PART I.

MISSA SOLEMNIS, - - - - - Eduard Grell

Mass in sixteen parts, without accompaniment.

THE GOUNOD SOCIETY.

THE composer of this Mass, — the greatest polyphonic work for unaccompanied voices ever written, — was born in Berlin in the year 1800. But little is known in America of him or his work. The whole of his life was spent in his native city, where he early came into prominence as an organist and choir-master, first, at the age of sixteen, at the Nikolaikirche, and in 1841 as court organist at the cathedral. He was the first director of the Singakademie and a teacher in the composition school of the Academy. His compositions are mostly of a religious character, and include an oratorio based on the wanderings of the Israelites in the Desert, the Mass sung to-night by the Gounod Society, and a number of organ preludes, cantatas and hymns. Because of its enormous difficulties the Mass has rarely been performed. It was sung for the first time in this country by the Oratorio Society of New York in 1889, and was repeated by the same Society in 1893. It dispenses entirely with an orchestral accompaniment, being written in the *a capella* style of vocal music which was in use in the churches in Palestrina's time, and up to the sixteenth century in general, before the orchestra had begun to usurp the importance hitherto assumed by choral music. Extraordinary variety of effect and richness of color was secured by increasing the number of parts, each part being taken by a single voice. In the performance to-night the same effect is obtained by dividing the whole chorus into sixteen parts. The novelty of its arrangement and the marvellous contrapuntal skill which it evinces, entitle Grell's Mass to a supreme place among compositions of a religious character.

[Text on page 4.]

RELL
ACH
GEY
RAK
KER

*Note.*—The length of the Mass has necessitated the omission of certain numbers and lines.
The portions omitted are enclosed in brackets.

I. Kyrie eleison.

II. Christe eleison.

III. Kyrie eleison.

IV. Gloria in excelsis Deo, et in terra pax [hominibus bonae voluntatis.] Laudamus te, benedicimus te, adoramus te, glorificamus te, [gratias agimus tibi] propter magnam gloriam tuam.

[V. Domine Deus, rex cœlestis, Deus Pater Omnipotens. Domine Fili unigenite, Jesu Christe; Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi suscipe deprecationem nostram; qui sedes ad dexteram Patris, miserere nobis.]

[VI. Quoniam tu solus sanctus; tu solus Dominus; tu solus altissimus, Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris. Amen.]

VII. Credo in unum Deum, Patrem omnipotentem, Factorem cœli et terrae, visibilium omnium et invisibilium.

VIII. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia sæcula, Deum de Deo. Lumen de Lumine, Deum verum de Deo vero, genitum non factum, consubstantialem Patri, per quem omnia facta sunt: qui propter nos homines, et propter nostram salutem, descendit de cœlis.

IX. Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est; crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est.

X. Et resurrexit tertia die secundum Scripturas, et ascendit in cœlum, sedet ad dexteram Patris: [et iterum venturus est cum gloria,] judicare vivos et mortuos, cujus regni non erit finis.

XI. Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur, et glorificatur; qui locutus est per Prophetas. Et unam sanctam Catholicam et Apostolicam Ecclesiam. Confiteor unum Baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum, et vitam venturi sæculi. Amen.

XII. Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt cœli et terra gloria tua. Osanna in excelsis.

XIII. Benedictus qui venit in nomine Domini.

XIV. Agnus Dei, qui tollis peccata mundi, miserere nobis, dona nobis pacem.

I. Lord have mercy upon us.

II. Christ have mercy upon us.

III. Lord have mercy upon us.

IV. Glory be to God on high, and on earth peace, [good will towards men.] We praise thee, we bless thee, we worship thee, [we give thanks to thee] for thy great glory.

[V. O Lord God, heavenly King, God the Father Almighty. O Lord, the only begotten Son, Jesus Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us; thou that takest away the sins of the world, receive our prayer; thou that sittest at the right hand of God the Father, have mercy upon us.]

[VI. For thou only art holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, are most high in the glory of God the Father. Amen.]

VII. I believe in one God the Father Almighty, Maker of heaven and earth, and of all things visible and invisible.

VIII. And in one Lord, Jesus Christ, the only-begotten Son of God; begotten of his Father before all worlds, God of God, Light of Light, very God of very God; begotten, not made, being of one substance with the Father, by whom all things were made: who for us men and for our salvation came down from heaven;

IX. And was incarnate by the Holy Ghost of the Virgin Mary, and was made man; and was crucified also for us under Pontius Pilate; He suffered and was buried.

X. And the third day He rose again according to the Scriptures, and ascended into heaven and sitteth on the right hand of the Father: [and he shall come again, with glory,] to judge both the quick and the dead; whose kingdom shall have no end.

XI. And I believe in the Holy Ghost, the Lord, and Giver of Life, who proceedeth from the Father and the Son; who with the Father and the Son together is worshipped and glorified; who spake by the Prophets. And I believe one Catholic and Apostolic Church; I acknowledge one Baptism for the remission of sins; and I look for the Resurrection of the dead and the Life of the world to come. Amen.

XII. Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Glory be to thee. O Lord most high.

XIII. Blessed is He that cometh in the name of the Lord.

XIV. O Lamb of God, who takest away the sins of the world; have mercy upon us; grant us thy peace.

The sun is rising dimly red,
The wind is wailing low and dread,
From his cliff the eagle sallies,
Leaves the wolf his darksome valleys.
In the mist the ravens hover,
Peep the wild dogs from the cover;
Screaming, croaking, baying, yelling,
Each in his wild accents telling,
"Soon we feast on dead and dying,
Fair-haired Harold's flag is flying."

Many a crest in air is streaming,
Many a helmet darkly gleaming,
Many an arm the axe uprears,
Doomed to hew the wood of spears.
All along the crowded ranks
Horses neigh and armor clanks;
Chiefs are shouting, clarions ringing,
Louder still the bard is singing:
"Forward! footmen, forward! horsemen,
To the field ye valiant Norsemen!

Halt ye not for food or slumber,
View not vantage, count not number;
Jolly reapers, forward still,
Grow the crop on vale or hill,
Thick or scattered, stiff or lithe,
They shall down before the scythe;
Forward with your sickles bright,
Reap the harvest of the fight.
Onward! footmen, onward! horsemen,
To the charge ye gallant Norsemen!

Fatal Choosers of the Slaughter,
O'er you hovers Odin's daughter,
Hear the choice she sets before ye,
Victory, and wealth and glory;
Or old Valhalla's roaring hail,
Her ever circling mead and ale,
Where for eternity unite
The joys of wassail and of fight.
Headlong forward, foot and horsemen,
Charge and fight and die,—
Like Norsemen!"

## SOPRANOS.

Miss Sadie E. Amidon,
Mrs. C. B. Bolmer,
Mrs. B. B. Broadbent,
Miss Frances W. Chandler,
Miss G. G. Frink,
Mrs. L. B. Hollis,
Mrs. A. H. Jackson,
Mrs H. Grant Thompson,
Miss Florence A. Pardee,
Miss Grace C. Porter,
Miss M. D. Dann,
Mrs. G. A. Saunders,
Mrs. L. L. Stoddard,
Miss E. S. Deming,
Miss Vandervelden,
Mrs. B. A. Lenfest,
Mrs. S. G. Loveridge,
Miss Virginia Appelle,
Mrs. T. R. Ackrill,
Miss Mabel G. Andrews.
Miss Della A. Briggs,
Mrs. Edward N. Carrington,
Miss Anna Chapin Ray,

Mrs. J. C. Schwab,
Miss Katherine H. Trowbridge,
Mrs. C. W. Vishno,
Miss F. E. Ford,
Miss L. C. Bond,
Miss Carrie Bradley,
Miss Jessie K. Dewell,
Miss Alice Flaherty,
Miss Anna G. Judson,
Mrs. G. E. Thorpe,
Miss E. H. Richards,
Miss Marguerite H. Bulford,
Mrs. W. F. Blackman,
Miss Carrie F. Buckbee.
Miss Jennie L. Cornwall,
Mrs. Walter R. Downs,
Mrs. Elverton Fiske,
Miss Helen C. Lamb,
Miss Caroline Lindsley,
Miss Ella Leonore Smith,
Miss E. P. Sargent,
Miss Gertrude I. Tyrrill,
Miss Florence T. Law,

Miss S. Cummings,
Miss Hattie Sanford,
Miss G. H. Frisby,
Miss A. G. Defendorf,
Mrs. B. W. McFarland,
Miss Dotha Bushnell,
Miss Harriet L. Bradley.
Miss Fannie Foster,
Mrs. Theodore K. Hand,
Miss Esther A. Rice,
Mrs. W. H. States,
Miss Lillian J. Smith,
Miss Helen Abbott Sanford.
Mrs. Robert B. Mercer,
Mrs. John C. Griggs,
Mrs. Wright,
Miss Myra Bacon,
Miss Carrie Reidel,
Miss Harriette S. Ward,
Mrs. Charles B. Richards
Mrs. S. S. Thompson,
Miss Carroll.

ALTOS.

Mrs. Hope Lewis Borden,
Miss Mattie W. Cornwall,
Mrs. D. A. Jones,
Mrs. E. A. Lettney,
Miss M. A. C. Lynch,
Miss Sara Martin,
Miss E. E. Hofer,
Miss Jennie P. Payne,
Miss M. D. Savage,
Miss E. E. Cutler,
Mrs. Clara Sherman,
Mrs. Henrietta Soltan,
Miss L. Belcher,
Miss C. M. Deming,
Mrs. C. M. Gourley,
Miss Edith E. Bishop,
Miss Sarah E. Briggs,
Miss Rill Bishop,
Mrs. W. L. Everit, Jr.,

Alfred T. Brisebois,
Arthur H. Jackson,
James F. McLaughlin,
Edwin P. Pitman,
H. V. Santry,
J. Sumner Smith,
G. A. Spring,
E. B. Morton,
M. J. Leonard,
Eugene Heinig,
Frank Kelley,
Clarence M. Gourley,
B. B. Broadbent,
C. C. Andrew,
C. W. Evarts,

P. E. Browning,
William D. F. Dickinson,
W. S. Garde,
A. S. Gale,
Arthur T. Hadley,
F. H. Pierce,
Frank M. Crawford
J. C. Schwab,
Charles Mann,
William Grab,
W. F. Blackman,
C. W. Ives,
T. R. Ackrill,
Walter R. Downs,
E. B. Frink,
Charles S. DeForest,
George L. Hamilton,
D. A. Jones,
A. William Sperry,

Miss Clara Feuchtwanger,
Miss Henrietta Feuchtwanger,
Mrs. L. R. Goodyear,
Mrs. Frederick C. Rowland,
Miss Bird A. Reed,
Miss M. Frances Sharpe,
Mrs. G. B. Stevens,
Miss Madelaine E. Tuttle,
Miss Edith M. Buckbee,
Mrs. E. L. Armstrong,
Miss Maude L. Beeching,
Miss Alice T. Booth,
Miss M. L. Dawson,
Miss Helen W. Fitch,
Mrs. Eben C. Sage,
Mrs. William Sheffield,
Mrs. Charles I. Shepard,
Mrs. Arthur B. Treat,

Miss Edith Woolsey,
Miss E. M. Chadwick,
Miss Frances E. Jackson,
Mrs J. S. Ely,
Miss C. R. Walker,
Miss Alice Broadbent,
Miss E. I. Flaherty,
Mrs. A. T. Hadley,
Miss Alice Kraft,
Miss Lydia A. Kraft,
Miss Elizabeth Pendleton,
Miss Ella McK. York,
Miss Clarissa E. White,
Miss Mary E. Walker,
Mrs. A. M. Drummond,
Miss Thekla Ruutz-Rees,
Miss Elizabeth S. Bradley,
Miss Eva Thompson,

TENORS.

P. R. Everett,
F. A. Corbin,
David H. M. Gillespie,
George D. Kellogg,
W. J. Lum,
A. B. Treat,
H. A. Jump,
C. C. Jones,
S. Gilman,
A. T. Barham,
H. J. Goodman,
W. E. Alleman,
D. E. Keeley,
W. D. Cushman,
Harry Hawkin,

Clifford Gilbert,
N. W. Merwin,
M. B. Hubbell,
T. B. Robertson,
W. C. Sturgis,
Charles H. Zimmerman,
Fred B. Bunnell,
John D. Carson,
W. A. Hotchkiss,
James W. Porter,
Henry B. Rowe.
James S. Porter,
Francis J. Hall,
George P. Havens,
R. A. Van Name.

BASSES.

C. P. Walker,
James E. Smith,
E. M. Camp,
Joseph C. Criddle,
H. L. Bradley.
S. A. Marshall
H. R. Smith,
Willard C. Warren,
J. M. Reily,
G. H. Butler,
G. J. Elsner,
Herbert Foster,
A. W. Gregg,
William F. Hamernick.
W. R. Hoppen,
W. Conger Morgan,
Edwin A. Smith,
Thomas H. Smith,

Thomas H. Young,
Howard Dean French,
C. H. Stilson,
Keith Spalding,
George T. Smith,
W. J. Griffin,
A. A. Russell,
A. A. Farley,
W. W. Chandler,
William De V. Beach,
James J. Comer,
Charles E. Cornwall,
John K. Moore,
J. C. Tracy,
F. S. Ward,
F. M. Doolittle,
T. Peers,
J. E. Austin.

FIFTEENTH SEASON

THE GOUNOD SOCIETY
Mr. EMILIO AGRAMONTE, Conductor
Hora Novissima and Adstant Angelorum Chori

BY
PROF. HORATIO W. PARKER
OF YALE UNIVERSITY

TUESDAY, APRIL 16th, 1901

HYPERION THEATRE

ANNUAL MAY FESTIVAL

HYPERION THEATRE

MAY 6th, 7th and 8, 1901

The Programme

MONDAY, MAY 6th, 4 P. M., St. Paul's Church — Musical Service. Direction of Mr. Frederick S. Weld, *Choirmaster*; Mrs. Nora Russell Haesche, *Soprano Soloist*. Cowen's "Song of Thanksgiving."

MONDAY, MAY 6th, 8 P. M., Promenade Concert.

TUESDAY, MAY 7th, 9.30 A. M., Concert.

TUESDAY, 11 A. M., Harp Recital. Miss Avice Boxall, of London, assisted by Miss Katheryn Murphy, *Soprano*.

TUESDAY, 2 P. M., Operetta. Suppe's "Pygmalion and Galatea." The Harmonie Quartet. Mrs. Frances A. Smith, *Soprano*; Mrs. Virginia P. Marwick, *Contralto*; Hubert L. Maercklein, *Tenor*; Egbert L. Couch, *Basso*.

TUESDAY, 4 P. M., Piano Recital. Mr. A. Victor Benham, assisted by Mrs. Louise Towle Barnes, *Soprano*.

TUESDAY, 8 P. M., Symphony Concert. Mr. Franz Kaltenborn, *Conductor*. Forty musicians from the New York Symphony Society, assisted by Miss Idalia L. Levry, *Soprano*.

WEDNESDAY, MAY 8th, 9.30 A. M., Concert.

WEDNESDAY, 11 A. M., Song Cycle. Líza Lehmann's "The Daisy Chain." Direction of Mrs. A. Heaton Robertson.

WEDNESDAY, 2 P. M., Song Recital. Miss Emma Juch, with Isadore Luckstone at the piano. Assisted by Miss Emma Spieske, *Violinist*.

WEDNESDAY, 4 P. M., Chamber Concert. Wood-wind instruments, assisted by Miss Emma Buch, *Contralto*.

WEDNESDAY, 8 P. M., Oratorio in Costume. Mendelssohn's "Elijah." Under direction of Mr. Emilio Agramonte, and stage management of Frank Lee Short and Harry D. Westcott. Soloists: Miss Shannah Cummings, *Soprano*; Miss Marguerite Hall, *Contralto*; Wm. Rieger, *Tenor*; Ericsson Bushnell, *Baritone*.

Admission Tickets for the Festival, $1.50, at all the Music Stores.

Seat checks for both afternoon concerts—each day—25 cents.

Seat checks for Tuesday evening performance, 50 cents. Seat checks for Wednesday evening, 50 cents, 75 cents, $1.00.

THE GOUNOD SOCIETY

BY
PROF. HORATIO W. PARKER

OF YALE UNIVERSITY

TUESDAY, APRIL 16th, 1901

HYPERION THEATRE

Mr. EMILIO AGRAMONTE, *Conductor*

Mrs. MARIE K. ZIMMERMAN, *Soprano*

Miss GERTRUDE MAY STEIN, *Contralto*

Mr. H. EVAN WILLIAMS, *Tenor*

Mr. GWILYM MILES, *Bass*

Mr. DAVID STANLEY SMITH, *Accompanist*

CHORUS OF 300 VOICES

The Boston Festival Orchestra

Mr. JOHN W. CROWLEY, *Concertmaster*

The STEINWAY PIANO used by the Society is from the Warerooms of the
M. STEINERT & SONS CO., 777 Chapel Street.

tion of
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PROF. PARKER'S works comprise 50 opus numbers, the latest being "A Wanderer's Psalm," composed for the Hereford (England) Festival, and performed there last September. Among the more important works are: "St. Christopher" (a dramatic oratorio), "King Trojan," "Harold Harfager," "Dream King," and other works for chorus and orchestra, a symphony and other works for orchestra alone, a trio, quartette, quintette, and other pieces of chamber music, piano pieces, organ pieces, about forty songs, besides a quantity of church music.

## PART I.
### Adstant Angelorum Chori

(THOMAS À KEMPIS)

A Motet for Chorus *a cappella*, Op. 45, which in 1898 was awarded the prize offered by the Musical Art Society of New York. It is dedicated to Mr. Walter Damrosch, and was sung by that society in 1898.

THOMAS À KEMPIS, i. e. Thomas of Kempen, near Cologne, died in 1471, after a long life as an obscure monk. Had his name not been associated with the authorship of the most widely read book of religious meditations, the "Imitation of Christ," it is not likely that his career would have attracted attention. Besides very ordinary chronicles, treatises, and letters, he composed a few Latin hymns, of which the best known are those "On the Virtue of Patience" (Adversa mundi tolera) and "On the Joys of Heaven, or the Nine Choirs of Angels" (Adstant angelorum chori). The latter, which furnishes the words for Prof. Parker's motet, is in its original form somewhat longer than that commonly used. As is occasionally the case with mediaeval hymns, extracts of the best lines and strophes have been made, and these repeated and sung have practically superseded the original. The first stanza of this hymn reads:

O qualis quantaque laetitia
Resonat in caelesti patria,
Ubi Jesus gaudet cum Maria
Laeto vultu, dulci melodia.

Harriet H. Chester, in her translation of this poem for the Hymnary, begins with this stanza: "In the far celestial land."

The portions omitted by Archbishop Trench and others simply reiterate the joys, prayers, and praises of the "principalities and powers," archangels and angels, who, with the blessed company of the redeemed, are in the closing strophe urged to laud and honor the name of their God:

Laudem ergo dicite
Omnes sancti simul psallite,
Qui vos per suam gratiam
Ad tantam duxit gloriam.
Benedictus Deus. Amen.

3

**Meter**—The meter is wholly accentual and is followed closely in the version made by the composer's mother, Mrs. Isabella G. Parker. The first and last stanzas are in trochaic rhythm. The second is also trochaic, but all save the fifth and tenth verses are shorter by one syllable; these latter consist of two parts, each of seven syllables, in the iambic rhythm. The third stanza continues in iambic measure, with resolutions in the third and last verses.

**Motet**—This term is applied to a vocal composition in contrapuntal style without instrumental accompaniment. In former times the *a cappella* style was not always adhered to. There are motets by Haydn and Mozart with instrumental accompaniment.

## Adstant Angelorum Chori

### LATIN VERSION.

Adstant angelorum chori,
Laudes cantant Creatori,
Regem cernunt in decore,
Amant corde, laudant ore,
Tympanizant, citharizant,
Volant alis, stant in scalis,
Sonant nolis, fulgent stolis
Coram summa Trinitate.
Clamant: Sanctus, Sanctus, Sanctus!
Fugit dolor, cessat planctus
In superna civitate.

Concors vox est omnium,
Deum collaudantium;
Fervet amor mentium,
Clare contuentium
Beatam Trinitatem in una Deitate;
Quam adorant Seraphim
Ferventi in amore,
Venerantur Cherubim
Ingenti sub honore;
Mirantur nimis Throni de tanta majestate.

O quam praeclara regio,
Et quam decora legio
Ex angelis et hominibus!
O gloriosa civitas,
In qua summa tranquillitas,
Lux et pax in cunctis finibus!

Cives hujus civitatis
Veste nitent castitatis,
Legem tenent caritatis,
Firmum pactum unitatis.
Non laborant, nil ignorant;
Non tentantur, nec vexantur;
Semper sani, semper laeti,
Cunctis bonis sunt repleti.

### ENGLISH VERSION BY ISABELLA G. PARKER.

Angels stand, in chorus singing,
Praise to their Creator bringing:
Worship they the King in beauty,
Heart and song in sacred duty,
Sound sonorous harps in chorus,
Stand the angels, wings upraising,
Bells resounding, garments blazing,
Thee to worship, Triune Glory,
Crying: Holy, Holy, Holy!
Grief is ended, no complaining,
There in Paradise remaining.

Songs of fullest harmony
Praise the Sov'reign Deity,
Love is fervent, spirits burn,
Rev'rent minds with joy discern. [siding.
The blessed threefold Godhead in unity re-
To Whom pay the Seraphim
Their homage never ending,
And the blessed Cherubim
Before the throne low bending. [abiding.
Behold with ceaseless wonder the glory there

O thou most fair and fadeless land!
In order due thy legions stand,
Of men and angels glorious!
O what contentment dwells in thee,
In thee, home of tranquillity,
Peace and light in thee victorious.

Dwellers in that clime transcendent,
Shine in robes of white resplendent:
Loyal holding Love supernal,
Joined in fellowship eternal.
Labor leaving, light receiving,
No temptation, no vexation,
Ever blessed, ever knowing
All things good, with joy o'erflowing.

4

PART II.

Hora Novissima

By HORATIO W. PARKER

BATTELL PROFESSOR OF THE THEORY OF MUSIC IN YALE UNIVERSITY

Op. 30.

Composed for the Church Choral Society of New York, in 1891-2, and first performed
by that society in 1893. The next year it was given by the Handel and Haydn Society of
Boston, and since that time in most of the large cities of the United States where such
works are given.

In 1899 it was sung at the Three Choirs Festival in Worcester, England, and in 1900
at the Chester Festival, both times under the composer's direction, and with marked
success.

In February of the present year it was sung by the Royal Choral Society of London
—the most important choral organization in England—in Albert Hall.

It is to be sung by the Gounod Society at the Bicentennial of Yale University in
October.

Hora Novissima—In the year 1145 a monk of the Abbey of Cluny, named Bernard, who, although born at Morlaix, in Bretagne, was of English parentage, wrote a satire, now seldom read, of some 3000 verses, on the degeneracy of his times, under the title, *De Contemptu Mundi*. From the opening passage of this satire, describing the glories of the heavenly land, by some free transpositions and omissions, Archbishop Trench constructed the noble poem, printed in part below, which is now classed among the seven great mediæval hymns.

Through the Rev. Dr. J. M. Neale's translation, our hymnals were enriched by several now very familiar hymns: "Brief life is here our portion" (Hic breve vivitur); "For thee, O dear, dear Country!" (O bona patria); "Jerusalem the golden" (Urbs Syon aurea); "Jerusalem the glorious" (Urbs Syon inclyta).

The meter of the poem is both quantitative, after the ancient Roman manner, and also
accentual and rhymed, after the modern. It might be described as a dactylic hexameter
with two internal rhymes, but the verses are often broken up into three parts, as printed
below.

made by
a trochaic
e shorter
the iambic
third and
e without
s adhered

PARKER.

[siding.
unity re-

[abiding.
glory there

t,
t:

ng.

Tu locus unicus,
Illeque cœlicus
Es paradisus,
Non ibi lacryma,
Sed placidissima
Gaudia, risus.

O bona patria,
Ad tua nomina, etc.

Thou only mansion bright,
Full of supreme delight
Thou art preparing :
There shall all tears be dry,
There is serenest joy
All shall be sharing.

No. 6—QUARTET AND CHORUS—*Allegro*.

||Tu sine littore,
Tu sine tempore,
Fons, modo rivus,||
Dulce bonis sapis,
Estque tibi lapis
Undique vivus.

Est tibi laurea,
Dos datur aurea,
Sponsa decora,
Primaque Principis
Oscula suscipis,
Inspiris ora :

Candida lilia,
Viva monilia
Sunt tibi, Sponsa,
Agnus adest tibi,
Sponsus adest tibi,
Lux speciosa :

||Tota negotia,
Cantica dulcia
Dulce tonare,
Tam mala debita,
Quam bona præbita
||Conjubilare.||

Thou ocean without shore,
Where time shall be no more,
Dwelling most gracious :
Fountain of love alone,
Thou hast the living stone,
Elect and precious.

Thou hast the laurel fair
The heavenly Bride shall wear,
Robed in her splendor.
First shall the Prince confer
All priceless gifts on her,
With glances tender.

There are the lilies white,
In garlands pure and bright,
Her brow adorning.
The Lamb her Spouse shall be,
His light shines gloriously,
Fairer than morning.

There saints find full employ,
 Songs of triumphant joy
 Ever upraising.
They who are most belov'd,
They who were tried and prov'd
Together praising.

9

Vita quidem mea,
Vita nimis rea,
Mortua vita,
Quippe reatibus
Exitialibus
Obruta, trita.

Spe tamen ambulo,
Præmia postulo
Speque fideque,
Illa perennia
Postulo præmia
Nocte dieque.

Me Pater optimus
Atque piissimus
Ille creavit ;
||In lue pertulit,
Ex lue sustulit,
A lue lavit.||

Urbs Syon inclyta, etc.

O bona patria,
Num tua gaudia
Teque videbo?

O bona patria,
Num tua præmia
Plena tenebo?

O sacer, O pius,
||O ter et amplius
Ille beatus,
Cui sua pars Deus—||
O miser, O reus,
Hac viduatus !

In deepest contrition,
Owning my condition,
My life unholy,
Burdened with guiltiness,
Weary and comfortless,
Help, I implore Thee.

Yet will I faithfully
Strive those rewards to see,
Beck'ning so brightly ;
Ask in unworthiness
Heavenly blessedness,
Daily and nightly.

For He, the Father blest,
Wisest and holiest,
Of life the Giver,
Maketh His light to shine
In this dark soul of mine,
Dwelling forever.

O land of full delight,
Thy peerless treasures bright,
May we behold them !
Thou home of beauty rare,
May we thy blessings share !
Priceless we hold them.

O blessed forever
A thousandfold they are
Who shall inherit
Thee, their portion unfailing
And that mercy availing
Through Thine own merit.

THE END.

12

THE
University Chamber Concert

Which was postponed from March 7, will be given on

Thursday Evening, April 18, at 8 P. M., in College Street Hall

BY THE
KNEISEL QUARTET

Programme

1. MOZART—Quartet in C major, No. 6 (dedicated to Haydn).

Adagio—Allegro.

Andante cantabile.

Menuetto (Allegretto).

Allegro molto.

2. a RUBINSTEIN—Molto Lento (Sphaerenmusik), from Quartet in C minor.

b MENDELSSOHN—Scherzo from Quartet in E minor, op. 44, No. 2.

3. SCHUMANN—Quartet in F major, op. 41, No. 2.

Allegro vivace.

Andante quasi variazioni.

Scherzo (Presto).

Allegro molto vivace.

ADMISSION, ONE DOLLAR

Tickets can be had at M. Steinert's, at the College Bursar's in Phelps Hall, and at the door.

GOUNOD SOCIETY BULLETIN

SEVENTEENTH SEASON

HYPERION THEATER, MARCH 19, 1903

Mendelssohn's Oratorio, ST. PAUL

By the GOUNOD SOCIETY, 250 Voices

ASSISTED BY THE FOLLOWING ARTISTS

MISS ANITA RIO, *Soprano*

MR. ELLISON VAN HOOSE, *Tenor*

MRS. RUTH THAYER BURNHAM, *Contralto*

DR. CARL DUFFT, *Basso*

THE BOSTON FESTIVAL ORCHESTRA

MR. HARRY WHITTAKER, *Accompanist*

RESERVED SEAT SALES

The sale of seats will begin at the Hyperion Theater as follows:

To *Guarantors*, Monday, March 16th, at 9 A. M.

To *Members of the Chorus* and *purchasers of the advance vouchers*, Monday, March 16th, at noon.

To the general public, Tuesday, March 17th, at 9 A. M.

Prices of single seats are $1.50 and $1.00.

CONCERNING CHORUS AND SOLOISTS

Mendelssohn's great work contains many exquisite solos for all the parts. To be effective they must be sung with accuracy, ease, and power. Much is required of the chorus also; its numbers demand the highest artistic treatment. Neither soloists nor chorus alone can make the production enjoyable. A worthy rendition of *St. Paul* requires and depends on the excellence of both. With this in mind the chorus, under the very capable direction of Mr. Agramonte, has studied the work with great earnestness; and the management has selected a quartette of unusual merit.

Miss Rio is one of the most favorably known of the sopranos who have been singing in New England. Her work in *The Messiah* in Boston called forth such enthusiasm that so conservative a paper as the *Transcript* said of her: "Miss Rio made an instant success, and left a deep and abiding impression of her exquisitely perfect vocalization."

Mrs. Ruth Thayer Burnham, contralto, has recently come East from St. Louis, where she was most in demand for oratorio work of the singers of the middle West. Last year she sang with Miss Rio at the Albany Festival, and received a most enthusiastic welcome.

Mr. Ellison Van Hoose has the reputation this season of being the tenor most in demand for oratorio work in New York City.

Dr. Carl Dufft has become so well known in New York and New England for his rich, deep voice, and dramatic interpretation that he needs no introduction. His singing of the Greek ode at the Yale Bicentennial Celebration will never be forgotten by those who heard it.

OF INTEREST TO ALL MEMBERS

The remaining rehearsals of the Gounod Society will be held at 8 P. M., February 16, March 2d, 9th and 16th. The orchestra rehearsal will be at 2.30 P. M., on Thursday, March 19th, at the Hyperion. The members of the chorus are most earnestly requested not to miss any of these rehearsals. It is expected that this rendition of *St. Paul* will surpass all the former work of the Gounod Society; and this result can be obtained only by the conscientious attendance and effort of each one.

It has been determined to enlist the aid of the members of the Society in pushing the sale of tickets. To this end vouchers that will be sold for $1 each and will be accepted at the Box office as good for $1 in the purchase of seats, have been prepared and will be distributed among the chorus. It is hoped that every member will sell as many of these exchangeable advance tickets (for that is what they amount to) as possible. The buyers of the vouchers will obtain the advantage of securing seats at the chorus advance sale, instead of having to wait for the public sale. Of course *guarantors* who buy vouchers may exchange them for seats at the *guarantors'* sale.

Each person is responsible for all the vouchers taken by him. Return of vouchers or cash must be made to Mr. F. S. Ward, Secretary, or to Mr. C. E. Cornwall, Treasurer, not later than Monday evening, March 16th.

SACRED, MUSICAL AND DRAMATIC

*St. Paul*, the first of Mendelssohn's oratorios, was begun in Düsseldorf and finished in Leipzig, in the winter of 1835, the composer being then in his twenty-sixth year. Its three principal themes are the martyrdom of Saint Stephen, the conversion of Saint Paul, and the apostle's subsequent career. The main thought which runs through the whole work is the glorification of Christianity, with its humility, its joy in living and dying for the Lord, in contrast with the self-righteousness of Judaism and the more sensuous morality of the heathen schools. It is the struggle of the last two with the former, and the victory of the light and love of the Gospel—the light eternal, the love divine. This thought is made incarnate in the persons of Stephen, Barnabas, and Paul, and it is concentrated at that point which is really the central point of interest in the oratorio—the conversion of Saul.

The first part opens with a strong and exultant chorus ("Lord! Thou alone art God"). It is massively constructed, and in its middle part runs into a restless, agitated theme ("The heathen furiously rage"). It closes, however, in the same energetic and jubilant manner that characterizes its opening, and leads directly to a chorale ("To God on high"), set to a famous old German hymn-book tune, "Allein Gott in der Höh sei Ehr," which is serenely beautiful in its clearly flowing harmony. The martyrdom of Stephen follows. The basses in vigorous recitative accuse him of blasphemy ("Now this man ceaseth not to utter blasphemous words"), after which Stephen sings a brief but beautiful solo ("Men, brethren, and fathers"); and as the calm protest dies away the full chorus gives vent to a tumultuous shout of indignation ("Take him away"). A note of warning is heard in the fervent soprano solo, "Jerusalem, thou that killest the prophets," but it is of no avail. Again the chorus hurls its imprecations more furiously than before ("Stone him to death"). The tragedy occurs.

A few bars of recitative for tenor, full of pathos, tell the sad story, and then follows another beautiful chorale of submission ("To Thee, O Lord, I yield my spirit"). Paul's participation in the tragedy is barely touched on. The lament for Stephen is followed by the chorus, "Happy and blest are they," which is beautifully melodious in character.

Saul now appears, "breathing out threatenings and slaughter" against the disciples. His first aria ("Consume them all") is a bass solo which is fiery in its energy. It is followed by a lovely arioso for alto, "But the Lord is mindful of His own"—fitting companion to the equally beautiful "O rest in the Lord," in *Elijah*, and much resembling it in general style. Then occurs the conversion. The voice from Heaven, ("Saul, why persecutest thou Me?") is represented by the sopranos and altos of the chorus, as was often done in the passion music; and this gives it a peculiar significance and makes it stand out in striking contrast with the rest of the work. This is followed by a chorale ("Sleepers, wake! a Voice is calling"), at the close of which imposing harmony the music grows deeper and more serious in character as Saul breathes out his prayer, "O God, have mercy." After the message of forgiveness and mercy, delivered by Ananias, Saul recovers his sight and straightway begins his ministrations. A grand reflective chorus ("O, great is the depth of the riches of wisdom"), strong and jubilant in character, and rising to a powerful climax, closes the first part.

The second part opens with a five-part chorus ("The nations are now the Lord's"), a clear fugue, very stately and dignified in its style, leading, after a tenor and bass duet ("Now we are ambassadors"), to the beautiful chorus, "How lovely are the messengers," and the equally beautiful soprano arioso, "I will sing of Thy great mercies." The tenor recitative and the duet for tenor and bass, "For so hath the Lord Himself commanded," announcing the departure of Paul and Barnabas to the Gentiles, bring us to the scene of the sacrifice at Lystra, in which the two choruses, "The gods themselves," and "O, be gracious," are full of Greek seriousness and contrast strikingly with the seriousness and majestic character of the Christian chorus ("But our God abideth in Heaven"), with its remarkable chorale for the second sopranos, which follows. Once more the Jews are heard in the wrathful, raging chorus, "This is Jehovah's temple," with its recurrence of the furious "Stone him to death." Paul, in a pathetic tenor aria ("Be thou faithful unto death"), takes leave of the brethren; and two stately choruses ("See what love hath the Father" and "Not only unto Him"), close the work.

## FOR THOSE WHO LIKE TO "READ UP"

The following suggestions for a reading list may be useful. The books may be read with profit as conducing to a better appreciation, both of music in general and of St. Paul in particular :—

Henderson's "What is good music?"; Mathews' "How to understand music"; Krehbiel's "How to listen to music"; Mees' "Choirs and choral music"; Stratton's "Life of Mendelssohn"; Hiller's "Mendelssohn's letters and recollections"; Upton's "Standard oratorios"; and the article on Mendelssohn in Grove's "Dictionary of music and musicians." All of these are in the Free Public Library, and doubtless in the other local libraries as well.

OUR PIANOS

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Welcome

This grand musical event will bring many
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STEINERT'S
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First Concert—Friday Evening, April 17, at 8 o'clock,

ROSSINI'S "STABAT MATER,"
PARKER'S "HAROLD HARFAGER,"
and WAGNER PROGRAM.

SEE PROGRAM ON PAGE 5.

Second Concert—Saturday Afternoon, April 18, at 2.30 o'clock,

GRAND CONCERT.

SEE PROGRAM ON PAGE 8.

Third Concert—Saturday Evening, April 18, at 8 o'clock,

MAX BRUCH'S "ARMINIUS."

SEE PROGRAM ON PAGE 9.

FESTIVAL FORCES.........

Frau KATHARINA LOHSE-KLAFSKY.

Miss MARIE BREMA, Metropolitan Opera House.

Mme. LILLIAN BLAUVELT.

Miss GERTRUDE MAY STEIN.

M. POL PLANCON, Metropolitan Opera House.

Mr. BEN DAVIES.

Sig. GIUSEPPE CAMPANARI, Metropolitan Opera House.

Mr. MAX HEINRICH.

Mr. H. EVANS WILLIAMS.

Mr. J. C. BARTLETT.

and Mr. RAFAEL JOSEFFY.

Conductors:

Mr. EMILIO AGRAMONTE,

Prof. HORATIO W. PARKER,

Mr. GEORGE W. CHADWICK,

Mr. EMIL MOLLENHAUER.

THE GOUNOD CHORUS.

The Boston Festival Orchestra.

3

STABAT MATER.

BY

G. ROSSINI.

The great Stabat Maters in the musical world are those of Palestrina, Pergolesi, Haydn, Steffani, Clari, Astorga, Winter, Neukomm, Rossini, and the one recently written by the Bohemian composer, Dvorak. Of all these no one has been so popular as that of Rossini, nor made the world so familiar with the text of the Virgin's Lamentation. Its first complete performance was at the Salle Ventadour, January 7, 1842, Grisi, Albertazzi, Mario and Tamburini taking the principal parts.

A brief but brilliant orchestral prelude leads to the opening chorus, "Stabat Mater dolorosa," arranged for solos and chorus, and very dramatic in style, especially in its broad, melodious contrasts. It is followed by the tenor solo, "Cujus animam," which is familiar to every concert-goer,—a clear cut melody free of embellishment, but very brilliant and even jubilant in character, considering the nature of the text. The next number ("Quis est homo"), for two sopranos, is equally familiar. It is based upon a lovely melody, first given out by the first soprano, and then by the second, after which the two voices carry through measure after measure of mere vocal embroidery, closing with an extremely brilliant cadenza in genuine operatic style. The fourth number is the bass aria, "Pro peccatis," the two themes in which are very earnest and even serious in character and come nearer to the church style than any other parts of the work. It is followed by a beautifully constructed number ("Eia, Mater"), a bass recitative with chorus, without accompaniment, which is very strong in its effect. The sixth number is a lovely quartet ("Sancta Mater") full of variety in its treatment, and closing with full, broad harmony. After a short solo for soprano ("Fac ut portem"), the climax is reached in the "Inflammatus,"—a brilliant soprano obligato with powerful choral accompaniment. The solo number requires a voice of exceptional range, power and flexibility; with this condition satisfied, the effect is intensely dramatic, and particularly fascinating by the manner in which the solo is set off against the choral background.

Unquestionably the "Stabat Mater" is one of the most popular of all the minor sacred compositions; and the secret lies on the surface: it is to be found in the delightful and fascinating melodies, which are strewn so thickly through it, as well as in the graceful bravura, which was so characteristic of Rossini, and which when delivered by accomplished artists is very captivating to a popular audience. The Stabat Mater music would be captivatingly beautiful in any setting.

INTRODUCTION.

CHORUS AND QUARTET.

Stabat mater dolorosa
Juxta crucem lacrymosa,
Dum pendebat Filius.

TENOR ARIA.

Cujus animam gementem
Contristantem et dolentem
Per transivit gladius.
O quam tristis et afflicta
Fuit illa benedicta
Mater Unigeniti;
Quæ mœrebat, et dolebat
Et tremebat, cum videbat
Nati pœnas inclyti.

DUET FOR FIRST AND
SECOND SOPRANOS.

Quis est homo qui non fleret
Christi matrem si videret
In tanto supplicio?
Quis non posset contristari
Piam matrem contemplari
Dolentum cum Filio?

BASS ARIA.

Pro peccatis suæ gentis
Vidit Jesum in tormentis,
Et flagellis subditum.
Vidit suum dulcem natum
Morientem desolatum
Dum emisit spiritum.

BASS RECITATIVE AND
CHORUS.

(Without Accompaniment.)

Eia, mater, fons amoris,
Me sentire vim doloris
Fac, ut tecum lugeam.
Fac ut ardeat cor meum
In amando Christum Deum,
Ut sibi complaceam.

QUARTET.

Sancta mater, istud agas,
Crucifi xige plagas
Corde meo valide.
Tui nati vulnerati,
Tam dignati pro me pati,
Pœnas mecum divide.

Fac me vere tecum flere,
Crucifixo condolere,
Donec ego vixero.
Juxta crucem tecum stare,
Te libenter sociare
In planctu desidero.
Virgo, virginum præclara,
Mihi jam non sis amara,
Fac me tecum plangere.

MEZZO SOPRANO
CAVATINA.

Fac ut portem Christi mortem,
Passionis ejus sortem,
Et plagas recolere.
Fac me plagis vulnerari,
Cruce hâc inebriari,
Ob amorem Filii.

SOPRANO ARIA AND
CHORUS.

Inflammatus et accensus
Per te, Virgo, sim defensus
In die judicii.
Fac me cruce custodiri,
Morte Christi præmuniri,
Confoveri gratiâ.

4

A banished man I wander lone through lands I
ruled as chieftain!

The dastard Roman I slaughtered, who my be-
trothed insulted,

As in tranquil converse we sat by the brook.

Yea, I slew him and fled. Woe on me that I fled?

For they have taken my father,

His feeble frame they have chained

In a miscreant's fetters. Alas, my dear father!

Curst be your race, ye robbers!

Curst by all gods evermore!

### CHORUS.

Mine eyes have seen their fate. Alas! I saw

Our dear and valiant brothers go bound in chains.

Ah, in the camp of the stranger are our com-
panions;

They all, alas! for their home with tears are
mourning!

We sorrow for our brothers. For our dear sisters
mourn we.

### BASS RECITATIVE.

Shall we submit to disgrace, we, Wodan's free-
born sons? Uplift your spears for deadly strife,
our burning wrongs we'll avenge in the blood of
our tyrants! Companions, come on, from North
and South! The day of vengeance comes with the
dawn, our righteous wrath shall flame o'er the
land! Behold yon glorious sun flashing forth in
freedom, cleaving the darkness in twain. Ye war-
riors, tarry then no longer; and ye, Cheruscans,
most of all, my clansmen brave, gird your weapons

about you! Ye Marsians, who dwell by the verdant
stream, whose banks now bristle with forts of the
Roman, where moaning the tide glides swifter for
shame! Sigambrians all, men of mighty arm, ye
Chaucians and Friesians, I call on all from the
Hercynian wolds, to the shores of the wide-rolling
sea, the home of the storm: United, be strong!
But woe, if they our fathers' graves despoil, if
foreign arts our minds beguile, if we, enslaved,
could bend before the stranger!

### BASS ARIA.

Brothers in arms, the hour's at hand;

For mighty deed uplift the brand;

With craft we will lure them in forest's gloom,

And there assure them a desolate tomb.

The roar of battle sounds through the wood-
lands, as through the tempest rolls the thunder!

Each valiant youth his spear uplifteth, while

maidens wind the victor's garland!

### BATTLE SONG.

#### BASS OBLIGATO AND CHORUS.

To arms! to arms! for just is our cause! Ranged
in order, brothers all!

Let Freedom's banner wave on high, and guide
us straight to meet the foe!

Each tribe shout forth its battle cry, let it re-
sound and rend the sky!

On every hilltop now let Liberty's fiery torch be
kindled!

## PART FOUR.

### THE BATTLE.

#### SOPRANO RECITATIVE.

Hollow thunders the storm, and piercing its
gloom the angry lightning flashes. Threatening
clouds spread the heavens with darkness. Black
night gathers round me! Hoarsely croaking
are flocks of ill-omened ravens, on the sacred
boughs of time-honoured oak-trees, corpses and
carnage red scenting. Watchful, as hungry wolf
in his lair, Wodan's sons behind the rocky ledges
are crouching; each deadly spear is poised for the
blow. Death they have sworn, and vengeance;
their oath to the gods has ascended, to Roman
truceless war, and death.

#### SOPRANO ARIA.

Wodan, mighty one, lord of battles!

From the sacred recess of thy shrine

Guide thou the snow-white steeds, the boders of
victory!

Haste, to bring thy children succor.

Proudly thy eagle soars o'er the forest,

And like rushing of waters rolls thy car of triumph!

I hear the clash of thy shield resounding

In thund'rous strokes from yon rocky height
through the valley!

Hark, wildly thy steeds are neighing,

Affrighted, the legions are trembling.

They come, advancing in serried numbers,

Our warriors watch, and hem them in!

Hark, the prisoners' clank their chains!

Wodan! mighty one, lord of battles!

Haste, mighty Wodan, bring us succor!

#### CHORUS.

With roar, as of torrents when tides burst o'er
their ramparts,

Our warriors' o'erwhelming force pours on the
legions.

Their spears like lightning are flashing.

They falter, the legions are daunted!

With scythe uplifted, through their ranks stalks
pale Death.

From thunder-cloud the mighty Thor doth hurl
his barbéd lightnings,

His golden chariot rolls loud through the sky,
Haughty Romans, hear him and tremble!

11

## SOPRANO RECITATIVE AND CHORUS.

Freya, gracious mother, awful one, bounteous
giver of blessings, look down on our warriors
brave, oh protect them! Thousands are wounded,
their blood is flowing, pour'd for their Father-
land! The battle is raging; the Roman legions
are daunted, but our heroes are perishing, glori-
ous death is theirs! White-robed and bright the
Valkyries are hovering o'er the chosen! Valhalla's
gates above them open, and the sound of carousal,
where heroes are feasting, is borne on the breeze!

## TENOR RECITATIVE.

Ah me, what darkness! Death around me closes!
The barbéd shaft within my wound is rankling,
the turf around is reddened with my life-blood!
Low surging thro' the forest gloom, methinks I hear
the shouts of victory. Now death, thou art wel-
come! Raise me aloft, and bear me to the grove,
there lay me in the sacred oak-tree's shadow, that
I may die on ground that's hallowed.

## TENOR RECITATIVE.

Lo, how the breeze doth bend yon boughs!
All-father rides upon his steed of storm!
Ah! once again would I behold thee,
Beloved Thora, maiden sweet,
Once on my slowly ebbing heart to press thee,
And give thee one fond kiss, before we part for
ever.
I can no more! I see the white Valkyrie flying
down;
She waves her hand; oh joy, she comes, she
chooses me for death!
Now life, farewell, 'tis blissful thus to die!

## CHORUS OF WOMEN.

Hark, hark, there comes a shout of victory,
I hear triumphant voices fill the vale!
Look, they bear aloft a thousand trophies,
Bright arms and golden eagles proudly gleam,
Hail, Armin! hail, Armin!

## CHORUS OF RETURNING WARRIORS.

The flag of Freedom waves on high;
'Mid battle's roar, it led the van!
Thine, Armin, thine, our glorious praise!

## BASS RECITATIVE.

No praise to me, the gracious gods alone in
sorest need have lent us aid! Thanks, great All-
father, lord of battles, victory to thee is due! The
power of mighty Rome is maimed, by his all-con-
quering arm! Go tell proud Rome the tidings, her
valiant warriors lie slain in yon mountain valley!

## CLOSING HYMN.

## SOPRANO AND BASS DUET AND CHORUS.

Germany's sons shall be renowned.
Great and glorious are the heroes who've fallen!
Their immortal spirits ascend to Wodan,
Around his golden throne they stand—
High above them the twelve mighty Asas—
He smiles on his heroes wrestling in combat!

But we, who dwell in the vales of earth,
To Wodan's altar ascend,
With branches and flowers embower the path,
With songs and with dances renown him,
And there we will chant a solemn song,
To Freedom, our prize and treasure!
Oh, Freedom, glorious treasure!

12

TENORS.

DIVISION OFFICER, MR. ARTHUR H. JACKSON.

Allan, J. L.,
Anderson, F. T.,
Andrew, C. C.,
Brisebois, A. T.,
Broadbent, B. B.,
Brown, F. W.,
Bunnell, F. B.,
Clarke, H. T.,
Corbin, F. A.,
Corwin, C. E.,
Davidson, N. C.,
Gillespie, D. H. M.,
Gourley, C. M.,
Heinig, E. H.,
Heinig, P.,

Hofer, R. E.,
Hotchkiss, W. A.,
Hubbell, M. B.,
Hull, H. B.,
Jackson, A. H.,
Janswick, A. M.,
Kellogg, G. D.,
Lautenbach, C. A.,
Lautenbach, L. A.,
Learned, E.,
Lum, W. J.,
McLaughlin, J. F.,
Metz, P. F.,
Nutting, H. C.,
Pitman, E. P.,

Porter, Joseph,
Robbins, F. O.,
Robertson, T. B.,
Rowe, H. B.,
Santry, H. V.,
Sheehan, E. J.,
Smith, I. P.,
Smith, J. S.,
Spier, S. L.,
Spring, G. A.,
Sturgis, W. C.,
Treat, A. B.,
Wallace, W. W.,
Woodstock, E. C.,
Zimmerman, C. H.

BASSES.

DIVISION OFFICER, MR. A. WILLIAM SPERRY.

Abbott, S. H.,
Ackrill, T. R.,
Adams, T. J.,
Austin, J. E.,
Blackman, W. F.,
Booth, J. R.
Brown, W. F.,
Browning, P. E.,
Burrell, Jr., D. H.,
Butler, G. H.,
Chamberlain, Jr., A. L.,
Chandler, W. W.,
Clark, F. T.,
Comer, J. J.,
Cooke, W. S.,
Cornwall, E. W.,
Crawford, F. N.,
Curtiss, G. P.,
DeForest, C. S.,
Dickinson, W. C. deF.,
Downs, W. R.,
Ferry, F. G.,

Foster, H.,
Frink, E. B.,
Gilbert, F. M.,
Gregg, L. W.,
Hamilton, G. L.,
Hand, T. K.,
Hodgson, J. A.,
Hoppen, W. R.,
Imrie, J. S.,
Jepson, A. W.,
Jones, D. A.,
Kirschner, E. W.,
Kraft, J. G.,
Lees, G. C.,
Lines, H. K.,
Manross, R. E.,
Miller, L. F.,
Moore, J. K.,
Morgan, W. C.,
Northrop, F. E.,
Palmer, H. H.,

Pardee, W. O.,
Parker, C. F.,
Pickett, E. S.,
Porter, F. C.,
Schnautz, J. E.,
Schwab, J. C.,
Scoville, W. L.,
Sicard, E. M.,
Smith, E. A.,
Smith, T. H.,
Sperry, A. W.,
Sperry, F. N.,
Stires, M. F.,
Tillotson, E.,
Tracy, J. C.,
Vishno, C. W.,
Walker, C. P.,
Warren, W. C.,
Wyckoff, C. S.,
York, Jr., S. A.,
Young, T. H.

16

GOUNOD MUSIC FESTIVAL MAGAZINE.

We want You to know that

Moseley's New Haven House

IS the only hotel fronting Yale Campus and the City Green.

IT IS one of the few hotels that has kept pace with the needs of the day; has been enlarged, improved and modernized in every respect; steam heat and most approved system of sanitary plumbing has been introduced into its bedrooms and throughout the house; all the family suites are connected with bath rooms; the beds and furnishings are the best.

The Dining Room is open at all times for the accommodation of the general public, as well as for its regular registered guests.

The Table is one of peculiar excellence and delicacy.

Club and Society Banquets, Wedding Breakfasts, Private Dinners and Supper Parties

Are furnished on short notice.

On 12 Hours' Notice

The management will deliver to city patrons choice dishes for Teas, Parties and Receptions.

The Aim of the management is to conduct the hotel equally for the comfort of both its New Haven patrons and Out-of-Town guests.

COMMERCIAL MEN

Newly fitted Show Rooms for Commercial men and special attention to their needs.

BICYCLE RIDERS

Will be interested to know that a room has been suitably fitted for storing bicycles. Care and cleaning of them a specialty.

GUIDES will be furnished at short notice to show strangers about the University Grounds and Buildings.

Western Union Telegraph, Long Distance Telephone (with sound proof booth) in hotel.

SETH H. MOSELEY.

1

# The Gounod Music Festival

AT
Second Regiment Armory, New Haven.

2 Blocks from Union Depot.

## FIRST CONCERT,

FRIDAY EVENING, APRIL 17, AT 8 O'CLOCK.

ROSSINI'S STABAT MATER,
PARKER'S HAROLD HARFAGER,
and WAGNER PROGRAM.

See Program on page 9.

## SECOND CONCERT,

SATURDAY AFTERNOON, APRIL 18, AT 2.30 O'CLOCK.

GRAND POPULAR CONCERT.

See Program on page 13.

## THIRD CONCERT,

SATURDAY EVENING, APRIL 18, AT 8 O'CLOCK.

MAX BRUCH'S ARMINIUS.

See Program on page 21.

## FESTIVAL FORCES.

Frau KATHARINA LOHSE-KLAFSKY.

Mme. LILLIAN BLAUVELT.

Miss MARIE BREMA.

Miss GERTRUDE MAY STEIN.

M. POL PLANCON,
Mr. MAX HEINRICH,
Mr. H. EVANS WILLIAMS,

Sig. GIUSEPPE CAMPANARI,
Mr. BEN DAVIES,
Mr. J. C. BARTLETT.

AND

Mr. RAFAEL JOSEFFY, Pianist.

The Gounod Chorus, 300 Voices.

Mr. EMILIO AGRAMONTE,
Mr. H. W. PARKER,

and Mr. GEORGE W. CHADWICK, Conductors.

Miss GERTRUDE SANFORD, Accompanist.

Boston Festival Orchestra.

Mr. EMIL MOLLENHAUER, Conductor.

YALE UNIVERSITY
MUSIC LIBRARY.

2

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6

Sig. Agramonte.

Emilio Agramonte was born in Puerto Principe (Cuba) in 1844, graduated as Doctor of Laws, in Madrid, at twenty-one; simultaneously with law he studied music with the best masters in Europe. In 1869 he came to this country, and a few months after his arrival was appointed director of the Eight O'clock Musical club, a flourishing organization in New York at the time, conducted by Mr. Pietro Abella, husband of Mrs. D'Angri. Since then his career has been very successful; having shown his ability as a thorough musician in every capacity as master of the voice, as chorus conductor and as interpreter and accompanist. His numerous pupils occupy important positions in church choirs, academies and theatres.

Mr. Agramonte has always been a believer and champion of the American composer and organized the American Composers' Choral Association. He is catholic in music, being an extreme Wagnerian and at the same time an admirer of the good representatives of Italy, France, Russia, England and all other countries. In this way he can teach all ancient and modern musical literature, having ability as a pianist and is one of the best sight readers in the country. He is at present conductor of the Gounod Society of New Haven, with a membership of 350, which has given "The Messiah," "The Creation," "Elijah," "St. Paul," and "The Redemption," Massenets' "Eve" and many other important works.

Mr. Agramonte, who is personally very magnetic, is a member of the M. T. N. A. and has served on numerous important committees, the program committee among the rest. He is a ready speaker and plays the piano with finish and exquisite taste. He was also vice-president of the Manuscript Society.

EMILIO AGRAMONTE.

E. A. PARSONS,
MUSIC STUDIOS,

Benedict Building,
New Haven.

Abbey Building,
New York.

HAUFF BROS.
CHOICE

CANDIES, CREAMS, SODAS.

SUGGESTIONS,

Strawberry Ice Cream Soda, made direct from fresh berries.

A Box of Chocolates and Bon Bons.

Church St.,
Corner
Chapel St.

DOLE BROS. CO.,
1022 Chapel St.,
Opp. Yale Campus.

Baseball Suitings
and Articles

11

## Mme. Lillian Blauvelt

Considerable interest was manifested in the appearance of Mme. Lillian Blauvelt, the soloist, and it is gratifying to record that praise of this soprano from other art centres has been worthily won, and America' has a concert prima-donna whom she can regard with great pride. Mme. Blauvelt is a very attractive woman, singularly and charmingly free from dramatic airs, but very graceful and agreeable, withal. Her voice is one of fine range, singularly clear throughout, rich, resonant, and sympathetic, and she uses it with remarkable fluency, her breadth in phrasing and beauty and accuracy of intonation giving her first-rank position as a concert singer.—Chicago Inter-Ocean (Thomas Symphony).

### Her Personality.

Miss Blauvelt has a certain timidity of bearing, and a girlishness which seems to accent the purity of her vocalization. She is a Brooklyn girl, who began the study of the violin when a mere child. At the age of eight she played at a concert in Steinway Hall. The discovery of her voice naturally came much later. She was a pupil of the National Conservatory, and continued her studies in Paris, singing in concert in the French capital and at Brussels. Like many Americans, she made her début in opera in the latter city, singing *Mireille* in Gounod's opera. But the strain of operatic work was too great for her delicate physique. She was listened to by all the composers in Paris—Thomas, Gounod, Massenet—and received offers of several roles, but she found that she must confine herself to concert work. She has been married for several years—in private life she is Mrs. Royal Smith—and when she is not on concert tours she lives in New York.

## LILLIAN BLAUVELT.

MALLORY'S
OLD CURIOSITY SHOP,
141 Orange Street,
New Haven, Conn.

Antique Furniture, Old China, Pewter, Brass Goods, Curios, Household Goods, Carpets, Etc.
Goods Bought or taken and Sold on Commission.

## CHARLES BONNEY,
Voice Teacher.

CHOIR MASTER OF ST. THOMAS'S CHURCH.
MUSICAL DIRECTOR AT DWIGHT PLACE CHURCH.

Teacher of a majority of the members of the
Yale University Glee Club, since 1881.

Over thirty of my pupils now filling salaried positions as Church Soloists in New Haven and vicinity.

Studio, 23 Insurance Bdg., 890 Chapel St., New Haven, Ct.

12

## Professor Parker.

Horatio W. Parker, professor of music at Yale University, was born in Auburndale, Mass., on Sept. 15, 1863. Concerning his musical career, the celebrated critic, H. E. Krehbil, writes as follows in "Famous Composers and Their Works": Chiefly because of the fact that his finest artistic triumph has been won in oratorio, I class Mr. Parker with choral writers. This composer belongs to the younger school that have brought the traditions of the Munich Conservatory with them to their native country, and are chiefly distinguished by the eclecticism of their style and their liberality of thought in respect of artistic dogma. His paternal and maternal ancestors have been Americans for two centuries, so that, despite his foreign schooling, he is most pronouncedly an American composer. His earliest musical studies were made with his mother, who laid the foundation upon which afterward his teachers in Boston, Stephen A. Emery and George W. Chadwick, and the professors of the Munich Conservatory, which institute he entered in 1882, built the superstructure of the sound and extensive learning which is now his. His numbered works, which do not include a large number of songs and smaller pieces for the church, had reached a total of thirty four by the close of the year 1892; the dignity and earnestness of his labors being abundantly evidenced by the fact that among these works are a symphony, three concert overtures, two cantatas, an oratorio, a scherzo for orchestra, string quartet, suite for pianoforte, violin and violoncello, and several choruses for men's and mixed voices with orchestral accompaniment. His cantata, "The Dream King and His Love," received a prize at the first competition instituted by the National Conservatory of Music in New York in 1893, and in the spring of the same year his oratorio, "Hova Norissima," was performed by the Church Choral Society. Its luxuriousness of melody and harmonic fecundity, not less than the freedom and strength with which the learned forms are handled in the score, won enthusiastic praise from the critics, lay and professional.

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TABLE D'HOTE, 75 CENTS, ♦ ORCHESTRA, ♦♦♦♦♦
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18

## Giuseppe Campanari.

Was born to sing and cannot
under any condition sing other-
wise than as a great artist. When
Abbey & Grau placed him at
the head as leading baritone in
grand opera, no one was more
surprised than the artist him-
self. "For," as he then remarked,
"I have sung just as well for
several years." Mr. Campanari
played as 'cellist for years with
the Boston Symphony orchestra,
and then joined the Henrich
Opera Company.

He quickly found his way to
artistic recognition through sheer
beauty of voice and truthful
dramatic effort. His voice is of
rare quality, flowing forth in full,
round, exquisitely tuneful vol-
ume, without the suggestion of
training, management or effort.

It is so fresh and spontaneous
and sympathetic, so absolutely pure
in intonation that as an instru-
ment it is perfect. Indeed, no
voice of the same refined strength
and purity in texture has been
revealed among baritones within
present recollection. Added to
this, Sig. Campanari has a sincere
and thoughtful rather than showy
or superficial dramatic temper-
ment.

He is one of the favorites of the
Metropolitan Opera Company,
and has been heard there with
great acceptance.

## The Festival Program,

Containing an analysis of all the
works to be performed, with other
important matter, will be on sale
at M. Steinert & Sons, 777 Chapel
street, and may also be bought at
the Second Regiment Armory
during each of the three concerts.
Price 15 cents.

GIUSEPPE CAMPANARI.

MRS. FANNIE HOWE SHEEHAN,
TEACHER OF.....

....VOICE AND PIANO.

RESIDENCE, 198 GOFFE STREET.
ADDRESS, CARE C. M. LOOMIS' SONS, 833 CHAPEL STREET.

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19

## Mr. H. Evans Williams.

Evans Williams the Welsh tenor, is well known in oratorio and concert work as a brilliant tenor soloist. His voice is strong and tenderly sympathetic, and he interprets his theme with considerable dramatic effect. His appearance here will prove fully his rare ability.

"H. Evans Williams sung at Carnegie Hall, New York, at the initial performance of Chadwick's 'The Lily Nymph.' Mr. Williams sang the solo tenor part, creating a very strong impression. Since then he has been engaged by the New York Oratorio Society to do the 'Messiah' December 27 and 28. He has also been engaged to do the 'Messiah' with the Metropolitan Opera Company, at the Metropolitan Opera House, and his engagements since he became known in New York are the most flattering of any of the American tenors."

## Miss Brema's Personality.

Miss Brema does not wish to be called Mademoiselle or Fraûlein, but plain Miss Brema.

She is tall and stately, above the average height, with glowing color, dark eyes and brows, and in striking contrast a mass of light chestnut hair, which she wears brushed back from a broad, beautiful brow.

Miss Brema possesses the talent of dressing with exquisite taste. She superintends the designing of all her stage costumes by a special artist in London.

"Yes," said she in a recent interview, "London is my home. It is there my beautiful dogs, big and little, await my return, and won't they be glad to see me! 'Jubot' is the name of the biggest of my dogs and 'Loulon' of my little."

MR. H. EVANS WILLIAMS.

## HAMMOND'S INDIAN SPROUCE COMPOUND.

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COUGHS
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L. HAMMOND,
Proprietor.

Price 35 Cts.

37 BROADWAY,
NEW HAVEN, CT.

DOLE BROS. CO., Athletic and
1022 Chapel St., ...Sporting Goods.
OPP. YALE CAMPUS.

23

Katharina Lohse-Klafsky

Just at this time, in the very
zenith of her powers as a singer
and actress, this woman is enor-
mously impressive.

The coldest, most exacting
critics of grand opera are com-
pelled to pay her singing and
acting great praise.

The press everywhere join in
pronouncing her the greatest
Wagner singer of the present
day.

Her voice is magnificent, its
range wonderful, its tones full of
richness, tenderness and power
as the theme demands, but always
true.

She has the power to arouse an
audience to the wildest enthusi-
asm or soothe them to the ecstacy
of repose.

WALKS, DRIVEWAYS,
STABLES, FACTORIES,
BREWERY FLOORS,
DEPOT PLATFORMS,
STREET PAVING

Concrete, Asphalt and Artificial Stone
Paving.

Conn. Concrete Co.,
49 CHURCH ST.

J. H. MACDONALD, Pres. Hoadley Building.

Word
Twisting

I write business letters, Business Bring-
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paper and Magazine articles.

Chas. F. Southard,

Adv. manager for

F. BROWN & CO.,
NEW HAVEN, CONN.

IDEA INCUBATOR.

ALL-ROUND NEWSPAPER MAN.
PRACTICAL PRINTER.

Progress of American
Musical Taste.

The Rare Treat the Gounod
Festival Brings to Lovers
of Music.

Those who avail them-
selves of the opportunity of
hearing the great soloists
at the Gounod festival on
April 17 and 18, for the
modest sum of a dollar or
dollar and a half, may have
to be reminded that they
will enjoy a privilege that
Americans of a generation
ago could not command at
any price.

In no department of its
complex life has this coun-
try advanced more than in
that of music.

To-day, while it drains the
Old World of its best mas-
ters and mistresses of song,
yet it in turn gives some of
the rarest voices that have
ever entranced human ears.

There are still hundreds
alive who heard the wonder-
ful bird like tones of Jenny
Lind, the "Swedish Night-
ingale." The cost of hear-
ing this wonderful voice
was so great that only the
comparatively wealthy could
afford the luxury.

So outrageously high was
the cost of the tickets con-
sidered by the Cubans, when
she sang there under Mr.
P. T. Barnum's manage-
ment, that those who at-
tended the concert the first
night of her appearance de-
termined to show their dis-

approval. In the first num-
ber she was greeted by a
storm of hisses.

For a moment only the
little woman quailed with a
blanched face. Then she
begun her song, and as the
silvery voice poured forth
its melody, melody those
proud Spaniards had never
dreamed of, anger gave
place to delight and a great
silence fell upon those
charmed ears.

Where to get Tickets.

For course tickets and
single tickets go to M.
STEINERT & SONS, 777 Chapel
street.

For all information in
reference to boxes, course
and single tickets apply to
M. STEINERT & SONS.

Out of town orders for
tickets should be accom-
panied by P. O. money
order or send money in
registered letter. Address,
M. STEINERT & SONS, 777
Chapel st., New Haven,
Conn.

Price of Single Tickets.

The price for single tickets
is $1 and $1.50, which admit
holders to any part of the
Armory except boxes and
seats held by purchasers of
course tickets.

Price of Course Tickets.

The price of a course ticket
is $4 including reserved
seat. Only a limited num-
ber of course tickets will
be sold, as the great expense
of the festival would not
be met should the tickets all
be sold as course tickets.