true and noble, and glorified all that was debasing. The opera was composed in forty days, and, musically, it represents the earlier Verdi at his best. To this judgment no number contributes more than this beautiful quartette, which is sung by the Duke, Gilda, Magdalena, and Rigoletto, in Act III, Scene III.

"KAISERMARSCH,"

WAGNER

Of the origin of the Kaisermarsch Wagner wrote: "We who, with the spirit of our great masters at heart, witnessed the physiognomic bearing of our deathdefiant landsmen in the soldier's coat, cordially rejoiced when listening to the "Kutschkelied" and deeply were affected by the "Feste Burg" before the war and by "Nun danket Alle Gott" when it was over. To be sure, it was precisely we who found it hard to comprehend how the deadly courage of our patriots could whet itself on nothing better than the "Wacht am Rhein"; a somewhat mawkish Liedertafel product, which the Frenchmen held for one of those Rhinewine songs at which they earlier had made so merry. But no matter, they might scoff as they pleased, even their "Allons enfants de la patrie" could not this time put down "Lieb Vaterland, kannst ruhig sein." When our victorious troops were journeying home, I made private inquiries in Berlin as to whether, supposing one contemplated a grand solemnity for the slain in battle, I should be permitted to compose a piece of music for performance thereat, and to be dedicated to the sublime event. The answer was: Upon so joyful a return, one wished to make no special arrangements for painful impressions. Still, beneath the rose, I suggested another music-piece to accompany the entry of the troops, at the close of which, mayhap at the march past the victorious monarch, the singing-corps, so well supported in the Prussian army, should join in with a national song. No! that would have necessitated serious alterations in arrangements settled long before, and I was counseled not to make the proposal. My Kaisermarsch I arranged for the concert-room; there may it fit as best it can! In any case, I ought not to have expected the German spirit, new-risen on the field of battle, to trouble itself with the musical fancies of a presumably conceited opera composer."

The "German spirit" did trouble itself with this particular musical fancy, and it was heard at the triumphal entry of the German troops into Berlin, May 16, 1871 Since then it has been performed at many notable state ceremonies, including the golden wedding of Emperor William I and the Empress Augusta, June 11, 1879; upon the accession to the throne of the Emperor Frederick, and upon that of the present Emperor William II. Possibly, to Wagner, a more important occasion was the laying of the corner stone of the Theater at Bayreuth, called by his name and dedicated to his art, on May 22, 1872. The composition itself, by reason of the dignity and breadth of its thematic material, its dramatic intensity, its impressive use of that most magnificent of chorales "Ein feste Burg," and its thrilling climax, fulfills, as few works before or since, all the conditions of a festival environment.

FIFTH CONCERT

Saturday Evening, May 11, 1907

"SAMSON AND DELILAH," Opera in Three Acts,

DELILAH,

SAMSON,

CAST

SAINT-SAENS

MME. ERNESTINE SCHUMANN-HEINK

MR. THEODORE VAN YORX

SIG. GIUSEPPI CAMPANARI

MR. HERBERT WITHERSPOON

MR. FRED KILLEEN

Philistine Men and Women, (Leaders, MESSRS. KILLEEN, KING, AND
LOVELL); Priestesses of Dagon; Hebrew Men and Women,

THE CHORAL UNION

MR. ALBERT A. STANLEY, Conductor

CHARLES CAMILLE SAINT-SAENS

Born at Paris, October 9, 1853: still living.

The recent visit of this, possibly the most distinguished of living French composers, gives added importance to a performance of his greatest dramatic work. Saint-Saëns is an accomplished pianist, a superb organist, the greatest French symphonist, an operatic composer of distinction, and thus, in his person, is an illustration of the highest ideals of the modern French school. Although he has been less influenced by ultra-modern tendencies than his compatriots, it must not be supposed that he has remained insensible to the modern trend, for that would be to deny him the fundamental qualities of a great composer. In spite of his somewhat conservative relation to much of modern practice, he possesses greater freedom of utterance than many of the later French composers whose works show a lack of a real assimilation of principles that have been imported from the other side of the Rhine. It may not be seriously questioned that he unconsciously has come much nearer to the attainment of the modern ideal than the younger men, who so clearly betray their consciousness that they frequently lose sight of the real end through over-absorption in the means. One would not be seriously astray in assigning to him the same relation to his confrères that Cherubini occupied a generation earlier. However, it is somewhat superfluous to discuss this question at length, and it is not necessary to sketch the career of this eminent composer. His life is an open book, and his position is assured. Rather let us consider the present work, and this can be done in no better way than to quote the following sketch of "Samson and Delilah" which is translated

freely from Les Annales du Théâtre et de la Musique, by Noel and Stouling, 1892:— "In the prelude, sad minor chords struggle with a sharp cutting phrase, and mingled with this phrase is a chorus of Hebrews, sung behind the curtain. The lamenting captives ask deliverance of God. The fugal form of the number, which continues until the rise of the curtain, indicates at once the severe and classic nature of the work. Samson arouses the courage of his co-mates, and prepares the revolt which the insolence of Abimelech tends to hasten. Samson kills the Satrap of Gaza, and the Israelites depart, eager to meet their enemies. The High Priest of Dagon descends, attended, from the temple, and curses Samson. The return of the triumphant Hebrews is one of the most ingenious numbers of the opera. There is a chorus of basses, to which liturgic color and rhythm give astonishing breadth, and they emphasize the more strongly the fresh chorus of the women of Philistia, 'Now Spring's generous hand.' This charming phrase will be heard again in the temple-scene, the last tableau, as will the melodic design of the great duet of the second act, but ironically, in the orchestra, while Delilah insults the blinded hero. The Dance of the Priestesses of Dagon, which follows the chorus, is of delightful inspiration, and it prepares one for the development of the drama that follows. Delilah looks earnestly at Samson and sings to him, and Samson listens, not heeding the old man near him who says, "The powers of hell have created this woman, fair to the eye, to disturb thy repose.'

"The second act is in the valley of Sorek. Delilah's house is at the left. It is surrounded with Eastern and luxuriant plants. Night is coming on. Delilah sings a passionate appeal to Love, invoking his aid. Then comes the duet with the High Priest who, deceived by the feigned love of Delilah, begs of her to deliver Samson to him; Delilah reveals her real hatred in a dramatic burst. The duet of Samson and the temptress is, as all know, the chief number of the work. Samson's hesitation between love and duty-his struggle-his fall-are portrayed with most consummate mastery. The great phrase of Delilah is a superb expression of passion. The orchestral storm hastens the action on the stage, and when the elemental fury is at its height, Delilah enters her dwelling. Samson follows her; and the curtain falls on the appearance of the Philistines to master their foe.

"The first tableau of the third act is a lament of remarkable intensity. Samson mourns his sin and a chorus of Hebrews behind the scenes sorrowfully reproach him. The style is here rather that of the oratorio than the opera. An exquisite chorus follows, 'Dawn now on the hill-tops,' which brings to mind the chorus of Philistines in the first act. Then comes the ballet so well known in concerts. From this moment until the fall of the curtain there runs in the orchestra a hurried motive, which is heard with rhythmic effect in the evolutions of the sacred dance; which gives the measure to the bitter mockings of Delilah and the sacrificial ceremonies; which. constantly quicker and more impetuous, accentuates the movement of the final chorus. The motive is feverish, mystical; its rapid pulsations give the idea finally of the religious madness of the Philistines inspired by the madding rites at the shrine of Dagon. The ballet is cut in two by a phrase of great breadth sustained by arpeggios of the harp, and thus a strange solemnity is given to the dance of the priestesses. After the irony of Delilah, and the supplication of Samson to the Lord, is a skillfully made canon, sung by Delilah and the High Priest. There is a sonorous chorus of great brilliancy, in which the effect is gained by simple means. Samson pulls down the temple, and the curtain falls with a few measures of orchestral fury."