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Miss ELENA GERHARDT was born in Leipsic on November II, 1883. At the age of sixteen she began to study singing with Mrs. Marie Hedmont. She was her pupil for four years. When she was twenty years old she made her first public appearance in Leipsic. Since then she has given Lieder concerts in leading European cities and sung a few times in opera. She made her first appearance in the United States at New York, January 9, 1912. She gave recitals in Boston on January 12, 1912 (songs by Franz Schubert, Brahms, Strauss, Wolf); January 18, 1912 (songs by Schumann, Brahms, Liszt, Wolf, Strauss); February 23, 1912 (songs by Franz, Tschaikowsky, Grieg, Weingartner, Goldmark, Rubinstein). At concerts of the Boston Symphony Orchestra in Boston she has sung: February 17, 1912, the scena “Die Kraft Versagt” from Goetz's opera “Der Widerspenstigen Zähmung,” and three songs by Hugo Wolf with orchestra- “Der Freund,” “Verborgenheit,” “Er ist's”; January 4, 1913, Marcello, recitative, “Il mio bel foco,” and aria, “Quella fiamma”; Gluck, aria of Paride from “Paride ed Elena,” Act i., No. 3, “O, del mio dolce ardor”; and three songs of Richard Strauss- Morgen,” “Wiegenlied,” and “Càcilie,” with orchestra. At a concert in aid of the Pension Fund of the Boston Symphony Orchestra, March 3, 1912, she sang songs of Wagner, “Stehe still,” “Träume,” “Schmerzen,” with orchestra, and these songs of Schumann with pianoforte- “Provencalisches Lied,” “Mondnacht,” “Die Soldatenbraut,” “Ich grolle nicht,” “Frühlingsnacht.” She gave a concertin Symphony Hall with Miss Vera Barstow, violinist, and Erich Wolff, pianist, on January 19, 1913: Schubert, “Der Wanderer an den Mond,” “Das Fischermádchen,” “Vor meine Wiege”; Schumann, “Der Sandmann,” “Wer machte dich so krank,” “Alte Laute,” “In's Freie”; Brahms, “O Nachtigall, dein siisser Schall,” “Ständchen,” “An eine Aeolsharfe,” “Blinde Kuh,” “Sapphische Ode,” “O liebliche Wangen”; H. Wolf, “Gesang Weyla's,” “Bescheidene Liebe,” “Die Zigeunerin”; Strauss, “Meinem Kinde,” “Ständchen,” “Câcilie.” On March 14, 1915, she gave a concert in Symphony Hall with Miss Beatrice Harrison, violoncellist; Richard Epstein, accompanist: Schubert, “Heiss mich nicht reden,” “Auf dem wasser zu singen,” “Im Abendroth,” “Gretchen am Spinnrad,” “Der Musensohn”; Rummel, “The Bitterness of Love,” “Ecstasy”; Handel, “O Sleep, why dost thou leave me?”; Carey, “A Pastorale”; H. Wolf, “Weyla's Gesang,” “Ihr jungen Leute,” “Nein, junger Herr,” “Die Zigeunerin,” “Er
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(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.)
The accompaniment of the first and the third of these songs was orchestrated by Arthur Nikisch.
“WONNE DER WEHMUT.”
Trocknet nicht, trocknet nicht,
“THE BLISS OF GRIEF.”
O wherefore shouldst thou try
Nay, let them flow !
Seems everything below,
W. E. Aytoun.
This poem of Goethe's was published in 1787. The date of composition is unknown.
Beethoven composed the music in 1810. It is the first of three songs for voice and pianoforte, poems by Goethe. The songs, dedicated to the Princess von Kinsky, were published in October, 1811. E major, Andante espressivo, 2-4.
This song was sung in Boston at a concert of the Boston Symphony Orchestra, December 17, 1881, by Mrs. Georg Henschel. Georg Henschel played the pianoforte accompaniment.
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“FREUDVOLL UND LEIDVOLL.”
Freudvoll und leidvoll, gedankenvoll sein; Joyful and woful and wistful in fine, Langen und bangen in Schwebender Hopeful and fearful forever to pine,
Pein; Wildly exultant, despairingly prone, Himmelhoch jauchzend, zum Tode be- Blest is the heart of a lover alone. trübt:
Glücklich allein ist die Seele, die liebt.
Andante con moto, A major, 2-4. The accompaniment is scored for flute, two oboes, two clarinets, two bassoons, two horns, and the usual strings. Clärchen's songs, “Freudvoll und leidvoll” and “Die Trommal gerühret,” were first sung by Antonie Adamberger, who took the part of Clärchen when Beethoven's music to Goethe’s “Egmont” was performed for the first time with the tragedy at the Hoffburg Theatre, Vienna, May 24, 1810. The two songs have been sung in Boston at concerts of the Boston Symphony Orchestra, by Mrs. Georg Henschel on March 17, 1883; Miss Emma Juch on December 12, 1885; Mme. Julia Culp on April 12, I9 I3. When Hartl took the management of the two Vienna Court Theatres, January 1, 1808, he produced plays by Schiller. He finally determined to produce plays by Goethe and Schiller with music. He chose the former's “Egmont,” the latter's “Tell.” Beethoven and Gyrowetz were asked to write the music. Beethoven was anxious to compose the music for “Tell,” but, as Czerny tells the story, there were intrigues, and as “Egmont” was thought to be less suggestive to a composer the music for that play was assigned to Beethoven. Gyrowetz's music to “Tell” was performed June 14, 1810. It was described by a correspondent of a Leipsic journal of music as “characteristic and written with intelligence.” No allusion was made at the time anywhere to Beethoven's music for “Egmont.” The first performance of the overture in Boston was at a concert of the Boston Academy of Music, November 16, 1844. All the music of “Egmont” was performed at the fourth and last Philharmonic concert, Mr. Zerrahn conductor, on March 26, 1859. This concert
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was in commemoration of the thirty-second anniversary of Beethoven's death. The programme included the “Egmont” music and the Ninth Symphony. The announcement was made that Mrs. Barrows had been engaged, “who, in order to more clearly explain the composer's meaning, will read those portions of the drama which the music especially illustrates.” John S. Dwight did not approve her reading, which he characterized in his Journal of Music as “coarse, inflated, over-loud, and after all not clear.” Mrs. Harwood sang Clärchen's solos. The programme stated: “The grand orchestra, perfectly complete in all its details, will consist of fifty of the best Boston musicians.” All the music to “Egmont” was performed at a testimonial concert to Mr. Carl Zerrahn, April 30, 1872, when Professor Evans read the poem in place of Charlotte Cushman, who was prevented by sickness.
This music was performed at a Symphony concert, December 12, 1885, when the poem was read by Mr. Howard Malcolm Ticknor.
In 1809, Beethoven wrote to Breitkopf and Härtel: “Goethe and Schiller are my favorite poets, as also Ossian and Homer, the latter of whom, unfortunately, I can read only in translation.” In 1811 he wrote Bettina von Brentano: “When you write to Goethe about me, select all words which will express to him my inmost reverence and admiration. I am just on the point of writing to him about “Egmont,’ to which I have written the music, and indeed purely out of love for his poems which cause me happiness. Who can be sufficiently thankful for a great poet, the richest jewel of a nation?”
The heavens praise the Eternal Glory; their sound proclaims His name. The terrestrial globe extolls him, the seas exalt him. Harken, O man, to His divine
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