAMMERUNG. 
 
 Siegfried's Death, Orchestra. 
 
 V. DIE MEISTERSINGER. 
 
 Act I. 
 
 Pogner's Address. 
 VoRSPiEL, Orchestra. 
 
 POGNER Herr Emil Scaria. 
 
20 The Second Biennial Chicago Musical Festival. 
 
 THIRD EVENING CONCERT. 
 
 Thursday Evening, May 29. 
 
 I. MESSE DES MORTS (op. 5) . Berlioz. 
 
 SOLOIST Herr Hermann Winkelmann. 
 
 Chorus and Orchestra. 
 (The Orchestra for this work will be increased to 190 musicians.) 
 
 INTERMISSION. 
 
 II. WALKiJRE (Act III) Wagner. 
 
 (a Introduction, " The Ride of the Walkyries." 
 
 (fi) Scene III, Duo, " Full of So Sheer a Shame was My Fault." 
 
 {c) Wotan's Farewell. 
 
 {d) Magic Fire Scene. 
 
 BRtTNNHILDE . . . Frau Amalia Friedrich-Materna. 
 
 WOTAN . . ... ■ . Herr Emil Scaria. > 
 
Fourth Evening Programme. ' 21 
 
 FOURTH EVENING CONCERT. 
 
 Friday Evening, May 30. 
 
 I. TE DEUM ("Dettingen") Handel. 
 
 MISS EMILY WINANT. 
 MR. THEODORE J. TOEDT. MR. FRANZ REMMERTZ. 
 
 Chorus and Orchestra. 
 II. SYMPHONY IN C, No. 9 Schubert. 
 
 /. Andante: Allegro ma non Troppo, j. Scherzo: Allegro Vivace. 
 
 a. Andante con Moto. 4. Firlale: Allegro Vivace. 
 
 Orchestra. 
 
 INTERMISSION. 
 
 Ill, SIEGFRIED (Finale Act III) Wagner. 
 
 BRUNNHILDE Frau Amalia Friedrich-Materna. 
 
 SIEGFRIED Herr Hermann Winkelmann. 
 
2 2 The Second Biennial Chicago Musical Festival. 
 
 SECOND MATINEE. 
 
 Saturday Afternoon, . May 31. 
 
 PART I. 
 
 I. OVERTURE "Jubilee" Weber. 
 
 Orchestra. 
 
 II. CHILDREN'S CHORUSES. 
 
 (a) Christmas Song Gatty. 
 
 {h) On the Mountain Reinecke. 
 
 (f) March Reinecke. 
 
 (</) Evening Song Randegger. 
 
 Chorus of Children. 
 
 III. ARIA " In diesen heil'gen Hallen "(" Magic Flute ") . . Mozart. 
 
 Herr Emil Scaria. 
 
 IV. SCOTCH RHAPSODY, "Burns . . . . A.C.Mackenzie. 
 
 Orchestra. 
 
 V. "AVE MARIA" Bach-Gounod. 
 
 Miss Emma Juch. 
 
 VI. CHILDREN'S CHORUSES. 
 
 (a) Fairies' Song - . Bishop. 
 
 (*) " Like as A Father " • . . ' . Gherubini. 
 
 Chorus of Children. 
 
 PART II. 
 
 VII. VARIATIONS (theme by Haydn, chorale St. Antoine) . Brahms. 
 
 Orchestra. 
 
 VIII. ARIA from "Iphigenia in Tauris" Gluck. 
 
 Herr Hermann Winkelmann. 
 
 IX. MINUET and FINALE, from String Quartet, No. 9, in C 
 
 Beethoven. 
 
 String Orchestra. 
 
 X. ARIA " Bethorte die an meine Liebe glaubt " (" Euryanthe ") Weber. 
 Frau Amalia Friedrich-Materna. 
 
 XL SYMPHONIC POEM "Tasso" Liszt. 
 
 Orchestra. 
 
Fifth Evening Programme. 23 
 
 FIFTH EVENING CONCERT. 
 
 Saturday Evening, May 31. 
 
 ORATORIO "The Redemption" (a Sacred Trilogy) . . . Gounod. 
 
 MME. CHRISTINE NILSSON. MR. THEODORE TOEDT. 
 
 MISS EMMA JUCH. MR, MAX HEINRICH. 
 
 MISS EMILY WINANT. MR. FRANZ REMMERTZ. 
 
 Chorus and Orchestra. 
 
24 
 
 The^ Second Biennial Chicago Musical Festival. 
 
 FIRST EVENING CONCERT. 
 
 SYMPHONY IN G MINOR 
 
 Mozart. 
 
 1. Allegro Molto. 
 
 2. Andante. 
 
 Minuet and Trio. 
 Finale, Allegro As sat. 
 
 M' 
 
 'USIC, as "the art of combining sound in a manner to please the ear," 
 found its high priest in Wolfgang Amadeus Mozart. In its develop- 
 ment during the last hundred years it has conquered new fields. It 
 has reached out for the scepter among the arts over which the Muses preside, 
 and, as some claim, is to be fAe art of the future. It has expanded its power 
 to the expression of human passion, feeling, and even thought. It has become 
 epic, dramatic, romantic, descriptive; and yet, to speak with Mozart, music 
 eventually remains music. Future generations may lose sight of that stage of 
 its development when its aim was to please the ear, but at present we believe 
 the majority of music lovers have not yet lost the faculty of enjoying pure 
 music, which makes no claim to stir their passion, but in its play of tones 
 pleases the ear. 
 
 The symphony in question is one of the finest specimens of the genius of 
 Mozart, that favorite son of the Muses. It was written in Vienna in 1788, as 
 the second of a set of three,; the first, in E flat, bearing date of June 26, the 
 second, in G minor, July 25, and the third, in C major, August 10. Thus the 
 time for the composition of the G minor symphony is reduced to ten days. 
 
 Of the sixteen symphonies which Mozart wrote between 1773 and 1788, 
 this is the only one in a minor key. " Minor key " has with us become the 
 synonym of somberness, sadness, and melancholy; but Mozart's sadness is not 
 of the tragic kind. Once in the realm of instrumental music, his Hellenic 
 nature never could succumb to the deep distresses of the soul. The restlessness 
 of the first and second movements, the energy of the themes of the Minuet and 
 Finale, the sudden transition from piano to fortissimo, instead of giving us 
 the impression of real anger or despair, as some writers would have us believe, 
 seem more like the expression of a ruffled temper on the part of the composer. 
 
 To give an analysis of the symphony would necessitate almost a reprint of 
 the score, for the consummate art displayed in using the otherwise simple 
 material is crowded into every measure, and we must content ourselves by 
 giving the principal themes of the different movements Without the then 
 customary opening Adagio, or any attempt to call the hearers to order, the 
 first movement commences at once with the principal theme, piano : 
 
m 
 
 r 
 
 First Evening Concert. 
 
 25 
 
 :t= 
 
 i 
 
 .|« ftZZ^ 
 
 -^m 
 
 Lt^EE^S 
 
 -X. 
 
 isstLt: 
 
 -i»— #- 
 
 followed by a new theme, which is afterward more elaborately used: 
 
 A — 
 
 5E 
 
 :e 
 
 
 E&^ElE 
 
 e 
 
 -?iE3 
 
 This energetic phrase is succeeded by the following exquisite melody: 
 
 feanrzf^:^ 
 
 ?=!£: 
 
 £E=^^Mf= 
 
 I^EE 
 
 
 Answered in the basses by: 
 
 Pi 
 
 F?^^^^^ 
 
 Is this Leporello's 
 
 
 -^ -■- 
 
 mil le 
 
 tor - bi di pen sie . - ri 
 
 and does it give us a clew to the state of the composer's feeling ? 
 In the second part, the principal theme is broken up into bits of 
 
 ^m 
 
 te*=P= 
 
 shaken in true kaleidoscopic fashion, and also like such an instrument filled 
 with pieces of highly colored glass, transparent at every turn, thereby only 
 increasing its beauty. 
 
 The Andante in E flat, | time, is not based on a long cantilene like most of 
 his Adagios, but betrays rather a restless spirit by the short groups which are 
 thrown from instrument to instrument: 
 
 fis 
 
 — i^H — — ^^ — ' — ==»" 
 
 The germ of the melody appears at the opening in the bass: 
 
 m 
 
 ?^; 
 
 fcfczr^ 
 
 1 7 T^T 1 - 
 
 besides which, we can quote only the following beautiful passage: 
 
26 
 
 The Second Biennial Chicago Musical Festival. 
 
 The Minuet Allegro in G minor opens with: 
 
 =P 
 
 The stubborn syncopation is enforced at the beginning of the second part in 
 the following manner: 
 
 i^ 
 
 *- -0- 
 
 i^^ 
 
 -!«— •— r 
 
 £=s 
 
 l=E 
 
 and we easily realize that poor Mozart feels out of sorts; but the cloud soon 
 passes, and in the Trio he smiles again, and dismisses his -^migraine " with a 
 joke: 
 
 ^^=^^^s=^ ^^m 
 
 The Finale, Allegro Assai, is a work of such marvelous skill, that while the 
 musical student can alone appreciate the genius of the master by close study 
 of the score, yet the listener never is oppressed by its intricacies. All is clear, 
 beautiful, and full of life and energy from the opening phrase, which embodies 
 the character 
 
 i 
 
 ^ 
 
 m 
 
 s 
 
 ^^m^mm 
 
 P — ' fr 
 
 of the whole movement to the last note. We will only add that Mozart reared 
 this monument of orchestral writing with the modest means of what would 
 nowadays be called a small orchestra, consisting, besides the string quartette, 
 of two horns, a flute, two clarinets, two oboes, and two bassoons. 
 
 A. W. D. 
 
 ORATORIO, " TAe Creation" (First and Second Parts) 
 
 Haydn. 
 
 THE fame of Haydn reached its culminating point in " The Creation," one 
 of the last works of his life. Shortly before he left London, Salomon, 
 who had been his manager, offered him a poem for music which had 
 been arranged by Lydley from Milton's " Paradise Lost " before Handel's 
 death, but had never been used. He took it with him to Vienna, without 
 intending to use it, but his friend. Van Swieten, the Eniperor's librarian, to 
 encourage him, translated the text into German, and added choruses, airs and 
 duets. He. was sixty-three years of age when he began the work, and. he was 
 employed two entire years upon it,. When urged to hasten it, he replied: " I 
 spend much time over it because I intend it to last a long time." 
 
First Evening Concert. 27 
 
 The oratorio was completed in 1798, and in Lent of that year, April 29, it 
 was performed for the first time privately in the rooms of the Schwartzenberg 
 palace, at the expense of the Dillettanti society, which had requested it from 
 the composer. Its first public performance was on Haydn's name-day, March 
 ig, 1799, at the National Theater. The next performance was given by the 
 Tonkiinstler Societat, under Haydn's own direction, and on March 9, 1800, he 
 conducted it at Ofen, before the Archduke Palatine Joseph of Hungary. 
 
 " The Creation " commences with an overture representing chaos. Its 
 effect is at first dull and indefinite; its utterances inarticulate, and its notes 
 destitute of perceptible melody. It is the rude masses of nature in a state of 
 chaos. Gradually instrument after instrument makes an effort to extricate 
 itself, and as the clarinets and flutes struggle out of the confusion the feeling 
 of order begins to make itself apparent. The resolutions indicate harmony. 
 At last the discordances settle, leaving a misty effect that vividly illustrates 
 " the Spirit of God moving upon The face of the waters.'' Then, at the fiat of 
 the Creator, " Let there be light," the whole orchestra and chorus burst forth, 
 in the sonorous response, "And there was light." A brief passage by Uriel 
 (tenor) describes the division of light from darkness and the end of chaos, 
 introducing a fugued chorus in which the rage of Satan and his hellish spirits, 
 as they are precipitated into the abyss, is described with tremendous discords 
 and strange modulations; but before it closes the music relates the beauties of 
 the newly created earth springing " up at God's command." Raphael describes 
 the making of the firmament, the raging of the storms, the flashing lightning 
 and rolling thunder, the showers of rain and hail and the falling snow to an 
 accompaniment which is closely imitative in character. The work of the sec- 
 ond day forms the theme of "The Marvelous Work,'' for soprano obligate with 
 chorus, a number of great joyousness and spirit. This leads to No. 7, "Roll- 
 ing in Foaming Billows," in which the music is employed to represent the 
 effect of water, from the roaring billows of the " boisterous seas " and the 
 rivers flowing "in serpent error" to "the limpid brook," whose murmuring 
 ripple is set to one of the sweetest and most delicious melodies Haydn ever 
 wrote. This leads the way to No. 9, the well known aria, "With Verdure 
 Clad," of which Haydn himself was very fond, and which he recast three 
 times. The aria is so well known that it does not need special description. It 
 is followed by a fugued chorus, "Awake the Harp," in which the angels praise 
 the Creator. We next pass to the creation of the planets. The instrumental 
 prelude is a wonderful bit of constantly developing color, which increases " in 
 splendor bright " until the sun appears. It is followed by the rising of the 
 moon to an accompaniment as tender as its own radiance, and as the stars 
 appear " the Sons of God announce the fourth day," and the first part closes 
 with the great chorus, "The Heavens are Telling," in which the full force of 
 band and singers is employed in full, broad harmony and sonorous chords 
 to a cadence of magnificent power. 
 
 The second part opens with the aria, " On Mighty Pens," describing in a 
 majestic manner the flight of the eagle, and then blithely passing to the gaiety 
 of the lark, the tenderness of the cooing doves and the plaintiveness of the 
 
28 The Second Biennial Chicago Musical Festival. 
 
 nightingale, in which the singing of the birds is imitated as closely to nature 
 as musical resources will allow. A beautiful terzetto describes with inimitable 
 grace the gently sloping hills covered with their verdure, the leaping of the 
 fountains into the light, and the flight of birds, and a bass solo in sonorous 
 manner takes up the swimming fish, closing with "the Upheaval of Leviathan 
 from the Deep " to significant flourishes on the double basses. This leads to a 
 powerful chorus with trio, "The Lord is Great." No 22 describes the creation 
 of various animals, and perhaps nothing that art contains can vie with it in 
 various and vivid descriptions. It commences with the lion, whose roar is 
 heard among the wind instruments. The alertness of the tiger is shown in 
 rapid flights by the strings. A presto ingeniously represents the quick move- 
 ments of the stag. The horse is accompanied by music which prances and 
 neighs. A quiet pastoral movement, in strong contrast with the preceding 
 abrupt transitions, pictures the cattle seeking their food " on fields and mead- 
 ows green." A flutter of sounds describes the swarms of— insects in the air, 
 and from this we pass to a long, slowly moving line of harmony, representing 
 " the sinuous trace " of the worm. This masterpiece of description is con- 
 tained in a single recitative. A powerful and dignified air (No. 23), sung by 
 Raphael, introduces the creation of man, which is completed in No. 24, sung 
 by Uriel. The second part of this air, which is full of tender beauty, describes 
 the creation of Eve, and it closes with the happiness of the newly created 
 pair. A brief recitative, "And God Saw Everything That He had Made," leads 
 us to the chorus, " Achieved Is the Glorious Work," a fugue of great power, 
 superbly accompanied. It is interrupted by a trio, " On Thee Each Living 
 Soul Awaits," but soon returns again with still greater power and grandeur, 
 closing with a Gloria and Hallelujah of magnificent proportions. 
 
 In this performance of "The Creation," the third part, which is miainly a 
 duet, descriptive of the transports of Adam and his "graceful consort," is 
 omitted. It does not mar the effect, as the climax of the work is reached at 
 the end of the second part. 
 
 The last time that Haydn appeared in public was at a performance of " The 
 Creation," in Vienna, March 27, 1808, at which Sali^ri conducted. At the 
 words, "And there was Light," he was very much overcome, and pointing 
 upward, exclaimed, " It came from Thence." As the performance continued, 
 his agitation became so grekt that he was obliged to leave, and as he went out 
 the audience thronged about him to take leave of him, and Beethoven kissed 
 his hand and forehead devoutly. He died about a year afterward, May 26, 
 1809. 
 
First Evening Concert. 
 
 29 
 
 GABRIEL Mme. Christine Nilsson. 
 
 URIEL Mr. Toedt. 
 
 RAPHAEL . . Mr. Remmertz. 
 
 PART I. 
 
 Introduction — Representation of Chaos. 
 
 RECIT.— [Raphael.] 
 In the beginning God created the heaven 
 and the earth; and the earth was without form 
 and void; and darkness was upon the face of 
 the deep. 
 
 CHORUS. _ ^ 
 
 And the spirit of God moved upon the face 
 of the waters; and God said: Let there be 
 light, and there was light. 
 
 RECIT.— [Uriel.] 
 And God saw the light that it was good; and 
 God divided the light from the darkness. 
 
 AIR. 
 Now vanish before the holy beams, 
 The gloomy shades of ancient night; 
 The first of days appears. 
 Now chaos ends and order fair prevails; 
 Affrighted fled hell's spirits back in throngs; 
 Down they sink in the deep abyss 
 To endless night. 
 
 CHORUS. 
 
 Despairing, cursing rage attends their rapid 
 fall. 
 
 A new-created world springs up at God's com- 
 mand. 
 
 RECIT.— [Raphael.] 
 And God made the firmament, and divided 
 the waters which were under the firmament 
 from the waters which were above the firma- 
 ment, and it was so. 
 
 Now furious storms tempestuous rage; 
 
 As chaff, by the winds are impelled the clouds; 
 
 By heaven's fire, the sky is inflamed. 
 
 And awful thunders are rolling on high; 
 
 Down flow the floods, in steam 
 
 Ascend reviving showers of rain. 
 
 The dreary, wasteful hail. 
 
 The light and flaky snow. 
 
 AIR. — [Gabriel.] 
 The marvelous work behold amazed 
 The glorious hierarchy of heaven; 
 And to the ethereal vaults resound 
 The praise of God and of the second day. 
 
 CHORUS. 
 And to the ethereal vaults resound 
 The praise of God and of the second day. 
 
 RECIT.— [Raphael.] 
 And God said: Let the waters under the 
 heavens be gathered togeth.er into one place, 
 and let the dry land appear, and it was so. 
 And God called the dry land earth, and the 
 gathering of waters called he seas, and God 
 saw that it was good. 
 
 AIR. 
 Rolling in foaming billows 
 Uplifted roars the boisterous sea. 
 Mountains and earth now emerge; 
 Their tops into the clouds ascend. 
 Through the open plains outstretching wide, 
 In serpent error rivers flow. 
 Softly purling glides on" 
 Through silent vales the limpid brook. 
 
 RECIT.— [Gabriel.] 
 And God said: Let the earth bring forth 
 grass, the herb yielding seed, and the fruit- 
 tree yielding fruit after his kind, whose seed 
 is in itself upon the earth; and it was so. 
 
 AIR. 
 With verdure clad the fields appear 
 Delightful to the ravished sense; 
 By flowers sweet and gay 
 Enhanced is the charming sight. 
 Here fragrant herbs their odor shed. 
 Here shoots the healing plant. 
 With copious fruit the expanded boughs are 
 
 hung. 
 In leafy arches twine the shady groves; 
 O'er lofty hills majestic forests wave. 
 
 RECIT.— [Uriel.] 
 And the heavenly host proclaimed the third 
 day, praising God, and saying: 
 
30 
 
 The Second Biennial Chicago Musical Festival. 
 
 CHORUS. 
 Awake the harp, the lyre awake, 
 And let your joyful song resound. 
 Rejoice in the Lord, the mighty God; 
 For He both the heaven and the earth 
 Hath cloth'd in stately dress. 
 
 REGIT.— [Uriel.] 
 And God said, Let there be lights in the 
 firmament of heaven, to divide the day from 
 the night, and to give light upon the earth; 
 and let them be for signs and for seasons, and 
 for days and for years. He made the stars 
 also. 
 
 REGIT. — [Accompanied.] 
 In splendor bright is rising now the sun, 
 And darts his rays ; a joyful, happy spouse, 
 A giant proud and glad 
 To run his measured course. 
 With softer beams and milder light. 
 Steps on the silver moon through silent night; 
 The space immense of azure sky. 
 In numerous hosts of radiant orbs adorns.i 
 The sons of God announce the fourth day. 
 In song divine, proclaiming thus His power — 
 
 CHORUS. 
 
 The heavens are telling the glory of God, 
 The wonder of His work displays the firma- 
 ment. 
 
 TRIO. 
 
 The day that is coming speaks it the day, 
 The night that is gone to following night. 
 
 CHORUS. 
 
 The heavens are telling the glory of God, 
 The wonder of His work displays the firma- 
 ment. 
 
 TRIO. 
 
 In all the lands resounds the word 
 Never unperceived, ever understood. 
 
 The heavens are telling the glory of God; 
 
 The wonder of His work displays the firma- 
 ment. 
 
 PART II. 
 
 REGIT.— [Gabriel.] 
 And God said, Let the waters bring forth 
 abundantly the moving creature that hath life, 
 and fowl that may fly above the earth in the 
 open firmament of heaven. 
 
 AIR. 
 On mighty pens uplifted soars 
 The eagle aloft, and cleaves the air 
 In swiftest flight to the blazing sun. 
 His welcome bids to morn the merry lark. 
 And cooing calls the tender dove his mate. 
 From every bush and grove resound 
 The nightingale's delightful notes; 
 No grief affected yet her breast, 
 Nor to a mournful tale were tun'd 
 Her soft enchanting lays. 
 
 REGIT.— [Raphael.] 
 And God created great whales, and every 
 living creature that moveth; and God blessed 
 them, saying. Be fruitful all, and multiply. 
 Ye winged tribes, be multiplied. 
 And sing in every tree; multiply. 
 Ye finny tribes, and fill each watery deep; 
 Be fruitful; grow and multiply. 
 And in your God and Lord rejoice. 
 And the angels struck their immortal harps 
 and the wonders of the fifth day sung. 
 
 TRIO. 
 
 Gabriel. 
 Most beautiful appear, with verdure young 
 
 adorn 'd » 
 
 The gently sloping hills; their narrow, sinuous 
 
 veins 
 Distil, in crystal drops, the fountain fresh and 
 
 bright. 
 
 Uriel. 
 In lofty circles play, and hover in the air. 
 The cheerful host of birds; and in the flying 
 
 whirl, 
 The glittering plumes are dyed as rainbows 
 
 by the sun. 
 
 Raphael. 
 
 See flashing through the wet in thronged 
 swarms 
 
 The fish on thousand ways around. 
 
 Upheaved from the deep, the immense levia- 
 than 
 
 Sports on the foaming wave. 
 
 Gabriel, Uriel, Raphael. 
 How many are Thy works, O God ! 
 Who may their numbers tell ! 
 
 TRIO AND CHORUS. 
 The Lord is great, and great His might. 
 His glory lasts for ever and for evermore. 
 
First Evening Concert. 
 
 31 
 
 REGIT.— [Raphael.] 
 
 And God said, Let the earth bring forth the 
 living creature after his kind; cattle, and 
 creeping thing, and beast of the earth, after 
 his kind. 
 
 Straight opening her fertile womb. 
 The earth obey'd the word, 
 And teem'd creatures numberless. 
 In perfect forms, and fully grown. 
 Cheerful roaring stands the tawny lion. With 
 
 sudden leap 
 The flexible tiger appears. The nimble stag 
 Bears up his branching head. With flying 
 
 mane 
 And fiery look, impatient neighs the noble 
 steed. 
 The cattle, in herds, already seek their food 
 On fields and meadows green. 
 And o'er the ground as plants are spread 
 The fleecy, meek, and bleating flocks. 
 Unnumbered as the sands in swarms arose 
 The hosts of insects. In long dimension 
 Creeps with sinuous trace the worm. 
 
 AIR. 
 Now heaven in fullest glory shone; 
 Earth smiled in all her rich attire; 
 Th' room of air by fowl is fill'd; 
 The water swell'd by shoals of fish; 
 By heavy beasts the ground is trod ; 
 But all the work was not complete; 
 There wanted yet that wondrous being. 
 That, grateful, should God's power admire. 
 With heart and voice His goodness praise. 
 
 RECIT.— [Uriel.] 
 
 And God created man in His own image, in 
 the image of God created He him. Male and 
 female created He them. 
 
 He breathed into his nostrils the breath of 
 life, and man became a living soul. 
 
 AIR. 
 In native worth and honor clad. 
 With beauty, courage, strength, adorn'd. 
 Erect, with front serene, he stands 
 A man, the lord and king of nature all. 
 
 His large and arched brow sublime. 
 
 Of wisdom deep declares the seat! 
 
 And in his eyes with brightness shines 
 
 The soul, the breath and image of his God. 
 
 With fondness leans upon his breast 
 
 The partner for him form'd, 
 
 A woman, fair and graceful spouse. 
 
 Her softly smiling, virgin looks, 
 
 Of flow'ry spring the mirror. 
 
 Bespeak him love, and joy, and bliss. 
 
 REGIT.— [Raphael.] 
 
 And God saw everything that he had made, 
 and behold, it was very good; and the heavenly 
 choir, in song divine, thus closed the sixth day: 
 
 CHORUS. 
 
 Achieved is the glorious work; 
 The Lord beholds it and is pleas'd. 
 In lofty strains let us rejoice. 
 Our song let be the praise of God. 
 
 TRIO. 
 
 Gabriel and Uriel. 
 
 On Thee each living soul awaits 
 From Thee, O Lord, all seek their food. 
 Thou openest Thy hand. 
 And all are filled with good. 
 
 Raphael. 
 
 But when Thy face, O Lord, is hid. 
 With sudden terror they are struck. 
 Thou tak'st their breath away, 
 They vanish into dust. 
 
 Gabriel, Uriel, and Raphael. 
 Thou sendest forth Thy breath again. 
 And life with vigor fresh returns; 
 Revived earth unfolds new strength 
 And new delights. 
 
 CHORUS. 
 Achieved is the glorious work; 
 Our song let be the praise of God. 
 Glory to His Name for ever. 
 He, sole, on high, exalted reigns. 
 Hallelujah. 
 
32 The Second Biennial Chicago Musical Festival. 
 
 SECOND EVENING CONCERT. 
 
 SYMPHONY No. 3, " Eroica" op. 55- Beethoven. 
 
 1. Allegro con Brio. 3. Scherzo: Allegro Vivace. 
 
 2. Marcia Funebre. 4. Finale: Allegro Molto. 
 
 WITH this, his third symphony, Beethoven left the field of pure music, 
 the playing and toying with tones, merely influenced by the mood of 
 the composer, and boldly raised the sphere of orchestral music to the 
 interpretation in more concrete form of the various emotions of the human 
 soul. The first and second are lyrics, the third rises to the dignity of an Epos. 
 The " Eroica," like " Hamlet" and " Faust," has a literature of its own, and the 
 interpretations of its commentators are as various and contradictory as are 
 those of the critics of Shakespeare and of Goethe. 
 
 In introducing the subject we ,will mention, first, that the abbreviated title, 
 " Eroica," is likely to mislead the expectant hearer if he supposes the music 
 to be of a martial character, and we therefore add the complete title of the 
 work, as it first appeared in print. It was: " Synfonia Eroica, composta per pes- 
 teggiare il sowenire di un grand" Uomo, dedicata" etc.; that is, " Composed to cele- 
 brate the memory of a great man," viz., the heros, in its widest sense. Yet 
 the first manuscript copy bore the following legend: 
 
 Sinfonia grande, 
 
 Napoleon Buonaparte, 
 
 1804 in August: 
 
 del Sigr; 
 
 Louis van Beethoven. 
 
 Sinfonia j. Op. j'j'. 
 
 and the fly leaf of the copy, which the composer retained, bore the following 
 words, " Luigi van Beethoven" at the top, and "Buonaparte" at the bottom. 
 We know that Beethoven watched with deep interest the great revolution 
 which illuminated the western sky, hoping, wishing that freedom such as he 
 imagined and desired would rise above the Sansculotte's liberty and enlighten 
 the world. One man had attracted his attention and kindled his enthusiasm. 
 Napoleon Bonaparte, who emerged like a sun above the sea of confusion and 
 mediocrity, rising rapidly but steadily until, as Beethoven thought, he would 
 bless the world as the foremost hero of the republic and its consul. For Bee- 
 thoven, the i8th Brumaire had no forebodings of an i8th Mai, and when he 
 first heard of the " Vive VEmpereur " he took the score of his " Eroica," tore its 
 
Second Evening Concert. Tyi 
 
 title page in two, and threw the volume on the floor. His idol was shattered, 
 his hero had fallen. The copy which Had been prepared for the French lega- 
 tion at Vienna was withdrawn, and the work finally published in memory of 
 "un grand' Uomo." 
 
 Such, in brief, are the facts relating to its origin. As biographical data, 
 they will be received with the interest usually attached to such information, 
 but in their bearing on the composition they become of far greater interest 
 and importance. Had Beethoven written the first two movements only and 
 called the work, " Napoleon, a Symphonic Poem," a running text would easily 
 have been supplied, and although there might be different versions, the funda- 
 mental idea would have been the same in all. There would still remain enough 
 to puzzle the learned. That Sphynx hewn out of two blocks. 
 
 i 
 
 Viol. 
 
 32?I 
 
 I 
 Sorns. 
 
 --r- 
 
 
 -riS- 
 
 would continue to startle both the attentive listener and the musical student 
 poring over the score, but we all should feel satisfied we had a more or less 
 clear apprehension of the composer's intentions. But Beethoven was still in 
 the bondage of the symphonic form as it then existed, or, at any rate, chose to 
 adhere to the four classical movements. Allegro, Adagio, Scherzo, Finale, 
 thereby sorely puzzling the enthusiastic critics who were to dissect his work 
 and explain to the admiring listener the intent and meaning of every phrase. 
 For that Beethoven had a very decided meaning and purpose in writing this 
 work we may well believe. The " Eroica " was not thrown off in ten days nor 
 ten months. Beethoven had gathered the material and crystallized the differ- 
 ent musical thoughts which go to make up this mighty drama for years, and 
 when he called the symphony " Napoleon Bonaparte," we are bound to 
 believe that he in his way had sung the psean of the hero, as he then supposed 
 him to be. 
 
 Admitted that we all recognize in the first movement the strife, the battle, 
 whether of warring races or of one man fighting against fate and fortune, and 
 in the " Marcia Funebre," the grandest dirge ever sung, whom do we follow 
 to the grave amid those solemn sounds ? The hero of the play, Napoleon ? 
 Then what of the third and fourth movements? The biography ends with 
 the grave, and the character of the Scherzo and Finale will not admit the 
 explanation of a r^sum^ or commentary on the life just closed. 
 
 Marx, with implicit faith in Beethoven's original title page, sees in the first 
 movement an ideal picture of a battle, war being the necessary atmosphere, 
 the decisive force in the life of the victorious hero of a hundred battles, and 
 he carries out his description at considerable length. The second movement 
 he holds not to be a dirge in the manner of the well known funeral march in 
 the pianoforte Senate, op. 26, but considers the superscription as only a gen- 
 eral indication of the character of the music. The first act has shown us the 
 battle as the culmination of heroic life, but the battle has ceased, night has 
 
34 The Second Biennial Chicago Musical Festival. 
 
 fallen, and under cover of darkness we walk over the battle iield, lost in mel- 
 ancholy brooding over the solemn scene of death and desolation. But the 
 hero, with his victory, the victory with its tribute to death, are not the final 
 aim, \)\3.X. peace. In the Scherzo, Marx sees the busy life of the camp the day 
 after the battle. The victory was complete, peace has been declared, and the 
 troops are preparing to march to their homes, and this idea carried forward 
 into the Finale brings us to the joys and festivities of peace. 
 
 Wagner takes the " heroic " in its widest sense, and discards the idea of a 
 military hero. Man, in his grandest possibilities, is the text of his interpreta- 
 tion of the music of the first parts. Power and vital force are to him the lead- 
 ing ideas, interwoven with the expressions of the various emotions of a richly 
 endowed nature. This overpowering force, which fills us with awe and delight, 
 presses forward to a tragic catastrophe, the solemn nature of which is expressed 
 in the Adagio. Force, tamed, broken of its impetuous wantonness in the refin- 
 ing furnace of sorrow, emerges in the serenity of the Scherzo, while the Finale 
 gives us the "grand' Uomo " harmoniously developed, freed from passion, 
 conquered by the power of love. 
 
 Berlioz, on the other hand, is most impressed with the solemn character of 
 the whole symphony, and interprets it as the commemoration of a fallen 
 hero. The first moveinent tells him also of toil and strife, but in the Adagio 
 he beholds the funeral cortege of the dead hero, and calls the sforzando cry of 
 the wind instruments in the last measure but one the last farewell of the war- 
 riors to their dead comrade in arms. The Scherzo he compares to the solemn 
 plays which the warriors in the Iliad celebrated at the grave of their leader, 
 and finds in it still an undercurrent of tragic feeling. The Finale he takes to 
 be only a further exposition of the same idea, closing with a hymn of victory. 
 
 I have thought to serve the interest of the casual reader best by giving as 
 briefly as possible the leading ideas of some of the most eminent musical 
 writers, not so much for the purpose of showing the differences as to call into 
 more active exercise the individual capacities of each hearer for calling up the 
 ideas and emotions which the music may suggest. 
 
 Many clever and even ingenious " explanations " of the last movement could 
 be mentioned, but this forcing a meaning into every measure of music is of 
 little use in listening to and appreciating it. After frequent hearing of this 
 masterwork and frequent reading of the score, I have never been able to divest 
 myself of a feeling that Beethoven, in the last two movements, had felt the 
 fetters of the strict symphonic form. The expression of concrete thought, the 
 mighty diction of the Homeric Epos, seems to cease with the Adagio. The 
 Scherzo and Finale remind me more of music written for music's sake, and, 
 if meant to portray any part of the career of a hero, is (for Beethoven) sur- 
 prisingly serene and joyful. This may sound heretical, but it is to me a rather 
 significant fact that those artist writers who are best qualified to understand 
 music dismiss the Finale with the lightest possible touches, as far as inter- 
 pretation of detail is concerned. Moreover, we have it on Schindler's author- 
 ity that Beethoven, when he heard of Napoleon's death, sarcastically re- 
 marked: "For this event I wrote him the music seventeen years ago." It is 
 
Second Evening Concert. 35 
 
 well enough to say that Beethoven, in this instance, gave a different meaning 
 to his work from what he originally intended, if that' serve our purpose; still 
 the remark remains. 
 
 A few remarks as to the musical contents must suffice. The first move- 
 ment, in E flat, has a number of themes, in the highest degree characteristic, 
 and showing Beethoven's power in expressing his thoughts tersely and with 
 precision. The main theme is given out at the very beginning by the violon- 
 cellos in a quiet manner, but after twenty-four measures we at once encounter 
 the syncopations which play so decided a part in this grand picture of strife, 
 and at times change the rhythm practically to 2-4 time, although the movement 
 is written in triple time. A most tender episode given out by the winds and 
 repeated by the strings interrupts the turmoil, giving us a short repose of six- 
 teen measures, when, with a rapid crescendo, we return to the clashing synco- 
 pations. A similar treatment (not to detail a number of subsidiary themes) is 
 adopted in the second part, the whole being one of the most remarkable pieces 
 of orchestral writing in our musical literature. 
 
 The Adagio Assai appeals more directly to the listener with its sad melody 
 in C minor and its heartfelt tones of melancholy. The Scherzo, Allegro 
 Vivace, is again in the key of E flat, and moves along for some time in a pian- 
 issimo staccato which has something mysterious in its character, and not until 
 the middle of the second part does it break forth in a sudden fortissimo, and 
 then not without a reminiscence of the syncopations of the first Allegro. A 
 change from 3-4 into Alia breve 4-4, during four measures, and back again into 
 3-4 time is a conspicuous example of Beethoven's masterly application of 
 rhythm as a means of expression. The Trio, with its horn passage, quite dis- 
 pels the gloomy character of all that precedes, and calls up more peaceful 
 visions. 
 
 The last movement. Allegro Molto, commences, technically speaking, with 
 a dominant seventh chord, in the form of a cadenza, after which the theme 
 enters pizzicato. This melody is, in its intervals, really a fundamental bass, 
 and is worked up in the form of variations, ever and anon interrupted by a 
 hold or pause on the dominant chord, until a new theme appears, happier and 
 brighter than any, and which holds sway over the last part of the movement. 
 It gives room to a severe treatment of the first theme in strict counterpoint, 
 only to reappear in a Poco Andante of some length which suddenly and with- 
 out warning breaks into the final Presto Fortissimo that brings the work to 
 a close. A. W. D. 
 
36 The Second Biennial Chicago Musical Festival. 
 
 SELECTIONS FROM "TANNHAUSER" .... Wagner. 
 
 THE selections from "Tannhauser" made for the Festival include the 
 overture, and first, third and fourth scenes of the first act ; the introduc- 
 tion, and first, second, third and fourth scenes of the second act, and the 
 introduction, and first, second and third scenes of the third act. They include 
 all the striking incidents and situations of the drama, as well as the most 
 interesting miisical numbers. 
 
 The opera of "Tannhauser" was written in the years 1844-5, ^"'i was first 
 produced in October of the latter year. It had been preceded by "Rienzi " 
 and the "Flying Dutchman," and, like them, failed at first to meet with the 
 reception the composer had hoped, if not anticipated. Its story is based upon 
 the Tannhauser legend, which still exists in Thuringia, the site of the famous 
 Wartburg castle, where the Landgraves of the thirteenth century instituted 
 peaceful contests between the Minnesingers and knightly poets. Near this 
 castle towers the Venusberg, a scorched and dreary elevation rising out of the 
 lovely landscape, which, according to the popular tradition, was inhabited by 
 Venus, and was the locality of her luxurious, sensual court, though originally 
 it was the Teutonic goddess, Holda, who was the divinity of the region, and 
 who came every spring to enrich the fields. Being cursed by Christianity, she 
 took refuge in the caverns of the mountain, where she was afterward con- 
 founded with Venus. Her court was filled with sirens and bacchantes, who 
 enticed with their songs those whose impure desires led them to the vicinity 
 of the mountain, and lured them into its caverns, from which they never 
 returned. The knight, Tannhauser, found his way into the mountain, and 
 remained with the goddess seven years, at the end of which time, satiated 
 with pleasure, and torn with remorse, he aspired to go into the world once 
 more, and, by invoking the Virgin Mary, succeeded in tearing himself from 
 the arms of Venus. He makes a pilgrimage to Rome, and confesses to the 
 Pope, who replies that having tasted the pleasures of hell, he is forever 
 damned, and, raising his crosier, adds: "Even as this wood cannot become 
 green again, so there is no pardon for thee." According to the tradition, 
 however, the wood began to blossom at the end of three days, showing that 
 his sin would be forgiven. 
 
 Such are the main facts of the legend, and with it Wagner has woven the 
 poetical contests in the Wartburg, and the exquisitely beautiful character of 
 Elisabeth, the Princess of the castle, who knovjjs the Eternal mercv, and who 
 has the strength to die for his redemption. By her martyrdom Tannhauser' s 
 wild and vehement nature is broken. By her death he is freed from sin and 
 in his own death he finds relief. The story is based upon the grand motive 
 which appears in others of Wagner's operas, noticeably "Lohengrin" and 
 " Parsifal," namely, the world-old struggle between ithe flesh and the spirit 
 and the opposing principles of good and evil, which Goethe developed with 
 such astonishing power in "Faust." 
 
Second Evening Concert. 37 
 
 The numbers selected for this Festival are introduced by the overture, 
 which may best be described in Wagner's own words: "At the commence- 
 ment, the orchestra represents the song of the pilgrims, which, as it ap- 
 proaches, grows louder and louder, and at length recedes. As night comes 
 on, magical phenomena present themselves. We are made aware of the dizzy 
 motion of a horribly wanton dance. These are the seductive spells of the 
 Venusberg. A tall and manly figure approaches. It is Tannhduser, the Min- 
 nesinger, who trolls forth his jubilant love-song as if to challenge the wanton 
 crew. Wild shouts respond to his call. A roseate cloud surrounds him. He 
 perceives in the dim, seductive light an unspeakably lovely female figure. It 
 is Venus. By an irresistible power he is drawn to her, and raises his song in 
 her praise. The wonder of the Venusberg is revealed to him. Bacchantes 
 drag him into their giddy dance, and deliver him to the goddess, who carries 
 him off to the depths of her invisible kingdom. A voluptuous, plaintive whir- 
 ring alone stirs the air, and a horrible murmur pervades the spot where the 
 enrapturing profane magic spell had shown itself, and which now again is 
 overshadowed by darkness. Day at length begins to dawn, and the song of 
 the returning pilgrims is heard in the distance. As their song draws nearer, 
 and day succeeds to night, that whirring and murmuring in the air, which but 
 just now sounded to us like the horrible wail of the damned, gives way to 
 more joyful strains, till at last, when the sun has risen in all its splendor, and 
 the pilgrims' song with mighty inspiration proclaims to the world, and to all 
 that is and lives salvation won, its surging sound swells into a rapturous tor- 
 rent of sublime ecstasy. This divine song represents t9,-us the shout of joy at 
 his release from the curse of the unholiness of the Venusberg. Thus all the 
 pulses of life palpitate and leap for joy in this song of deliverance ; and the 
 two divided elements, spirit and mind, God and nature, embrace each other in 
 the holy uniting kiss of tove." *■ 
 
 The overture leads up to the Bacchanale music of the Venusberg which 
 was written in Paris by Wagner after the opera was finished, and had been 
 performed. It is now known as " The Parisian Bacchanale." In his interview 
 with the director of the Grand Opera, the latter insisted that a ballet must be 
 introduced in the second act. He declined to interrupt the progress of the 
 act, and he says in a letter written from Paris, in 1861: "I saw in the first act, 
 at the luxurious court of Venus, a most perfect opportunity for a Choregraphic 
 scene of some real meaning." He adds in another part of the letter: "I had 
 myself gained renewed pleasure in this my earlier work, and I went through 
 the score again with the greatest care, wrote the Venus scene entirely new as 
 well as the ballet that preceded it, and specially endeavored to bring the 
 music of the whole into the most exact accord with the translated text. 
 
 The third scene shows us Tannhduser in the valley of the Wartburg, after 
 his escape from the Venusberg, listening to the Song of the Shepherd, fol- 
 lowed by the familiar Chorus of the Pilgrims on their way to Rome. The 
 next scene introduces the Landgrave and his hunting party and singers, who 
 recognize Tannhduser. They implore him to remain with them, and at last 
 succeed by recalling Elisabeth to his memory and promising to conduct him to 
 her. 
 
38 
 
 The Second Biennial Chicago Musical Festival. 
 
 The first scene of the second act introduces Elisabeth, who greets the hall 
 in the Wartburg where the peaceful contest had taken place and mourns the 
 absence of Tannhduser. In the second scene he appears, and is rapturously- 
 welcomed by Elisabeth to whom he relates the miracle of his escape from 
 Venus. The fourth scene opens with the familiar march and chorus, and a 
 festival of song is prepared. 
 
 In the third act the introduction illustrates Tannhduser' s pilgrimage. In 
 the first scene, the Pilgrims' Chorus is heard, followed by Elisabeth's prayer to 
 the Virgin, one of the most strikingly beautiful numbers in the whole work. 
 The second scene is devoted to Wolfram alone and includes the exquisite 
 romance, " The Evening Star " ( " O, du mein holder Abendstern " ), sung as a 
 tribute to Elisabeth. The last scene is occupied with Tannhduser's repentance, 
 the last effort of Venus to entice him once more to the mountain, the death of 
 Elisabeth, which releases him from her magic, and Tannhduser' s own death, his 
 last words being " Holy Saint Elisabeth, O pray for me." The Hallelujah 
 Chorus of the younger pilgrims brings the scene to its close. 
 
 HERMANN, LANDGRAVE . . Herr Emil Scaria. 
 
 TANNHlUSER Herr Hermann Winkelmann. 
 
 WOLFRAM Herr Franz Remmertz. 
 
 WALTHER Herr Theodore Toedt. 
 
 BITTEROLF Herr Max Heinrich. 
 
 HEINRICH Mr. Charles T. Barnes. 
 
 REINMAR . Mr. Geo. H. Broderick. 
 
 ELISABETH Frau Amalia Friedrich-Materna. 
 
 SHEPHERD Miss Emma Juch. 
 
 ACT I. 
 
 OVERTURE. 
 
 SCENE I. 
 
 Bacchanale, Chorus of Sirens. 
 
 Come to these bowers 
 Radiant with flowers, 
 Here love shall bless you, 
 Here endeth all longing. 
 Soft arms shall press you 
 Mid blisses thronging. 
 Come to these bowers, 
 Come to these bowers. 
 
 SCENE III. 
 
 Tannhauser. a Young Shepherd. Pil- 
 grims. 
 
 (Tannh&user finds himself in a beautiful Vale. At the 
 back, the Wartburg. In the foreground, a shrine of 
 the Virgrin. On a rocky eminence, a young Shepherd 
 is playing the pipe.) 
 
 A Young Shepherd, 
 
 Dame Holda stepped from the mountain's 
 
 heart 
 To roam this wood and this meadow; 
 Sweet sounds and low around me did start, 
 I longed I might follow her shadow; 
 And there dream't I a golden dream 
 And when again the day did gleam 
 The spell was gone that bound me ; 
 'Twas May, sweet May around me. 
 Now songs of joy attune my lay. 
 For May hath come, the balmy May. 
 
 (He plays upon his pipe. The Chant of the elder Pil- 
 grims is heard, who come from- the direction of the 
 Wartburg.) 
 
 Chorus of the Elder Pilgrims. 
 
 To Thee, O J!.ord, my steps I bend, 
 In Thee both joy and sorrow end. 
 Oh! Mary, pure and gracious one! 
 Bless thou the road we have begun. 
 
 (The Shepherd, now hearing the Chant, ceases playing 
 and listens devoutly.) 
 
Second Evening Concert. 
 
 39 
 
 Oh! see my heart, by guilt oppressed, 
 I faint, I sink beneath my burden! 
 Nor will I cease, nor will I rest, 
 Till heavenly mercy grants my pardon. 
 At thy august and holy shrine, 
 I go to seek the grace divine. 
 Thrice blessed, who thy promise know! 
 Absolved by penance shall they go. 
 
 Shepherd. 
 God speed, God speed to Rome! There for 
 my soul, O, breathe a prayer. 
 
 (TannhA'jser sinks on his knee.) 
 
 Tannhauser. 
 
 Almighty! praise to Thee! Great are the 
 marvels of thy mercy. 
 
 Pilgrims.- 
 To Thee, O Lord, my steps I bend. 
 In Thee both joy, etc. 
 
 Tannhausek!. 
 Oh! see my heart, by guilt oppressed, 
 I faint, I sink, etc. 
 
 Pilgrims. — (far distant.) 
 At thy august and holy shrine, 
 I go to seek, etc, 
 
 (The Chant dies away, The sound of hunting bugles 
 comes nearer and nearer. The Landgrave and Min- 
 strels, in hunting array , descend from a forest path.) 
 
 SCENE IV. 
 
 The Landgrave and Minstrels. 
 
 The Landgrave 
 
 (perceiving Tannhauser). 
 Who is yon knight, so deep absorbed in prayer ? 
 
 Walter. 
 A pilgrim, sure. 
 
 Bitterolf., 
 By every sign, a noble. 
 
 Wolfram 
 
 (recognizing Tannhauser). 
 Our lost one. 
 
 Walter and Others. 
 
 Henry, Henry, is it thou ? 
 
 (Tannhauser hastily rises and bows mutely to the 
 Landgrave.) 
 
 Landgrave. 
 
 Is't no delusion? Dost thou then return to 
 
 us, whom thou so rashly did'st abandon ? 
 
 Bitterolf. 
 
 Say, what doth thy return this day forebode 
 
 us? 
 
 Walter and Others. 
 Yes, declare. Is't friendship, or a challenge 
 
 as of old ? 
 
 Walter. 
 Com'st thou as friend or scornful foe ? 
 
 Others. 
 As foe ? 
 
 Wolfram. 
 
 0, ask him not ! His looks bespeak not scorn- 
 ing! 
 
 (drawing near to Tannhauser) 
 We welcome thee, thou gallant minstrel. Alas! 
 too long wert thou from us estranged. 
 
 Walter. 
 Yes, welcome, if thou com'st in peace. 
 
 Bitterolf. 
 All hail, if we as friends can greet. 
 
 Others. 
 All hail, all hail, we welcome thee. 
 Landgrave. 
 
 1, too, would welcome thy return! But say, 
 where tarried'st thou so long ? 
 
 Tannhauser. 
 In strange and distant realms, I wandered far, 
 Where neither peace nor rest were ever found. 
 Ask not! At enmity I am with none. 
 We meet as friends. Let me in peace depart. 
 
 Landgrave. 
 Depart! thou shalt not, for our own we clfiim 
 thee. 
 
 Walter. 
 Thou must not go. 
 
 Bitterolf. 
 From us thou shalt not part. 
 
 Others. 
 Stay, be ours, etc. 
 
 Tannhauser. 
 I must. Onwards, I'm driven ever. 
 
 Never upon earth can I have rest. 
 The past to me is closed forever, 
 
 I'm doomed to roam alone unblest. 
 Nay, stay me not; I must away. 
 
 Bitterolf. 
 Here dwells Elisabeth. 
 
40 
 
 The Second Biennial Chicago Musical Festival. 
 
 TannhAuser. 
 
 Elisabeth!. O, ruth of Heaven, 
 That name adored once more I hear. 
 
 Wolfram. 
 
 He is no foe, who doth that name to thee 
 
 recall. 
 My sovereign lord, permit that I may tell him 
 
 of the prize he won. 
 
 Landgrave. j 
 
 Tell him the marvel that his song hath wrought, 
 
 and keep him. Heaven, in virtue, 
 That nobly he may own it. 
 
 Wolfram. 
 
 When for the palm in song we were contend- 
 ing. 
 And oft thy conquering strain the wreath 
 
 had won, 
 Our songs anon thy victory suspending. 
 
 One glorious prize was won by thee alone. 
 Was't magic or a power divine 
 That wrought thro' thee the wondrous sign ? 
 Thy harp and song in blissful hour 
 Enthralled of royal maids the flower. 
 For, ah! when thou in scorn hads't left us 
 
 Her heart was closed to joy and song. 
 Of her sweet presence she bereft us; 
 
 For thee, in vain, she wearied long. 
 Oh! Minstrel bold, return and rest thee. 
 
 Once more awake thy joyous strain ; 
 Cast off the burden that oppressed thee. 
 
 And her fair star will shine again. 
 
 Walter and Others. 
 
 Return, O Henry! thou, our brother! 
 
 Anger and strife shall be no more. 
 In joy and peace with one another 
 
 Our strains united let us pour. 
 
 (TannhAuser, deeply stirred, passionately embraces 
 Wolfram and the Minstrels.) 
 
 TannhAuser. 
 
 What joy! what joy! O, guide my steps to 
 her. 
 
 Ah! dost thou smile once more upon me. 
 Thou radiant world that I had lost ? 
 
 Oh! sun of Heaven, thou dost not shun me, 
 By stormy clouds no longer crossed. 
 
 'Tis May. sweet May, its thousand carols 
 tender 
 Rejoicing set my sorrow free. 
 
 A ray of new unwonted splendor 
 My soul illumes. O joy, 'tis she! 
 
 Minstrels. 
 He doth return, no more to wander. 
 
 Our loved and lost is ours again. 
 All praise and thanks to those we render 
 
 Who could persuade, and not in vain. 
 Now let your harps indite a measure 
 
 Of all that hero's hand may dare, 
 Of all that poet's heart can pleasure 
 
 Before the fairest of the fair. 
 
 (During the foregoing, the Landgrave's retinue have 
 assembled. The huntsmen sound their bugles.) 
 
 TannhAuser. 
 
 Guide me to her. 
 
 ACT II. 
 
 PRELUDE AT?D SCENE I. 
 
 (The hall of Minstrels in the Wartburg.) 
 
 Elisabeth 
 
 (enters in joyous emotion). 
 O, hall of song, I give thee greeting, 
 
 All hail to thee, thou hallowed place! 
 'Twas here that dream so sweet and fleeting 
 Upon my heart his song did trace. 
 But since by him forsaken, 
 A desert thou dost seem! 
 Thy echoes only waken 
 Remembrance of a dream. 
 But now the flame of hope is lighted, 
 
 Thy vault shall ring with glorious war. 
 For he whose strains my soul delighted 
 
 No longer roams afar, etc. 
 (TannhAuser, conducted by Wolfram, enters.) 
 
 SCENE II. 
 Elisabeth, TannhAuser and Wolfram. 
 
 Wolfram. 
 
 Behold her! Naught your meeting shall dis- 
 turb. 
 (TannhAuser throws himself at Elisabeth's feet.) 
 
 TannhAuser. 
 O, princess! 
 
 Elisabeth. 
 Heaven! do not kneel. Leave me. Here 
 thus we should not meet. 
 
 (She is about to depart.) 
 
 TannhAuser. 
 We may. O, stay! and let me kneel forever 
 here. 
 
Second Evening Concert. 
 
 41 
 
 Elisabeth. 
 I pray thee, rise. 'Tis not for thee to kneel 
 
 where thou hast conquered. This hall is 
 
 thy domain. 
 Rise, I implore. Thanks be to Heaven that 
 
 thou return'st to us. 
 So long, where hast thou tarried ? 
 
 TjVNNHiUSER 
 
 (slowly rising). 
 
 Far away in strange and distant regions, and 
 
 between yesterday and to-day oblivion's veil 
 
 hath fallen. 
 Every remembrance hath forever vanished, 
 Save one thing only rising from the darkness, 
 
 that I then dared not hope, 
 I should behold thee, nor ever raise my eyes 
 
 to thy perfection. 
 
 Elisabeth. 
 
 How wert thou led now to return to us ? 
 
 TannhAuser. 
 
 A marvel 'twas, by Heaven enwrought within 
 my spirit! 
 
 Elisabeth. 
 
 I praise the power that wrought it from out 
 
 my heart's recesses! 
 Forgive, I scarcely know what I am saying. 
 Thy presence here a vision doth it seem. 
 Strange dream of life, mysterious and alluring! 
 The world to me is changed. 
 Canst thou declare what this emotion to my 
 
 heart betokens ? 
 In minstrels' lays delighting, I marked and lis- 
 tened long and oft; 
 Their subtle, sweet inditing, to me seemed 
 
 dalliance soft. 
 But now the past to me is darkened. 
 
 Repose and joy from me have flown; 
 Since fondly to thy lays I hearkened. 
 
 The pangs of bliss and woe I've known. 
 Emotions that I comprehend not. 
 
 And longings never guessed before, 
 Upon my bidding they depend not, 
 
 But fled are all delights of yore. 
 And when this land thou hadst forsaken. 
 
 Repose and joy for me were fled; 
 No minstrel could my heart awaken. 
 
 To me these lays seemed sad and dead. 
 In slumber oft, hear broken-hearted; 
 
 Awake, each pain fondly recalled — 
 All joy had from my life departed — 
 
 Henry, Henry! why thus am I enthralled? 
 
 TannhAuser. 
 ' All praise to love for this fair token! 
 Love touched my harp with magic sweet; 
 Love thro' my song to thee hath spoken. 
 And captive leads me at thy feet. 
 
 Elisabeth and TannhAuser. 
 Oh! blessed hour of meeting. Oh! blessed 
 
 power of love! 
 At last I give thee greeting, no longer wilt 
 
 thou rove! 
 Now life renewed awaketh the hope that once 
 
 was mine! 
 The cloud of sorrow breaketh, the sun of joy 
 
 doth shine, etc. 
 
 SCENE III. 
 
 Elisabeth and the Landgrave. 
 
 Landgrave. 
 
 Com'st thou at last to grace the contest, 
 
 wilt thou shun these walls no longer ? 
 What hath lured thee from thy solitude, to 
 come amongst us ? 
 
 Elisabeth. 
 My sovereign, O, my more than father ? 
 
 Landgrave. 
 Wilt thou then at last reveal to me thy secret ? 
 
 Elisabeth. 
 Tell it I cannot, read my eyes and know. 
 
 Landgrave. 
 This day it shall still be unspoken. 
 
 Thy treasur'd thought thou need'st not own; 
 The spell shall yet remain unbroken. 
 
 Till what the future brings is known; 
 So be 't. The wondrous flame that song hath 
 
 kindled, this day shall brightly soar. 
 Thy joy, all hearts rejoicing, shall on this day 
 
 be crowned. 
 What hath been sung shall spring to life for 
 
 thee! 
 
 This day will see our nobles all assembled, to 
 
 grace the solemn feast; they now approach. 
 
 None will be absent, since they know that once 
 
 again thy hand the victor's wreath bestows. 
 
 SCENE IV. 
 The Landgrave, Elisabeth, Minstrels, No- 
 bles, Knights and Ladies. 
 
 Knights and Nobles. 
 Hail bright abode, where song the heart re- 
 joices. 
 
42 
 
 The Second Biennial Chicago Musical Festival. 
 
 May lays of peace within thee never fail, 
 Long may we cry with loyal voices, 
 Prince of Thuringia, Landgrave Hermann, 
 hail. 
 
 Chorus of Ladies. 
 
 Hail bright abode, etc. 
 
 ACT III. 
 
 Introduction. — Tannhauser's Pilgrimage. 
 
 (The valley beneath the Wartburg. On an eminence 
 Elisabeth kneeling before the shrine in prayer. 
 Wolfram approaches and perceives Elisabeth.) 
 
 Wolfram. 
 By yonder shrine I'm ever sure to find her, 
 lineeli.ng in fervent prayer, where my 
 lonely and joyless way back to the valley 
 leads me. 
 The death blow struck by him within her. 
 She prays that Heaven may shrive the sinner, 
 His weal imploring, day and night, 
 .0, blessed love, how great thy might! 
 The pilgrims soon from Rome will be return- 
 ing; the year declines, ere long they must 
 be here. Will he return, repentant and ab- 
 solved ? 
 This doth she pray for Heaven, entreating. 
 Ye Saints! O grant their happy meeting! 
 Although my wound may never heal, 
 O, may she ne'er my anguish feel! 
 ( As he is about to descend into the valley he hears the 
 Pilgrims' chant, and stops. ) 
 
 Chorus of Elder Pilgrims. 
 
 Once more with joy, O, my home I may meet! 
 
 Once more these fair flowery meads I may 
 greet; 
 
 My pilgrim's staff henceforth may rest. 
 
 Since Heaven's sweet peace is in my breast. 
 
 The sinner's plaint on high was heard, 
 
 Accepted by a gracious Lord' 
 
 The tears. I laid before his shrine 
 
 Are turned to hope and joy divine ! 
 
 O, Lord, eternal praise be thine. 
 
 The blessed source of thy mercy overflowing 
 
 On souls repentant, who seek thee bestow- 
 ing. 
 
 Of hell and death I have no fear. 
 
 My gracious Lord is ever near. 
 
 Hallelujah! Hallelujah! eternally. 
 Elisabeth. 
 
 The Pilgrims' song, 'tis they; they have re- 
 turned! 
 
 Ye Saints! O', let me know my task, that I may 
 worthily fulfill it. 
 
 Wolfram. 
 They come at last. It is the pious chant, tell- 
 ing of the sin absolved and pardon 
 granted. 
 O, Heaven, let her heart be strong, if now her 
 fate must be decided! 
 
 Elisabeth 
 
 (anxiously watching whether Tannhauser is among 
 
 the Pilgrims). 
 He will return no more. 
 
 Pilgrims 
 
 (disappearing through an opening in the valley).- 
 Once more with joy, etc. 
 
 Elisabeth 
 
 (falling on her knees). 
 
 blessed Virgin, hear my prayer! 
 Thou star of glory, look on me, 
 Here in the dust I bend before thee. 
 Now from this earth, O set me free. 
 Let me a maiden pure and white, 
 Enter into thy kingdom bright! 
 
 If vain desires and earthly longing 
 Have turned my heart from thee away, 
 The sinful hopes within me thronging 
 Before thy blessed feet I lay; 
 I'll wrestle with the love I cherished. 
 Until in death its flame hath perished. 
 If of my sin those will not shrive me. 
 Yet in this hour O grant thy aid. 
 Till thy eternal peace thou give me 
 
 1 vow to live and die thy maid ; 
 And on thy bounty I will call, 
 
 That heavenly grace may on him fall. 
 
 (Perceives Wolfram, who approaches and makes a 
 gesture, asking him not to speak to her.) 
 
 WOLFK.^M. 
 
 royal maid, shall I not guide thee home- 
 ward? 
 
 (She again signifies that her way leads to Heaven, 
 where she has a high task to fulfill. She proceeds up 
 the ascent, and gradually disappears. Wolfram seats 
 himself at the foot of a rock, and begins to preludise 
 on his harp.) 
 
 Wolfram. 
 Like death's dark shadow night her gloom ex- 
 
 tendeth. 
 Her sable wing o'er all the vale she bendeth. 
 The soul that longs to tread yon path of light 
 Yet dreads to pass the gate of fear and night. 
 
 1 look on thee, O star in Heaven the fairest. 
 Thy gentle beam this trackless space thou 
 
 bearest. 
 The hour of darkness is by thee made bright, 
 
Second Evenins' Concert. 
 
 43 
 
 Thou lead'st us upward with pure, kindly 
 
 light ; 
 O star of eve, thy tender beam 
 Smiles on my spirit's troubled dream. 
 From heart that ne'er its trust betrayed. 
 Greet, when she passes, the peerless maid. 
 Bear her beyond this vale of sorrow, 
 To fields of light that know no morrow. 
 
 SCENE III. 
 
 Tannhauser and Wolfram ; Later, Venus, 
 Walter and Minstrels, the Landgrave 
 AND Nobles. 
 
 (Tannhauser enters in ragged pilgrim's dress, pale and 
 worn, leaning on his stafE.) 
 
 Tannhauser. 
 The sound of harp I heard. It spoke of sad- 
 ness. It was not she who sang. 
 
 Wolfram. 
 Who art thou, pilgrim, thy lonely path pur- 
 suing ? 
 
 Tannhauser. 
 
 Who am I ? I who know thee so well. 
 Wolfram, thou art the wise and skillful min- 
 strel. 
 
 Wolfram. 
 
 Henry ! Thou ! What means thy coming 
 thus dejected? Speak! Tell me not that thou, 
 unabsolved, hast dared to set thy foot within 
 these precincts. 
 
 Tannhauser. 
 Nay, have no fear, O sapient minstrel, I 
 seek thee not, nor yet thy proud companions. 
 A path I seek, or one to guide my footsteps, 
 to find a path erewhile I trod with ease. 
 
 Wolfram. 
 What path is that ? 
 
 Tannhauser. 
 It leads to Venus' hill. 
 
 Wolfram. 
 Thou godless man ! Thy words defile my 
 ear. That is thy mission ? 
 
 Tannhauser. 
 Dost thou know the path ? 
 
 Wolfram. 
 O madman ! Dread unknown thy words 
 inspire. Whence com'st thou? Hast thou 
 not been in Rome ? 
 
 Tannhauser 
 
 (enraged). 
 Speak not of Rome. 
 
 Wolfram. 
 Hast thou not sued for pardon ? 
 
 Tannhauser. 
 Speak not of that. 
 
 Wolfram. 
 Thou wert not there? O, I conjure thee, 
 speak. 
 
 Tannhauser. 
 Yea, I have been in Rome. 
 
 Wolfram. 
 Say on ! O tell me all. Unhappy man ! With 
 deep compassion, I will hear thy words. 
 
 Tannhauser. 
 What say'st thou. Wolfram ? Say, art thou 
 not my foe ? 
 
 Wolfram. 
 
 No, nevermore, while thou art true to 
 
 honor. But tell thy pilgrimage to Rome. 
 
 TannhAuser. 
 
 I will, I will. Thou, Wolfram, shalt know 
 
 what befell me. 
 (Wolfram is about to seat himself by his side). 
 Away from me ! The refuge where I rest 
 
 me is accursed. Now mark, Wolfram ! Mark 
 
 well ! 
 Contrite in spirit as no pilgrim yet on earth 
 hath been, 
 
 I bent my steps to Rome, 
 An angel had dispelled the pride of sin. 
 
 Its mad profaneness from my bosom 
 For her sake I went forth a pilgrim 
 
 To reconcile offended Heaven. 
 She who with tears for me had pleaded 
 
 Should know my sin had been forgiven; ■ 
 When I beheld a heavy-burdened pilgrim, 
 It seemed to me his load was all too light ; 
 And if he sought a pathway o'er the meadow, 
 I trod unshod amid the rocks and thorns; 
 If he refreshed his lips by cooling fountain, 
 The brazen sun poured on my head forlorn; 
 When he besought the saints in murmured 
 prayers, 
 
 I shed my life-blood in the cause divine ; 
 When in the hospice he sought rest and shel- 
 ter. 
 
 On ice and snow it was that I sought mine. 
 
44 
 
 The Second Biennial Chicago Musical Festival 
 
 Lest Italy's fair scenes, my heart had glad- 
 dened, 
 I passed them blindfold, so my soul was sad- 
 dened. 
 I went, my wasted heart remorse was burning 
 That for my sake an angel waited mourning, 
 Thus Rome I gained at last ; with tears implor- 
 ing, 
 I knelt before the rood in faith adoring. 
 When daylight broke the silvery bells were 
 
 pealing. 
 Thro' vaulted roof a song divine was stealing, 
 A cry of joy breaks forth from thousand 
 
 voices. 
 The hope of pardon every heart rejoices. 
 There him- I saw who holds the keys of 
 Heaven, 
 And prostrate fell they all before his face. 
 And thousands he forgave that day and blessed 
 them. 
 And sent them forth renewed in heavenly 
 grace. 
 Then I drew near, my glances earthward 
 
 bending, 
 I made my plaint, despair my bosom rending, 
 I told what mad desires my soul had darkened 
 
 By sinful earthly pleasure long enslaved. 
 To me it seemed that he in mercy hearkened, 
 A gracious word in dust and tears I craved ; 
 Then he whom thus I prayed, replied: 
 If thou hast shared the joys of hell. 
 If thou unholy flames hast nursed 
 That in the hill of Venus dwell 
 
 Thou art forevermore accursed. 
 And, as this barren staff I hold. 
 
 Ne'er will put forth a flower or leaf. 
 Thus shalt thou nevermore behold 
 Salvation or thy sin's relief. 
 Then hopeless, dumb despair obscured my 
 
 senses, 
 I sank down motionless. When I awoke 
 'Twas night, and I alone, by all forsook. 
 I heard afar the songs of praise and prayer. 
 With loathing I fled to escape the sound. 
 
 What were to me the tidings of their joy ? 
 An outcast spurned in whom all hope was 
 
 dead. 
 With horror in my breast I turned and fled; 
 Then longed my soul those joys to taste again, 
 Which once before my earthbornpainshadslain, 
 To thee, fair Venus, I surrender. 
 
 Let thy sweet magic round me play, 
 I'll be thy slave, thou star of splendor. 
 Thou only canst these pangs allay. 
 
 Wolfram. 
 Oh ! stay thy godless raving. 
 
 TannhAuser. 
 O guide my steps that I may find thee. 
 
 " Wolfram. 
 No more. 
 
 TannhAuser. 
 
 How well erewhile the road I knew. 
 
 Wolfram. 
 Thou madman ! 
 
 TannhAdser. 
 Behold men have with curses spurned me. 
 Come, lovely goddess, guide me true. 
 
 Wolfram 
 
 (shuddering). 
 Thou godless one ? Whom dost thou call ? 
 
 TannhAuser. 
 Ah ! dost thou not feel balmy breezes ? 
 
 Wolfram. 
 Away ! O fly ! or thou art lost. 
 
 TANNHAUSER. 
 
 My senses what ecstasy seizes. Hearest thou 
 not rapturous music ? 
 
 Wolfram. 
 O wert thou rather in thy grave ! 
 
 TANNHAUSER 
 (more excited as the phantoms approach). 
 In mazy dance the nymphs now are flying. 
 Come on ! Come on ! ye fair, come on, re- 
 ceive your slave. 
 
 Wolfram. 
 Woe ! evil demons fill the air, 
 That hell its victim may ensnare. 
 
 TannhAuser. 
 
 come on pleasure's rosy pinion, 
 
 1 feel thy breath ambrosial. 
 
 This is of love the sweet dominion, 
 
 O Venus, on thee will I call. 
 
 (In a rosy light Venus li seen reclining on her couch.) 
 
 Venus. 
 [I welcome thee, perfidious man. 
 Earth laid thee low beneath its ban ; 
 Hast thou by all then been forsaken. 
 In my arms blissfully to awaken ?] 
 
 TannhAuser. 
 Sweet Venus, O in bliss receive me, 
 With thee, with thee, O let me fly. 
 
Second Evening Concert. 
 
 45 
 
 Wolfram. 
 Ye hellish phantoms, leave him, leave him, 
 All hope is lost when you are nigh. 
 
 Venus. 
 [Com'st thou on grace from me relying, 
 
 Thy rash resolve I will forgive, 
 Come where joy is fed from source undying, 
 
 In pleasure's bright'abode to live.] 
 
 TannhAuser 
 
 (tearing^ himself away from Wolfram). 
 Accursed of hope, they have bereft me. 
 Now joys of hell alone are left me. 
 
 Venus. 
 [O come, beloved, forever thou art mine.] 
 
 Wolfram. 
 
 O mighty Lord, in mercy, see, 
 Henry, one word and thou art free. 
 
 TannhAuser. 
 Away from me. No, Wolfram, no, the 
 heavens are closed. 
 
 Venus. 
 fCome, O, come, away, away.] 
 
 Wolfram. 
 Yet canst thou gain thy soul's salvation, 
 It hears an angel's supplication. 
 Who now for thee its grace implores. 
 Elisabeth, thy angel, prays for thee before the 
 
 throne, 
 And Heaven relents. Henry, thou art ab- 
 solved. 
 
 Venus. 
 
 [O maid divine. Woe ! I have lost him.] 
 Walter, Schreiber and Minstrels. 
 Receive the soul, O bounteous Lord, 
 That now to thee hath taken flight, 
 Hers be the angels' blest reward. 
 Bright be her glory in thy sight. 
 (Venus sinks into the earth. From the Wartburg- a 
 funeral train descends into the valley.) 
 
 Wolfram. 
 O, say, hearest thou this strain ? 
 TannhAuser 
 
 (dying). 
 I hear it. 
 
 (The funeral train reaches the valley,preceded by the pil- 
 grims; then follow the minstrels bearing Elisabeth's 
 hearse, followed by Landgrave and nobles.) 
 
 Chorus 
 
 (continues). 
 Sainted forever, thro' all the spheres. 
 
 She who thro' love thy salvation attained ; 
 Blest is the sinner, saved by her tears. 
 
 Now he the heavenly gate hath gained. 
 
 TannhAuser. 
 
 (Led to the hearse by Wolfram, he sinks to the earth.) 
 
 Holy Saint Elisabeth, O pray for me. 
 
 (He dies.) 
 
 Chorus of Younger Pilgrims. 
 
 Hail, hail, the Lord hath marvels wrought. 
 Redemption He to all hath brought. 
 One night in blest propitious hour 
 He left a sign of His dread power; 
 The barren staff of priestly rule 
 He made to bloom with summer's green. 
 Now man's curse doth the Lord annul. 
 His pitying love shall make us clean. 
 Declare it loud through every land, 
 None who condemn at last shall stand; 
 High doth He throne 'bove sin and death. 
 Reigning in mercy, not in wrath. 
 
 Walter, Minstrels and Pilgrims. 
 
 The Lord Himself now thy bondage hath 
 
 riven, 
 Go, enter in with the blest in His Heaven. 
 Hallelujah ! 
 
 (The curtain falls.) 
 
46 
 
 The Second Biennial Chicago Musical Festival. 
 
 FIRST MATINEE. 
 
 WAGNER PROGRAMME. 
 
 CENTENNIAL EXHIBITION MARCH Wagner. 
 
 THIS march was composed for the Centennial Celebration of the Decla- 
 ration of Independence at Philadelphia, July 4, 1876, and is dedicated 
 to the Women's Centennial Committees. It is noticeable as the only- 
 piece which Wagner wrote for a special occasion upon a regular commission. 
 The stipulated sum for the work was $5,000, though, through the generosity 
 of his American friends, he received twice that amount at a time when he was 
 greatly in need of funds for his first Bayreuth Festival. ' Its title page bears 
 the following legend: 
 
 ' Nur der verdient sich Freiheit wie das Leben, 
 Der taglich sie erobern muss." 
 
 ' He only earns the right to freedom and to 
 
 life 
 Who daily is compelled to conquer them." 
 
 SELECTIONS FROM "LOHENGRIN" Wagner. 
 
 THE story of " Lohengrin," in brief, is as follows: Elsa, of Brabant, has 
 been accused in one of the mediaeval councils of the murder of her 
 brother. She declared that an illumination had come to her in which 
 she had seen a beautiful and divine' knight, Lohengrin, who. was to defend her 
 honor against her accuser, Telramund, who was obliged to maintain his charges 
 in combat. Elsa alone is confident that the hero of her vision will appear, and 
 soon, to the astonishment of the crowd, an object is seen in the distance com- 
 ing down the river, which, as it approaches, proves to be a boat drawn by a 
 swan and conveying a glittering knight. The combat takes place, and Lohen- 
 grin prostrates Telramund and holds his life at his mercy. He receives the 
 hand of Elsa, whom he has saved, but. binds her by a vov/ never to ask his 
 name or degree. Telramund haX&s Elsa, because his addresses had been spurned 
 by her, and because he is a claimant for the rule of the realm, and is subse- 
 quently slain by Lohengrin in the midst of an attempted assassination. Telra- 
 
First Matinee. 
 
 47 
 
 mund's wife, Ortrud, hates Elsa even more bitterly, but seeks her revenge in a 
 more stealthy manner. She commences by sowing seeds of doubt and distrust 
 in Elsa's mind, and gradually but surely leads her on to that point where, 
 through her rashness, Lohengrin is compelled to disclose his name as Parsifal's 
 son. Knight of the Grail. The denouement is the death of Elsa and the return 
 of Lohengrin to the supernatural state. 
 
 The selections arranged by Mr. Thomas for this Festival commence with 
 the Vorspiel from the first act, which serves as an overture to the opera, the sub- 
 ject being the descent of the angels bearing the Holy Grail, the mysterious 
 symbol of the Christian faith. The Grail motive pervades not only the pre- 
 lude, but the whole work. The beauty of its treatment in this number, and 
 the delicious harmonies which accompany the descent of the Grail, increasing 
 in warmth and variety until the sacred mystery is revealed to human eyes, and 
 then dying away to pianissimo and gradually disappearing as the angels 
 return to their celestial abode,"~characterize this number as one of the most 
 striking musical pictures ever delineated. 
 
 From the prelude we pass to the second scene of the second act, the grand 
 duo between Elsa and Ortrud, in which the latter pleads for the forgiveness of 
 Telramund and craftily plans the conspiracy for revenge, which is thwarted 
 subsequently by Lohengrin. The text for this duo is as follows: 
 
 ELSA . 
 ORTRUD 
 
 Mme. Christine Nilsson. 
 Mme. Amalia Friedrich-Materna. 
 
 SCENE II. 
 (Elsa, in a white dress, appears on the balcony of the 
 Kemenate, which she leans over. Ortrud sits oppo- 
 site on the steps of the Minster.) 
 
 Elsa. 
 Ye breezes, who so often heard tales of my 
 
 distress, 
 Grateful, the joy that fills me to you I will 
 confess. 
 
 Ortrud. 
 'Tis Elsa ! 
 
 Elsa. 
 
 Through you he floated safely — you check'd 
 
 the billows wild, 
 In vain was all their fury, when on his course 
 
 you smiled. 
 
 Ortrud. 
 The hour at which she sees me, 
 How often will she curse ? 
 Elsa. 
 I begg'd you oft, in sorrow, to dry a falling 
 
 tear; 
 Now cool the burning blushes that on my 
 
 cheeks appear. 
 
 Ortrud 
 
 (to Telramund). 
 Awayl retire some distance hence. 
 She is for me — her champion is for thee. 
 
 (In a plaintive voice.) 
 Elsa! 
 
 Elsa. 
 
 Who calls ? Why fearfully and sadly 
 Resounds my name thus through the night ? 
 
 Ortrud. 
 
 Elsa, so strange appears my voice ? 
 And canst thou thus repel the wretch 
 Whom thou hast brought to misery? 
 
 Elsa. 
 Ortrud! Is't thou ? What dost thou here, 
 Thou hapless one ? 
 
 Ortrud. 
 " Thou hapless one! " 
 Thou nam'st me rightly now indeed. 
 In yonder forest's deep recesses 
 I passed my days in solitude; 
 How harm'd I thee ? How harm'd I thee 7 
 
48 
 
 The Second Biennial Chicago Musical Festival 
 
 Joyless, bewailing the misfortunes 
 So long inflicted on my race, 
 How harm'd I thee? How harm'd I thee? 
 
 Elsa. 
 Good Heaven! what lay'st thou to my charge? 
 By me wert thou to mis'ry brought? 
 
 Ortrud. 
 To think that thou couldst look with envy 
 On me because the man despised 
 By thee — me for his wife preferred? 
 
 Elsa. 
 All-gracious Heav'n, what canst thou mean? 
 
 Ortrud. 
 Beguil'd by some insane illusion, * 
 
 Thee, innocent, he charged with guilt. 
 His heart now melts with deep contrition — 
 How heavy is his punishment ? 
 
 Elsa. 
 
 Avenging pow'rs ! 
 
 Ortrud. 
 Aye, thou art happy. 
 Thy hours of short-lived grief are ended. 
 
 Life wears for thee a smiling face. 
 Thou heedlessly canst cast me from thee. 
 
 Death's never-failing path to trace. 
 Thus never will my sorrow, never 
 Darken the threshold of thy door. 
 
 Elsa. 
 How ill should I repay the bounties. 
 
 Kind Heav'n, of thy surpassing grace, 
 If when the wretched bent before me 
 
 I drove them hence with scornful face. 
 T cannot — Ortrud, say no more. 
 Myself for thee will ope the door. 
 
 (Retires into tlie Kemenate.) 
 
 Ortrud 
 
 (springing from the steps with wild delight). 
 Ye gods! now slighted, on ye am I calling. 
 
 Would ye remain forever in the shade ? 
 Your cause is mine, ye Deities appalling. 
 
 Ah! check the progress of the renegade 
 Wodan, thou ever great and strong, 
 Freia, once sung in many a song. 
 Give your assistance to deceit — 
 My vengeance then will be complete. 
 
 (Elsa and two servants, with candles, enter from the 
 lower door of the Kemenate.) 
 
 Elsa. 
 
 Ortrud, where art thou ? 
 
 Ortrud 
 
 (kneeling). 
 Here, behold me prostrate. 
 
 Elsa. 
 Arise. Thus must I see thee kneeling, 
 
 Thee whom I know so great, so proud ? 
 'Twould move a heart devoid of feeling, 
 
 Thine head to see so lowly bow'd. 
 Arise. All wrong thou has committed — 
 
 Free pardon now for all receive. 
 Thou art not scorn'd, but deeply pitied; 
 
 Me for thy woes in turn forgive. 
 
 Ortrud. 
 For this compassion Heav'n reward thee! 
 
 Elsa^ . 
 He who to-morrow calls me bride. 
 
 Like me with pity shall regard thee. 
 And Fred'rick shall forgive, beside. 
 
 Ortrud. 
 What gratitude can e'er repay thee ? 
 Elba. 
 When first the morn begins to glow, 
 
 In costly ornaments array thee; 
 Then with me to the Minster go, 
 Where I the hero shall await. 
 Whom Heav'n has deigned with me to mate. 
 
 Ortrud. 
 What fitting homage can I show thee ? 
 
 So poor and weak, thou knowest well 
 A wretch am I, too far below thee. 
 
 Though in thy favor I may dwell. 
 Of one small pow'r have none bereft me 
 
 One pow'r unweaken'd still I have, 
 Can use it still while it is left me. 
 
 From sorrow thee perhaps to save. 
 
 Elsa. 
 What mean'st thou ? 
 
 Ortrud. 
 Gentle Elsa, mind thee, 
 Although the present seems so fair. 
 Thou must not let its brightness blind thee, 
 Thy future weal must be my care. 
 
 Elsa. 
 What threatens ? 
 
 Ortrud. 
 Canst thou fathom ever 
 How wondrous must his magic be 
 Who ne'er could leave thee, maiden — never - 
 As he by magic came to thee. 
 
Fiyst Matinee. 
 
 49 
 
 Elsa. 
 
 (Shrinks from Ortkud and then regards her with pity.) 
 Poor creature ! thou canst never measure 
 
 The depth of bliss in trusting hearts; 
 Ne'er canst thou understand the pleasure 
 
 Which faith, and faith alone imparts. 
 Come, enter here — come, I beseech thee. 
 
 And learn from me the purest joy, 
 
 Yes, I true happiness will teach thee — 
 A happiness without alloy. 
 
 Ortrud. 
 
 Ah, hateful pride ! yet it shall teach me 
 The way to mar this purest joy. 
 
 Her words unwittingly beseech me 
 The bliss she boasts of to destroy. 
 
 The last selection for the second act is the bridal procession and chorus, 
 Elsa advancing in her retinue of ladies, attired in her bridal robes, from the 
 palace to the minster: 
 
 Chorus. 
 
 May blessings shower upon thee, who could such woes endure! 
 May saints watch kindly-o'er thee and make thy pathway sure. 
 She comes, the maid angelic, to Heaven a suppliant 
 For days by grief unchecker'd. Hail, Elsa of Brabant ! 
 
 In the third act, after an instrumental introduction expressive of the glitter, 
 pageantry and festivity of the wedding, the familiar strains of the bridal chorus 
 are heard: 
 
 Men and Women. 
 Guided by us — thrice happy pair — 
 
 Enter this chamber ; 'tis love that invites. 
 All that is brave — all that is fair — 
 
 Love, now triumphant, forever unites. 
 Champion of virtue, boldly advance ; 
 Flow'r of all beauty, gently advance. 
 Now the loud mirth of rev'ling is ended. 
 Night, bringing peace and calm bliss, has de- 
 scended. 
 Fann'd by the breath of happiness, rest, 
 Clos'd to the world, by love only blest. 
 
 (Pages divest Lohengrin of his upper garment, and 
 take off his sword, which they lay on the couch; the 
 ladies take off Elsa's upper garment. During the fol- 
 lowing, eight ladies walk slowly around Lohengrin 
 and Elsa.) 
 
 Eight L,\dies. 
 May Heaven watch o'er ye ever. 
 And happy be your lot ! 
 
 Oh, may this hour be never 
 Through days of joy forgot. 
 
 (The King embraces Lohengrin and Elsa. The pages 
 give a signal for departure. The men go oft to the 
 right, the women to the left, singing as follows:) 
 
 General Chorus. 
 Stay ye alone, thrice happy pair, 
 
 Here in the chamber, which love gently 
 lights. 
 All that is brave — all that is fair — 
 
 Love, now triumphant, forever unites. 
 Champion of virtue, here thou'lt remain — 
 Flow'r of all beauty, here thou'lt remain. 
 Now the loud mirth of rev'ling is ended. 
 Night, bringing peace and calm bliss, is de- 
 
 ■ scended. 
 Fann'd by the breath of happiness, rest, 
 Clos'd to the world, by love only blest. 
 (When all have left, the doors are closed from without; 
 the song is heard in the distance.) 
 
 This scene is followed by the grand duo between Elsa and Lohengrin in the 
 bridal chamber with its gradual transition from the passionate outpourings 
 of love and happiness to the discovery of the seeds of doubt sown in Elsa's 
 mind by the vengeful Ortrud. 
 
50 
 
 The Second Biennial Chicago Musical Festival. 
 
 LOHENGRIN 
 ELSA . . 
 
 SCENE II. 
 
 (Elsa has fallen on Lohengrin's bosom ; he conducts 
 her to the couch, where they both sit.) 
 
 Lohengrin. 
 
 The song has died away — we are alone. 
 
 Who never were alone since first we met. 
 Now can the heart its inmost feelings own, 
 
 And that there is an outer world forget. 
 Elsa, my wife, my bride, dost thou repine. 
 
 Or art thou happy that thou now art mine ? 
 
 Elsa. 
 "Happy!" That word my transport cannot 
 measure 
 Unless I think of heav'nly happiness ! 
 Oh, when I look on thee — my heart's own 
 treasure — 
 Joys can I feel that mortals ne'er possess. 
 Lohengrin. 
 And sure the word thy transport well can 
 measure 
 If I partake that heav'nly happiness. 
 Oh, when I look on thee, my heart's own 
 treasure, 
 Joys can I feel that mortals ne'er possess. 
 Our hearts are by some sacred pow'r affected. 
 We ne'er had met, yet each the other knew. 
 If I to be thy champion were selected, 
 
 'Twas love that guided me with purpose true; 
 Thine eye proclaimed that thou from gfuilt 
 wert free. 
 Thy speaking glance all homage claim 'd from 
 
 me. 
 
 Elsa. 
 
 In blissful dreams one night, when sleep stole 
 o'er me, 
 I plainly saw thee in my presence stand 
 As to my waking eyes, thou stood'st before me ; 
 Thus did I know thou cam'st by God's com- 
 mand. 
 I wish'd thy glance had melted me, that flow- 
 ing. 
 About thy steps I might a streamlet wind; 
 A flow'r I wish'd to be, 'mid verdure grow- 
 ing. 
 Only beneath thy feet my death to find. 
 Love is this merely ? No words can language 
 give me 
 That all its hidden sweetness will reveal. 
 Thy name I'd gladly join with it, believe me; 
 But that from me thou ever wilt conceal. 
 
 . Herr Hermann Winkelmann. 
 
 . Frau Amalia Friedrich-Materna. 
 
 Lohengrin. 
 Elsa ! 
 
 Elsa. 
 
 How sweetly sounds my name by thee when 
 spoken, 
 Yet may I never hear the sound of thine ? 
 Surely some day the fetters will be broken. 
 Thy name I then shall whisper — thou art 
 mine ! 
 
 Lohengrin. 
 
 My dearest wife ! 
 
 Elsa. 
 Only when none are near — 
 None must the soft confession hear. 
 
 Lohengrin 
 
 (pointing toward the window). 
 Dost thou not breathe, as I, that wealth of 
 sweetness. 
 Where the rapt senses, drunk with pleasure, 
 bask? 
 'Tis brought by gales mysterious in their 
 fleetness; 
 Tasting the fragrance, further nought I ask. 
 Such is the spell which unto thee hath bound 
 me. 
 Thus, when first I saw thee, lovely as thou 
 art. 
 Those eyes decided — nought could then con- 
 found me. 
 Thy face alone at once convinced my heart. 
 E'en as with rapture those sweet odors fire 
 me. 
 Though through the murky shades of night 
 they rise. 
 So did thine innocence with love inspire me? 
 When thou wert crush'd with heavy calum- 
 nies. • 
 Elsa. 
 
 Ah, worthy of thee could'st thou find me? 
 
 Aught would I gladly undergo. 
 Would some desert to me could bind thee. 
 
 That my devotion thou could'st know! 
 From deadly perils thou hast freed me; 
 
 Ah, wert thou in some deep distress, 
 Though I am feeble, thou might'st heed me. 
 
 Did I some coming danger guess. 
 What can the secret be that never 
 
 Thou may'st its fearful import tell ? 
 Perchance some harm 'twould bring — oh, 
 ever 
 
 Within my heart I'll guard it well. 
 
First Matinee. 
 
 51 
 
 Think not, my love, if I could share it, 
 
 Feeling it in my heart secure, 
 A menace from my lips could tear it; 
 
 No! Death for thee I could endure. 
 
 Lohengrin. 
 Beloved! 
 
 Elsa. 
 Oh, by thy trust let me be fiatter'd. 
 
 Thinking my love thou dost not spurn ; 
 Be all the mist that hides thee scatter'd — 
 Thyself to know, ah, let me learn. 
 
 Lohengrin. 
 Be silent, Elsa. 
 
 Elsa. 
 Yes, confiding 
 In me, thy noble self reveal. 
 Whence cam'st thou? Say, nought from me 
 hiding; 
 These lips will silence ever seal. 
 
 Lohengrin. 
 
 Nay, Elsa, nay, all confidence thou ow'st me; 
 
 Unshrinking I gave credence to thy vow. 
 That question ne'er to ask. Thou little know'st 
 me, 
 
 If, through a woman's words, thou'rt waver- 
 ing now. 
 Against my bosom let me press thee ; 
 
 Give ear unto this beating heart; 
 Look fondly on me; let me bless thee. 
 
 All pure and gentle as thou art! 
 Yes, when I in my arms enfold thee, 
 
 The breath thou breathest let me taste. 
 Let me but feel, while still I hold thee, 
 
 That happiness is mine at last. 
 Thy love full recompense will give me 
 
 For all that I have left — have lost. 
 Let Heav'n of other gifts bereave me 
 
 If I that thou art mine can boast! 
 Although the King his crown should proffer, 
 
 'Twould not repay my sacrifice, 
 And I should rightly spurn his offer. 
 
 Thou, thou alone, art past all price. 
 Doubt must within thy bosom wither, 
 
 All dark suspicion cast aside. 
 From night and grief I came not hither, 
 
 I came from joy and noblest pride. 
 
 Elsa. 
 Oh, Heav'n! what hast thou told me? What 
 
 art thou forc'd to own ? 
 Thine aim was to deceive me, but now the 
 
 worst is known! 
 
 The joys that thou hast quitted thou think'st 
 
 upon with pain; 
 Thou h'opest soon to leave me, and taste of 
 
 them again. 
 Ah, me! how can I trust thee? Thou lov'st 
 
 not me alone! 
 One day will take thee from me — with thee 
 
 will all be gone. 
 
 Lohengrin. 
 Not thus afflict thyself, love. 
 Elsa. 
 Nay, thou afBictest me. 
 The days am I to number that near me thou 
 
 wilt be ? 
 With ceaseless growing anguish my cheek will 
 
 fade away ; 
 Then, ruthless, thou wilt leave me in sorrow 
 to decay. 
 
 Lohengrin. 
 
 Never thy charms will fade, love, while thou 
 
 from doubt art pure. 
 
 Elsa. 
 
 No chains have I to bind thee, to hold thee 
 
 mine secure. 
 There's magic in thy presence — through 
 
 magic art thou here. 
 Ah, nought could stay my sorrow! What tor- 
 ment must I fear! 
 
 (Suddenly stricken with terror.) 
 Hearest thou nought? My senses do not 
 wander. 
 
 Lohengrin. 
 Elsa! 
 
 Elsa. 
 
 'Tis nought ; but there the swan I see — 
 I see him floating on the waters yonder. 
 Thou callest him — he brings the boat to thee. 
 
 Lohengrin. 
 Elsa, thy mind from those strange fancies 
 free. 
 
 Elsa 
 
 No, nought can cure this madness — 
 
 Nought cheer this bursting heart — 
 Nought till, though life it cost me. 
 
 Thou lell'st me who thou art. 
 Lohengrin.. 
 
 Nay, Elsa, I implore thee — 
 Elsa. 
 Oh, madness! oh, despair! 
 
 Thou whom I love too fondly. 
 Thy name at once declare. 
 
52 
 
 The Second Biennial Chicago Musical Festival. 
 
 Lohengrin. 
 
 Forbear! 
 
 , Els A. 
 Whence dost thou come ? 
 
 Lohengrin. 
 Ah, me! 
 
 Elsa. 
 Where is thy home ? 
 
 Lohengrin 
 
 (shrieks). 
 Ah, me! what hast thou done ? 
 
 (Elsa, who stands before Lohengrin, sees through the 
 door Frederick and the four Brabant nobles, as they 
 burst in with drawn swords.) 
 
 Elsa 
 (shrieiss). 
 Save thyself — -the sword — the sword ! 
 
 (She has hurriedly handed the sword to Lohengrin, 
 who quickly draws it, and with one blow strikes 
 Frederick lifeless to the ground. The four nobles 
 kneel to Lohengrin in turn. Elsa falls senseless.) 
 
 Lohengrin. 
 Despair ! now all our happiness is fled. 
 
 (Raises Elsa and places her gently on the couch.) 
 
 Elsa 
 
 (faintly). 
 
 Oh, mighty Heav'n! oh, pity me! 
 
 (Day gradually dawns. At a sign from Lohengrin, 
 the nobles rise.) 
 
 Lohengrin. 
 
 Lift up the corpse, and bear it hence to the 
 King. 
 
 (The nobles raise Frederick's body and take it off 
 through a door. Lohengrin rings a bell. Four 
 ladies enter.) 
 
 Before the King prepare -to -take her. 
 Her choicest garments let her wear; 
 
 Some fitting answer will I make her. 
 And let her know the rank I bear. 
 
 The selections close with the march and chorus from the third act: 
 
 CHORUS. 
 
 Let the hated foe appear. 
 
 We fear him not, we're well prepared to meet 
 1 him here. 
 
 Guarding our homes with helm and spear. 
 Our Gernian land shall be 
 
 By German sword kept free. 
 Our foes shall powerless flee; 
 Thus shall the realm in safety stand. 
 Hail! hail! King Henry, hail! 
 
 SELECTIONS FROM "PARSIFAL" 
 
 Wagner. 
 
 THE selections from "Parsifal," the last of Wagner's operas, and given for 
 the first time at Bayreuth but a short time before the composer's death, 
 begin with the Vorspiel, which announces the leading motives of the 
 story of the life oi Parsifal, "the guileless fool," who was reared in the wilder- 
 ness, by his mother, to escape the danger of being killed in battle like his 
 father. One morning he wounds a swan in the precincts of the Grailsburg, 
 where King Amfortas, son of Titurel, founder of the order of Knights of the 
 Sangrail, keeps the Holy Grail. The latter is suffering from a wound inflicted 
 by Klingsor, who had vainly tried to become a Knight of the Grail, and in 
 revenge erected a castle near by, and filled it with beautiful maidens to allure 
 the Knights. The King himself had been infatuated with Kundry, one of the 
 maidens, by which Klingsor gained possession of the Holy Spear, and inflicted 
 the wound. There is a tradition that the King's wound can be healed if it is 
 touched by "a guileless fool," with the same spear that caused it. Kundry is 
 employed to fascinate Parsifal and ruin him, lest he heal the wound. She 
 succeeds for a time, but by her kiss Parsifal understands the suffering of 
 Amfortas, and tears himself away. As he is fleeing, Klingsor hurls the spear at 
 him, which remains suspended over his head. Parsifal seizes it, and makes 
 
First Matinee. 
 
 53 
 
 the sign of the cross, whereupon the whole scene disappears as by magic. He 
 wanders about for many years, trying to find the Grailsburg, and, at last, on a 
 Good Friday morning, encounters Gurnemanz, who recognizes him, and the 
 Holy Spear, and takes him before Amfortas, who is healed of his wound, while 
 Parsifal is made the new King. Kundry, also, had in the meantime been con- 
 verted, and become a servant of the Grail. The "Good Friday spell," which 
 forms the second selection, is described in the following text: 
 
 PARSIFAL 
 GURNEMANZ 
 
 Herr Hermann Winkelmann. 
 Herr Emil Scaria. 
 
 Gurnemanz. 
 
 (Empties the flask completely over Parsifal's head, 
 rubs it gently, and folds his hands over it.) 
 
 Aye, thus it was foretold otct- 
 My blessing on thy head: 
 Our King indeed behold we. 
 
 Thou — pure one — 
 All-pitying sufferer, 
 All-knowing rescuer! 
 Thou who the sinner's sorrows thus hast suf- 
 fered. 
 Assist his soul to cast one burden more. 
 
 Parsifal. 
 
 (Scoops up some water from the spring unperceived, 
 bends down to the kneeling Kundrv, and sprinkles 
 her head.) 
 
 I first fulfill my duty thus: 
 
 Be thou baptized, 
 And trust in the Redeemer! 
 
 (KrNuRV bows her. head to the earth, and appears to 
 weep bitterly.) 
 
 Parsifal. 
 
 (Turns round and gazes with gentle rapture on the 
 woods and meadows.) 
 
 How fair the woods and meadows seem to-day! 
 Many a magic flower I've seen, 
 
 Which sought to clasp me in its baneful twin- 
 ings; 
 But none I've seen so sweet as here,^ 
 These shoots that burst into blossom, 
 Whose odor recalls my childhood's days. 
 And speaks of loving trust to me. 
 
 Gurnemanz. 
 
 That is Good Friday's spell, my lord! 
 
 Parsifal. 
 
 Alas, that day of agony! 
 Now surely everything that thrives. 
 That breathes and lives, and lives again, 
 Should only mourn and sorrow! 
 
 Gurnemanz. 
 Thou see'st that is not so. 
 The sad repentant tears of sinners 
 Have here with holy rain 
 Besprinkled field and plain, 
 And made them glow with beauty. 
 All earthly creatures in delight 
 At the Redeemer's trace so bright, 
 Uplift their prayers of duty. 
 To. see Him on the cross they have no power, 
 And so they smile on redeemed man. 
 Who, feeling freed, with dread no more doth 
 
 cower. 
 Through God's love-sacrifice made clean and 
 
 pure; 
 And now perceives each blade and meadow- 
 flower 
 That mortal foot to-day it need not dread; 
 For, as the Lord in pity man did spare. 
 And in His mercy for him bled, 
 All men will keep, with pious care. 
 To-day a tender tread. 
 Then thanks the whole creation makes. 
 With all that fiow'rs and fast goes hence, 
 That trespass-pardoned Nature wakes 
 Now to her day of Innocence. 
 
 (Kundry has slowly raised her head again, and gazes 
 with moist eyes, earnestly and calmly beseeching, up 
 at Parsifal.) 
 
 Parsifal. 
 
 I saw my scornful mockers wither; 
 
 Now look they for forgiveness hither! 
 Like a sweet dew a tear from thee too floweth: 
 Thoii weepest — see! the landscape gloweth! 
 
 (He kisseth her softly on the brow. Distant bells are 
 heard pealing, very gradually swelling.) 
 
 Gurnemanz. 
 Midday. 
 The hour has come: — 
 Permit, my lord, thy servant hence to lead thee . 
 
54 
 
 The Second Biennial Chicago Musical Festival. 
 
 The scene closes with the music of the funeral procession, the incidents of 
 which, in the movement of the music-drama, are thus described: Gurnemanz 
 has brought out a coat of mail and mantle of the Knightj of the Grail, which 
 he and Kundry put on Parsifal. He grasps the Spear, and, with Kundry, fol- 
 lows Gurnemanz. Processions of Knights in mourning garb are perceived, the 
 pealing of bells ever increasing. At last the whole immense hall becomes vis- 
 ible. The doors open again. From one side the Knights bear in Titurel's 
 corpse in a coffin. From the other, Amfortas is brought in on his litter, pre- 
 ceded by the covered shrine of the Grail. The bier is erected in the middle; 
 behind it the throne with canopy, where Amfortas is set down. 
 
 GOTTERDAMMERUNG, "Siegfried's Death." 
 
 Orchestra. 
 
 Wagner. 
 
 THE selection from the " Gotterdammerung" is the impressive and majes- 
 tic Funeral March that follows the death of Siegfried. It is woven up of 
 various motives which recall the stirring events of his life, but it cer- 
 tainly does not need even a knowledge of these motives to convince the 
 listener that this colossal and heroic funeral poem celebrates the death of a 
 demi-god. It is full of sorrow, but a majestic sorrow, and as its massive,. 
 stately chords sound out their peals of grief, one can easily fancy the mourn- 
 ful procession of warriors toiling up the heights with the dead hero upon their 
 shoulders, and disappearing in the mists. The two leading motives are as 
 follows: 
 
 :So.l. 
 
 ff^ *■ 
 
 g^^lEfe^g=t^-^=^ 
 
 No. 2. 
 
 m 
 
 Ti.-— 
 
 -^. 
 
 lin 
 
 ^t^-^^ 
 
 Efe 
 
 t^-=^- 
 
 P-IP 
 
 ^ 
 
 p 
 
 ( 
 
 1^1 
 
First Matinee. 
 
 55 
 
 SELECTIONS FROM " The Master singers." 
 
 Wagner. 
 
 THE selections from " The Mastersingers " open with the Vorspiel, one of 
 the most striking specimens of Wagner's various and inexhaustible fancy. 
 It is from first to last a realistic picture, robust in its strength, and drawn 
 with exuberant humor, representing the movements of a festive throng of 
 Nuremberg's burghers, knights, singers and apprentices. It furnishes the im- 
 pression of festive pageantry, and of the joyous mediaeval humor which are 
 subsequently amplified in the opera. 
 
 The only vocal selection is " Pogner's Address." The Mastersingers have 
 assembled in the church of St. Catharine, in Nuremberg, to discuss the cele- 
 bration of the approaching festival of St. John the Baptist, which is to be held 
 on the meadows outside the city, and in which they themselves take a promi- 
 nent part, appearing before the people in a contest of song. Pogner, a worthy 
 citizen and Mastersinger, has the ear of the assembly for an important propo- 
 sition: 
 
 POGNER Herr Emil Scaria. 
 
 The feast of John the Baptist's Day, 
 
 We celebrate to-morrow; 
 On meadows green, mid flowers gay. 
 With merry dance, and song and play. 
 
 We Nature's gladness borrow, 
 
 Forgetting every sorrow — 
 And each rejoices in his way! 
 The Sing-School in the church is by 
 
 The Mastersingers slighted; 
 With drum and fife they gladly hie 
 To grassy meads, 'neath sunny slcy, 
 
 And in the feast united. 
 
 The people are invited. 
 To hear in song the Masters vie. 
 In such a festival of song, 
 
 Are given various prizes. 
 That should the victors' fame prolong, 
 
 As only just and wise is. 
 Now God hath me with riches blest. 
 And love of song placed in my breast; 
 
 With trouble unremitting, 
 
 I've thought a prize befitting, — 
 
 That may be nobly won; 
 
 So listen what I've done: 
 In German land I've travel'd far. 
 
 To frenzy oft was driven, 
 To hear men think our burghers are 
 
 To worldly notions given. 
 In castles, as in town and court, 
 I've wearied of the base report. 
 That only barter and gain, 
 The burgher's heart enchain. 
 But that in our great empire wide 
 We Art alone have cherished, — 
 While elsewhere it hath perish'd; 
 That Art is still the burghers' pride; 
 And that we've ever stood. 
 Defending the High and Good, 
 And Art and Beauty here below — 
 This I to the world would like to show. 
 So hear. Masters, the wise 
 In which I would give the prize: — 
 The Singer who first honors in 
 The festival of song shall win, 
 On John the Baptist's Day, — 
 Be he whoso he may, 
 |leceive what ne'er was in vogue nor 
 In mode, from me, Veit Pogner,— 
 With all my wealth and what beside, 
 Eva, my only child as — bride! 
 
56 The Second Biennial Chicago Musical Festival. 
 
 THIRD EVENING CONCERT. 
 
 MESSE DES MORTS - . . Berlioz. 
 
 HECTOR BERLIOZ was born at Grenoble, France, December 11, 1803. 
 He died in Paris, March 9, 1869. He was the little appreciated discov- 
 erer who first pointed out many of the various paths which subsequent 
 composers of the so-called " romantic school " have followed to their souls' 
 comfort and to the enriching of the art of Music. Berlioz's personal history- 
 was not fortunate. The son of a physician, he was sent to Paris to study 
 medicine, but music absorbed him. He was a true child of the turbulent time 
 into which he was born. His mind was preternaturally quick; his reverence 
 a negative quantity. He believed nothing; was willing and even anxious to 
 try everything. As a student at the Conservatory, he had anything but a 
 flowery road. To all of the professors but Cherubini he was easily superior 
 in natural gifts. By Cherubini he was heartily disliked on account of his dis- 
 regard of the traditions of the schools. He was repeatedly plucked in exami- 
 nations, but at length, in 1830, he gained the "grand prize of Rome" for his 
 cantata, "Sardanapole." Returning from his three years at Rome, to which 
 the prize entitled him, he became a writer of musical criticisms and miscella- 
 neous feuilletons for the "Journal des Debats." 
 
 From a technical point of view, certain of Berlioz's attainments are phe- 
 nomenal. The gigantic proportions, the grandiose style, the imposing weight 
 of those long and broad harmonic and rhythmical progressions toward some 
 end afar off, the exceptional means employed for exceptional ends, — in a 
 word, the colossal aspect of certain movements, such as the "Judex Crederis " 
 of his " Te Deum," or the " Lacrymosa " and " Dies Irae " of Jiis " Requiem," 
 — are without parallel in musical art. The originality and inexhaustible 
 variety of rhythms, and the surpassing perfection of his instrumentation, are 
 points willingly conceded even by Berlioz's stanchest opponents. As far as 
 the technique of instrumentation is concerned, it may truly be asserted that 
 he treats the orchestra with the same supreme daring and absolute mastery 
 with which Paganini treated the violin or Liszt the pianoforte. No one before 
 him had so clearly realized the individuality of each particular instrument, its 
 resources and capabilities. In his works the equation between a particular 
 phrase and a particular instrument is invariably perfect; and over and above 
 all this, his experiments in orchestral color, his combination of single instru- 
 ments with others so as to form groups, and, again, his combination of several 
 separate groups of instruments with one another, are as novel and as beautiful 
 as they are uniformly successful. 
 
Third Evening Concert. 5 7 
 
 There are several respects in which Berlioz's great " Messe des Morts " well 
 deserves its place in the Festival programme. Even if we grant what many 
 critics assert, that it is not fully successful in reproducing the best and most 
 religious elements of the venerable text, this is to say no more of it than must 
 also be said of those great masterpieces of poetry and painting, Dante's 
 " Inferno," and Michael Angelo's " Last Judgment." Berlioz inherited the some- 
 what materialistic view of the after-death condition which the Latin church 
 has handed down from the dark ages. Even Mozart, with all his refinement, 
 was not able to wholly free himself from it. As for Michael Angelo, nothing 
 could be more sensational and materialistically suggestive than the goings-on 
 in his picture of hell. So, too, his illustration of the Resurrection and the 
 Last Judgment. The dead are leaving their graves in prosaic disorder and 
 deshabille; the air of the^ whole is intensely practical. The knotted muscles 
 betoken the violence of the haste with which the awakened sleepers rush 
 toward their final account. This is the spirit of Berlioz in the " Dies Irae " 
 and " Tuba Mirura " of the present work. The extraordinary means employed 
 for creating a great mass of unusual sound is the musical version of the open- 
 ing graves, the resurrection trumpet, and the lake of endless fire. 
 
 The work also stands in interesting relation to the great ones of the class- 
 ical school, and the modern ones of the romantic school which it pre- 
 ceded. Berlioz was the first of the great romanticists, and almost at one 
 bound traversed the whole sphere of it, bringing up finally in sheer realism, as 
 decidedly so as Wagner — perhaps more so. Strictly speaking, we mean by 
 " romantic " in music something more than what properly goes with the term. 
 The word itself implies strong contrasts, something unusual. In music it 
 means the effort to represent by means of music, feelings or events outside of 
 music. A battle piece is a romantic effort in music. Chords and melodies are 
 taken to represent the shock of arms, the boom of cannon, the cries of the 
 wounded, etc. The curious in such matters will find in the score of Gounod's 
 " Redemption " explanatory sentences over certain parts of the instrumental 
 introduction. 
 
 Franz Schubert, the song-writer, gave the strongest impetus in this direc- 
 tion, for he set to music such an enormous variety of poems, and obtained such 
 an extraordinary diversity of musical effects in the effort to properly charac- 
 terize them, that his works might almost be taken as a thesaurus of roman- 
 ticism. 
 
 At the time when this Requiem was composed Schubert had been dead ten 
 years. It is not likely that Berlioz knew much of his music, but he must have 
 known something. Beethoven's ninth symphony had been written ten years. 
 The gifted young Mendelssohn's Overture to "The Midsummer Night's 
 Dream " had been played for ten years. The romantic operas of Carl Maria 
 von Weber had been before the public for varying periods. " Der Frey- 
 schuetz " was published in 1850; " Euryanthe " in 1822, and " Oberon " in 1825. 
 The sensational Meyerbeer had produced " Robert" in 1831, and the " Hugue- 
 nots " in 1836. The young Richard Wagner, ten years junior of Berlioz, had 
 already undertaken his earlier operas. Thus the Berlioz Requiem fits in chro- 
 
58 ^ The Second Biennial Chicago Musical Festival. 
 
 nologically between the operas of Weber and Meyerbeer, which came before 
 it, and Wagner's " Tannhauser " and " Lohengrin " which came from six to ten 
 years later. So much for the historical relations of the work to those of other 
 composers. As to its place upon the list of Berlioz's own works it is one of the 
 earliest. It was written in 1837. His "Romeo and Juliet" symphony ap- 
 peared in 1839; "The Damnation of Faust" in 1846; "The Infancy of Christ" 
 in 1854; " The Trojans " in 1862. 
 
 This Requiem was composed for the funeral pageant in honor of General 
 Damremont, but we must not allow this circumstance to mislead us as to the 
 essential nature of the problem which Berlioz proposed to himself. Although 
 ostensibly of a " sacred " character, the sacredness of the work begins and 
 ends in the incidental circumstance of its having been hung upon the words of 
 the most solemn office of the church. Its solemnity, however, was not the 
 operative motive of its selection by this composer, but rather the fact that the 
 great mediaeval hymn,, the "Dies Irm," strikes a wide range of chords in what 
 might be called the morbid regions of human sympathy, and therein affords 
 extraordinary opportunities to a composer. The whole tone of the work is 
 irreligious, not to say theatrical. The habitual violation of the prescriptive 
 rules of fugue-writing, in which Berlioz continually indulges himself (or, per- 
 haps, which he could not avoid), is off the same piece as his reckless avoidance 
 of harmonious relations of the voices, even in the unaccompanied numbers. 
 
 From what we know of Berlioz's psychological condition during the period 
 to which this Mass belongs it is evident that he did not intend to produce a 
 religious work, but only a work of a novel type; in which he would use the 
 morbid and supernatural associations appertaining to death and the last 
 judgment, as a cover or excuse for giving expression to the vast phantasma- 
 goria of uncanny musical combinations which filled his teeming fancy. 
 
 This work is divided into ten musical numbers. Of these Nos. II, III, IV, 
 V, and VI are parts of the hymn " Dies Irae," and as such have a certain rela- 
 tion to each other, and go, by sequence, to make up one whole. 
 
 I. " Requiem aternam dona eis" (" Eternal rest give them, O Lord ") is writ- 
 ten for three, and occasionally six voices, in G minor, 3-4 time^ Andante poco 
 lento. At the words "TV decet ITymnus,'' a second subject is introduced, in B flat, 
 which is afterward brought back again in the last movement of the work. 
 
 II. "Dies irm, dies -ilia." Here we enter upon the real work which Berlioz 
 had in mind. He starts out in a quasi-fugal style, and for a few measures 
 seems to be accomplishing very little. But at the words "Solvet Smclum in Fa- 
 villa," he rises to something of a climax, and the orchestra introduces a start- 
 ling chromatic sequence and crescendo, followed by a subsidence to the next 
 verse, " Quantus tremor" which introduces the original subject in C minor. 
 These words are repeated many times, in order to afford him the space he 
 desired for amplifying the instrumented illustration of them, and rise to a 
 great climax at the words " Quantus tremor est futurus." Hereupon follows one 
 of the two greatest episodes of the work. It is that of the elaborate and ex- 
 traordinary introduction to the bass solo " Tuba mirum." It is scored for full 
 chorus of strings, and the following unprecedented array of wood-wind and 
 
Third Evening Concert. 59 
 
 brass. The wood-wind is to consist of twelve horns, eight bassoons, four clar- 
 inets, two oboes, and four flutes. The brass is arranged in four small orches- 
 tras at the opposite corners of the stage. The first consists of four trumpets, 
 four tenor trombones, and two bombardens or tubas; the second, four trum- 
 pets and four tenor trombones; the third, the same; the fourth, four trumpets, 
 four tenor trombones, and four ophicleides. Then come the instruments of 
 percussion, of which there are twelve kettle-drums, so tuned as to play chords, 
 two base drums, tam-tam, and three pairs of cymbals. The solo Voice at its 
 entiance is accompanied only by the kettle-drums in chords. At the close of 
 the first phrase the trumpets burst in. The exaggeration of the tremor and 
 pianissimo at the words "Mors stupebit" is for the sake of a greater effect at 
 the passage beginning with "Liber Scriptus.'' At the words " Quidquid latet" 
 the rhythm becomes more complicated, by which an extraordinary effect is 
 made which can only be characterized as '' cyclopean." 
 
 III. The verse " Quid sum Miser " is almost entirely for first tenors. Its 
 artistic design was that of affording a rest before the terrific volume of the 
 next number. 
 
 IV. " Jiex tremenda.'' Here, again, Berlioz has unchained the dogs of war 
 with astonishing effect. The elements, however, are the same as those already 
 employed in the "Dies Ira," except that here the usual complement of brass 
 is but little exceeded. 
 
 V. " Quarens me sedisti lassus." Ah unaccompanied piece for voices, in 
 imitative style. 
 
 VI. " Lacrymosa." This movement is probably the most completely suc- 
 cessful of any in the entire work, as it is, also, the most extended. It has been 
 described as " demanding from the choral parts the moriidezza and abbandono 
 of a perfect Italian vocalist." The accompaniment is thoroughly characteristic 
 of the composer, inasmuch as the tnelodic motive which is continually reiterated 
 in it, is totally opposed to the character of the choral melody which it comple- 
 ments. The broad rhythm of this num^ber is also peculiarly like Berlioz. 
 
 VII. "Offertorium." The " Domine Jesu Christi" presents the curious 
 peculiarity of keeping the voices upon two notes, A alternating with B flat, 
 throughout the movement, which is by no means short. The device was no 
 doubt intended to suggest the intoned prayers of the congregation during the 
 offertory, the organ furnishing the musical background. 
 
 VIII. "Hostias et Preces." This is mostly for four voices, mainly unsup- 
 ported. At the close of the first phrase there occurs one of. those peculiar 
 effects upon which Berlioz prided himself. The orchestra enters with nothing 
 else than three flutes and a trombone. The flutes sound the chord of B flat 
 minor in alt; the trombone F below the bass staff, four octaves below. 
 
 IX. "Sanctus." A tenor solo, intercalated with choral responses. " Ho- 
 sanna," a fugue which fully justifies Cherubini's bon mot that the reason why 
 Berlioz disliked fugue was because the fugue disliked him. 
 
 X. "Agnus Dei." Male chorus, with effects of choral responses in the 
 orchestra. • The words "Te decet Hymnus" are set to the same theme as in the 
 first number, after which the work subsides to a close. 
 
 W. S. B. Matthews. 
 
6o 
 
 The Second Biennial Chicago Musical Festival. 
 
 SOLOIST 
 
 Herr Hermann Winkelmann. 
 
 Requiem aeternam dona eis, Domine, et lux 
 
 perpetua luceat eis. 
 Te decet hymnus, Deus, in Sion, et tibi red- 
 
 detur votum in Jerusalem . 
 
 r , ■ 
 
 Exaudi orationem meam, ad te omnis caro 
 
 veniet. 
 Kyrie eleison, Christe eleison. 
 
 n. 
 Dies irae, dies ilia, solvet saeclum in favilla, 
 teste David cum Sibylla. 
 
 Quantus tremor est futurus, quando Judex est 
 venturus, cuncta stride discussurus 1 
 
 Et iterum venturus est cum gloria, judicare 
 
 vivos et mortuos. 
 Tuba mirum spargens sonum, per sepulchra 
 
 regionum, coget omnes ante thronum. 
 
 Mors stupebit et natura, cum resurget crea- 
 tura, judicanti responsura. Liber scriptus 
 proferetur, in quo totum continetur, unde 
 mundus judicetur. 
 
 Judex ergo, cum sedebit, quidquid latet, ap- 
 parebit, nil inultum remanebit. 
 
 Quid sum miser tunc dicturus, quem patro- 
 uum rogaturus, cum vix Justus sit securus ? 
 
 Recordare. Jesu pie, quod sum causa tuae 
 viae, ne me perdas ilia die. Oro supplex et 
 acclinis, cor contritum quasi cinis, gere 
 curam mei finis. 
 
 Rex tremendae majestatis, qui salvandos sal- 
 vas gratis, salva me, fons pietatis. Recor- 
 dare.Jesu pie, quod sum causa tuae viae, ne 
 me perdas ilia die. 
 
 Confutatis maledictis, flammis acribus ad- 
 dictis, voca me de profundo lacu ! Libera 
 me de ore leonis, ne cadam in obscurum. 
 
 Eternal rest give unto them, O Lord, and let 
 perpetual light shine on them. 
 
 Thou, O God, art praised in Sion, and unto 
 Thee shall the vow be performed in Jerusa- 
 lem. 
 
 Hear my prayer, unto Thee shall all flesh 
 come. 
 
 Lord have mercy, Christ have mercy. 
 
 II. 
 Day of wrath, that day dismaying, shall fulfill 
 
 the prophet's sayiiig; earth in smoldering 
 
 ashes laying. 
 Oh, how great the dread, the sighing, when 
 
 the Judge, the All-descrying, shall appear, 
 
 all secrets trying. 
 And He shall come again with glory to judge 
 
 the quick and the dead. 
 Then shall ring the trump's weird knelling 
 
 thro' each tomb and charnel-dwelling, all 
 
 before the Throne compelling. 
 Death shall stand in consternation; nature 
 
 quake; and all creation rise to answer the 
 
 citation. From the book shall shine the 
 
 writing, all the bygone past reciting, and 
 
 the world of sin indicting. 
 Then the Judge shall sit, revealing hidden 
 
 deed, word, thought, and feeling, and to 
 
 each just sentence dealing. 
 
 III. 
 
 o 
 
 What shall wretched I be crying, to what 
 friend for succor flying, when the just in 
 dread are sighing? Think, kind Jesu, my 
 salvation caused Thy wondrous incarnation: 
 Leave me not to reprobation 1 
 
 Low I kneel, with heart-submission: See, like 
 ashes, my contrition. Help me in my last 
 condition ! 
 
 King of might and awe, defend me ! Freely 
 Thy salvation send me ! Fount of pity, 
 save, befriend me ! Think, kind Jesu, my 
 salvation caused Thy wondrous incarnation: 
 Leave me not to reprobation ! 
 
 While the wicked are confounded, doomed in 
 flames of woe unbounded, call me from the 
 deep lake ; Deliver me from the lion's 
 mouth, lest I fall into darkness. 
 
Third Evefiing Concert. 
 
 6i 
 
 V. 
 
 Quaerens me sedisti lassus, redemisti cru- 
 cem passus; tantus labor non sit cassus. Juste 
 judex ultionis, donum fac remissionis ante 
 diem rationis. 
 
 Ingemisco tanquam reus, culpi rubet vultus 
 meus, supplicanti parce, Deus. 
 
 Preces meae non sunt dignae, sed tu, bonus, 
 fac benigne, ne perenni cremer igne. 
 
 Qui Mariam absolvisti, et latronem exau- 
 disti, mihi quoque spem dedisti. 
 
 Lacrymosa dies ilia, quS. resurget ex fsfvill^ 
 judicandus homo reus. Pie Jesu Domine, 
 dona eis requiem aeternam. 
 
 Okfertorium. — Domine Jesu Christe! Rex 
 gloriae! Libera animas omnium fidelium de- 
 functorum de poenis inferni et de profundo 
 lacu! 
 
 Libera eas de ore leonis, ne absorbeat eas 
 Tartarus, ne cadant in obscurum; sed signifer 
 sanctus Michael repraesentet eas in lucem 
 sanctam, quam olim Abrahae promisisti et 
 semini ejus. Amen. 
 
 VIII. 
 Hostias et preces tibi, Domine, laudis^ offeri- 
 
 mus. 
 Suscipe pro animabus illis, quarum hodie 
 
 memoriam facimus. 
 
 IX. 
 
 Sanctus, sanctus, sanctus Dominus Deus 
 Sabaoth! Pleni sunt coeli et terra gloria tua. 
 Hosanna in excelsis, 
 
 X. 
 
 Agnus Dei, qui toUis peccata mundi, dona 
 eis requiem sempiternam. 
 
 Lux aeterna luceat eis, Domine, cum Sanctis 
 tuis in aeternum. Requiem aeternam dona 
 eis, Domine, et lux perpetua luceat eis. Te 
 decet hymnus, Deus in Sion, et tibi reddetur 
 votum in Jerusalem. Exaudi orationem 
 meam, ad te omnis caro veniet. Requiem 
 aeternam dona eis, Domine, et lux perpetua 
 luceat eis, quia plus es. 
 
 Amen. 
 
 Faint and weary. Thou hast sought me; on 
 the Cross of suffering bought me : Shall such 
 grace be vainly brought me? Righteous 
 Judge of retribution, grant thy gift of absolu- 
 tion, ere that reckoning day's conclusion ! 
 
 Guilty, now I pour my moaning, all my 
 shame with anguish owning: Spare, O God 
 Thy suppliant groaning! 
 
 Worthless are my prayers and sighing, yet, 
 good Lord, in grace complying, rescue me 
 from fires undying! 
 
 Thou the sinful woman savedst: Thou the 
 dying thief forgavest: And to me a hope 
 vouchsafedst. 
 
 VI. 
 
 Ah ! that day of tears and mourning! From 
 the dust of earth returning, man for judgment 
 must prepare him. Lord all pitying, Jesu 
 blest; Grant him Thine eternal rest! 
 
 Offertory.— Lord Jesus Christ, king of 
 glory! Deliver the souls of all the faithful 
 dead from the punishment of hell and from 
 the deep lake ! 
 
 Deliver them from the lion's mouth, let not hell 
 swallow them, let them not fall into darkness; 
 but let Saint Michael, the standard-bearer, 
 bring them into the holy light which once 
 Thou didst promise to Abraham and his seed. 
 
 VIII. 
 Offerings of prayer and praise we bring to 
 Thee, O Lord. Receive them for those souls 
 whom to-day we commemorate. 
 
 Holy, Holy, Holy, Lord God of hosts! 
 Heaven and earth are full of Thy glory. 
 Hosanna in the highest. 
 
 X. 
 
 Lamb of God, that takest away the sins of 
 the world, grant them rest everlasting. 
 
 Let perpetual light shine on them, O Lord, 
 with thy saints for ever. Eternal rest give 
 unto them, O Lord, and may perpetual light 
 shine on them. Thou, O God, art praised in 
 Sion, and unto Thee shall the vow be per- 
 formed in Jerusalem. Hear my prayer, unto 
 Thee shall all flesh come. Eternal rest give 
 unto them, O Lord, and let perpetual light 
 shine upon them, for Thou art gracious. 
 Amen. 
 
62 
 
 The Second Biennial Chicago Musical Festival. 
 
 DIE WALKURE — ACT III 
 
 Wagner. 
 
 BRtJNNHILDE, the Walkyrie, whose office it is to convey the bodies of 
 the slain heroes to Walhalla, has received instructions from her father, 
 Wotan, not to interfere in the combat between Siegmund and Hunding, but 
 disobeys the order, and then seeks to escape its consequences. In the third 
 act of the opera the Walkyries appear in the clouds, and are shortly joined 
 by Briinnhilde, who is pursued by Wotan. For her disobedience she is pun- 
 ished by being thrown into a magic sleep, on the summit of the mountain. 
 Subsequently he mitigates the penalty, by surrounding her with a wall of 
 fire, from which alone she can be rescued by the hero who has courage 
 enough to pass through the flames and waken her. 
 
 Such is the substance of the third act of " Die Walkiire^ the second of the 
 four divisions of the Niebelungen Trilogy, whose motive turns upon the pos- 
 session of the magic ring, obtained by Wotan from Alberich, one of the Niebel- 
 ungen, who had stolen it from the Rhine daughters, and eventually restored 
 to them by Briinnhilde, on the eve of her immolation, by which she breaks 
 the power of the gods. 
 
 The first number selected for this festival is the vividly descriptive- orches- 
 tral piece, "Der Ritt der Walkiiren," constructed- upon the following motives, 
 suggestive of the rush of steeds, the presence of the Walkyries and their weird 
 calls to each other. 
 
 *. t. 
 
 No. 5 
 
 gg^fe^ 
 
 -±± 
 
 L. 
 
 No. 3. 
 
 ^M 
 
 -N— #- 
 
 7 •? 
 
 ::Etc. 
 
 So vivid is the picture based upon these themes, it is unnecessary to add 
 more than the brief statement that the Walkyries were warlike maidens, 
 begotten by Wotan, whose duty it was to provoke the boldest heroes against 
 one another in battle, and then conduct those to Walhalla who were slain, 
 where Wotan enlisted them in defense of his castle against impending fate. 
 The scene in the drama represents a troop of these weird sisters arriving upon 
 a rocky height, through clouds of lightning and fire, greeting each other with 
 wild laughter and cries, and each having the body of a slain warrior hanging 
 over her saddle. 
 
 The second number is the third scene or the act, a grand duo for Briinnr 
 hilde and Wotan. In the fight between Siegmund and Hunding, Briinnhilde tries 
 to give Siegmund the victory, but Wotan prevents, it by breaking Siegmund's 
 
Third Evening Concert. 
 
 61 
 
 sword in two with his spear. Siegmund falls, and Wotan, to punish her for her 
 disobedience, determines to separate her from the troop of Walkyries, and 
 announces to her this decision, which forms the motive of the duo, alternating 
 with Wotan's menaces and Briinnkilde's appeals. 
 
 BRtJNNHILDE 
 WOTAN I--. . 
 
 Frah Amalia Friedrich-Materna. 
 Herr Emil Scaeia. 
 
 BRONNHn.DE. 
 
 Full of so sheer 
 
 a shame was my fault, 
 that with a meed now so shameful it is met? 
 
 Led me so deep 
 
 below thee my deed, 
 that in the depth of such downfall I am left? 
 
 Fell I at once 
 
 so far from my worth, 
 that so unworthy of fame I am found? 
 
 O say. Father! 
 
 Search in my face ; 
 
 sink from thy wrath, 
 
 soften thy rage! 
 
 Kindle to sight 
 
 the covered sin, 
 that with stubborn stress besets thee 
 to forsake thy most chosen child! 
 
 Wotan 
 (gloomily). 
 Seek of thy deed — 
 it sweeps the dark from thy sin! 
 
 BrOnnhilde. 
 
 Thine was the word 
 that worked on me then. 
 
 Wotan. 
 
 Was what I warned thee 
 to fight for the Wolsung? 
 
 BrOnnhilde. 
 
 Thou said'st as lord 
 of the lots to me so. 
 
 Wotan. 
 
 But back again 
 I grasped the bidding I gave. 
 
 BrOnn'HILDe. 
 
 When Fricka the bent 
 that filled thee had broken ; 
 when sway thou gav'st to her fancy, 
 against thyself thou wert foe. 
 
 Wotan 
 (bitterly). 
 
 I deemed thou hadst fathomed me fully, 
 and wittingly worked at thy deed; 
 
 but senseless and faint 
 
 before thee I seemed; 
 so were not betrayal thy trespass, 
 I should rate thee unworthy my wrath! 
 
 BrOnnhilde. 
 
 Not wide is my wisdom; 
 
 alone I was 'ware 
 
 of thy love for the Wolsung; 
 
 f knew of the strife 
 
 that had stunned thee enough 
 to make thee of him unmindful. 
 
 The only thing 
 
 not out of thy thought 
 
 to behold was so hard 
 
 a shock to thy heart — 
 that Siegmund sank from thy shelter. 
 
 Wotan. 
 
 Thou saw'st how it stood, 
 and still wert stanch to his side? 
 
 BrOnnhilde. 
 
 For thy sake I seized on 
 that thing with my sight, 
 which, in hold of the other 
 harassed and hurt, 
 thou leftest unlooked to behind thee. 
 
64 
 
 The Second Biennial Chicago Musical Festival. 
 
 Who for Wotan warded 
 
 his back in the war, 
 
 she only could see 
 
 what thou saw'st not at all ; 
 of naught but Siegmund I knew. 
 
 In death's name 
 
 I drew to him now, 
 
 beheld how he seemed 
 
 and heard what he said, 
 
 till I knew the hero's 
 
 holiest need. 
 
 His grief in the tongue 
 
 of a trumpet he gave me — 
 
 love in its widest, 
 
 lordliest woe, 
 
 sorrow's unscanted 
 
 silencing scorn; 
 
 I beheld and heard, 
 
 while I looked and hearkened, 
 what shot unbarred to my breast 
 and holily shook me at heart. 
 
 Shy and startled 
 
 stood I in shame; 
 
 how I could help him 
 
 haunted me wholly. 
 
 Safety or death 
 
 with Siegmund to draw for — 
 
 such was the lot 
 
 that alone I could seek! 
 
 Whose breath had lifted 
 
 this love in my breast, 
 
 thy will, that gave me 
 
 the Wolsung to guard, 
 seemed with me for guide 
 against the word thou had'st said. 
 
 Wotan. 
 
 So hast thou done 
 what to do so wholly I hoped — 
 
 but what not to do 
 I now doubly was doomed? 
 
 So light to thee seemed 
 sweetness of love to be lit on, 
 
 when burning grief 
 
 in my breast began, 
 
 when harrowing fate 
 
 with fierceness filled me, 
 
 for love of a world, 
 
 the well of love 
 in my wildered heart to hinder? 
 
 When against myself 
 
 I searingly sided, 
 
 when from wounds of faintness 
 
 in foam I was wasted, 
 
 till branding wants 
 
 and brideless wishes 
 brought me the withering will, 
 in the wreck of my world itself, 
 to be rid of a slumberless sorrow, 
 
 alone thy food 
 
 was laughing delight, 
 
 for feeling's blind 
 
 and fathomless bliss 
 
 thy lips were deep 
 
 in the drink of love — 
 while mine winced at the gall 
 mixed with the woefare of gods. 
 
 Thy fooling thought 
 
 freely then follow; 
 aloof thou hast left me far. 
 
 No more may we meet, 
 
 nor seek to be-mixed 
 in whispered sounds of wisdom ; 
 
 in work no further 
 
 thou fondly art with me; 
 in life nowhere and light 
 is again the god to be near thee ! 
 
 BrOnnhilde. 
 
 Thou foundest unmeet 
 
 the foolish maid, 
 
 who saw not for wonder 
 
 what thou had'st said, 
 
 while from all I had learned 
 
 my belief was alone — 
 to love what thou first had'st loved. 
 
 Must I then leave ^hee 
 
 and meet thee no longer? 
 
 Wilt thou then sunde^ 
 
 what once was the same — 
 
 a part of thyself 
 
 aside from thee put — 
 that thy owri it seemed to thee always? 
 Thou god, forget not so! 
 
 Thy other half 
 
 thou wilt not unhallow, 
 
 shame wilt not wish me, 
 
 in which thou must share ; 
 thy own fall thou wilt look on, 
 if open" to laughter I'm found! 
 
 Wotan. 
 
 Thou foUowed'st lightly 
 the might of love ; 
 now follow the man 
 whom love thou must! 
 
 BrOnnhilde. 
 
 Shall I be shut from Walhall, 
 
 from share in thy work and thy wisdom, 
 
Third Evening Concert. 
 
 65 
 
 must I belong 
 
 to the mastering man ! 
 
 A bloodless boaster 
 
 let him not be; 
 
 no worth may he, 
 
 who shall win me, want! 
 
 , J WOTAN. 
 
 From Walfather turned the maid; 
 he may not choose for her more. 
 
 BrOnnhilde. 
 Forget not the race thou begot'st, 
 from its root no coward can come; 
 the holiest hero — I know it — 
 from the Wolsung's blood is at hand. 
 
 WOTAN. 
 
 Name not the Wolsungs anew! 
 With them I have done 
 when from thee I withdrew, 
 
 and hate has hunted them down. 
 
 BrOnnhilde. 
 
 When I swerved from thy word, 
 
 the Wolsungs I saved; 
 
 Sieglinde holds 
 
 the holiest seed; 
 
 in need and woe 
 
 to woman unknown, 
 
 forth she will bring 
 
 what she flees with in fear. 
 
 WOTAN. 
 
 Hope not at my hand 
 
 welfare for her, "^ 
 
 nor the fruit that fills her womb! 
 
 BrOnnhilde. 
 
 She has got the sword 
 
 that to Siegmund thou gav'st — 
 
 WOTAN. 
 
 And whose bla(ie, as he swung it, I broke! 
 
 Seek not, O maid, 
 
 my mind to unsettle I 
 
 Abide the lot 
 
 to which thou art bound; 
 no might to bend it is mine! 
 
 But forth I must needs 
 
 fare from thee now, 
 too far already I rest. 
 
 From her who turned from me 
 
 here I must turn; 
 5 
 
 I may know not what 
 she names in her wish; 
 her fate alone 
 I must leave fulfilled. 
 
 BrOnnhilde. 
 What seems to thee meet 
 for me to suffer ? 
 
 WoTAN. 
 
 In steadfast sleep 
 
 I seal thee straight ; 
 who finds thee fenceless on high 
 he wakes and has thee for wife. 
 
 BrOnnhilde 
 (falls on her knees). 
 
 Ere fettering sleep 
 
 fast shall fix me, 
 
 for bootless coward 
 
 as bounden booty, 
 a deed behold thou must do me, 
 the hope of holiest dread, — 
 
 the slumberer harbor 
 
 with hindering horror, 
 
 that none but a free 
 
 unfaltering hero 
 
 here on the height, 
 
 may make me his! 
 
 WOTAN. 
 
 Too much thou graspest — 
 too great a meed! 
 
 BrOnnhilde 
 (embraces his knees). 
 
 The boon thou shalt — 
 
 shalt not forbear from! 
 
 Or strike at me now 
 
 as I strangle thy knee, 
 
 thy darling mangle, 
 
 to dust with thy maid, 
 
 from her body spill 
 
 the breath with thy spear; 
 but not fiercely unfence 
 her here to a nameless harm! 
 (Wildly.) 
 
 O with thy word 
 
 a fire awaken, 
 
 to redden with towering 
 
 terror the rock, 
 
 with tongues to lick 
 
 and with teeth to tear 
 the boaster whose road may bring him 
 in reach of its bellowing rim I 
 
66 
 
 The Second Biennial Chicago Musical Festival ' 
 
 The last number from "Die Walkure " includes Wotan's Farewell, and the 
 Magic Fire Scene, which has become so familiar that a detailed description is 
 unnecessary. 
 
 WOTAN 
 
 Herr Emil Scaria. 
 
 ^ 
 
 WOTAN S 'FAREWELL. 
 
 t±^t^$^^^h 
 
 :tfcfct=6l 
 
 *.—fh- 
 
 -^— ^ 
 
 ^ 
 
 Wot AN. 
 
 (Looks with emotion into Bri^nhhilde^s eyes, and lifts 
 her up.) 
 
 Farewell, thou choice 
 
 unwavering child! 
 
 Thou holy pastime 
 
 and pride of my heart! 
 Farewell! Farewell! Farewell! 
 
 Must I forsake thee, 
 
 and may I sweetly 
 no more give thee my greeting ; 
 
 must we guide not again 
 
 our horses together ; 
 must my cup by another be handed ; 
 
 after our love 
 
 O am I to leave thee, 
 thou laughing delight of my eyes? 
 
 a buoyanter beacon 
 
 shall burn for thy bridal 
 than ever has blazed for a bride! 
 
 To fringe the rock 
 
 a flame I will raise ; 
 
 with withering clasp 
 
 it shall wait for the coward; 
 
 the falterer fly 
 
 from Brilnnhilde's fence! 
 To gain her is given but one — 
 who is freer than I, the god! 
 
 BeSnnhilde, with emotion and transport, throws her-- 
 self into his arms.) 
 
 On the lighting pair of thy eyes, — 
 that lay so oft at my lips, 
 
 when for flash of coming 
 
 fight I kissed them, 
 
 when in sounds of childhood 
 
 the song that cheered 
 the heroes swelled from thy heart; 
 on the steadfast pair of thy eyes, — 
 that so oft were stars of my storm, 
 
 when hope was fierce 
 
 in my heart like fire. 
 
 when world's-delightwards 
 
 ray will was lifted 
 from dread wildering darkness, — 
 
 for the last time 
 
 here I must lean 
 
 in last farewell 
 
 of lingering lips! 
 
 The happier man 
 
 to meet them be hailed! 
 ^On the luckless god 
 they gaze no longer to light him ! 
 
 For so — goes 
 
 the god from thy side ; 
 so weans he thy godhood away. 
 
 (He kisses her on both eyes, which immediately shut 
 and remain closed; she sinks softly, as if weary, back 
 into his arms. He carries her and lays her tenderly on 
 a low mound of moss, over which stretches a wide- 
 branched fir. He once more looks at her face, and then 
 shuts fast her helmet; then again his look lingers sadly 
 on her figure, which he at last covers with the long 
 steel shield of the Walkyrie. He then walks with sol- 
 emn resolution into the middle of the stage, and turns 
 the point of bis spear toward a large mass of rock.) 
 
 Loge, hear! 
 
 Hitherward listen! 
 
 As I found thee at first — 
 
 in arrowy flame, 
 
 as thereafter thou fleddest — 
 
 in fluttering fire ; 
 
 as I dealt with thee once, 
 
 I wield thee to-day! 
 Arise, billowing blaze, 
 and fold in thy fire the rock! 
 Loge! Loge! Aloft! 
 
 (At the last call he strikes three times with his spear 
 on the stone, whereupon a flame starts out of it, which 
 quickly spreads into a sea of fire, to which Wotajj 
 points out with his spear the rim of the rock for its 
 flow.) 
 
 Who fears the spike of my spear to face 
 he will pierce not the planted fire! 
 
 (He disappears in the fire toward the background.) 
 
Fourth Evening Concert. 67 
 
 FOURTH EVENING CONCERT. 
 
 TE DEUM. {"Dettingen.") Handel. 
 
 ON the 27th of fune, 1743, the British army, under the command of King 
 George II, won a victory at Dettingen over the French army, commanded 
 by the Marechal de Noailles and the Due de Grammont. It was a vic- 
 tory plucked from an expected defeat, and aroused great enthusiasm in Eng- 
 land. On the King's return a day of public thanksgiving was appointed, and 
 Handel, who was " Composer of Musick to the Chapel Royal," was commis- 
 sioned to write a Te Deum and Anthem for that occasion. 
 
 The original score, a large folio volume in the Royal Collection, is headed 
 " angefangen July J7, 1743." There is no date at the end, but as the Dettingen 
 Anthem autograph states that it was commenced July 30, it is probable that 
 the Te Deum was finished between the 17th and 30th. Both works were pub- 
 licly rehearsed at the Chapel Royal, Whitehall, on the i8th and 25 th of the 
 ensuing November, and formed part of the thanksgiving services on the 27th 
 at the ChapeL Royal of St. James, ^n the presence of the King and Royal 
 Family. 
 
 The Te Deum has been universally considered as one of the masterpieces 
 among Handel's later works. Had he been a native Englishman he could not 
 have commemorated the victory more enthusiastically. It is not a Te Deum 
 in the strict sense, but a grand martial pasan, and, as Rockstro says: " It needs 
 no great stretch of the imagination to picture every drum and trumpet in the 
 realm taking part in the gorgeous fanfare of its opening chorus, while the 
 whole army, with the King at its head, joins the assembled nation in a shout 
 of praise for the escape which was so unexpectedly changed into a memorable 
 victory." ' 
 
 Burney, the great English critic, and the greatest of musical historians, in 
 his monumental history of music, printed about forty years after this perform- 
 ance, speaks particularly of this Te Deum, and furnishes some interesting 
 information, which we use in place of any other analysis. He says: 
 
 " As it was composed for a military triumph", the fourteen trumpets, two 
 pairs of common kettle drums, two pairs of double drums from the Tower, 
 and a pair of double-bass drums made expressly for this commemoration (the 
 Handel Commemoration at Westminster Abbey, May and June, 1784) were 
 introduced with great propriety; indeed, these last drums, except the destruc- 
 tion, had all the effect of the most powerful artillery. 
 
68 The Second Biennial Chicago Musical Festival. 
 
 " There is some reason to suspect that Handel, in setting his grand Te Deum 
 for the peace of Utrecht, as well as in this, confined the meaning of the word 
 cry to a sorrowful sense, as both the movements to the words, 'To thee all 
 angels cry aloud,' are not only in a minor key, but slow and plaintive. It 
 contrasts well, however, with the preceding ,and subsequent movements. In- 
 deed, the latter glows with all the fire and vehemence of Handel's genius for 
 polyphonic combinations and contrivances. The grave and solemn praise of 
 the 'Apostles, Prophets and Martyrs,' measured by the constant majestic 
 motion of the bass, is well symbolized. 'Thou sittest at the right hand of 
 God,' etc., is expressed in a strain that is remarkably pleasing, and which, in 
 spite of forty years, still retains all the bloom and freshness of novelty; and 
 ' We therefore pray Thee, help Thy servants whom Thou hast redeemed with 
 Thy precious blood' is admirable in fugue, ""modulation and counterpoint d 
 capellas as is the next movement, to the three verses: 'Mak^them to be num- 
 bered,' — 'O Lord, save Thy people,' — and 'Govern them and lift them up for- 
 ever,' with the additional merit of a happy verbal expression. ' Day by day 
 we magnify Thee ' is good, and well accented, though some of . the trumpet 
 passages are a little vielles. The art of fugue, both in that and the next verse: 
 'And we worship Thy name ever, world without end,' is treated with HSndel's 
 usual cleverness and felicity. As he was sure of a great and varied band 
 when he composed this ' Te Deum,' he has made as judicious a use of the sev- 
 eral instruments of his orchestra as a painter could do of the colors of his 
 palette, now exhibiting them in their full luster, singly; then augmenting or 
 diminishing their force, by light and shade, and often by combination with 
 others, making them subservient to different purposes of expression and effect. 
 ' Vouchsafe, O Lord, to keep us this day without sin ' is set to a most exquisite 
 strain, in which the modulation is no less surprising, learned and curious than 
 pathetic and pleasing. The last movement: 'O Lord, in Thee have I trusted,' 
 etc., is what the Italians would call ben tirato. Indeed, it is an excellent display 
 of Handel's resources in discovering and availHig himself of the most latent 
 advantages which every simple as well as artificial subject aff&rds him. The 
 symphony of this chorus, which is chiefly constructed upon a ' ground-bass ' 
 beginning by two trumpets that are afterward joined by the other instruments, 
 is stately and interesting, though in the manner of the common minuet. The 
 long solo part, after the symphony, for a contralto voice, with soft and sparing 
 accompaniments, renders the subsequent sudden burst of all the voices and 
 instruments the more striking. And the latter part, in fugue, with an alter- 
 nate use of the ' ground-bass,' seems to work up this magnificent production 
 
 by 
 
 'Untwisting all the chains that tie 
 The hidden soul of harmony.' " 
 
Fourth Evening Concert. 
 
 69 
 
 SOLOISTS. 
 Miss Emily Winant, Mr. Theodore J. Toedt and Mr. Franz Remmertz. 
 
 I- 
 Solo and Chorus (Five Parts). 
 
 We praise Thee, O God; we 
 acknowledge Thee to be the Lord. 
 
 II. 
 
 Solo and Chorus (Five Parts). 
 
 All the earth doth worship 
 Thee, the Father everlasting. 
 
 III. 
 
 Semi-Chorus (Three Parts). 
 
 To Thee all angels cry 
 aloud, the Heavens and 
 all the powers therein. 
 
 IV. 
 
 Chorus (Five Parts). 
 
 To Thee, Cherubim and Seraphim 
 continually do cry: Holy, 
 Holy, Holy, Lord God of 
 Sabaoth! Heaven and earth 
 are full of the majesty of 
 Thy glory. 
 
 V. 
 
 Solo and Chorus. 
 
 Thou art the King of Glory, 
 O Christ. Thou art the 
 everlasting Son of the Father. 
 
 VI. 
 Chorus (Five Parts), 
 When 'Jhou hadst overcome the 
 sharpness of death. Thou 
 didst open the Kingdom of 
 Heaven to all believers. 
 
 VII. 
 Trio. 
 Thou sittest at the right 
 hand of God in the glory of 
 the Father. We believe 
 that Thou shalt come to 
 be our judge. 
 
 VIII. 
 Chorus (Five Parts). 
 Day by day we magnify 
 Thee. And we worship 
 Thy name ever, world 
 without end. 
 
 IX.. 
 Solo. 
 Vouchsafe, O Lord, to keep 
 us this day without sin. 
 O Lord, have mercy upon 
 us. O Lord, let Thy mercy 
 lighten upon us, as our 
 trust is in Thee. 
 X. 
 Solo and Chorus. 
 O Lord, in Thee have I 
 trusted. Let me never be 
 confounded. 
 
"JO The Second Biennial Chicago Musical Festival. 
 
 SYMPHONY IN C, No. 9 Schubert. 
 
 1. Andante: Allegro ma non Troppo. j. Scherzo: Allegro Vivace. 
 
 2. Andante con Moto. 4. Finale: Allegro Vivace. 
 
 THE symphony in C, or the ninth, as it is called, although we know from 
 Schubert's memoranda that it was his tenth (but the -MS. of its predeces- 
 sor has disappeared), is the last great work of that prolific composer. Schu- 
 bert's musical nature was akin to Mozart's, and the flow and spontaneity, of his 
 musical ideas seem to have been limited onl)' by the physical difficulty of putting 
 them on paper. As Schumann said: " He would have written music to a play- 
 bill." The list of poems alone which he set to music numbers 634. The truly 
 '' endless melody " was forever passing through his mind, and whenever possi- 
 ble was put on paper for better or for worse to the delight of future genera- 
 tions, or to swell the list of lost manuscripts and waste paper. His early 
 training had inured him to such habits of precision and neatness in writing that 
 he would pen his musical thoughts with almost absolute accuracy, and sel- 
 dom deign to make any changes. It is therefore all the more noticeable that 
 the score of the above symphony contains so many corrections. The Scherzo 
 has even a most unique phrase of sixteen bars, which vi&s evidently an after- 
 thought, and is crowded into the manuscript between the original lines. 
 
 The symphony was composed in March, 1828. Schubert died on the 19th 
 of November of the same year. Did he have any forebodings of his approach- 
 ing death, and did he want to leave us his best effort, or bad he but just reached 
 that stage where reflection claimed some right in his musical creation ? We 
 know it not. The most lovable, and all in all the most beloved of composers, 
 was to meet the fate of his great prototype, Mozart, for those whom the gods 
 love die young. 
 
 Schumann tells us during his first stay in Vienna in 1838 or 1839, after a 
 visit to the church yard where Beethoven and Schubert lay almost side by side, 
 how^ he visited Ferdinand Schubert, brother of the composer, and was shown 
 the rich store of manuscripts in his possession. Among them he found the 
 symphony in C, and at a glance recognized the treasure. He obtained per- 
 mission to send it to Mendelssohn, who was at that time director of the 
 Gewandhaus Concerts in Leipzig, and it at once received a loving and enthu- 
 siastic performance and a no less enthusiastic reception. 
 
 Schubert's residence in Hungary, at the country seat of Count Esterhazy, 
 has left a certain impress on many of his works, and if we consider in how 
 choice a manner he reproduced the spirit of Hungarian music in his " Diver- 
 tissement pour piano k quatre mains," we shall certainly find an undercurrent 
 of the same feeling in his symphony, and more especially in the Andante. Its 
 great length is at times argued against it, but the story is told in such a 
 straightforward way as to keep up the interest throughout. We willingly 
 follow the composer from measure to measure, reveling in his romantic ten- 
 derness and again rushing along with him in his mad delight. 
 
Fourth Evening Concert. 
 
 71 
 
 The first movement opens with an introductory Andante and commences 
 "With a bieautiful melody for the horns, which has a flavor of the " Oberon " 
 fairy music, 
 
 Uortxs alone. pp 
 
 ffi^ 
 
 q— ^n= 
 
 _^_,_L-__|. 
 
 -*-«- 
 
 -Ji—0- 
 
 which is worked up at some length until a; start is made pianissimo, and a grand 
 crescendo, enlivened by a triplet figure, ,^^~^ , leads into the Allegro ma non 
 Troppo, the strings giving out the rhythmical theme of the whole movement, 
 answered by the wind in triplets, viz.: 
 
 m 
 
 3^r=i3= 
 
 3: 
 
 :i^i- 
 
 -=^-4.-r-*-^.J: 
 
 This is supplemented with the following: 
 
 i 
 
 ^. 4L :(t 
 
 _,__. 
 
 after which comes the second theme (in E minor). 
 
 n 
 
 :4- 
 
 :£ 
 
 i: 
 
 ^^ 
 
 ^ 
 
 
 Oboes and Bassoons. 
 which, with the following growing out of it, 
 
 m 
 
 =t 
 
 -\v 
 
 k-^^ 
 
 t-r» 
 
 and a broader theme at the end of the first part. 
 
 Tutti 
 
 ■pi- ■ 
 
 — Tr = 
 
 -I — 
 
 j^-— .#.1 
 
 i^Ei^ 
 
 EEE 
 
 furnish the material for the first movement, the whole closing in rather accel- 
 erated tempo, the triplet figure of the first theme becoming more predominant. 
 The Andante con Moto opens with a short prelude for the strings, in which 
 the bass soliloquizes in this manner: 
 
 g 
 
 i±- 
 
 ^Sl 
 
 235 
 
 S^F^^g 
 
 
 -^v-» 
 
 i^--* 
 
 :t3 
 
 ^±^ 
 
 Piano sempre staccato. 
 after which the Oboe takes up the principal melody: 
 
72 
 
 The Second Biennial Chicago Musical Festival. 
 
 Note the four notes on E, here introduced so unobtrusively as a cadence, but 
 which haunted Schubert throughout the rest of Jhe work, and to which we 
 shall have occasion to refer again. The melody has an antistrophe in. 
 
 IP 
 
 =-?-" 
 
 which is cut short by a tutti, which over and over breaks into the maze of the 
 melody, and also closes here with 
 
 m 
 
 ■x=^ 
 
 ■fr- 
 
 The working up of the Andante is like tracery of the finest workmanship, 
 interwoven with many beautiful thoughts and orchestral effects, such as the 
 pulsating responses between the horns and wood instrunients during eight 
 measures. We quote one more phrase, which will easily be recognized, and 
 which recurs several times: 
 
 a 
 
 i^^^^i^pg^s 
 
 i=Sr 
 
 Viol, pp 
 
 The Scherzo starts with a unisono for strings, 
 
 / • • • • 
 
 ^f^EfEE 
 
 
 with the following response: 
 
 is^mn. 
 
 ^ 
 
 ^t 
 
 * 
 
 But although in 3-4 time, those four beats to which we have drawn attention 
 make themselves felt several times: 
 
 i 
 
 
 :e: 
 
 H^ 
 
 The trio has a broad melody, and is rich in orchestral effects. 
 
 The Finale, Allegro Vivace in C, crowns this extraordinary work with a 
 true climax. The impetuosity, the mad sweep of the theme. 
 
 ^ 
 
 
 has something between a hunting scene and a tarantella, but those four beats, 
 which now assume the proportion of steam hammers and interrupt continually 
 the most lovely melodies, form the most striking part of the movement. 
 
 tutti.y. > > > . — 
 
 i 
 
 
 ^ 
 
 ;i=t 
 
 E^ESEEt#l=EH« 
 
 ■§--i^ 
 
 It 
 
 ri- 
 
Fourth Evening Concert. 
 
 n 
 
 It closes with a crescendo spreading over 164 measures before coming to a 
 final rest on the tonic. It is long if counted by measures, but is sufficiently- 
 exciting to make us forget all about time. A. W. D. 
 
 SIEGFRIED— i^2>z<z/tf, Act III. Wagner. 
 
 THE selection from "Siegfried" for this number is the great duet for 
 Brunnhilde and Siegfried at the close of the third act, described as Sieg- 
 frieds wooing.' In the first two acts he forges the sword with which he 
 slays the dragon. Having tasted of the creature's blood, he is enabled to 
 understand the language of the birds, who tell him of Briinnhilde slumbering 
 on the fire-encircled rock. They guide him to the spot. He passes through 
 the flames and beholds BrUnnkitde sleeping beneath her shield. Removing it, 
 he is struck with the beauty of the first woman he has ever seen, and ardently 
 kisses her. She opens her eyes in amazement, and both remain gazing at each 
 other for a long time, and then the following passionate interview occurs: 
 
 BRtJNNHILDE Frau Amalia Friedrich-Materna. 
 
 SIEGFRIED . . Hermann Winkelmann. 
 
 BrOnnhilde 
 (slowly and solemnly rising to a sitting posture). 
 Sun, I hail thee! 
 Hail th^e, light! 
 Hail thee, slumberless day! 
 
 Deep was my sleep; 
 
 its dreams are done; 
 
 warn me what hero 
 
 wakens me here. 
 
 Siegfried 
 (solemnly struck by her look and voice), 
 I have found the fire 
 of thy flaming height; 
 I unfastened thy holding helm. 
 Siegfried was it 
 who woke thee so. 
 
 BrOnnhilde 
 (sitting fully up). 
 Gods, I hail you! 
 Hail thee, world! 
 Hail thee, earth in thy heaven! 
 At last my slumber swerves; 
 my sight leads me; 
 Siegfried is it, 
 who ends my sleep! 
 
 Siegfried 
 (in loftiest transport). 
 The mother hail, 
 who made me a man; 
 
 earth, who fed 
 
 and fostered me on, 
 
 till here I lit on the look 
 
 that laughs my heart from its harm ! 
 
 Brunnhilde 
 (with greatest emotion). 
 The mother hail, 
 who made thee a man; 
 earth, who fed 
 and fostered thee on; 
 .for thy look only I lay, 
 to other would not awake! — 
 O Siegfried! Happy 
 hero to see! 
 Thoulifter of life! 
 Thou mastering light! 
 
 wealth of the world, behold 
 how I have loved thee long! 
 Thou wert my sorrow, 
 
 and song as well! 
 
 1 gave thee 
 unbegotten my guard, 
 unborn — in its shelter 
 bound thee my shield; 
 
 such was my love for thee, Siegfried! 
 
 Siegfried 
 
 (softly and shyly). 
 So slept my mother merely ? 
 Left a little her son ? 
 
74 
 
 The Second Biennial Chicago Musical Festival. 
 
 BrOnnhilde 
 
 (smiling). 
 
 Thou capturing child! 
 Thou wilt come no more on thy mother,- 
 
 Thyself am I, 
 soon as thy love thou hast owned. 
 What thou not knowest 
 
 know I for thee; 
 and light is lent me, 
 because only I love thee.^ — 
 
 Siegfried! Siegfried! 
 
 Wakening sun! 
 
 1 loved thee always; 
 
 for I alone 
 of Wotan's aim was a witness; 
 that I dared not to know 
 by the name he dealt it; 
 that I might not fathom 
 and merely could feel it; 
 for which I faced 
 warfare and work; 
 for which I thwarted 
 him who had thought it ; 
 for which I suffered 
 shackles of sleep, 
 when I failed to think it 
 
 and only felt; 
 since to me wholly — 
 so must thou see it! — 
 like love for thee, Siegfried, it looked! 
 
 Siegfried. 
 
 A wonder sounds 
 
 its word in thy song; 
 but dark I deem it of sense. 
 
 Below thy lids 
 
 I behold the light; 
 with the wind thy breath 
 has blown, I am warm; 
 that thy tongue is sweet 
 of sound I can tell; 
 but what thou say'st in thy song 
 hides from my wildered heed. 
 
 The farness but dimly 
 dawns in my fancy, 
 while all my senses 
 can see and seize on thee only. 
 The clasping dread 
 clings like a dream; 
 
 no fear I felt 
 till I came to thy face. 
 
 Unfix my manhood 
 from weight of thy fetters,- 
 give it to freedom again! 
 
 BrOnnhilde 
 
 (keeptogMm gently off f«and' turning her look toward 
 the wood). 
 At hand is Grane, 
 my happy horse; 
 how sweetly he browses 
 
 who by me slept, 
 for Siegfried awoke him as well. 
 
 Siegfried. 
 My look on thy lips 
 its hunger has lightened ; 
 with fathomless thirst 
 ray mouth is on fire, 
 till the food of my eyes shall have fed it. 
 
 BrOnnhilde 
 (pointing with her hand). 
 — And here is my shield, 
 that sheltered heroes; 
 the helm that held 
 in its midst my head; 
 it helps and hides me no morel 
 
 Siegfried. 
 1 was harmed by a happy 
 maid to the heart; 
 hurts from a woman 
 
 heaped on my head; — 
 I shared not in helm or shield. 
 
 BrOnnhilde 
 (with increased sadness). 
 Now meets me the streaming 
 steel of my mail; 
 a shearing sword 
 sundered its seams; 
 from the limbs of the maid 
 it is loosened and lost; — 
 to the last I am stripped of my strength 
 and am left a woman of woe! 
 
 Siegfried. 
 Through towering fire 
 I trod to thy face; 
 my bosom of harboring 
 harness was bare ; 
 deeply my breast . 
 is drenched with the blazes; 
 to flowering flame 
 my blood have they flushed; 
 it bites with withering 
 wounds in my body; 
 the heat that branded 
 Brilnnhilde's height 
 has burnt me here to the bone! — 
 
Fourth Evening Concert. 
 
 75 
 
 Thou woman, slacken its surge! 
 Weaken its juaddening might! 
 <He impetuously embraces her; she leaps up, holds him 
 off with the strength of extremest dread, and flies to 
 the other side.) 
 
 BrOnnhilde. 
 
 No god's grasp have I met; 
 
 the heroes meetly 
 hailed me as maiden; 
 holy went I from Walhall ! i 
 
 Woe! Woe! 
 Woe for the sheer, 
 unwavering shame! 
 Who wakes the maid 
 he wounds her as well ! 
 He has broken harness and helm; 
 Briinnhild' no further is found — 
 
 Siegfried. 
 Unmoved I deem 
 the maid from her dreams; 
 Briinnhilde's sleep 
 soundly abides. 
 A woman awaken to be! 
 
 BrOnnhilde. 
 My senses unsettle! 
 My knowledge sinks; 
 wanes from me now my wisdom? 
 
 Siegfried. 
 What made thee sing 
 
 thy wisdom meant 
 the light of thy love for me ? 
 
 BrOnnhilde. 
 Drearily loses 
 my look the day; 
 my sight is listless, 
 
 no light I see; 
 deep is the night ; 
 a snake from the dark 
 
 dreadly is sent 
 to seethe and surge! 
 
 Horror hisses 
 and hurls up its head ! 
 (She vehemently covers her eyes with her hands.) 
 
 Siegfried. 
 (Softly loosens her hands from her eyes.) 
 Night befalls 
 the eyes that are fastened ; 
 with the fetters, dwindles 
 
 the fitful dread ; 
 dawn from thy darkness and see 
 broad is the blaze of the sun! 
 
 BrOnnhilde 
 (in greatest distress).,. 
 
 Sun that swells 
 high for the sight of my harm! — 
 O Siegfried ! Siegfried ! 
 
 Hear me beseech! 
 
 Always was I, 
 always would be 
 haunted with hope's 
 hungering sweetness 
 and alway to save thy ill ! 
 O Siegfried ! Lightener ! 
 
 World's delight! 
 Life of the earth 
 and laughing lord ! 
 Leave, ah, leave, 
 leave me unlost ! 
 Force on me not 
 thy fiery nearness! 
 
 Shiver me not 
 with thy shattering will, 
 and lay me not waste in my love!- 
 Struck thee thy face 
 in the staying stream ? 
 Stirred thee not sweetly the sight? 
 
 Once, if thou startle 
 the water to waves, 
 the floor of the flood 
 is broken and fled; 
 thy face falters and fades 
 in the blinding beat of its breast. 
 So leave it unwronged, 
 wreck not my rest; 
 
 let thyself— 
 
 seen in me so — 
 a glad and gladdening hero 
 hail thee on without end ! — 
 O Siegfried ! Siegfried ! 
 
 Lightening lad ! 
 Love — thyself, 
 and loose from my side ; 
 O end not what is thy own! 
 
 Siegfried. 
 I — love thee; 
 
 O love me no less! 
 
 No more am I mine ; 
 
 be given to me! — 
 
 A freshening water 
 
 fills and flows ; 
 with soul and senses 
 
 all that I see 
 is the bounding, bountiful billow. 
 What if my likeness 
 is lost in the whirl ? 
 
76 
 
 The Second Biennial Chicago Musical Festival. 
 
 Myself in the flood 
 I fling like a fire! 
 I spring from my spot ! 
 I startle the stream! 
 O beat me with billows! 
 O swallow me sweetly! 
 My want shall sink in thy waves! — 
 
 Awaken, Briinnhilde! 
 Waken, thou maid ! 
 Live to me! Laugh to me, 
 
 sweetest delight ! 
 Be mine! be mine! be mine! 
 
 BrOnnhilde. 
 
 Siegfried, when 
 was I not so? 
 
 Siegfried. 
 Such as thou hast been 
 be to me here! 
 
 BrOnnhilde. 
 Thine only 
 
 1 always will be! 
 
 Siegfried. 
 All that thou wilt be 
 show me at once! 
 When I have felt 
 and folded thee fast; 
 beaten my heart 
 home at thy bosom; 
 blazed in thy glance 
 and gathered thy breath — 
 
 eye on eye 
 
 mouth on mouth — 
 then mine thou art, 
 as always thou wilt be and wast ! 
 But doubt is undaunted and deep, 
 till Briinnhilde burns like a bride! 
 (He has embraced her.) 
 BrOnnhilde. 
 Till Briinnhild' burns ? — 
 
 Gone is my godly 
 
 rest and forgotten ; 
 my faltering star 
 thunders with fire ; 
 wisdom is caught 
 and whirled in a wind ; 
 love with his laughter 
 strikes it like storm! — 
 Till Brunnhild' burns ? 
 O Siegfried! Siegfried! 
 Where is thy sight? 
 With the blaze of my eyes 
 why art thou not blind? 
 
 Where my arm is set, 
 unseared is thy side ? 
 Where my blood in its storm to thee 
 boundlessly streams, 
 the wasting fire 
 wilt thou not feel ? 
 ~ Failest thou fully, 
 Siegfried, to fear, 
 the mad, mastering maid. 
 
 Siegfried. 
 Ha!— 
 
 Now our hearts are hot 
 on each other; now our 
 looks with answer are 
 lighted; now our arms 
 are hurt as they hold us--t^ 
 
 meets me again 
 
 my manful mood, 
 
 and the fear, alas! 
 
 I had failed to learn — 
 
 the fear thou had'st half 
 
 helped me to feel — 
 
 I find — like a fool — 
 I again have fully forgotten! 
 (With the last words he involuntarily lets BRthJN- 
 
 HILDE go.) 
 
 BrCnnhilde 
 (wildly laughing aloud in highest exultation of love). 
 O lordliest boy! 
 
 lad without better! 
 Of highest deeds 
 thou heedless haunt ! 
 
 Laughter leads me to love thee; 
 laughter leads me to blindness; 
 laughter we both will be lost in — 
 laughter shall fill our fall ! 
 
 Away, Walhall's 
 
 lightening world ! 
 
 In dust with thy teeming 
 
 towers be down ! 
 
 Farewell, greatness 
 
 and gift of gods! 
 
 End in bliss, 
 
 thou unwithering brood! 
 You Norns, unravel 
 the rope of runesl 
 
 Darken upwards, 
 
 dusk of the gods ! 
 Night of annulment, 
 near in thy cloud ! — 
 
 1 stand in sight 
 of Siegfried's star; 
 for me he was 
 
 and for me he will be. 
 
Fourth Evening Concert. 
 
 77 
 
 own and always, . 
 one and all; 
 lighting love 
 •and laughing death! 
 
 Siegfried 
 
 (with BRt^NNHlLDB). 
 
 Laughter awakes 
 the woman to me; 
 Briinnhilde lives! 
 Briinnhilde laughs! — 
 
 Hail the sun, 
 that sees us here! 
 
 Hail the day 
 we behold in heaven! 
 
 Hail the blaze. 
 
 Hail the world, 
 when Briinnhilde awakes! 
 She wakes! She lives! 
 She lures me with laughter! 
 Broadly strikes me 
 Briinnhilde's star! 
 For me she was 
 and for me she will be 
 own and always, 
 one and all; 
 lighting love 
 and laughing death! 
 
 (BetJnnhilde throws herself into Siegfried's arms.) 
 
 (The curtain falls.) 
 
The Second Biennial Chicago Musical Festival. 
 
 SECOND AFTERNOON CONCERT. 
 
 OVERTURE, •'Jubilee" 
 
 Weber. 
 
 Orchestra, 
 
 THE "Jubilee" Overture was written for the celebration of the fiftieth 
 anniversary of the reign of King Frederick Augustus, of Saxony, Sep- 
 tember 20, 1818, as the overture to the "Jubilee Cantata." It consists of 
 three distinct movements, an opening Adagio, a brilliant Presto Assai, and aa 
 Andante at the close, "God Save the King." In popularity, as well as in 
 merit, it holds an equal rank with Weber's three great overtures, the " Frei- 
 schuetz," " Euryanthe " and " Oberon." It peculiarly illustrates the composer's 
 artistic qualities — his fire, rhythm and skill in melodic contrasts. 
 
 CHILDREN'S CHORUSES. 
 
 THE chorus of children, numbering nearly a thousand voices, has been 
 under Mr. Tomlins' training during the past year, though a considerable 
 number have had the benefit of his method but two terms. They were 
 not selected to sing at this Festival. Their appearance is only an incident in 
 their educational progress. They have no elaborate music to show, and there 
 has been no attempt yet to develop them. They are still in the educational 
 stages of vocal culture, but the results will show what may be made by the 
 skillful teacher out of crude material, and what success will be attained when 
 they have reached the complete development of the voice. 
 
 ARIA " In diesen heiVgen Hallen " {" Magic Flute ") Mozart. 
 
 Herr Emil Scaria. 
 
 In these sacred halls 
 
 Vengeance is unknown. 
 
 And if a man has fallen 
 
 Love guideth him to duty. 
 
 Then led by a friendly hand 
 
 He goes content to a better land. 
 
 In these sacred walls, 
 
 Where man his brother loves, 
 
 No traitor lies in wait, 
 
 Since we forgive our foes. 
 
 Whom such doctrines do not move 
 
 Deserveth not to be a man. 
 
Second Afternoon Concert. 
 
 n 
 
 SCOTCH RHAPSODY, "Burns" Mackenzie. 
 
 Orchestra. 
 
 THE name of Alexander Campbell Mackenzie is a comparatively new one 
 to American programmes. He is the son of an Edinburgh musician, and 
 was sent to Germany, at the early age of ten, to study music at Schwarz- 
 burg-Sondershausen with Ulrich Stein. He entered the ducal orchestra as a 
 violinist when fourteen years of age, and remained in Germany until 1862, 
 when he went to London to study the violin with M. Sainton, and, in the same 
 year, was elected King's Scholar of the Royal Academy of Music. In 1865 he 
 went to Edinburgh, and has since remained there, devoting himself to compo- 
 sition. His principal works are "Cervantes,'' an overture for orchestra; a 
 scherzo for orchestra; "Overture to a Comedy"; a string quintet, and many 
 piano pieces, as well as songs. 
 
 SONG, "Ave Maria' 
 
 Bach-Gounod. 
 
 Miss Emma Juch. 
 
 Ave Maria, mighty yet lowly, 
 
 Pure and most holy, 
 
 Hear from thy starry throne our prayer. 
 
 Though faithless friends may grieve us, 
 
 Wealth and fortune leave us. 
 
 Grant to our grief and to our pain 
 
 Thy tender care. 
 Sancta Maria, 
 When we are tearful. 
 When we are fearful. 
 Give us thine aid of prayer. 
 
 CHILDREN'S CHORUSES. 
 
 VARIATIONS (Theme by Haydn, "C«(7ra/^ 5/. ^«to«<?") . . , Brahms. 
 
 Orchestra. 
 
 THE variations upon the old Haydn " Chorale," by Brahms, are signal 
 illustrations of this composer's musical scholarship. Many musicians 
 and critics do not hesitate to pronounce them the most learned and 
 ingenious that have ever been written. To hear them interpreted by so large 
 an orchestra will be a rare event. 
 
 Winkelmann. 
 
 ARIA FROM "IPHIGENIE IN TAURIS" 
 
 Herr Hermann 
 Recitative. 
 
 What a grief are these words to him that 
 loves thee dearly! Art thou a man? We 
 ought to die a worthy death. Cease from 
 reviling, in thy madness, those that dwell in 
 the heavens, and thy friend and thyself. 
 
 If now we both must die upon this altar, 
 why should fear for thy comrade make thy 
 cheek so pale? Is thy friend's fate to be 
 lamented, if with thee his lot be to die ? 
 
 Gluck. 
 
 Aria. 
 
 Thy faithful friend not a longing 
 
 Has apart from thee ever known. 
 
 With what joy he the stroke will welcome, 
 
 That stroke that makes us one. 
 
 Then let us both, our fate defying, 
 
 Follow whom that fate will call; 
 
 Let us now united fall. 
 
 One in death to be lying. 
 
So 
 
 The Second Biennial Chicago Musical Festival. 
 
 MINUET AND FINALE, from string quartet, No. 9, in C . Beethoven. 
 
 Orchestra. 
 
 THIS admirable arrangement of the " Minuet and Finale," from the Bee- 
 thoven Quartet, made for string orchestra by Mr. Thomas, is already 
 familiar to the public by previous performance. Its beauty and stateli- 
 ness, however, will be more clearly revealed, and its effects immeasurably 
 enhanced by the immense amplification of the strings in the great Festival 
 orchestra. 
 
 ARIA, " Bethorte die an meine Liebe glaubt" (" Euryanthe ") 
 
 Frau Amalia Friedrich-Materna. 
 
 Weber. 
 
 Deceived one! who in my feigned love believed, 
 Thou art ensnared, ne'er canst thou escape! 
 By careful search may triumph be achieved. 
 In Emma's vault the secret token lies. 
 Perchance my Adolar in penitence may fall 
 
 upon my breast. 
 O how the thought doth fill my heart with 
 
 rapture! 
 To blissful ecstasy it would enchant me. 
 Fain would I die. if he would only grant me 
 The joy of one fond moment's love. 
 For that I would in Hades languish, 
 
 For one fond moment's love to calm my grief. 
 
 Away, hope's mad illusion, thou art vain ; 
 
 Awaken not my heart to further anguish, 
 
 I know my life is one of pain ! 
 
 He dared for her my love despise! 
 
 Shall now he dare to scorn me? 
 
 Shall death soon end my bitter sighs. 
 
 While youthful charms adorn me ? 
 
 He coldly heard my tender sighs ; 
 
 My heart is torn, by torment lashed, 
 
 Ah, so shall his hopes to earth be dashed! 
 
 SYMPHONIC POEM, " Tasso" Liszt, 
 
 Orchestra. 
 
 AMONG the twelve symphonic poems by Liszt, the "Tasso" ("Lament and 
 Triumph") is one of the strongest illustrations of the extent to which 
 L programme music can be carried. The theme of itself is highly dra- 
 matic and poetical, and is treated with the closest regard to the general inci- 
 dents in the career of the poet. It is one of the most original of all of Liszt's 
 orchestral compositions, and illustrates, perhaps, as clearly as any, his mastery 
 of orchestral effects. It is one of the most elevated subjects treated of in the 
 whole series, and is equally great from the pictorial, the poetical and the 
 musical point of view. It has been so frequently played by the Thomas 
 orchestra, and is so familiar to the public that a musical analysis of it is 
 unnecessary. 
 
Fifth Evening Concert. 8i 
 
 FIFTH EVENING CONCERT. 
 
 THE REDEMPTION (A Sacred Trilogy)^ Gounod. 
 
 " r I^HE work of my life " is inscribed by Charles Gounod on the title page 
 I of his latest great creation, " The Redemption, a sacred trilogy." To 
 J. those who know more of Gounod than that he composed "Faust," one 
 of the most popular operas of the present time, and other operatic works, it 
 is not surprising that the composer announced a sacred composition as the 
 work of his life, while for all others a look at the influences which controlled 
 Gounod's development will make the " Redemption " more intelligible and 
 enjoyable. 
 
 Charles Francois Gounod was born June 17, 1818, at Paris. He showed 
 great talent for music and was admitted at a very early age to the Paris Con- 
 servatory of Music. When only eighteen years old he was awarded the second 
 prize, and two years later gained the first in composition, called the Roman 
 prize. Under the terms of this prize he had to continue his studies in Rome 
 and there it was that his religious inclinations became strongly developed, and 
 made him one of the most earnest students of classical church music. For 
 more than ten years, up to 1850, Gounod devoted himself exclusively to relig- 
 ious art and made no secret of his intention to renounce all worldliness and 
 take holy orders. During this period, part of which he spent as musical di- 
 rector of the Church of Foreign Missions in Paris, Gounod composed a num- 
 ber of masses, cantatas, anthems, etc., closely following in his style that of the 
 German romantic school, but it was not until 1849 that he attracted general 
 attention by a great Mass, which was produced in Paris at the Church of St. 
 Eustace, and later, together with others of his works, in London. Two years 
 later he created a sensation by leaving the field of religious composition and 
 began his successful career as an opera composer. The famous singer, Viar- 
 ■dot Garcia, can probably claim the credit of having turned Gounod's attention 
 from the church to the stage, and of having prevented his burying himself in 
 some convent. For the present purpose it is not necessary to follow Gounod's 
 development as an opera composer from step to step. Suffice it to say that 
 idealism never ceased to form the most prominent characteristic of his works, 
 and that 'ne has been most successful in the treatment of grand and noble sub- 
 jects, involving the mysteries of life. It must also be mentioned that Gounod 
 has continued at all times the study of sacred music, and has familiarized 
 6 
 
82 The Second Biennial Chicago Musical Festival. 
 
 himself, more than almost any other living composer, with Bach as well as 
 Palestrina, with Handel, Haydn, Mozart and Beethoven, while at the same 
 time yielding largely to the influence of Berlioz and Wagner. 
 
 According to Gounod's own statement, he conceived the idea of " The 
 Redemption " as early as 1867, during a stay in Rome, where he wrote the 
 entire text, a poem of some considerable value aside frorh its relation to 
 music. He spent over twelve years in completing the musical score. His 
 aim was to represent, in a condensed and impressive form, the fundamental 
 facts of the Christian Church; namely, the Passion and the Death of the 
 Saviour; His life on earth from the Resurrection to the Ascension; and, lastly, 
 the mission given to the Apostles on the day of Pentecost. In order to fur- 
 nish this trilogy a beginning which at once creates interest in the Ijearer and 
 develops the motive of the earlier work, it is preceded by a prologue which 
 gives a short description of the creation of the world, the creation of man, 
 the latter's temptation and fall, and demonstrates the necessity of a Divine 
 Mediator. 
 
 The form of the entire work has but little in common with the oratorios 
 of the old style. The text and music are closely blended, and the dramatic 
 progress, or the development of the story, is at no time interrupted or delayed 
 by mere musical ornamentation. The recitatives, which are all in rhyme — at 
 least in the French original — have been divided between basso and tenor, the 
 former generally announcing doubts and sin, while the latter has the office of 
 introducing hope and divine promise. The words spoken by Jesus are sung 
 by a baritone; besides these are a number of other short solo parts in all regr 
 isters. 
 
 The prologue opens with a strong orchestral picture of the chaos preceding 
 the creation. Then the tenor narrator tells of the perfection of man as orig- 
 inally created, and the basso narrator follows with the tale of man's tempta- 
 tion and fall, and of the divine anger. This is followed by the leading motive, 
 typical of the blending of God and man in the person of the Redeemer, which 
 leads to the first chorus, the celestial choir chanting the promise of redemp- 
 tion. The closing movement of the prologue intends to show the mystery of 
 the incarnation. 
 
 The first part of the Trilogy opens with a dramatic narration of Christ's 
 sufferings before entering on the way to Calvary, followed by what might be 
 aptly termed a dramatic symphonic poem, the March to Calvary. This number 
 gives a vivid musical picture of the scenes and incidents enacted on the 
 Saviour's way to the cross. The crucifixion itself is depicted, the leading 
 motive of the prologue coming into prominence in the prayers and utterances 
 of the Saviour. Mary at the cross forms the subject of a separate scene whose 
 music is skillfully built up on the " Stabat Mater'" of the Catholic liturgy. 
 
 Again the promise of the redemption, as the leading musical motive, be- 
 comes prominent in a short scene, for which the two thieves, between whom 
 the Saviour was crucified, furnish the subject, and then comes the Saviour's 
 death itself, the climax in a musical and dramatic sense of this portion of the 
 
Fift]i Evening Concert, 83 
 
 Trilogy, which closes with the confession of the divinity of Jesus by the cen- 
 turion, leading into a magnificent chorale. 
 
 The second part of the Trilogy, the Resurrection and Ascension, begins with 
 a musical conception of the resurrection, followed by a chorus which treats 
 the same idea as the " I know that my Redeemer liveth." Then the events of 
 Easter morning are told by the narrators, and illustrated by strong orchestral 
 and chorus numbers. The visit of the holy women at the sepulcher, the ap- 
 pearance to them of Jesus, the spread of the news of the resurrection, the 
 attempts of the Pharisees to explain away the miraculous event, and the 
 announcement of the latter to the Apostles, are depicted in quick succession. 
 This leads to the climax, the ascension itself. In this powerful number the 
 leading motive, or, as Gounod calls it, the typical melody, is made the basis 
 of what is probably the strongest portion of the work. It is intensely dra- 
 matic, and employs all the resources of orchestra and chorus. 
 
 The third part of the Trilogy is somewhat mystical in character. It tells 
 the story of the descent of the Holy Ghost, after an introduction containing 
 the message of peace, and the promise of an earthly Paradise. The story is 
 forcibly told and richly illustrated, and closes with the command from 
 Heaven, to the Apostles, to preach the new Gospel to the world. Then comes 
 the finale of the work, entitled the Hymn of the Apostles, which is intended 
 to give a summary of the Cliristian faith. It is very elaborate, and its chorus 
 numbers are more intricate than those of any other part of the work. It 
 closes with a most powerful coda, the glorification of the Trinity, in which all 
 the principal themes are blended together into a musical picture of rare beauty 
 and effect. 
 
 "The Redemption" was written for the Birmingham Festival in 1882, and 
 has since been performed in France and Germany, and also in the United 
 States. It has met with plenty of adverse criticism, but that is probably due 
 as much to the new departure in sacred music Gounod has undertaken in his 
 work, as to any real defects. That it is the result of inspiration, and the 
 expression of sincere conviction, even the most prejudiced cannot deny, and if 
 the composer's dramatic instincts have frequently led him to treat his subject 
 with less solemnity than with a desire to be understood, the total effect of the 
 work has only gained, because these departures from the conventional style 
 dot the dark and solemn background of the sacred tragedy with the bright- 
 ness of stars in the midnight sky. Theodore Gestefeld. 
 
84 
 
 The Second Biennial Chicago Musical Festival. 
 
 SOLOISTS. 
 
 Mme. Christine Nilsson. 
 Miss Emma Juch. 
 Miss Emily Winant. 
 
 PROLOGUE.— THE CREATION. 
 
 Orchestra. 
 
 THE FALL. 
 
 REGIT.— [Narrator (Tenor).] 
 O Lord, when Thou didst rest from the work 
 
 of creation, 
 Thou didst call very good the things which 
 
 Thou hadst made: 
 Of the works of Thy hands, by Thy predesti- 
 nation. 
 Was the father of men appointed to be head ; 
 And he, placed in a land of abundance and 
 
 beauty. 
 Lived a pure happy life, under guidance of 
 
 Duty; 
 And at length, of decay and of death knowing 
 
 nought. 
 While in slumber infolded, would have been 
 
 heavenward caught. 
 
 REGIT.— [Narrator (Bass).] 
 
 But since he, in revolt, blindly refused to 
 
 hearken 
 To Thy divine command, that which Thou 
 
 wouldst have done. 
 The deep shadow of death did his life newly 
 
 darken. 
 As the shadow of sin on our faith has been 
 
 thrown; 
 And to man heaven was closed. Not by blood 
 
 flowing often 
 Could mankind ever hope the Lord's anger to 
 
 soften. 
 
 REGIT.- [Narrator (Tenor).] 
 
 But of the spotless Lamb whom Thy love doth 
 
 provide, 
 All the types incomplete shall be now set aside: 
 Thou by Thyself, O God, wilt accomplish this 
 
 wonder. 
 So filling up the gulf which earth and heaven 
 
 doth sunder: 
 In our flesh One will come, to be born and to 
 
 die. 
 To prevail over death, exalting man on high. 
 Thy blessed Son hath said: 
 
 Mr. Theodore J. Toedt. 
 Mr. Max Heinrich. 
 Mr. Franz Remmertz. 
 
 CHORUS.- [Celestial Choir.] 
 The earth is my possession: 
 
 I leave iny heavenly home 
 To atone for transgression ; 
 
 O My Father, lo, I come' 
 
 PART I. 
 
 NO. 1.— CALVARY. 
 
 REGIT.— [Narrator (Bass).] 
 Then is Jesus condemned; and they bind 
 Him, and they mock Him, on the head do they 
 smite Him, in His face even spitting; the 
 blood is also gushing out beneath the scourge. 
 Then, when His tormentors ended their insult. 
 He said, upon them casting a look sad and 
 sweet: 
 
 SOLO.— [Jesus.] 
 
 If My deeds have been evil, bear ye witness 
 against Me ; if indeed I am guiltless, then 
 wherefore smite ye Me? 
 
 REGIT.— [Narrator (Bass).] 
 When the hour was at hand, the Lord with 
 resignation 
 Went forth up to the mount, as a sinner to 
 die. 
 For us gave He Himself as a willing oblation. 
 That in His holy blood, man, by a new crea- 
 tion. 
 Might again be invested with grace from on 
 high. 
 And at last might attain to eternal salvation. 
 
 MARCH TO CALVARY. 
 
 [Orchestra, Soli, and Chorus.] 
 Forth the royal banners go. 
 
 Before our eyes appearing; 
 The Cross, in mystic glow, 
 Is power and love declaring: 
 To make us free doth One its bondage know; 
 As Man the Lord Himself the weight of sin is 
 bearing. 
 
 REGIT.- [Narrator (Bass).] 
 And while Jesus went up the mount, and 
 bore His Cross, there followed after women, 
 who wept and bewailed Him. 
 
Fifth Evening Concert. 
 
 85 
 
 SEMI-CHORUS. ' ^ 
 
 Alas! they go then to put Him to death; it 
 must be the Just One will perish. Behold, 
 how He has fallen, a second time has fallen ! 
 
 REGIT.— [Narrator (Bass).] 
 And the Lord heard their words, and, turn- 
 ing to them, spake thus: 
 
 SOLO.— Qesus.] 
 Ye daughters of Israel, weep ye not for Me, 
 but weep ye .for yourselves, and weep ye for 
 your children. Jerusalem is faithless found. 
 
 CHORUS. 
 Forth the royal banners go. 
 Before our eyes appearing ; 
 
 The Cross, in mystic glow, 
 
 Is power and love declaring: 
 To make us free doth One its bondage know ; 
 As Man, the Lord Himself the weight of sin is 
 bearing. 
 
 NO. 2.— THE CRUCIFIXION. 
 
 REGIT.- [Narrator (Tenor).] 
 Behold, when they are come to the place, 
 appointed, they extend on the Gross the 
 Saviour's sacred limbs. He, though His eyes 
 are dim with more than mortal anguish, yet 
 turns on them a gaze full of divine compas- 
 sion. From His feet, from His hands, that are 
 torn by the nails, the blood drops on the 
 ground. 
 
 REGIT.- [Narrator (Bass).] 
 Then with words they blaspheme Hiiti, with 
 looks do they deride, unrestrained is their 
 fierceness. The passers by come near to be- 
 hold what is done. 
 
 CHORUS.- [The Passers by.] 
 Ha ! Thou that dost declare Thou destroy- 
 est the temple, Thou that canst in three days 
 build it again, hast Thou not power to save 
 Thyself ? Canst Thou not now come down ? 
 Save Thyself ! Son of God, come Thou down 
 from the Cross. 
 
 REGIT.- [Narrator (Bass).] 
 The priests, hearing the cries, with mocking 
 voices said: 
 
 CHORUS.- [The Priests.] 
 Can He not save Himself, He, the Saviour of 
 others ? See Him there ! None to help, not 
 a friend, no disciples. Is He King of the 
 
 Jews? Let Him show it to-day. If He be 
 the Son of God, let His Father give ear, and 
 release Him. Behold, let Him now come 
 down from the Cross, and at once we believe 
 on Him. 
 
 REGIT.- [Narrator (Tenor).] 
 And the Lord, in His love for mankind never 
 
 failing, 
 On behalf of His slayers for pardon implores: 
 
 SOLO.— [Jesus.] 
 Pardon their sin. My Father, for they do 
 not know what they do. 
 
 CHORUS OR QUARTET. 
 O My vineyard, come tell Me why thy grapes 
 are bitter. What have I done, my people ? 
 Wherein hast thou been wronged ? Did I not 
 bring thee out from the land of the stranger ? 
 Made I thee not to pass through the depths of 
 the sea? Sent I not food from heaven, and 
 gave meat in abundance? Did manna ever 
 cease till thou camest to Canaan ? Reply, 
 unthankful race ! And thou, for all this love, 
 preparest Me the Cross whereupon I shall die. 
 
 NO. 3.— MARY AT THE FOOT OF THE 
 CROSS. 
 
 REGIT.- [Narrator (Tenor).] 
 And Jesus then, as down on the ground He 
 was looking, saw at the foot of the Cross the 
 disciple whom He loved; the same that on His 
 breast at supper had reclined. Near unto him 
 He saw His Virgin Mother. On her bent He 
 an eye full of tender regard; and, showing filial 
 love unto her who had borne Him, He said: 
 
 SOLO.— [Jesus.] 
 " Woman, behold thy son ! " 
 
 REGIT.— [Narrator (Tenor).] 
 Then, speaking unto John. He said: 
 SOLO.— [Jesus.] 
 " Behold thy mother ! " 
 
 REGIT.— [Narrator (Tenor).] 
 And the disciple took her that day to his 
 home; her, as the sacred trust of an eternal 
 
 love. 
 
 QUARTET AND CHORUS. 
 
 Beside the Cross remaining, 
 
 A face the Mother wears 
 Unresisting, uncomplaining, 
 
 And yet the grief she bears 
 
 Her heart in sunder tears. 
 
86 
 
 The Second Biennial Chicago Musical Festival. 
 
 Though He claim adoration, 
 
 On the Cross Jesus hangs ; 
 Her soul, past consolation, 
 Knowing but lamentation. 
 
 Has a share in His pangs. 
 
 SOLO — [Mary.] 
 
 While my watch I am keeping. 
 
 Ye that go by, sinners. 
 Gaze at the Mother weeping, 
 Torn by anguish unsleeping: 
 
 Ask if any one bears 
 
 Any grief like to hers. 
 
 CHORAL. 
 
 While her watch she is keeping. 
 
 Ye that go by, sinners. 
 Gaze at the Mother weeping. 
 Torn by anguish unsleeping: 
 
 Ask if any one bears 
 
 Any grief like to hers. 
 
 NO. 4.— THE TWO THIEVES. 
 
 REGIT.— [Narrator (Bass).] 
 While the crowd at their feet was gathering 
 to view, from one of the thieves did railing 
 proceed, and to Jesus he said, crying out, and 
 blaspheming: 
 
 SOLO.— [The Impenitent Thief (Bass).] 
 Thou canst not be the Christ, else wouldst 
 Thou save us all; first Thyself, us then like- 
 wise. 
 
 REGIT.- [Narrator (Tenor).] 
 The other replied: 
 
 SOLO.— [The Penitent Thief (Tenor).] 
 Ah ! and fearest thou not, inasmuch as thou 
 art in the same condemnation ? FoT that 
 which we have dpne a due reward we suffer. 
 As for Him who hangs here with us, wherein 
 hath He offended, what hath He done amiss ? 
 
 REGIT.- [Narrator (Tenor).] 
 Then he turned toward Jesus a look as of 
 hope, and said: 
 
 SOLO.— [The Penitent Thief (Tenor).] 
 O Lord, wilt Thou remember me when Thou 
 comest in Thy Kingdom ? 
 
 REGIT.— [Narrator (Tenor).] 
 And the Lord wds touched by the faith in 
 pardon which he showed, and, turning to him, 
 spake thus: 
 
 SOLO.— Qesus.] 
 In very truth say I to thee, to-day shalt thou 
 be with Me in Paradise. 
 
 CHORAL. 
 Lord Jesus, Thou to all bringest light and 
 salvation. 
 The man that trusts in Thee over Death will 
 prevail; 
 And, though he die, in Thee will find his 
 restoration. 
 O Saviour true, O mighty God, Thy Name we 
 hail. 
 
 NO. s.— THE DEATH OF JESUS. 
 
 REGIT.— [Narrator (Bass).] 
 Now from the sixth hour until the ninth 
 hour the light of the sun was obscured, and 
 darkness, as of night, came over all the land, 
 from sight all things concealing. 
 
 THE DARKNESS. 
 Orchestra. 
 
 REGIT.- [Narrator (Bass).] 
 And about the ninth hour Jesus, in bitter 
 anguish, with a loud voice cried out, as if in 
 face of death, invoking the unchangeable love 
 of His Father: 
 
 SOLO.— [Jesus.] 
 My God, My God, why hast Thou forsaken 
 Me? 
 
 REGIT.— [Narrator (Tenor).] 
 
 When, at the last, the shadow of death was 
 descending, raising His eyes to Heaven, with 
 a loud voice He cried: 
 
 SOLO.— Qesus.] 
 My Father, into Thy hands I commend My 
 spirit. 
 
 REGIT.— [Narrator (Bass).] 
 Then gave He up the ghost, and all came 
 to an end. 
 
 THE EARTHQUAKE. 
 
 REGIT.— [The Narrators.] 
 
 And then the air was filled with a murmur 
 unwonted, as if Nature herself for her Lord 
 were lamenting; and the veil of the Temple 
 was rent in twain throughout, and the rocks 
 were rent, and the earth did quake, and the 
 tombs were unclosed ; and many of the saints 
 
Fifth Evening Concert: 
 
 87 
 
 that had fallen asleep rose again with their 
 bodies; and they, after His resurrection com- 
 ing forth, to the city returned, and by many 
 were seen. 
 
 No. 6.— THE CENTURION. 
 
 REGIT.— [Narrator (Bass).] 
 And when the Centurion, and they that were 
 with him, saw the earthquake, and all the 
 things that were done, they were amazed and 
 afraid; and, glorifying God, they said, This 
 man then was in truth the Son of God. 
 
 CHORAL. 
 For u,s the Christ is made a victim availing. 
 
 Yea, unto death, and the death of the Cross; 
 In vain our ancient foe will mankind be-assail- 
 
 ing. 
 To Him who now has died shall be triumph 
 unfailing. 
 O Death, thou art discrowned; thou gainest 
 only loss. 
 Faith unswerving, holy Hope, that uncon- 
 quered remaineth, ^ 
 
 Heavenly Love, ever young; for them 
 thanks do we raise. 
 Thou, by whose Death and Passion man unto 
 Heaven attaineth. 
 O Christ, Thee we adore and unto Thee 
 give praise 
 
 PART II. 
 
 No.i— FROM THE RESURRECTION TO 
 THE ASCENSION. 
 
 CHORUS.— [Prophetic Choir.] 
 Saviour of men, we know that because Thou 
 
 art living 
 We live; Thou to the dead resurrection art 
 
 giving: 
 Yea, all them that are sleeping from the grave 
 Thou wilt bring. 
 So that, to life restored, we shall see Thou 
 
 art glorious. 
 When Death, over whom this day Thou art 
 victorious. 
 Has fled before the Lord and King. 
 
 No. 2.— THE HOLY WOMEN AT THE 
 SEPULCHER. 
 
 REGIT.- [Narrator (Tenor).] 
 Now when the Sabbath was past, Mary 
 Magdalen, and Mary the mother of James, 
 
 and Salome, came bringing spices wherewith 
 to anoint Him ; and they came to the tomb 
 of the Master whom they loved. Day was 
 dawning, as on their lonely way they were 
 going, their hearts full of the thought of their 
 sweet ministration. They as they went said 
 to themselves; 
 
 TRIO.— [The Holy Women.] 
 How shall we by ourselves have strength to 
 roll away the stone from the tomb ? Is there 
 no one who will aid us ? Who will look on 
 our distress ? 
 
 REGIT.- [Narrator (Tenor).] 
 The newly risen sun with his life-giving 
 rays the hill of Calvary was gilding, ere these 
 devoted women had arrived at the tomb. To 
 the threshold at once they directed their eyes, 
 and they saw the stone rolled away from the 
 entrance to the tomb. Behold, one that in 
 face was like unto lightning, and was arrayed 
 in dazzling apparel, stood at their side, as 
 they thought thereupon. When the Angel 
 appeared, the women were affrighted. Then 
 said the Angel to them: 
 
 SOLO.— [The Angel.] 
 Why seek ye the living among the dead ? 
 Are the words of the Lord now no longer 
 remembered? But let your hearts be glad, 
 and full of comfort. Ye are seeking the 
 Lord, but He is risen again; behold the very 
 place where His body was laid. His sacred 
 limbs themselves have these grave-clothes 
 been swathing. But depart, and tell His dis- 
 ciples He goeth into Galilee, according as He 
 said; there shall ye see Him again. 
 
 REGIT.— [Narrator (Tenor).] 
 Bright with pure heavenly beauty did the 
 face of the Angel at the moment appear. At 
 the words they had heard, filled with sacred 
 awe, the women went on their way. 
 
 No. 3.— JESUS APPEARING TO THE 
 HOLY WOMEN. 
 
 REGIT.— [Narrator (Tenor).] 
 And behold, as they went on their way, the 
 Lord Himself unto them came, and said, 
 when He appeared: 
 
 SOLO.— Qesus.] 
 All hail ! Blessed are ye women. All the 
 things ye have done, all the tears ye have 
 been shedding, signs of a faithful love, have 
 
88 
 
 The Second Biennial Chicago Musical Festival. 
 
 their reward in Heaveit. Be not afraid, but 
 go, tell ye My brethren they shall see Me, and 
 they shall then sorrow no longer. Depart 
 quickly, and say to them that ye have this day 
 seen the Lord. 
 
 REGIT.— [Narrator (Tenor).] 
 
 And they fell at His feet, and, holding them, 
 they worshiped : and the Lord disappeared. 
 The women then arose, and continued their 
 journey. 
 
 No. 4.— THE SANHEDRIM. 
 
 REGIT.— [The Narrators.] 
 
 Now when these things were done, lo, the 
 watchers came to the city, they that till morn- 
 ing guarded the tomb; and they told to the 
 priests all the things they had witnessed. 
 
 GHORUS. — [Soldiers of the Watch.] 
 
 Christ is risen again. Vainly we kept a 
 watch. Lo, the tomb open stands. This in 
 truth is a sign. Jesus Ghrist, He whom some 
 as a prophet regarded, the Just One, and was 
 He more than mortal ? 
 
 REGIT.— [Narrator (Bass).] 
 
 The priests and the elders were greatly 
 amazed ; but at length, consulting together, 
 to the soldiers they gave large money, and 
 they taught them: 
 
 GHORUS.— [The Priests (Tenor).] 
 
 Say ye that in the night His disciples have 
 come, while ye were fast asleep, and stolen 
 Him away. If the matter should come to the 
 Governor's ears, and if he should resolve to 
 punish guards who sleep, we will rid you of 
 care. Rely on us, we will persuade him. 
 
 GHORUS. 
 
 Now behold ye the guard, this your sleep- 
 vanquished guard ! 
 Ah ! ye priests who conspired, ye yourselves 
 
 were in slumber, 
 What time ye to the shameless betrayer did 
 number. 
 In return for his deed, that agreed-on reward. 
 To the crime ye were blind ; yet does justice 
 record 
 That through gold, which the hand of the 
 traitor did cumber. 
 For ages on your heads shall contempt be out- 
 poured. 
 
 No. 5.— THE HOLY WOMEN BEFORE 
 THE APOSTLES. 
 
 REGIT.- [The Narrators.] 
 Now while by their bitter sorrow the disciples 
 were dismayed, for their comfort they be- 
 thought them of the promise of their Master, 
 that they should see Him again. But so it 
 was, when the tidings were brought them, 
 their faith displayed itself as inconstant and 
 doubtful. 
 
 TRIO.— [The Holy Women.] 
 
 . The Lord, He is risen again: 
 
 To our sight and to our hearing 
 
 Have wondrous signs been appearing: 
 
 He doth manhood yet retain. 
 
 The Lord, He is risen again. 
 
 Him we saw, when home returning 
 
 At the breaking of the day; 
 Our hearts are within us burning 
 
 All grief and doubt passed away. 
 
 The Lord, He is risen again. 
 
 GHORUS.— [The Disciples (Tenor & Bass).] 
 Though we fain would have believed you. 
 Some form surely has deceived you, 
 
 Sipme phantom, seen in the night. 
 From trusting what you have told us 
 Lack of witness must withhold us ; 
 
 We rely on hearing and sight. 
 
 SOLO. — [Soprano and Chorus.] 
 From Thy love as a Father, 
 O Lord, teach us to gather 
 
 That Life will conquer Death: 
 They who seek things eternal 
 Shall rise to light supernal 
 
 On wings of lowly faith. 
 
 No. 6.— JESUS APPEARING TO THE 
 APOSTLES.— THE ASCENSION. 
 
 REGIT. — [Narrator (Tenor).] 
 The apostles that were left at evening met 
 together, the doors now being shut; and, 
 while they were assembled, the Lord Him- 
 self came, and stood in the midst. They 
 were greatly afraid at the sight, but He said; 
 
 SOLO.— [Jesus.] 
 Be not afraid, it is I ! your heart need not 
 be troubled. Behold ! for I am not a shadow, 
 an apparition; I am such as I was when I 
 walked on the sea. Behold ! for a spirit can 
 have neither fiesh nor bones. 
 
Fifth Evening Concert. 
 
 89 
 
 REGIT. — [Narrator (Tenor).] 
 And the disciples did obeisance; and they 
 fell on their knees, in fear, giving Him wor- 
 ship; and the Lo.rd then approached, and said: 
 
 • SOLO.— [Jesus.] 
 Arise, and hear! All authority is Mine in 
 Heaven and on the ea,rth, and by you shall 
 witness be borne unto Me. To all the nations 
 bear the news of salvation. Depart, give 
 them the word which I gave unto you, baptiz- 
 ing them in thj2 Name of the Father, and of 
 the Son, and of the Holy Ghost. I leave you 
 My peace, and I am with you alway, yea, to 
 the end of the world. [- 
 
 REGIT.— .[Narrator (Tenor).] 
 After this to a mountain led He them foTth, 
 and then, lifting up His hands, as in blessing. 
 He departed, and ascended into Heaven. 
 
 GHORUS. 
 Unfold, ye portals everlasting, 
 With welcome to receive Him ascending on 
 
 high. 
 Behold the TCing of Glory! He mounts up 
 through the sky. 
 Back to the heavenly mansions hasting. 
 Unfold, for lo, the King comes nigh. 
 
 CHORUS. — [Celestial Choir (Soprano).] 
 But who is He, the King of Glory? 
 
 CHORUS. 
 He who Death overcame, the Lord in battle 
 mighty. 
 
 CHORUS.— [Celestial Choir (Soprano).] 
 But who is He, the King of Glory? 
 GHORUS. 
 Of hosts He is the Lord; of angels and of 
 powers: the King of Glory is the King of the 
 saints. 
 
 Unfold, ye portals everlasting. 
 With welcome to receive Him ascending on 
 
 high. 
 Behold the King of Glory! He mounts up 
 through the sky, 
 Back to the heavenly mansions hasting. 
 Unfold, for lo, the King comes nigh. 
 
 PART III. 
 
 No. I.— THE PENTECOST. 
 
 CHORUS. 
 Lovely appear over the mountains 
 
 The feet of them that preach, and bring good 
 news of peace. 
 
 SOLO.— [Soprano.] 
 Ye mountains, ye perpetual hills, bow ye 
 down. 
 Over the barren wastes shall flowers now 
 
 have possession. 
 Dark shades of ancient days, full of hate 
 and oppression. 
 In the brightness of joy fade away, and are 
 gone. 
 
 In this age, truly blest more than ages preced- 
 ing. 
 Shall the corn never fail from the plentiful, 
 
 ground ; 
 Under the shining sky shall the lambs gaily 
 bound; 
 Void of fear, undisturbed, safely shall they 
 
 be feeding. 
 Then the timorous doves, wheresoever they 
 
 fly. 
 
 Shall not fear any more the hawk's merciless 
 cry. 
 
 CHORUS. 
 Lovely appear over the mountains 
 The feet of them that preach, and bring good 
 
 news of peace. 
 Ye mountains, ye perpetual hills, bow ye 
 down. 
 Over the barren wastes shall flowers now 
 
 have possession. 
 Dark shades of ancient days, full of hate and 
 oppression. 
 In the brightness of joy fade away, and are 
 gone. 
 
 No. 2.— THE DESCENT OF THE HOLY 
 GHOST. 
 
 REGIT.— [Narrator (Tenor).] 
 Upon the day of Pentecost it came to pass, 
 that in one place, with one accord, the dis- 
 ciples, according as they were wont, were 
 praying, while they waited for the promise of 
 God. 
 
 THE APOSTLES IN PRAYER. 
 
 ORCHESTRA. 
 
 REGIT.— [Narrator (Bass).] 
 Lo, there came a mighty sound, a sound as 
 of a tempest, and it filled all the place in 
 which they were assembled. Then tongues to 
 
go 
 
 The Second Biennial Chicago Musical Festival 
 
 them appeared, and were parting among them. 
 The tongues were like as of fire; and on each 
 one of the chosen band it was sitting. On a 
 sudden appeared the tongues that were like as 
 of fire, parting among the band. 
 
 REGIT.— [The Narrators.] 
 At once the Spirit came upon them ; a holy 
 rapture, their very souls possessing, both in- 
 flames and inspires them: these untaught, 
 simple men, these hearts with terror chilled, 
 like to heroes appear, in their zeal for the 
 faith. 
 
 SOLO. — [A Voice from Heaven (Soprano.)] 
 Go ye forth on your way; the Lord Himself 
 
 will guide you : 
 Unto death be ye faithful, whatever betide 
 
 you. 
 Through the world go ye forth, unto you it is 
 
 given 
 To preach the tidings glad of the Kingdom of 
 
 Heaven. 
 
 No. 3.— HYMN OF THE APOSTLES. 
 CHORUS. 
 The Word is Flesh become: thus begin we the 
 story : 
 Full of grace, full of truth, is He. 
 In the womb of a Virgin did He veil the glory 
 Of His eternal majesty. 
 
 He is before the worlds, all light from him we 
 gather, 
 God, holy, just and true, is He ; 
 And, like the Holy Ghost, is one with God the 
 Father 
 In everlasting Trinity. 
 
 He has given us His flesh, the life of men to 
 nourish. 
 Whence we His wondrous love may see. 
 By His love are we drawn in our inmost souls 
 to cherish 
 Blessed hope of immortality. 
 
 QUARTET AND CHORUS. 
 
 By faith salvation comes, and by peace con- 
 solation. 
 Hearken! let all give ear to the Lord's 
 declaration. 
 He has said, At My word have the blind had 
 their sight, and the lame have been healed; 
 the deaf likewise have heard; the dead from 
 the grave have been recalled, and have risen; 
 . back to life and to light at My summons re- 
 turning. He has said to all the unhappy, O 
 come to Me, all ye that are sad and that weep, 
 and I will give your souls the rest they long to 
 find. 
 
 SEMI-CHORUS. 
 
 He has said, They are blessed, the poor in 
 spirit, for they have the Kingdom of Heaven. 
 
 They are blessed that mourn, for they shall 
 have coriifort. 
 
 They are blessed, they that are meek. 
 
 They are blessed that hunger and thirst to 
 be righteous. 
 
 They are blessed, they that are kind, pure 
 in heart, seeking peace, falsely blamed for My 
 sake; they the earth shall inherit, they shall 
 have their reward in Heaven. 
 
 CHORUS. 
 
 The Word is Flesh become: thus begin we 
 the story: 
 
 Full of grace, full of truth, is He. 
 In the womb of a Virgin did He veil the glory 
 
 Of His eternal Majesty. 
 
 He is before the worlds, all light from Him we 
 gather, 
 God, holy, just, and true, is He; 
 And, like the Holy Ghost, is one with God the 
 Father, 
 In everlasting Trinity. 
 
The Orchestra. 
 
 91 
 
 THE ORCHESTRA. 
 
 First Violins. 
 
 Brandt, H, (Principal). 
 Roebbeleny A. 
 Bernstein, J. 
 Hemmann, F., 
 Laendner, S. 
 Richter, R. 
 Schiissel, A. 
 Bahrs, C. 
 Klugescheid, R. 
 Bach, G. 
 Bernstein, A. 
 Schmidt, E. 
 Hasselbrink, C. 
 Pringnitz, A. 
 Ganzberg, A. 
 Steltz, W. 
 Christ, A. 
 Capp, C. 
 Lanzer, C. 
 Kolster, H. 
 Rosenbecker, A. 
 Fehl, W. 
 Troll, C. 
 Becker, C. 
 Nitschke, C. 
 
 Second Violins. 
 
 Grupe, H. (Principal). 
 Rietzel, J. 
 Hermann, B. 
 Rhaesa, C. 
 Rothemundt, Ch. 
 Kester, L. 
 Habes, G. 
 Rubel, G. 
 Cordes, G. 
 Palm, J. 
 Schreiber,»H. 
 Otremba, C. 
 
 Dietz, F. 
 Hellwig, H. 
 Walther, Ph. 
 Lander, M. 
 Bornschein, G. 
 Schug, H. 
 Jordan, E. 
 Reuter, G. 
 Russel7F. 
 Ulrich, A. 
 Braun, H. 
 Wagner, E. 
 Pellage, A. 
 Kleist, R. 
 
 Violas. 
 
 Risch, J. (Principal). 
 Berger, O. 
 Laendner, J. 
 Lielienthal, E. 
 Jacobi, Th. 
 Schiillinger, R. 
 Brosche, C. 
 John, Th. 
 Ringk, R. 
 Schramm, O. 
 Schenk, A 
 Loebenstein, M. 
 Rochon, F. 
 Schmuhl, H. 
 Eller, J. 
 
 Gatterdamm, L. 
 Mueller, C. 
 Allen, H. 
 
 Violoncellos. 
 
 Hartdegen,A.(Principal) 
 Reinexcius, N. 
 Hemmann, C. 
 Hoch, A. 
 
 Brannes, Ch. 
 Bareither, J. 
 Sachleben, H. 
 Jager, H. 
 Bayrhoffer, C. 
 Schlesinger, R. 
 Knoop, H. 
 Schroeder, H. 
 Schmidt, C. 
 Kaltenborn, C. 
 Hallego, H. 
 Straub, H. 
 Eichheim, M. 
 Baekmann, G. 
 Zotzmann, A. 
 
 Double Basses. 
 
 Uthofif, Ch. (Principal). 
 
 Bareither, G. 
 
 Leifols, F. 
 
 Rehder, F. 
 
 Manoly, L. 
 
 Lowack, W. 
 
 Kissenberts, G. 
 
 Hausknecht, L. 
 
 Preuser, C. 
 
 Kurth, C. 
 
 Goldstein, A. 
 
 Leifels, F., Jr. 
 
 Drescher, F. 
 
 Stuhr, H. 
 
 Rotsche, P. 
 
 Burkhardt, C. 
 
 Glass, R. 
 
 Bruns, C. 
 
 Kramer, A. 
 
 Harps. 
 
 Breitschuck, H. 
 Freygang, A. 
 
92 
 
 The Second Biennial Chicago Musical Festival. 
 
 Maretzek, Mrs. 
 Breitschuck, Miss. 
 
 Flutes. 
 
 Oesterle, O. 
 Rietzel, F. , 
 Schaefer. Ch. 
 
 Piccolos. 
 
 Jekler, J. 
 Schaefer, Ch. 
 
 Oboes. 
 Eller, J. 
 Stowasser, C. 
 Eller, M. 
 Stubbe, C. 
 
 English Horns. 
 Eller, J. 
 Stubbe, C. 
 
 Clarinets. 
 
 Boehm, E. 
 Drewes, J. 
 Kinne, L. 
 Kohl, R. 
 
 Bass Clarinet. 
 Kohl. R. 
 
 Bassoons. 
 Sohst, A. 
 Reuter, R. 
 Litke, H. 
 Pieschel, P. 
 Ulrici, E. 
 Breitschuck, H. 
 Schroder, A. 
 Berger, L. 
 
 Contra Bassoon. 
 
 Sauer, J. 
 
 Horns. 
 Schulze, W. 
 Schmidt, W. 
 
 Baumann, H. 
 Latze, Th.- 
 Hackebarth, A. 
 Schumann, F. 
 Nickel, F: 
 Mueller, H. 
 Schanz, G. 
 Mueller, C. 
 Becker^ J. 
 Mueller, A. 
 
 Cornets. 
 
 Dietz, F. 
 Sohst, C. 
 Schlickau, F. 
 
 Trumpets. 
 
 Dietz, F. 
 Kretlow, L. 
 Quinn, J. 
 Scherzberg, F. 
 Austin, F. 
 Brotman, J. 
 Koenig, H. 
 
 Hutchins, H. 
 Kopp, E. 
 Moeller, A. 
 Skelton, J. 
 Waldon, F. 
 
 Bass Trumpet. 
 
 Straub, H. 
 
 Tenor Trombones. 
 
 Letsch, F. 
 Saul, U. 
 Zeller, N. 
 Kleist, A. 
 Braun, C. 
 Glass, R. 
 Helms, Ch. 
 Hauser, A. 
 
 Bass Trombones. 
 Deis, O. 
 
 Braun, H. 
 Heinecke, Ch. 
 Schilder, H 
 Tolls, Th. 
 Hagenow, A. 
 Ewert, E. v 
 Natschke, G. 
 
 Tubas. 
 
 Listmann, F. 
 Kurth, C. 
 Bruns, C. 
 Zotzmann, A. 
 Wege, H. 
 Sttihr, H. 
 
 Kettle Drums. 
 
 Loewe, W. 
 Jordan, E. 
 Wagner, E., Sr. 
 Wagner, E., Jr. 
 Brosche, C. 
 Sachleben, H. 
 Schumacher, J. 
 Sietz, F. 
 Jahnke, A. 
 Nitschke, C. 
 
 Bass Drums. 
 
 Rubel, G. 
 Russell, F. 
 
 Small Drum. 
 Jordan, E. 
 
 Triangles. 
 
 Loebenstein, M. 
 Kerter, L. 
 
 CymIals. 
 lo pairs. 
 4 Tamtams. 
 
 Librarians. 
 Nolan, J. 
 McNichol. 
 
The Chorus. 
 
 93 
 
 THE CHORUS. 
 
 CHORUS COMMITTEE. 
 
 C. H. M, TOBEY, 
 
 W. Os Chamberlain, 
 
 Geo. E. Shipman, Jr., 
 Chas. F. Crane, 
 
 C. F. Matteson, Chairman. 
 
 LIBRARIANS. 
 Ed.mund V. Church, William W. Colvin. 
 
 SOPRANOS. 
 
 Aldrich, Mrs. W. H. 
 Addison, Mrs. J. 
 Ashley, Mrs. A G. 
 Andrus, Mrs. W. C. 
 Allison, Mrs. J. 
 Armour, Mrs. W. S. 
 Armour, Miss S. 
 Ayres, Miss L. 
 Ayres, Miss G. 
 Andress, Miss H. 
 AUport, Miss M. 
 Aiken, Miss L. M. 
 Andrews, Miss M. 
 
 Bingham, Mrs. C. L. 
 Blake, Mrs. F. 
 Beek, Mrs. G. N. 
 Bradley, Mrs. J. N. 
 Brush, Mrs. E..H. 
 Bailey, Mrs. C. H. 
 Brown, M<p. W. P. 
 Blatherwick, Mrs. N. B. 
 Brooke, Mrs. L. A. 
 Baumann, Mrs. E. 
 Bellamy, Mrs. H. E. 
 Benton, Mrs. L. B. 
 Bassett, Mrs. A. J.. 
 Baker, Miss N. F. 
 Bates, Miss A. B. 
 Bates, Miss N. 
 Blodgett, Miss A. 
 Butcher, Miss A. 
 Bottger, Miss L. 
 Buckingham, Miss R. 
 Brooks, Miss B. 
 Bigelow, Miss G. 
 Bibb, Miss L. M. 
 Bevan, Miss M. D. 
 Bodine, Miss A. K. 
 Brooks, Miss H. 
 Bell, Miss G. L. 
 
 Beers, Miss J. 
 Burdick, Miss M. 
 Baumann, Miss N. 
 Bigoness, Miss C. 
 
 Cass, Mrs. A. A. 
 Cunningham, Mrs. M. 
 Chandler, Mrs. F. R. 
 Colby, Mrs. F. T. 
 Coakley, Mrs. K. 
 Chandler, Mrs. G. 
 Culver, Mrs. H. L. 
 Colman, Mrs. M. A. 
 Carpenter, Mrs. E. R. 
 Crawford, Mrs. H. 
 Carr, Mrs. M. H. 
 Cleaveland, Mrs. F, B. 
 Carpenter, Mrs. G. B. 
 Cleaver, Miss L. M. 
 Cloughan, Miss J. 
 Clark, Miss J. 
 Crosby, Miss F. 
 Crandall, Miss D. B. 
 Colton, Miss Ada L. 
 Cummings, Miss M. 
 Channon, Miss G. 
 Carpenter, Miss J. 
 Clark, Miss F. E. 
 Couch, Miss M. P. 
 Corcoran, Miss B. A. 
 Christian, Miss B. 
 Clancy, Miss N. 
 Colby, Miss L. 
 Cole, Miss G. O. 
 Curtis, Miss H. 
 Corby, Miss S. 
 Carpenter, Miss M. 
 Curtis, Miss E. 
 
 Dicey, Mrs. E. C. 
 Daniels, Miss C. B. 
 Davis, Miss L. 
 Davis, Miss E. 
 Davis, Miss M. 
 
 Davy, Miss M. E. 
 Dodd, Miss B. M. 
 Dunbar, Miss M. 
 
 Edgecombe, Mrs. 
 
 Ellis, Mrs. W. J. 
 Edwards, Mrs. L. L. 
 Ewing, Mrs. W. A. 
 Ewart, Mrs. W. D. 
 Everett, Miss J. C. 
 Everitt, Miss H. 
 Enyart, Miss M. 
 Ellis, Miss S. 
 Easterly, Miss J. 
 
 Faulkner, Mrs. W. J. 
 Freeman, Mrs. L. 
 FarwcU, Mrs. J. A. 
 Fuller, Mrs. E. C. 
 Flower, Mrs. 
 Forsaith, Mrs. P. W. 
 Furlong, Miss M. 
 Farson, Miss N. M. 
 Feageans, Miss E. L. 
 Fay, Miss R. 
 Finefield, Miss W. G. 
 Findall, Miss A. 
 Fuchs, Miss E. 
 Frank, Miss C. 
 Ferry, Miss A. E. 
 
 Goodman, Mrs. F. 
 Greenley, Mrs. C. C. 
 Greenleaf, Mrs. G. F. 
 Gillson, Mrs. L. K. 
 Griffin, Mrs. B. W. 
 Gridley, Mrs. C. C. 
 Gardner, Mrs. F. W. 
 Gilbert, Mrs. M. B. 
 Guild, Miss M. 
 Graham, Miss N. 
 Goodwin, Miss H. F. 
 Greig, Miss J. K. 
 Gallaher, Miss K. M. 
 
94 
 
 The Second Biennial Chicago Musical Festival. 
 
 Gibbons, Miss M. A. 
 
 Hall, Mrs. A. W. 
 Hawley, Mrs. G. A. 
 Harkness, Mrs. L. D. 
 Hough, Mrs. C. R. 
 Howe, Mrs. A. J. 
 Halliday, Mrs. J. C. 
 Hagenbaugh, Mrs. E. 
 Hemingway, Mrs. M. 
 Handbury, Mrs. T. H. 
 Haring, Mrs. E. 
 Havens, Mrs. C. A. 
 Hall, Mrs. H. A. 
 Holbrook, Mrs. G. 
 Hurlbut, Mrs. F. J. 
 Hastings, Mrs. L. 
 Hamilton, Mrs. W. J. 
 Hall, Mrs. R. 
 Hine, Mrs. W. 
 Helm, Miss N. 
 Head, Miss E. 
 Hayman, Miss S. W. 
 Hill, Miss A. 
 Helm, Miss J. 
 Hodge, Miss A. W. 
 Hodgson, Miss I. 
 Hudson, Miss A. E. 
 Hoarding, Miss B. 
 Heckle, Miss E. 
 Harrington, Miss E. 
 Howe, Miss A. L. 
 Haskell, Miss I. 
 Harris, Miss N. 
 Hohmann, Miss C. 
 Henderson, Miss M. 
 Haas, Miss L. 
 Higgins, Miss M. 
 Howard, Miss L. 
 Hailman, Miss B. 
 Hunter, Miss S. C. 
 Hall, Miss H. 
 Hinman, Miss E. L. 
 Harvey, Miss M. J. 
 Hall, Miss G. 
 Halkett, Miss B. M. 
 
 Isdell, Mrs. J. E. 
 Ilett, Miss C. 
 
 Judson, Miss N. 
 James, Miss T. M. 
 Jennings, Miss A. 
 Jeppeson, Miss J. 
 Jones, Miss M. 
 
 Kalteich, Mrs. M. 
 Kidder, Mrs. H. M. 
 Kewley, Mrs. J. M. 
 Keeran, Mrs. 5f. C. 
 Kingwill, Mrs. M. A. 
 Kreigh, Miss K. 
 Kennedy, Miss M. 
 Kellogg, Miss G. 
 Kennard, Miss A. B. 
 Krug, Miss K. 
 Kellogg, Miss A. D. 
 Kingsbury, Miss M. A. 
 
 Letts,, Mrs. N. D. 
 Lewis, Mrs. L. 
 Loudon, Miss M. J. 
 Langel, Miss N. 
 Letourpeaux, Miss L. 
 Lyman, Miss N.. 
 Lodge, Miss E. F. 
 Lanphere, Miss E. 
 Lull, Miss L. 
 LeMoyne, Miss M R. 
 Lamson, Miss M. 
 LeMoyne, Miss J. 
 Lord, Miss E. 
 
 McLean, Mrs. Dr. 
 Morris, Mrs. G. 
 Marchant, Mrs. S. D. 
 Martin, Mrs. J. H. 
 MacGillivray, Mrs. L. 
 Mills, Mrs. J. P. 
 Meeker, Mrs. C. G. 
 Masterton, Mrs. H. 
 Mitchell, Mrs. E. C. 
 McAuUy, Mrs. 
 Miller, Mrs. E. . 
 Mehrle, Miss O. C. 
 Miller, Miss M. 
 Mills, Miss L C. 
 Morris, Miss F. 
 Miner, Miss E. J. 
 McMahon, Miss M. F. 
 McCann, Miss F. 
 McClements, Miss E. 
 McKenzie, Miss M. 
 Mason, Miss J. A. 
 Mclntyre, Miss M. 
 Miller, Miss F. 
 Mann, Miss L. B. 
 Moore, Miss H. A. 
 Moran, Miss A. 
 Merkel, Miss B. 
 Morton, Miss A. M. 
 Marchand, Miss L. A. 
 Mitchell, Miss C. 
 Mann, Miss E. 
 Miles, Miss C. B. 
 Merrill, Miss I. R. 
 
 Needham, Mrs. G. S. 
 Nelson, Mrs. M. R. 
 Norton, Mrs. S. E. 
 North, Mrs. J. L. 
 Nash, Miss A. A. 
 Newton, Miss M. E. 
 Noble, Miss M. 
 
 Osgood, Mrs. S. W. 
 Olson, Miss F. . 
 Olmstead, Miss L. M. 
 O'Brien, Miss M. 
 O'Brien, Miss M. T. 
 
 Powell, Mrs. L. 
 Pearson, Mrs. F. 
 Pruyn, Mrs. C. P. 
 Peterson, Mrs. A. L. 
 Prentiss, Mrs. L. M. 
 Peterson, Mrs. F. K. 
 Proctor, Miss J. M. 
 
 Pitt, Miss M. J. 
 Pew, Miss C. L. 
 Patterson, Miss G. 
 Parsons, Miss H. 
 Palmer, Miss C. 
 Parantau, Miss L. 
 Petit, Miss M. A. 
 
 Rogers, Mrs. W. P. 
 Rollins, Mrs. C. H. 
 Rea, Mrs. J. H. 
 Rattenbury, Mrs. J. 
 Robertshaw, Mrs. F. L. 
 Rea, Miss M. 
 Rinear, Miss C. 
 Randall, Miss L. M. 
 Rommeiss, Miss E. 
 Robinson, Miss A. 
 Rietz, Miss M. 
 Riordan, Miss S. 
 Rickey, Miss F. 
 Root, Miss H. 
 Root, Miss M. 
 Rawson, Miss A. 
 Reed, Miss C. 
 Root, Miss G. 
 Rea, Miss L. H. 
 
 .Sampson, Mrs. O. 
 Sandes, Mrs. H. 
 Scott, Mrs. H. 
 Scoville, Mrs. A. 
 Scoville, Mrs. E. 
 Stacy, Mrs. C. D. 
 Steinhous, Mrs. M. 
 Stevens, Mrs. C. 
 Sutherland, Mrs. W. O. 
 Swett, Mrs. H. H. 
 Swift, Mrs. C. G. 
 Saltonstall, Miss G. M. 
 Scheurman, Miss F. 
 Selby, Miss M. 
 Shannon, Miss E. 
 Sherwood, Miss G. 
 Shipman, Miss E. 
 Shoemaker, Miss L. 
 Silke, Miss A. 
 Simons, Miss C. E. 
 Spain, Miss H. 
 Smith, Miss A. 
 Smythe, Miss L. 
 Starr, Miss H. B. 
 Stearns, Miss L. L. 
 Stearns, Miss L. 
 Steele, Miss E. 
 Steele, Miss H. I. 
 Stinson, Miss L. O. 
 Stokes, Miss F. N. 
 Sylvester, Miss E. 
 
 Taylor, Mrs. G. W. 
 Temple, Mrs. M. 
 True, Mrs. W. D. 
 Tanner, Miss G. 
 Thaxter, Miss M. 
 Thearle, Miss V. C. 
 Tripp, Miss E. 
 Trudelle, Miss A. 
 
The Chorus. 
 
 95 
 
 Van Dyke, Mrs. R. 
 Van Uxem, Mrs. N. 
 Vanzwoll, Mrs. G. M. 
 Van Home, Miss A. 
 Verbryck, Miss A. 
 
 Warden, Mrs. J. 
 Wells, Mrs. W. W. 
 Whitehead, Mrs. R. W. 
 Walker, Miss A. C. 
 Ward, Miss E. 
 White, Miss M. H. 
 Whitney, Miss F. H. 
 Wolcott, Miss C. 
 Wright, Miss M. 
 Wright, Miss R. A. 
 Wright, Miss G. 
 
 ALTOS. 
 
 AUport, Mrs. S. M. 
 Andrews, Miss F. 
 Ayres, Miss M. 
 Arthur, Mrs. J. B. 
 Atwater, Mrs. G. E. 
 Anderson, Miss A. 
 Anderson, Miss S. 
 
 Barker, Miss L. M. 
 Bliss, Miss A. 
 Brown, Miss E. W. 
 Boynton, Miss N. W. 
 Beckett, Miss A. 
 Boulter, Miss J. G. 
 Boughan, Miss N. 
 Braasch, Miss H. 
 Bartels, Miss E. 
 Boyeson, Mrs. J. K. 
 Barbour, Mrs. S. M. 
 Balfour, Mrs. J. 
 ,Bolte, Mrs. C. G. 
 Buckley, Miss G. 
 Best, Mrs. J. 
 Bradley, Mrs. P. B. 
 Barker, Miss E. J. 
 Kaumann, Miss E. M. 
 Barren, Miss A. S. 
 Ragg, Mrs. F. S. 
 Bilton, Miss R. 
 Bilton, Miss M. 
 Barry, Miss O. 
 Brookes, Miss M. A. 
 Bradley, Miss B.. 
 Black, Miss L. 
 Burwell, Mrs. M. E. 
 
 Cox, Miss S. 
 Carpenter, Miss G. 
 Cogswell, Miss M. J. 
 Colver, Miss S. E. 
 Corby, Miss F. 
 Crane, Miss A. A. 
 Colebrooke, Mrs. Wm. 
 Climer, Mrs. F. O. 
 Cole, Mrs. J. D. 
 Conant, Mrs. R. W. 
 Coolidge, Mrs. I. K. 
 
 Christian, Miss Maude, 
 Christian, Miss Minnie, 
 Cook, Miss J. 
 Cooper, Miss E. J. 
 
 Davidson, Mrs. W. B. 
 Dewey, Mrs. R. E. 
 De Lang, Miss C. 
 Dalziel, Mrs. \. B.' 
 Davenport, Miss R. 
 Douglas, Miss C. J. 
 
 Eastman, Miss L. 
 England, Miss B. 
 
 Fargo, Mrs. S. M. 
 Freeman, Mrs. L. B. 
 Falcon, Miss L. A. 
 Farson, Miss R. 
 French, Mis* N. J. 
 Fuchs, Miss E. J. 
 Fromman^Miss E. 
 Fluke, Mrs. J. E. 
 Fowler, Mrs. R. H. 
 Featherly, Miss J. 
 Foster, Miss H. 
 Foster, Miss E. G. 
 Friedrich, Miss C. 
 Fink, Miss B. 
 
 Goodall, Mrs. H. P. 
 Grabo, Mrs. H. F. 
 Gerstenberg, Miss E. 
 Goodrich, Miss G. 
 Goodwin, Miss L. M. 
 Garland, Miss E. 
 Gilbert. Mrs. W. D. 
 
 Hayes, Mrs. P. S. 
 Holmes, Mrs. R. A. 
 Howland, Mrs. W. M. 
 Hagan, Miss J. 
 Hamilton, Miss E. A. 
 Heidenheimer, Miss L. 
 Herrick, Miss R. E, 
 Hiestand, Miss A. E. 
 Hink, Miss M. 
 Hosmer, Miss E. 
 Hough, Miss L. E. 
 Hubbard, Miss J. A. 
 HavenhiU, Mrs. V. M. 
 Hayden, Mrs. A. G. 
 Hinchliiife, Mrs. G. 
 Howe, Mrs. S. E. 
 Heidenheimer, Miss I. 
 Hiestand, Miss E. L. 
 Hinman, Miss L. 
 Hohman, Miss L. 
 Hudson, Miss L 
 
 Inman, Miss L. A. 
 
 Johnson, Mrs. O. K. 
 Jenness, Miss H. 
 
 Keeler, Miss F. E. 
 KeUy, Mrs. R. H. 
 Kellogg, Miss H. S. 
 
 King, Miss G. 
 Kempton, Mrs. J. 
 
 Lamb, Miss A. 
 Lamb, Miss B. 
 Letourneux, Miss M. 
 Lovejoy, Miss C. 
 Loewenstein, Miss P. 
 Lyon, Mrs. H. A. 
 Le Moyne, Mrs. J. V. 
 Le Moyne, Miss M. 
 Lunham, Miss J. D. 
 
 Mann, Mrs. E. P. 
 McFarland, Mrs. T. E. 
 
 Moses, Mrs. S. M. 
 McAllister, Miss L. 
 McWade, Miss S. D. 
 Methlow, Miss L V. 
 Moody, Miss J. S. 
 Moore, Miss N. 
 Moses, Miss S. 
 Moxon, Miss A. 
 Mudge, Miss J. R. 
 Martindale, Mrs. A. L. 
 McMillan, Mrs. C. E. 
 Mears, Mrs. E. A. 
 Murray, Mrs. T. H. 
 McKenzie, Miss N. 
 McNair, Miss N. F. 
 Miller, Miss L. B. 
 Miner, Miss J. 
 Myers, Miss F. A. 
 
 Newman, Mrs. H. P. 
 Nutting, Mrs. F. P. 
 Nash, Miss L. 
 Nash, Miss M. ^ 
 
 Needham, Miss M. A. 
 Nightingale, Mrs. A. F. 
 Nichols, Miss C. 
 
 O'Brien, Miss J. H. 
 Olsen, Miss S. 
 Orton, Miss F. B. 
 
 Pearce, Mrs. F. 
 Pitkin, Mrs. G. W. 
 Page, Miss E. L. 
 Paranteau, Miss C. 
 Peterson, Miss M. 
 Piatt, Miss A. M. 
 Pease, Miss G. S. 
 Price, Mrs. M. C. 
 Plimpton, Mrs. H. C. 
 
 Rawson, Mrs. N. W. 
 Remick, Mrs. C. H. 
 Ream, Miss L. 
 Reed, Miss H. 
 Reynolds, Miss K. 
 Roe, Miss E. 
 Russell, Miss K. A. 
 Roman, Mrs. D. B. 
 Root, Mrs. E. T. 
 Rounds, Miss F. O. 
 Root, Miss J. 
 
96 
 
 The Second Biennial Chicago Musical Festival. 
 
 Rommeiss, Miss A. 
 Rommeiss, Miss P. 
 
 Sabin, Mrs. A. R. 
 Seaman, Miss M. 
 Sigwelt, Miss S. 
 Simons, Miss L. 
 Smith, Miss K. C. 
 Smith, Miss J . E. 
 Smith, Miss M. J. 
 Spratt, Miss J. 
 Sterner, Miss A. 
 Stockwell, Miss E. C. 
 Starkweather, Mrs. W. H. 
 Seymour, Mrs. D. L. 
 Sherwood, Mrs. T. F. 
 Summy, Mrs. C. F. 
 Silke, Miss L. S. . 
 Ship.man, Miss F. C. 
 Smith, Miss Bella 
 Smith, Miss Bertha 
 Stevens, Miss J. L. 
 Stephenson, Miss L. S. 
 Stinson, Miss M. A. 
 Stone, Miss C. E. 
 Steever, Mrs. J. G. 
 
 Taylor, Mrs. E. O. 
 Tobey, Mrs. C. H. 
 Thayer, Miss D. M. 
 Thome, Miss L. 
 Toles, Mrs. W. C. 
 Tucker, Miss M. L. 
 Turner, Miss J. 
 
 Ulrich, Miss E. 
 Upton, Miss M. E. 
 
 Van Horn, Miss L. 
 Van Inwagen, Mrs. J. 
 Van Inwagen, Miss L. 
 Van Osdel, Miss L. 
 Vose, Miss E. 
 Van Osdel, Miss H. L. 
 
 Warde, Mrs. C. J. 
 Waidner, Mrs. F. A. 
 "Walker, Mrs. S. P. 
 Wessells, Mrs. G. 
 Walker, Miss I. 
 Watson, Miss L. 
 Walker, Miss E. 
 Warne, Miss A. 
 Waterman, Miss A. 
 Wells, Mrs. D. W. 
 Wood, Miss M. 
 
 Yates, Mrs. L. M. 
 
 TENORS. 
 
 Alward, C. F. 
 Andrews, H. 
 Armour, M. C. 
 Armour, W. S. 
 Allen, G. R. 
 
 Bradford, R. C. 
 Beyer, G. V. 
 Bergen, G. B. 
 Baker, D. W. 
 Bacon, N. P. 
 Bird, C. W. 
 Bogg, H. B. 
 Breadon, C. W. 
 Brown, F. 
 Borst, G. H. 
 Bronson, L. 
 Bauerle, F. 
 Beer, A. G. 
 Bird, W. E. 
 Blake, C. C. 
 Brown, J. A. 
 Browning, G. W. 
 Bush, T. H. 
 Bushnell, J. B. 
 
 Crosby, A. A. 
 Cavey, T. J. 
 Conant, Dr. R. W. 
 ConoUy, G. 
 Curtis, H. 
 Camp, G. W. 
 Clayton, E. J. 
 Clayton, W. 
 Claney, S. T. 
 Colby, F. T. 
 Congdon, G. G. 
 Correa, J. A. 
 Coffin, W. C. 
 Conkling, F. W. 
 Corwin, C. S. 
 
 Darcy, T. J. 
 Douglas, J. 
 Davis, R. L. 
 Da vies, J. 
 Dodson, W. A. 
 Drake, I. 
 Dunn, W. H. 
 Dupuy, I. P. 
 
 Elmendorf, W. 
 
 Fish, S. L. 
 Farrar, W. G. 
 Furlong, W. E. 
 Farson, C. T. 
 Farson, D. M. 
 Ferguson, C. C. 
 Fernald, C. W. 
 Frederick, F. S. 
 
 Gilbert, H. D. 
 Givens, R. A. 
 Gooding, D. W. 
 Gunn, A. H. 
 Gridley, C. E. 
 Gill, W. E. 
 Gilmore, J. W. 
 George, E. C. 
 Goodwillie, D. L. 
 
 Hibbard, A. 
 Hayward, W. C. 
 
 Harvey, W. H. 
 Hamann, J. A. 
 Hanrahan, F. D. 
 Holt, C. S. 
 Holmes, R. H. 
 Hinkley, C. O. 
 Hurlbut, H. R. 
 
 Jacobs, F. L. 
 Johnson, E. W. 
 Johnston. J. L. 
 James, T. 
 Judson, F. P. 
 Judd, H. W. 
 Johnson. D. W. 
 Johnson, A J. 
 Joys, A. M. 
 
 Kelly, R. H. 
 Kindt, J. W. 
 Krinkeo, H. L. 
 Krug, A. C. 
 
 Laue, M. 
 Leeddfei, J. 
 Lamb, W; E. 
 Lockwood, C. F. 
 
 Moore, Geo. 
 Matteson, C. F. 
 Martin, D. R. 
 McKay, F. M. 
 Moseley, L. L. 
 McDowell, G. R. 
 McNair, D. L. 
 Messinger, E. D. 
 McCarrell, A. F. 
 
 Needham, G. S. 
 Newhall, S. F. 
 Norton, S. E. 
 Nelson, W. A. 
 Nichols, W. E. 
 Newman, J. W. 
 
 Otis, E. A. 
 O'Brien, W. V. 
 O'Brien, J. C. 
 Otis, P. A. 
 Olson, M. 
 
 Patterson, C. T. 
 Pither, Mark 
 Page, E. D. 
 Perine, W. H. 
 Pearson, J. L. 
 Parker, S. K. 
 Perkins, W. B. 
 Pickard, C. E. 
 Powell, G. S. 
 Powell, W. E. 
 
 Root, W. A. 
 Root, Frank K. 
 Reuss, Wm. 
 Raper, A. 
 Ratten bury, J. 
 Rolans, W. D. 
 
The Chorus^ 
 
 Robertshaw, F. L. 
 Rutherford, A. E. 
 Richards, W. C. 
 Richards, G. L. 
 Rose, W. H. 
 
 Sabin, A. R. 
 Shaffer, A. W. 
 Sykes, C. W. 
 Swenson, J. L. 
 Stewart, H. F. 
 Smith, F. C. 
 Shorey, H. E. 
 Snyder, O. C. 
 Sawyer, D. H. 
 Stodder, J. F. 
 Spinning, E. M, 
 Smith, C. J. 
 Schneider, L. 
 Stone, H. F. 
 Sammond, C. 
 
 Thorndike, Dr. W. 
 Thompson, C. G. 
 Tobey, A. B. 
 Trainor, J. S. 
 Thatcher, E. E. 
 Theole, F. 
 Taylor, C. J. 
 Tobey, C. H. 
 
 Verity, W. S., Jr. 
 
 Weaver, C. 
 Willard, J. H. 
 Wellington, F. J. 
 Wilkins, C. H. 
 Wright, E. J. 
 Wessells, F. J. 
 Watson, J. 
 Wassail, J. W. 
 Weddell, T. R. 
 Weed, E. O. 
 Waterhouse, G. B. 
 
 Yates, T. C. 
 Young, J. 
 Yuill, W. B. 
 
 Zwick, J. 
 
 BASSES. 
 
 Armour, F. N. 
 Armour, J. S. 
 Armitage, A. 
 Apfel, A. H. 
 
 Bodden, A. G. 
 Benton, L. B. 
 Bingham, C. L. 
 Beall, W. D. 
 Bowen, W. D. 
 Bronson, A. 
 Blackburn, F. J. 
 Bass, F. N. 
 Bletsch, A. 
 Beek, G. N. 
 
 Baird, F. T. 
 Bell, J. H. 
 Brown, E. 
 Byrne, J. P. 
 Bliss, W. G. 
 Barber, D. F. 
 Bushnell, C. H. 
 Billings, Dr. 
 Button, L. 
 Billings, C. L. 
 Bellaney, H. 
 
 Colby, J. L. 
 Chapin, E. F. 
 Chamberlain, W. C. 
 Clark, R. M. 
 Crawford, Dr. H. 
 Crane, C. F. 
 Connelly, J. H. 
 Chittick, T. W. 
 CauldweU, W. J. 
 Case, F. M. 
 Cordes, J. 
 Cox, W. 
 Collins, J. G. 
 Cuthbertson, W. O. 
 Christianson, S. J. 
 Clark, W. H. 
 Cole, L. S. 
 Colven, C. K. 
 Cole, G. S. 
 Cary, J. W. 
 demons, C. D. 
 Colvin, W. W. 
 
 Davis, G. W. 
 Dunning, O. S. 
 Doddridge, P. 
 Doran, W. 
 De Camp, W. H. 
 Donaldson, H. 
 Daly, T. 
 
 Edelmann, F. H. 
 Edwards, H. L. 
 Everett, Dr. E. 
 Eddy, A. D. 
 
 Fay, A. 
 Fahey, W. 
 Faulkner, W. J. 
 Fisher, A. J. 
 Foster, C. 
 Foster, C. H. 
 Franson, F. R. 
 Forrest, G. D. 
 Fluke, J. E. 
 Field, W. T. 
 Faircloth, D. B. 
 
 Goodrich, W. O. 
 Greenleaf, G. F. 
 Gallaher, W. 
 Gardiner, C. S. 
 Gillson, L. K. 
 Goodman, W. W. 
 Grey, H. 
 Gridley, C. C. 
 
 Grabo, H. F. 
 Gross, H. A. 
 Goodwin, W. H. 
 Goan, O. S. 
 
 Hinton, F. 
 Hall, A. W. 
 Hume, J. 
 
 Howenstein, J. H. 
 Herrick, J. B. 
 Hall, H. A. 
 Henderson, E. J. 
 Hazard, G. D. 
 Hart, J. C. 
 Holbrook, W. 
 Handcox, S. W. 
 Handy, T. L. 
 Hornstein, L. 
 Hunter, T. C. 
 Herring, R. F. 
 Hincbliffe, G. 
 Henderson, A. 
 Hosmer, J. W. 
 Harrell, W. 
 
 Ingalls, E. 
 Isham, G. 
 
 Jellyman, J. 
 Johnson, A. L. 
 
 King, T. E. 
 Kanard, J. S. 
 Kimbark, D. A. 
 Kolling, 
 Kemble, E. C. 
 Kandell, E. B. 
 
 Lee, F. J. 
 Lyford, W. H. 
 Lee, C. S. 
 Ludlow, F. n. 
 Lawrence, H. L. 
 
 Marshall, O. 
 McEldowney, W. 
 Mohr, L. 
 Morse, E. B. 
 Morgan, A. M. 
 Morley, E. 
 Moore, J. S. 
 Martini, J. L. 
 Marchant, S. D. 
 Marchant, D., Jr. 
 Myers, S. L. 
 MagiU, G. L. 
 Magil, A. W. 
 Marchant, S. F. 
 McNeany, T. A. 
 Mitchell, M. D. 
 McClevey, W. 
 
 Nourse, E. R. 
 Nutting, F. P. 
 Nolan, E. J. 
 
 Olvey, A. N. 
 Osborne, S. H. 
 Olsen, O. 
 
98 
 
 The Second Biennial Chicago Musical Festival. 
 
 Prentiss, L. M. 
 Peck, W. S. 
 Pierce, A. S. 
 Peuder, S. E. 
 Poritz, H. A. 
 Peterson, F. 
 Palm, M. 
 Pierce, W. G. E. 
 Peck, H. W. 
 Page, F. 
 Peterson, F. K. 
 Pickett, H. A., Jr. 
 Poucher, B. G. 
 Pratt, W. R. 
 Patton, N. S; . 
 Page, A. 
 Pond, F. S. 
 Parent, A. M. 
 
 Richardson, D. A. 
 Riley, L. 
 Roberts, D. 
 Roberts, G. 
 Root, W. A. 
 Russell, R. J. 
 Ryan, E. C. 
 Rounds, W. P. 
 o Rose, W. H. 
 Riordan, H. C. 
 
 Rockey, I. W. ' 
 Robertson, J. 
 Roberts, E. L. 
 Rehnie, W. A. 
 Riggs, A. G. 
 Rogers, E. P. 
 
 Smith, W. N. 
 Smith, W. D. 
 Shipman, Geo. E., Jr. 
 Shirra, J. C. 
 Sinclair, W. J. 
 Somers, W. A. 
 Spencer, C. L. 
 Sitting, H. C. 
 Smith, W. K. 
 Shaw, T. C. 
 Sprague, W. 
 Spahn, L. 
 Sharpe, E. R. 
 Sylvester, G.W. 
 Steuver, E. 
 Shandrew. 
 Starkweather, W. H. 
 Sterner, A. E. 
 Steever, J. G. 
 
 Thaxter, C. M. 
 Thearle, E. A. 
 
 Tinsman, C. W. 
 Thayer, L. C. 
 TuthiU, T. H. 
 Tuthill, W. H. 
 Thayer, W. H. 
 Tucker, A. W. 
 Turner, J. F. 
 Temple, J. F. 
 Truax, D. A. 
 Thearle, F. G. 
 
 Van Inwagen, F. 
 
 Watson, R. H. 
 Willis, E. J. 
 Wrede, F 
 Waters, H. C. 
 Wade, J. 
 Wessells, G. F. 
 Wood, W. F. 
 
 Wells, 7: :e. 
 
 Wheeler, A. D. 
 Willis, W. S. 
 Wyman, W. D. 
 White, A. P. 
 WooUacott, J. 
 Wells, T. D. 
 Wescott, O. S. 
 Wegner, C. T. 
 
 J. RATTENBURY, Chorus Recorder. 
 
INDEX. 
 
 Festival Organization, . . . 
 Members of the Association, . 
 Subscribers to Guarantee Fund 
 Order of Performances, 
 
 Introduction, 
 
 List of Artists 
 
 Biographical Sketches, . 
 Programmes, . . 
 
 FIRST EVENING CONCERTr 
 G Minor Symphony, Mozart, . 
 ' The Creation, 
 
 SECOND EVENING CONCERT: 
 Eroica Symphony, .... 
 Selections from TannhAuser, 
 
 FIRST MATINEE: 
 
 Centennial Exhibition March, 
 Selections from Lohengrin, 
 Selections from Parsifal, 
 Siegfried's Death, 
 Selections from the Masteksingers, 55 
 
 5 
 
 THIRD EVENING CONCERT: 
 
 
 6 
 
 Messe des Morts, 
 
 ■ 56 
 
 7 
 
 Die WalkOee, ... 
 
 62 
 
 8 
 
 FOURTH EVENING CONCERT; 
 
 
 
 Dettingen Te Deum, . . . 
 
 67 
 
 9 
 
 Symphony in C, Schubert, . . 
 
 70 
 
 II 
 
 Siegfried, Finale, Act III, 
 
 73 
 
 12 
 
 SECOND MATINEE: 
 
 
 17 
 
 Jubilee Overture 
 
 78 
 
 
 Children's Choruses, . . . 
 
 78 
 
 
 Aria, Magic Flute, . . 
 
 78 
 
 24 
 
 Scotch Rhapsody, Burns, . . 
 
 • 79 
 
 26 
 
 Ave Maria, Bach-Gounod, 
 
 • 79 
 
 
 Haydn Variations, Brahms, . 
 
 79 
 
 
 Aria from Iphigenia in Tauris, 
 
 79 
 
 32 
 
 Minuet and Finale, Beethoven, 
 
 80 
 
 36 
 
 Aria from Euryanthe, 
 
 80 
 
 
 Tasso 
 
 80 
 
 46 
 
 FIFTH EVENING CONCERT: 
 
 
 46 
 
 Redemption: • 
 
 81 
 
 52 
 
 
 
 54 
 
 List of Orchestra, 
 
 91 
 
 55 
 
 List of Chorus 
 
 93 
 
ss 
 
 dSiSEniS 
 
 '/iilip