(American) Debussy: Three Nocturnes (with female choir), Chickering Concert, February 10, 1904-Lang conducted.
(Boston) Franck: Les Djinns for Piano and Orchestra, Chickering Concert, February 24, 1904-Lang conducted.
CECILIA PREMIERS: dates from the 1907 List, except where noted.
(Boston) Bruckner: Te Deum. December 12, 1905.
(American) Charpentier: The Poet’s Life. April 4, 1905.
(Boston) Coleridge-Taylor: Death of Minnehaha. Febuary 3, 1903.
(Boston) Debussy: The Blessed Damozel. April 4, 1905.
(Boston) Elgar: Dream of Gerontius. January 26, 1904.
(American) Foote: A Motet: Vita Nostra Plena Bellis (Mortal Life is Full of battle), Op. 47. February 4, 1902.
(Boston) Franck: Psalm 150. February 4, 1902.
(Boston) Henschel: Stabat Mater. March 31, 1901.
(World) Henschel: Requiem. On December 2, 1902. Henschel conducted.
(World) Hutcheson: Piano Concerto. March 9, 1904. Lang conducted.
(American) d’Indy: St. Mary Magdalene. February 6, 1906.
(Boston) Loeffler: L’Archet. February 4, 1902. Loeffler played.
(American) Massenet: The Promised Land. April 8, 1902.
(Boston) Mozart: Te Deum. December 11, 1906.
(World) Paine: Azara. April 9, 1907. First complete-in concert form.
(Boston) Pierne: The Children’s Crusade. February 26, 1907.
(Boston) Strauss: Taillefer. April 3, 1906.
FINAL YEARS: 1901-1909.
CECILIA SINGS BRAHMS GERMAN REQUIEM AT MEMORIAL SERVICE FOR GOV. ROGER WOLCOTT.
Contemporary music continued to interest Lang even late in his career. Beginning in December of 1901 and continuing through early 1903, performances of Richard Strauss” melodrama Enoch Arden (words by Tennyson) were read by George Riddle with the music played by Lang. A note from the program said: “The musical setting is by Richard Strauss, who is today attracting the attention that Richard Wagner did forty years ago.” The first performance was probably in Salem on December 4, 1901 followed by a second at Boston”s St. Botolph Club on December 15. It was then presented for the Harvard Musical Association on December 27, and that was followed by three performances in March in Dedham, Wellesley College, and Jamaica Plain. A regional tour followed in April with four performances in New Haven, Providence, New York City, and Philadelphia with a Chickering Hall, Boston performance in the middle of this tour. The Globe wrote of this Boston performance: “Mr. George Riddle gave a most effective reading last night…of Enoch Arden.” (Globe, February 20, 1902, p. 2) Of Lang”s part: the “subtleties were well brought out.” (Ibid) Another Boston performance was given at Chickering Hall on April 21, 1902 and this was noticed in the Society Page of the Herald. The audience was “cultivated and appreciative” while “Mr. Riddle”s talent has never been so conspicuously and brilliantly shown…Mr. Lang”s part, it goes without saying, was beautifully done.” Among those attending were Lang”s friends Mr. and Mrs. R. C. Dixey and Rosamond Dixey and nineteen others who were named. (Herald, April 27, 1902, p. 31, GenBank) A final performance eight months later was presented in Washington, D. C. on January 19, 1903. Just making the concert and travel arrangements for this project must have been a major undertaking!
The Boston Globe newspaper had a section called Table Gossip that chronicled the social events of the major Boston families. The Langs were certainly part of this social scene. The January 26, 1902 edition covered many columns, and one section mentioned that “Mrs. Samuel J. Mixter gave her first at home on Friday evening at her residence, on Marlboro St. Mr. Harold Bauer, the distinguished pianist, was the guest of honor…Among the guests were [listed in order as they originaly appeared] Mr. B. J. Lang [but not Mrs. Lang], Miss Margaret Lang…the Misses Little, Mr. Arthur Foote.” (Globe, January 26, 1902, p. 38) Another entry noted: “A second concert was given at Chickering Hall Monday afternoon by the Fortnightly Club before an audience completely filling the hall. Miss Ogilvie sang three songs by Mr. Foote, and Miss Bemis sang others by Mr. Clayton Johns, Miss Margaret Lang and Grieg. Mr. Edward B. Hill [a Lang pupil] played his own piano compositions.” (Ibid)
MISS ROBBINS AND MISS MAUDE ADAMS, THE ACTRESS.
In January 1901 the Herald reported on the opening of a play starring Maude Adams. This play was L”Aigion in which she played the role of a “delicate, fair haired, sweet faced and boyish young duke.” (Herald, January 20, 1901, p. 30) Miss Adams appeared in a number of these male roles, her most famous being “Peter Pan.” The reporter sought out B. J. for his opinion of this role. “It was especially interesting to hear Mr. Lang”s unstinted praise, for he had seen Bernhardt in Paris and in New York, and still felt that the young American actress was more than holding her own.” (Ibid) Miss Adams was known to Lang as Phyillis Robbins wrote of seeing “Miss Adams at a distance coming out of Boston”s famous old King’s Chapel on one of the Sunday evenings when B. J. Lang sometimes played the organ for his invited friends. He had sent her a card, though at that time she did not know him personally.” (Robbins, 69) Miss Robbins arranged a personnel meeting through a dinner party given at 44 Commonwealth Avenue, the home of Miss Robbins’ aunt. “There could never have been a pleasanter gathering in the long history of 44 than a Sunday evening in 1906-one of several throughout the years-when Mr. Lang came to dinner there to meet Miss Adams, and then escorted us to King’s Chapel, where we sat in the organ loft alone with him while he played to us in the dark and empty church.” (Ibid)
Miss Robbins “had a small farm all my own, which I longed to show to Maude.” This finally happened in October of 1906 which turned out to be Maude”s birthday and the “first snowstorm of the season.” (Robbins, 118) “Summer was the time when Maude”s visits to us could be longest; smetimes ten days, sometimes ten weeks.” During the period of 1906 through 1909 visits to the Lang farm became frequent. B. J. had been instrumental in helping Miss Robbins buy the farm-she obviously knew the Langs before Miss Adams entered the scene. It was when visiting the Lang farm that Miss Robbins had seen what was tio become her farm. “The owner, an obdurate old woman, did not want to sell. Mr. Lang broke through her resistance on my behalf, after paying her many callls, by bringing a doll to her granddaughter.” (Robbins, 125) Miss Robbins described the Lang’s farm. “Pianos were scattered herer and there on the Langs” big farm. There was one in the ”Chalet”; another in the ”Crow’s Nest”; and two in the ”Mill.” We listened to Beethoven with an accompanimnet of rushing water. Even the bullfrogs contributed their choral chant, which varied so little from evening to evening that it was found possible to compose an obbligato and a piano accompaniment to their serenade.” (Ibid) Another Lang piece lost! When Lang died Miss Adams made another visit to the farm. “Though Maude never said so, I think she came up for those few hurried days to help us adjust to New Boston without him.” (Robbins, 138)
Malcolm Lang was to eventually buy this farm for his own use, and it was here that his daughters grew up. But, before that Malcolm, probably of college age, went to visit Ms. Robbins. As he approached the house, he saw Maude Adams hanging out an upper story window squeezing out a sponge. This was a special moment for him as Ms. Adams was a heart-throb of his. (Amy DuBois interview, June 20, 2013)
Maude Adams (1872-1953) 1892 Photo when she was aged 20. The incident mentioned above probably happened about ten plus years later. Wikipedia (Accessed November 1, 2013).
APOLLO CLUB 1900-1901.
The Herald Society page reported on the Apollo Club’s 170th. Concert, the third in their 30th. Season which was given at Chickering Hall. “Here. at last, the club has found a fitting shrine, for there is no doubt but that this beautiful hall is particularly fitted for choral music…The house was packed. An immense bouquet of Lawson pinks was handed to Mr. Lang before the music began. Miss Maude Powell, the [violin] soloist, was in cloth of gold with white lace ruffles edged with gold on bodice and skirt. She was recalled after each of her two selections and gave an encore. There was great enthusiasm over her finished playing.” Then came the usual list of those who attended which included Mr. Mollenhauer, who was to take over the choir when Lang gave it up eight years later. (Herald (March 24, 1901) 31, GB)
B. J.’s numerous appearances in Worcester made him very well known in that city. This is reflected in a notice about an up-coming concert to be given at the Church of the Unity. “A program of great musical merit has been prepared. Mr. Lang’s talent will doubtless prove the lodestone that shall draw a crowd to fill the church.” He shared the program with a local singer, Mrs. Cora Mae Knapp, who must have been seeking training outside of the city. “Mrs. Knapp’s host of admirerers in the city, who are eager to hear her spendid voice again after larger culture and experience, are also anticipating the musical event.” Lang played his usual Germanic repertoire and ended with an improvisation, but he also included an English piece, Andante in B flat Major by Westenholme [Wolstenholme]. (Worcester Daily Spy, 7, GB)
CECILIA 26TH SEASON.
The headline of the Globe review of February 5, 1902 was “Four Boston Composers-Their Works Beautifully Given at the Cecilia Concert.” The review began by saying that “None of the many excellent Cecilia programs of recent seasons has proved better worth a thoughtful hearing, and few have been more enjoyable than the Cecilia concert last night in symphony Hall.” Pieces from Arthur Foote, Charles Loeffler, John Paine, and Margaret were performed. “His daughter’s song Love Plumes His Wings with its singularly soaring soprano score, was beautifully rendered by female voices; and it is high praise to say that the Cecilia singers have never given a female chorus as well unless it be in The Lord is my Shepherd, of familiar memory…It is a pity that there were some vacant seats at a concert so varied and so worthy of a greater audience. There was a good representation of Boston’s musical colony present, and the second concert of the Cecilia’s 26th season will go down in the annals as a notable one.” (Globe (February 5, 1902): 3) Lang’s interest in Paine’s opera Azara was reflected in his programming of an aria from this work. A complete concert performance would be Lang’s last concert with Cecilia. The Foote piece in the concert, called “a Motet,” was Vita Nostra Plena Bellis (Mortal life is full of battle), Op. 47 for four or eight-part chorus with a text by Alanus de Insulis [Insulanus] translated by John Lord Hayes from “Corona Hymnorum Sacrorum” (Cipolla, Foote Catalog, p. 45). This piece was reprinted as part of Walton Music”s “Library of Congress Series” where it is described as “A choral tour de force with a text by Alain de Lille (ca. 1128-1212).” (www.waltonmusic.com/congress.html) The Globe review noted: “Mr. Foote conducted his own exceedingly forceful and inspiring, but unaccompanied ”Motet” based upon a resonant old Latin hymn, and composed by the President of the Cecilia with his own club’s special powers of interpretation in mind.” (Globe, Op. cit.) Two years later, in 1904, Foote acknowledged his debt to Lang through the dedication of his Suite in D major, Op. 54 to B. J. (Cipolla, Op. cit., 68) An earlier dedication to Lang had been the Quartett in G Major, Op. 4 where the manuscript is dated “6 Aug 84.” (Cipolla, Op. cit., 72) The Loeffler piece was L’Archet which had had a private premier the previous winter in Mrs. Sears” music room under Lang”s direction using voices from the Cecilia. For this performance the work was sung in French “by 40 ladies” voices, and there are to be special lessons in diction from the same charming Parisienne who gave the finishing touches last winter.” (Herald (January 12, 1902): 29, GB) Leave it to Lang to make sure that these details were seen to.
The Promised Land by Massenet was sung on April 8, 1902. The world premier had been just two years earlier in Paris at the church of Saint-Eustache on March 15, 1900. The Society page of the Herald wrote: It “is to be regarded as Massenet”s tribute to this country [USA], now when everyone over there is intent on doing us honor. He said: ”Now I must write something for America,” and the Promised Land was the result. It suggests what the composer”s idea of us is – full of brilliancy, dash and vigor, beautiful and joyous after the victory. The Cecilia will make it a red letter night and everybody will be there.” (Herald, March 23, 1902, p. 31, GenBank) In the Music Section of the Herald on the same day, the paper did its best to create excitement: “The Cecilia means to make the production of this particular work the most memorable in its annals.” Certain parts were mentioned: “The fall of Jericho is an example of the intensity of the orchestral and choral effects. The March round the walls is an overwhelming piece of orchestration, the seven trumpets standing out against the rest with thrilling insistence.” (Herald, March 23, 1902, p.36, GenBank) Two days before the event, the Herald again gave extensive coverage to the upcoming concert and made the suggestion the those who would be attending should read those sections of the Bible that Massenet had chosen: “It will not hurt anybody to have a little braoder acquaintance with the story.” (Herald, April 6, 1902, p. 35, GenBank) However, after hearing the piece, the Herald quite lengthy review was maily negative. It praised the choir for its preparation and wished that the soloists had done the. The soloists diction was very poor and they were obviously unprepared to sing in French which “made some grotesque and dreadful blunders in the text, and their phrasing.” (Herald, April 9, 1902, p. 9, GB) The suggestion was made that the work should be heard in church, for which the piece had been written, than in a concert hall.
Hale, in the Journal headlined his review: “A Work Without Dignity and With Little Beauty.” He quoted from the Program Book often: first that “Massenet himself has it his favoraite work.” Hale”s comment was: “Masseneet has this amiable weakness for all his compositions, whether it be one of his pornographic operas, or his latest work.” Massenet had required the Cecilia to agree to certain conditions before he would allow the work to be performed in America. One was that it must be sung in French, and the choir thus included coaching in the language as part of their rehearsal schedule. The result was that any choir member “would have no difficulty in obtaining a good bargin…at any respectable shop in Montreal or Quebec.” Overall Hale found the work “as a whole, without solidity, dignity, or abiding beauty. The music is often boresome; and when ie should be most impressive, it is cheaply theatrical. It will never br ranked among even the second-best compositions of Massenet, who for the last few years has been incredibly industrious in the attempt to prove that he is still the leader in French music.” (Journal,April 9, 1902, p. 5, GenBank) A CD was made in 200 by the Oratorio Choir of the Cote d”Azur and a DVD was made in 2012 of a performance at the Massenet Festival.
The Cecila Society was the choir chosen for the 80th. Birthday Celebration for Edward Everett Hale held April 3, 1902. The event was organized by Henry L. Higginson and the opening was Lang leading the choir in Cesar Franck”s 150th. Psalm. They also sang Gounod”s Send Out Thy Light and Salamaleikum by Cornelius with the baritone soloist Mr. Stephen Townsend. (6689-91)
HELEN HENSCHEL BOSTON CONCERT.
The Society page of the Herald reported: “Mr. Henschel and Miss Helen Henschel are receiving so much attention from their old friends that they are not able to accept half the invitations which are puoring in upon them.” They had just been in Bar Harbour and “today they are visiting Mr. and Mrs. B. J. Lang at their country home in New Boston, N. H.” Probably the fall presentation of Henschel”s Requiem was a topic of converstion, if not rehearsal, as Helen was to sing the soprano part.
CECILIA 27th. SEASON.
On December 2, 1902 the choir presented Georg Henschel”s Requiem, conducted by the composer. This work was written in memory of his first wife, Lillian, who died in 1901, aged 41. Their daughter Helen was the contralto soloist. (BSO webpage on Henschel) This was a world premier as the composer had only finished the full score in April 1902. Helen Henschel wrote about its creation: “They had been parted only very rarely during the twenty-two years they had known each other. When they did have to separate, they wrote to each other every day. Father took no step without her, had no thought apart from her, no joy away from her either in work or play. Out of his first passion of grief came the Requiem Mass. he started it straight after my mother”s funeral, and worked at white heat until the piano score was finished three months later. Each evening he would play and sing me what he had written, so that I knew by heart the whole beautiful thing when it was complete…The full score was finished by the autumn of 1902, and in early December of that year the work received its first performance. In Boston, and rightly so. One of Boston”s foremost music critics, after hearing rehearsals, wrote this: ”The Cecilia Society announces the new Requiem by George Henschel for the December concert. The composer will conduct the work, and the soloists will be Miss Henschel, Miss Woltmann and Mr. Ellison van Hoose…It is fitting that the first performance should be here in Boston, though it will be produced later in other parts of the United States, and at Leipzig by Mr. Nikisch. It was in Boston that Lillian Bailey had her debut, under the guidance of Mr. B. J. Lang who is now instrumental in producing the Requiem. She was an enthusiastic member of the Cecilia and when, a year ago last spring, Mr. Henschel gave his Stabat Mater here, in which Mrs. Henschel sang in Boston for the last time, the choral parts were sung by the Cecilia….The day before this performance, Mr. and Mrs. Henschel had given their daughter her Boston debut, on the twenty-fifth anniversary of the mother”s first appearance. This young daughter will sing the solo soprano part in the work which commemorates her mother…” Since then, the Requiem has been performed in many different places. Only in London it has not yet been performed since my father”s death. I longed to produce the work myself, but how could I possibly engage Queen”s Hall, an orchestra, a chorus, and a conductor?” Her friend Thomas Dunhill [the composer?] suggested that she show the work to Claud Powell at Guildford who was able to arrange a performance in April 1937 which possessed a quality and produced an effect which I have never experienced before or since.” (H. Henschel, pp. 203-206)
CHRISTMAS 1902: KING”S CHAPEL.
On the day after Christmas the Globe published a number of stories about the Christmas services and how the churches were decorated. At King”s Chapel, “In the decoration of the church, which was done in laurel and evergreens, the elegance of architectural lines and ther spotless white of pillar and panel were enhanced, evident care having been taken that there should be no overloading…The special music program was rendured under direction of Dr. B. J. Lang by the regular King”s Chapel choir, comprising of Mrs. Alice Bates, soprano, Miss Lena Little, alto, Herbert Johnson, tenor and L. B. Merrill, bass.” (Globe, December 26, 1902, p. 9)
MRS GARDNER”S NEW MUSIC ROOM.
On New Year’s Night 1903 nine singers (including Lena Little) from the Cecilia Society sang at the opening of the Music Room of Mrs. Gardner’s new home at Fenway Court.They opened the concert with a Bach chorale, (Tharp, Mrs. Jack, p.243) and the remainder of the program was performed by fifty members of the Boston Symphony conducted by Mr. Gericke-pieces by Mozart, Chausson and Schumann. Mr. Apthorp pronounced it to be a “perfect hall,” and after the music, the guests were led to the inner courtyard where “No one was in the least prepared for the fairy beauty that greeted his eyes…Here, in the very midst of winter was ‘a gorgeous vista of blossoming summer gardens…with the odor of flowers stealing toward one as though wafted on a southern breeze.There was intense silence for a moment broken only by the water trickling in the fountains; then came a growing murmur of delight, and one by one the guests pressed forward to make sure it was not all a dream.’” (Carter, Gardner, p. 200)
“Word got around that the musicians had been treated like servants and ordered out a side door by an officious flunkey. Members of the famous Cecilia Society were supposed to be particularly insulted because they got no glimpse of the palace and no chance to partake of doughnuts and champagne.” (Tharp, Mrs. Jack, p. 247) Just three month’s later women’s voices from the choir were to sing at Mrs. Gardner’s Birthday Party on April 13, 1903, but before this could happen, Mrs. Gardner “personally assured the 16 young women…that the New Year’s incident was one she deeply regretted,” and these words convinced the choir members to abandon their “strike’ and perform which they did “with the usual musical appreciation.” (Tharp, Mrs. Jack, p. 341) The music was all by her friend and Boston Symphony member, Charles M. Loeffler. B. J. was the accompanist for six solo songs, and the choir took part in L’Archet (Carter, Gardner, p. 205) of which they had sung the world premier just two months before.
On Tuesday, January 6, 1903 Lang presented, for the third time, a private performance of Parsifal, this time at the new Symphony Hall on Huntington Avenue. Act One was scheduled for 4:30 to 6PM, Act Two 7:45 to 8:45PM and Act Three 9 to 10:15PM. Most of the leading parts were sung by German singers while the “solo flower maidens were” members of the choir.
The principal soloists were:
Mme. Kirkby Lunn-Kundry
Herr Van Rooy-Amfortas
Herr Muhlmann-Klingsor and Titurel
Mr. Wilhelm Heinrich-Esquire
“The best possible soloists have been engaged for the six flower-maidens, knights, and unseen chorus; there will also be male and female choruses, and an orchestra of seventy players. Owing to the restrictions on the production of Parsifal, there can be neither public sale nor advertisement of the tickets. Those who wish to hear this performance should fill out and send the enclosed blank to Mr. Byrne, 100 Chestnut Street, receiving, in return, directions for the selection and payments of seats…The tickets are five dollars each.” (6693-94) The Cecilia provided the “two unseen choruses.” (Globe (January 4, 1903): 33)
Before the concert the Herald called it “the most important musical affair of this week-and one might perhaps call it the most important event in the season…The restrictions placed upon any performance of this work are for the present still so strict and exclusive that the use of the score is prohibited on any occasion which can be called public in the usual sense of the term. Therefore, even a concert reading must be at least technically private-there can be no advertisement, no tickets may be put on open sale, and all who attend must be either subcribers or invited guests.” (Herald (January 4, 1903): 36, GB)
The Herald felt that among all of Wagner’s operas, Parsifal needed the visual element in order to be successful. “Wagner makes the greatest demand for the effects which must be had through the eye.” The reviewer also felt that this opera needed the stage settings which were missing in this concert presentation. Of the performance itself: “As it was, it was nearly perfect, being competent, right minded, beautiful, noble and imprerssive. It was vastly superior to its predecessor of 10 years ago…Mr. Lang conducted with firm, steady authority and a sustained calmness which he does not always command…There was a deservedly great ovation for Mr. Lang at the evening”s end.” (Herald, January 7, 1903, p. 9, GenBank) The review was unsigned-it may, or may not have been by Philip Hale who began on the Herald that year.
Mr. and Mrs. J. Montgomery Sears held a lavish reception after the performance for which “Society Turn[ed] Out in Force.” (6698) This took the place of their regular Tuesday musicales.
The Globe reported: “There is now being circulated in Boston, and signed by hundreds of musical people, a petition, headed by Mr. B. J. Lang, addressed to Herr Conrad, the new head of the Metropolitan Opera company in New York, asking that the grand opera Azara, written by Prof. John Knowles Paine of Harvard, be produced.” (Globe (April 27, 1903): 4) This was in connection with a concert staging of parts of the work that were to be given on Thursday evening, May 7 in Chickering Hall conducted by Ephraim Cutter Jr. “This concert will consist wholly of scenes from Azara.” (Ibid) Lang himself conducted a concert version of the work with the Cecilia in 1909 as Herr Conrad had not responded to the petition.
DITSON FUND MEETING.
The Trustees of the Fund held their Annual Meeting on May 22, 1903 at the home “of the late Mr. Ditson.” Elected were: Lang as President, Charles H Ditson as Treasurer, Charles F. Smith as Clerk with Trustees of Lang, A. Parker Brown and Arthur Foote. “Its income has been drawn upon largely the past year to aid infirm and otherwise helpless musicians who had come to want. The fund exists solely for the temporary succor of of such, and is not available (as many think) for eduacational purposes.” (Herald, May 26, 1903, p. 14, GenBank)
BERLIOZ: DAMNATION OF FAUST.
A National convention of music teachers provided Lang the opportunity to present one of his favorite compositions. As the performance dates were July 7 and 9, 1903 at Symphony Hall. Lang was the Chairman of the “Music Committee” for the event which included among its 12 other members – Allen A. Brown, G. W. Chadwick, Carl Faelten, Arthur Foote, Wilhelm Gericke, Henry L. Higginson and John K. Paine. Certainly a very impressive group! (6713) As many of his own singers were on vacation, Lang invited other choirs to participate. He wanted 150 men. In addition to the Cecilia men, the Handel and Haydn Society provided 50; his own Apollo Club, 25; “and others came from the Boston Singing Society and the Amphion club…The Cecilia was equal to the demands for female voices, so that no outsiders were necessary in the sopranos and altos.” (Globe, July 5, 1903, p. 32) Four choral rehearsals were required-all held within two weeks. Among the soloists were the soprano Louise Homer-Marguerite, who had been locally trained, and the bass Leverett B. Merrill-Brander, who was then Lang”s bass soloist at King”s Chapel. The other soloists were: Mr. Joseph Sheehan-Faust, Mr. Gwilym Miles-Mephistopheles and Mrs. Bertha Cushing Child-Heavenly Voice.
THE SINGING CLUB.
Additional choirs were formed often depending upon the financial help of the same donors as helped Lang. His former pupil, Hiram G. Tucker conducted a concert at Chickering Hall in April 1903 which “called out a large and fashionable audience, the subscription list being among the smartest in the city. Among those present were,” and a list of about 60 names followed. Included were Mrs. Henry B. Cabot, Mrs. George H. Chickering, Bishop Lawrence, Colonel Frank E. Peabody, Mr. Courtenay Guild, Mr. S. Lothrop Thorndike, Mrs. John L. Gardner and Mr. L. P. Codman. (Journal, April 12, 1903, p. 3, GenealogyBank)
CHICKERING ANNIVERSARY CONCERTS.
Lang’s continued prominent place within the Boston musical community is reflected in his role as a featured performer in the Tuesday evening, April 14, 1903 Concert commemorating the founding of the House of Chickering & Sons eighty years before in 1823. “On opposite sides of the stage…were placed the first piano made by Jonas Chickering and a modern Concert Grand.” (Commemoration, p. 14).The concert consisted of five songs sung by Miss Mary Ogilvie accompanied by Mrs. S. B. Field which included Margaret’s My True Love Lies Asleep followed by an address by Dr. Edward Everett Hale (who was also celebrating his 80th. year) with a conclusion of two pieces played by B. J. First he played The Battle of Prague by Kotzwara that was “a piece of music greatly in favor about 1823,” and then a portion of La benediction de Dieu dans la Solitude by Liszt, “a composition in vogue at the present time.” (Commemoration, pp. 14 and 15) The program book included engravings of the first Chickering factory at Washington Street that was destroyed by fire in December 1852 and then the factory that replaced it in 1853 which covered a full city block.(6707-08)
Elson felt that “Mr. Lang”s influence as a teacher was also far-reaching. He gathered around him a circle of distinguished pupils who have become in a degree disciples… It was very fitting that Yale University, in 1903, should have given an honorary degree of M.A. to Mr. Lang. His was a talent of high order, working in a sensible and practical manner. One may recognize limitations while acknowledging all the great results achieved… The time will come when America will recognize him as among the very foremost of those who created a musical taste among us: and when one views the many directions in which this beneficent influence has been exerted, one feels tempted to call Mr. Lang a musical ”admirable Crichton””. (Elson: History of American Music”, p. 261)
The Herald reported on the event and listed that among the the other Master of Arts Degree recipients were George S. Hutchings who had just finished building the organ in Woolsey Hall and Louis C. L. Tiffany of Tiffany Glass. (Herald, June 25, 1903, p. 10, GenBank)
“More recently he was given the degree of master of arts by Harvard.” Boston Transcript, Apr. 5, 1909)
DEATH OF MRS. J. C. BURRAGE.
On Friday August 7, 1903 Mrs. Johnson C. Burrage, the mother of Frances Lang died “at her home, 50 Highland Street, West Newton.” She had been “born at Groton about 88 years ago. After her marriage she resided for many years on Boylston Street, Boston. On the death of her husband she removed to West Newton. She was a member of the First Unitarian Chruch of West Newton and had always taken an active interest in its affairs. She is survived by six children. Mrs. B. J. Lang of Boston and Mrs. J. W. Carter, Mrs. C. T. Morse, Miss Emma Burrage, Edward Burrage and Henry E. Burrage of Newton.” (Herald (August 8, 1903): 3, GB) As with many estates, this one took a long while to be settled. In 1910 this house was sold by the “trustees of the estate.” (Herald (July 26, 1910): 7)
CHRISTMAS AT KING’S CHAPEL.
With the interior of its artistic architecture outlined with ropes of green and above the chancel, an evergreen “star of Bethlehem,” the choir gave “an eleaborate programme of song” for the Christmas Day service. The choir was “composed of Mrs. Alice Lane, soprano; Miss Lena LIttle, contralto; George Dean, tenor and R. B. Merrill, basso.” Included among the pieces presented were an organ arrangement of the Overture to Bach’s Christmas Oratorio, Purcell’s Christmas Anthem, Lang’s Te Deum in D Major, Barnaby’s Jubilate, and Lang’s Christmas Carol. (Herald (December 26, 1903): 2, GB)
CECILIA SEASON 1903-1904.
At the third concert of their season at Symphony Hall, the choir sang a miscelleneous program with the assistance of a bass vocalist and violin soloist. Mr. B. L. Whelpley was the organist and Miss Lucy Drake was the choir accompanist. “Of the choral numbers, the part songs seemed to find the most favor.” Tschaikowsky”s (sic) Legend was “exquisitely moving” and Dvorak”s part song, “a piquant bit, was most persistently applauded…The audience was deplorably small, but appreciative, and hearty in its enthusiasm.” (Herald, April 13, 1904, p. 3, GenBank)”
CHICKERING ORCHESTRAL CONCERTS. ADS SAID-CHICKERING PRODUCTION CONCERTS.
B. J.’s interests of orchestral conducting and introducing new music continued even late in life. The Chickering Piano Company asked Frederick S. Converse, Arthur Foote, Charles M. Loeffler and B. J. as Chairman to form a committee to “arrange a series of concerts in Chickering Hall…February 10, 24 and March 9 and 22, 1904…The purpose of these concerts is to give the public an opportunity to hear new and interesting compositions in a hall of moderate size…the orchestra will number between fifty and sixty.” B. J. was to be the conductor. G. W. Chadwick”s name was also listed as a committee member on the “Chickering Orchestral Concerts” stationary, but his named was crossed off on letters sent from Lang to Chadwick. At the first concert the American premier of Debussy’s Three Nocturnes (with female choir) was given as the second item of the concert and also repeated as the final number-the same procedure that he had followed forty years earlier in introducing new works by Mendelssohn. The concert opened with the Overture to La vie pour le Czar by Glinka, and also included a scene from L”Enfante du Christ (Le Repos de la Saint Familie) by Berlioz.
The program of second concert included:
Overture to Iphigenia in Aulis – Gluck (arr. Wagner)
Concerto in D Minor for Three Pianos – Bach with George Proctor, Heinrich Gebhardt and Felix Fox as soloists
L”Apres d un Faune – Debussey
Les Djinns for Piano and Orchestra – Franck (Boston premier), soloist-Mrs. Jessie Downey Eaton
Four Songs – Faure sung by Mrs. Julie Wyman
Overture-Joyeuse – David Stanley Smith (conducted by the composer)
The Third Concert on March 9, 1904 included:
Prelude from the Birds of Aristopanes – John K. Paine (world premier, conducted by the composer)
Concerto for Piano – Ernest Hutcheson (world premier, the composer as soloist)
Two Fragments: The Saracens and The Beautiful Alda – E. A. MacDowell
Rhapsody for Baritone and Orchestra: Cahal Mor of the Wine Red Hand – Horatio Parker with Stephen Townsend as the soloist
Suite Algerienne – St. Saens
The Fourth Concert on March 23, 1904 included:
Suite from Castor and Pollux – Rameau (arr. Gevaert)
Symphonic Sketches – Chadwick (conducted by the composer) (In a letter dated ??? 16th to Chadwick asking him to conduct these pieces, Lang referred to them as “three pieces of yours that Mollenhauer once played on a tour.” (NEC Collection)
Aria for Mezzo-Soprano – Strube with Miss Josephine Knight
Concerto for Violin and Orchestra Op. 26 – Bruch with Miss Nina Fletcher
Poem Symphonique Op. 13 – Glazounow
The second Season (1905-06) was very different; there were at least twelve concerts, but they were all of chamber groups, and the Artistic Director was H. G. Tucker (one of Lang”s piano pupils).
During the Third Season (1906-07) two songs by Margaret were performed – The Sea Sobs Low [never published ?] and Spring sung by Bertha Cushing Child, contralto accompanied by Arthur Colburn. During the next season Summer Noon was sung on January 6, 1907 by Miss Mary Desmond, “the English Contralto” with Mr. A. de Voto as accompanist. At the January 10, 1909 concert Arnold Dolmetsch used a harpsichord and Clavichord built by Chickering.
B. J. (teacher-aged 65) and Rosamond (teacher-aged 24) returned from Europe (Liverpool) on the REPUBLIC arriving September 2, 1904. (Boston Passenger and Crew Lists, 1820-1943) Also listed just above B. J. was John H. Gutterson, age 39, teacher, and after Margaret was Mr. F. H. B. Byrne and Miss Alice S. Larkin. Bryne had traveled with B. J. during the summer of 1897.
The opening concert of the season was on Monday evening December 12, 1904. The work was La Damnation de Faust by Berlioz, but conducted by the French conductor, Edouard Colonne (1838-1910). He was known for his interest in Berlioz when that composer was better known in Germany and England than in France. He also supported Wagner and Saint-Saens, two composers also championed by Lang. As the choir had sung this work less than a year and one-half before, the notes were probably well in place. The performance was dedicated to Franz Liszt in commemoration of the one hundredth anniversary of the composer”s birth. The program book of 24 pages included the complete text in English and an unsigned program note of two pages. On the program”s back page was an announcement of the next concert-the Requiem by Dvorak to be given February 6, 1905. (Program, Johnston Collection)
It was the custom to print the financial data of each family in Boston-both the worth of the real estate and also the personal worth were included. The figures for the Lang family were:
Real Estate Personal Estate
1890 $21,500 $65,000
1900 $21,300 $90,000
1901 $23,100 $95,000
1902 $21,300 $100,000
1904 $21,200 $110,000
1905 $21,200 $115,000 Figures from the Herald of each year.
6 NEWBURY STREET STUDIOS.
In 1905 Lang faced eviction from his studio at 153 Tremont Street as the building was “to be torn down in 10 days.” He listed his studio instrument for sale: “New spendid church organ, built by Hastings for B. J. Lang’s studio. Is for sale at $950; unprecedented opportunity for a church; 2 banks of keys, 2 1/2 octave pedals, 18 registers; warranted in perfect condition.” (Herald (April 15, 1905): 14, GB). Lang then bought 6 Newbury Street, which became his teaching studios and also the studios of many of his pupils after he made extensive improvements. The property, which adjoined the St. Botolph Club, had been a private home. “It is one of the very few Back Bay estates on Newbury Street that has an extensive frontage, being a four-story octagon brown-stone front brick house.” (Boton Globe, April 30, 1905, p. 46)
RUTH BURRAGE ROOM-MOVED.
In 1905 came the announcement that the Ruth Burrage Room was now located in the Steinert Hall building with the pianos and the use of the room being a gift from Messrs. M. Steinert & Sons. With its library of “four-hand and eight-hand music for two pianos inteneded for the use of persons who play such music tolerably well at first sight…Information about the rules for the use of the room may be obtained from Mr. B. J. Lang, 6 Newbury Street.” Since the library had first opened, there were frequent additions which came from the Miss Ruth Burrage bequest. (Herald (September 24, 1905) 37, GB) An earlier article in April 1905 has mentioned that the scores would be available “as a free circulating library at Mr. Lang’s new studio, 6 Newbury Street.” (Herald (April 23, 1905): 38, GB) Certainly having the Steinert host the library and provide the pianos was a much better solution.
The 165th. Concert of the choir was on Monday evening, December 11, 1905 where Bruckner”s Te Deum was givien its first Boston performance. Also on the program was The Blessed Damozel by Debussy and The Departure of Hiawatha by Coleridge-Taylor. This last work had been premiered in London in 1900 and later that year first sung in Boston by the Cecilia. The highlights of the Monday, February 5, 1906 concert were listed as Saint Mary Magdalen (Boston premier) by d”Indy, The Waters of Babylon by Loeffler together with a Bach motet and a capella pieces by Dvorak, Parker, McCunn and Franck. (Program: Johnston Collection)
For the third concert of the 1905-1906 season the group presented a mixed program which featured the cantata St. Mary Magdalene by Vincent D”Indy who had recently visited Boston. Miss Rose O”Brien was the mezzo soloist with the piano and organ accompaniment provided by “Miss Ingraham and Mr. Whelpley respectively, and [which] added much to the effectiveness of the whole.” (Globe, February 7, 1906, p. 4) The reviewer called the concert “another artistic success” which could be “placed to the credit of Mr. Lang”s well-drilled organization.” (Ibid) Philip Hale found the “soloists unsatisfactory,” but he did note that “Some are inclined to sniff at a concert of part songs, and many so not realize the fact that the diligent practice of such music is necessary to the health if a chorus….The fine qualities of the Cecilia chorus were shown in full last evening in the part songs…for the music of these pieces called for delicate gradations of tone and rhetorical and poetic effects as well as for euphony, sonority and scrupulous accuracy in attack and intonation.” Hale did not care for the d”Indy: “it has little or no importance.” (Herald, February 7, 1906, p. 7, GenBank)
On Monday evening April 2, 1906 The Cecila Society presented La Vie du Poete (The Life of the Poet) by the French composer Gustave Charpentier which was scored for chorus solo, voices, three orchestras and organ-Mr. B. L. Whelpley was the organist. Also on the program was Taillefer, a Ballade by Richard Strauss which used chorus, solo voices and orchestra. The Charpentier had been premiered in Paris during the 1892-93 season where it had five performances. The Strauss had first been performed at Heidelberg in 1903 with the first American performance being given by the New York Oratorio Society in 1905. This was it”s Boston premier according to the Globe. (Globe, February, 7, 1906, p. 4). The Charpentier was also probably a Boston premier, but the program book does not say this. (Johnson, First perf. lists neither)(Program, Johnston Collection).
LAST CECILIA CONCERT.
Lang”s final concert with the Cecilia was on April 9, 1907 when he led John Paine”s opera, Azara. In spite of “extraordinary unpleasantness of the weather,” the concert had “the aspect of a gala event.” (Globe, April 10, 1907, p. 9) The work was composed during Paine”s leisure time during the decade 1890-1900, but “it has never been found practicable, for one reason or another, to stage it as yet.” (Ibid) How appropriate that Lang should make a “World Premier” the content of his last concert! One of the headlines for the Globe review said: “Presentation Fitting Climax for Director Lang”s Work.”(Ibid) Wagnerian in style, “the work contains much of recitative and yet frequent passages of exquisite melody that deeply stirred the auditors.”(Ibid) The “American Grove Works List” gives the date of May 7, 1903 for a concert performance of this work; it also gives the composition dates as 1883-98 with a publication date of 1901 by a firm in Leipzig. (AM Grove, Vil. III, p. 461) Paine did not live to hear Lang”s performance-he had died on April 26, 1906. (Ibid) Philip Hale”s review mentioned that 60 players from the Boston Symphony accompanied the work. (Herald, April 10, 1907, p. 7, GenBank) He also mentioned that Paine had hoped to see the work “performed either in the Metropolitan Opera House or in some theatre of Germany,” but this was not to be. “The composer died having heard only performances of the ballet music and other excerpts.” (Ibid) This would seem to contradict the May 7, 1903 performance mentioned above. “Mr. Lang was welcomed when he came upon the stage by warm and long continued applause. There were other demonstartions of the good will entertained toward him by the Cecilia audiences and of the appreciation of his services in the cause of music during his long and honorable career as conductor of the society.” (Ibid)
RESIGNS FROM CECILIA.
In the spring of 1907, Lang retired as conductor of the Cecilia Society. He was then 69. “On May 9, 1907, upon his retirement after 33 years service, he was presented a hall clock from the chorus and bound volumes of Cecilia programs from the directors.” (Hill-History, p. 10) The Globe article called the gift “a magnificent mahogany hall clock standing about eight feet high and furnished with all the fashionable attachments such as moon and tide indicators.” (Globe, May 3, 1907. p. 9) Dr. Henry C. Baldwin credited Lang “with having placed the Cecilia at the head of the list of singing societies of its kind.” (Ibid) An article in Herald dated January 25, 1907 entitled “Lang Will Give Up Baton of Cecilia” mentioned that his leadership had spanned 31 years [or33, see above] and was ending with B. J. helping to raise $40,000 as an endowment fund- $5,000 of this was contributed by Lang himself (Transcript article January 25, 1907), and he added another $1,000 to this fund in his will. “The result of his work in raising the endowment fund which he has just completed will be his leave-taking of the society whose concerts he has conducted since its organization.” (Boston Herald, Friday January 25, 1907) “On 25 January, the day after Benjamin Johnson Lang”s retirement from the Cecilia conductorship, the Boston Transcript ran an article titled ”Two Musical Generations.” Lang, it acknowledged, was the last link between the current musical generation in Boston and that of thirty or forty years before. ”Boston is a larger, more diversified formal life now. The change was inevitable. It is part of the broadening, richer, and more aesthetically hungry life of a democratic new America.” Bostonians continued to struggle with the transition. By 1923 Loeffler was disgusted: ”Boston is getting stuffier and stuffier and will soon graduate to the astounding grade of “the largest village on earth””” (Fox, Rebellious Tradition, p. 230)
Elson, writing in the Advertiser, gave his view of Lang”s leadership of the Cecilia Society: “The history of the Cecilia Society will show that no other choral society in America has been so sctive in producing new works. If the Handel and Haydn Society made musical history in the first half of the nineteenth century, the Cecilia Society certainly did this in the last half.” (Elson quoted in the Musical America, April 27, 1907, p. 4)
Many eminent guest-conductors had led the group including “Bruch in 1882, Parker in 1889, Dvorak in 1892, Henschel in 1902 and Colonne in 1904.” (Pratt, p. 156) To mark the end of his conductorship, the chorus asked B. J. if they could present a concert in his honor. As President of the group Arthur Foote wrote on March 16, 1907:
Dear Mr. Lang,
Thirty-one years ago, the Cecilia Society began its concerts under your direction. The Society desires to express to you in some way its appreciation of what you have been, and what you are to it and to the cause of music in Boston. The directors therefore ask you to allow them to give a concert in your honor, at such time and in such circumstances as may be agreeable to you.
Lang”s answer of March 18 was:
Dear Mr. Foote,
I thank the Cecilia most heartily for its kind proposal of a concert in my honor. If the Society will sing at a performance of the Children”s Crusade, it will give Pierne”s beautiful work in a peculiarly fitting way, and give great pleasure to… Yours sincerely, B. J. Lang.
An article in the Globe wrote of the upcoming concert: “Rarely has a combination of pleasant events, creditable enthusiasms and worthy objects come together for hard work more happily than in the plan for a concert next Wednesday night in Symphony Hall in honor of B. J. Lang, on his retirement from the conductorship of the Cecilia Society…No musician in Boston is better known or more loved than he.” (Globe Archive, April 14, 1907, p. ?) The concert was given on Wednesday night, April 17, 1907 to benefit the Industrial School for Crippled and Deformed Children by the Cecilia Society, nine soloists, a chorus of 100 children, and sixty players from the Boston Symphony. Tickets were $2, $1.50, and $1, and could be ordered from the fifteen members of the Auxiliary Board of Managers that included Mrs. John L. Gardner of Fenway Court. The success of this piece is reflected by Cecilia”s other performances of the work. “Thursday evening, February 16  is the date set for the second concert of the Cecilia Society and the Boston Symphony under the leadership of Max Fiedler. The work to be given then will be Gabriel Pierne”s musical legend The Children”s Crusade that the Cecilia has given twice in recent years with much success. In addition to the chorus of the Cecilia Society, there will be a chorus of 100 children and the entire Symphony orchestra will be employed. Edmond Clement, the distinguished French tenor, will make his first appearance in concert in Boston on that occasion. (Globe, January 29, 1911, p.49)
Lang continued to support the Cecilia through attending its concerts. In March 1909, under a social column headline of “Cecilia Concert Attracts Usual Brilliant Company” included “Mr. and Mrs. Richard C. Dixey, Mrs. Dixey in black liberty with white lace…Mr. Arthur Foote and his daughter, Miss Katharine Foote…Miss Frances Horton, whose niece, Miss Phyllis Robbins (one of the best singers in the Vincent Club),[owner of the farm in New Boston that Malcolm eventually bought] is a member of the Cecilia chorus…Mr. B. J. Lang and his daughter, Miss Margaret Ruthven Lang…Benjamin Whelpley and George W. Chadwick.” (Herald, March 28, 1909, p. 31, GenealogyBank)
KING”S CHAPEL VESPER SERVICES.
Several writers mentioned the beautiful, moving services that Lang prepared for the Sunday afternoon Vespers during his time at King”s Chapel. The Herald gave specifics of one such service. “The vespers at King”s Chapel last Sunday drew a large and fashionable audience. Mr. Lang gave parts of the [Bach] Passion music, including a bass aria sung by Mr. Cartwright, with a violin obbligato by Miss Bessie Collier, and the beautiful soprano air sung by Mrs. Rice with a flute accompanying.” (Herald, March 24, 1907, p. 34, GenBank)
AMERICAN MUSIC EDUCATION.
In 1907 Lang was interviewed in an article entitled “The Advance of Musical Education in America” written by H. J. Storer. Lang recalled the musical situation in Boston c. 1860. “On my return to America, I began teaching and playing in Boston, and for fifty years I have been active. There was absolutely nothing in the way of a musical atmosphere here in those early days. I was successful from the start, perhaps owing to enthusiasm, with a natural aptitude for doing pioneer work at a time when things were ripe for musical development. My enthusiasm led me to carry through projects to which I had set myself to carry through, and felt they must succeed. In this way I gave the first performance of Berlioz”s Damnation of Faust and the Requiem, several concert performances of Wagner”s Parsifal, Brahms” Requiem, and other works, most of which were, I believe, played for the first time in America as well as Boston. I have also played for the first times at least two score or more concertos for piano and orchestra, besides introducing a large number of other piano works.” (Storer, article) Lang further recalled that “When I was young, perhaps I was the only one in Boston who could play certain of the larger works for piano and orchestra; now you may find many, even among those living on the back streets, who can play such works fairly well. Here, at least, is an evidence of the advance that has been made during my years of teaching. In these days the student need not go to Europe for technical training of any sort; he can get it here, – all he needs.” (Ibid)
To honor Lang”s 70th. Birthday the Globe ran an extensive article that covered aspects of his whole career beginning whith his early teachers, his various organ positions: “I”ve been paid for going to church ever since I was 12 years old.” (Globe, December 22, 1907, p. 33) Also covered were his major conducting responsibilities, his extensive piano-teaching career, and his musical wife and children. “When a mere boy Salem, his father being taken suddenlt ill, young Lang was at a moment”s notice obliged to take so many pupils that every day and every hour were devoted to teaching.” The interviewer probably asked him to stae the reasons for his success.” He has been long accustomed to making each moment count. With constant industry and a marked business ability, he has prospered in a material way and no doubt his life-long abstemious habits have enabled him to carry his endlesss list of pupils. Few artists live to the age of 70 without the use of spirits, tobacco, tea or coffee, as Mr. Lang has done.” (Ibid) A year later, under a headline of “B. J. LANG 71 YEARS OLD” the article was much shorter, but it did mention that “Mr. Lang is in excellent health and full of vigor and energy.” The next paragraph noted the many pupils, both “past and present” who had called at Lang”s studio at 6 Newbury Street or sent good wishes “by mail and telegraph…A profusion of flowers bore evidence of the widespread regard in which he is held by those nearer home.” (Globe, December 29, 1908, p. 3) The Herald headline was “Benjamin Johnson Lang Felecitated on his 70th. Birthday…Aside from a family celebration at his home on Brimmer Street the night before, Mr. Lang observed the event very quietly…”There is nothing to say except that I am very grateful to my friends for remembering what an old man I am”…On Sunday evening he was one of the chief speakers at the memorial service for Mr. Daniels, [Mabel Daniels” father] late president of the Handel and Haydn Society, which organization Mr. Lang has served for more than 30 years as organist, conductor and now as honorary member.” (Herald, December 29, 1908, p. 14, GenealogyBank)
MASTER OF ARTS DEGREE FROM HARVARD.
B. J. was one of two Master of Arts Degree recipients at the 1908 Harvard graduation ceremonies. President Eliot read the degree citation: “Benjamin Johnson Lang, musician and composer, church organist at 15; as teacher, organist and conductor for many years the servant and guide of the best singing societies in Boston.” (Herald (June 25, 1908): 14, GB) The Journal had a one-line comment: “Harvard did well to honor Benjamin Johnson Lang, the greatest single power for good that music has had in Boston for many and many a year.” (Journal (June 25, 1908) 6, GB)
FINAL CONDUCTING APPEARANCE.
“His last appearance as a conductor was on Feb. 12, 1909, when he conducted the BSO and a chorus at a Lincoln Memorial Service at Symphony Hall.” (Pratt, 268) The chorus numbered 200. Lang conducted the same music from Mendelssohn”s Hymn of Praise that he had conducted almost fifty years before at the celebration of the Emancipation Proclamation. “It was fitting that in it should have been the scene: ”Watchman, will the night soon pass?” ”The night is departing, the day is approaching.”” (Transcript article May 1, 1909) Lang was presented with a bronze bas-relief of Abraham Lincoln mounted on a base of green marble by the chorus which took part in the Lincoln exercises sponsored by the city at Symphony Hall on Feb. 12, 1909. This was a copy of the well-known head of Lincoln by V. D. Brenner done in 1907. The inscription said: “B.J. Lang, from the Chorus at the 100th. Lincoln Anniversary, 1909.”
CECILIA AFTER LANG.
That bright future and the emphasis on new works was continued during the conductorship of Arthur Fiedler who prepared the chorus for the world premier of Igor Stravinsky”s Symphony of Psalms which had been commissioned by Koussevitsky and the BSO and presented on December 19 and 20, 1930. “The Boston Symphony introduced new works before 1930, but it rarely-if ever-commissioned them. Even before the turn of the century the orchestra gave the world premiers of many American works, mostly by Boston composers, and, of course, American premiers of the newest compositions from Europe. Serge Koussevitsky”s decision to commission a groups of new pieces from the leading composers of the day to celebrate the orchestra”s first half-century began a tradition that continues to the present.” (Ledbetter. Program Note, Symphony of Psalms) Koussevitsky believed in the work so much that he repeated it in the same season on February 20 and 21, 1931, and also at the New York concerts of March 5 and 7, 1931. Further performances, all with the Cecilia Society Chorus were performed in 1932, 1936, 1939 and 1942. (Ibid)
B. J. died at his home on April 4, 1909 at 8 Brimmer Street (his home for the last twenty-five years-he also had a summer home on 600 acres in New Boston, New Hampshire, “passing away just as the bell in a nearby church was striking the hour of 9″ after suffering from a heavy cold for three weeks that turned into four days of pneumonia; his three children were at his bedside, but his wife was confined to her bed due to a fractured leg that had happened three weeks before while returning from church. He was 71 years old.” [71 Years, 3 Months, 7 Days-Death Certificate] The Death Certificate listed the Primary Causes of Death as: Lobar Pneumonia for 4 days and Pericarditis (Sack around the heart) for 2 days. A Contributory Cause was Osteitis Deformans (Paget”s Disease-enlarged bones-a form of arthritis)which he had been suffering with for an unspecified number of years.
On Wednesday night he had attended the opera. Though he wasn”t feeling well, he wished to accompany his daughter to the performance and the next morning he was unable to rise from his bed.” (Boston Herald, Obituary, April 5, 1909) “It is told the Listener that on Palm Sunday evening, while B. J. Lang was dying, the quartet at the Old South were singing the Hymn of Praise, which he (probably for the first time) did at the original Old South thirty or forty years ago.” (Gould clippings) Less than a week later, at the BSO concerts of Apr. 8 and 10, Mozart”s Masonic Funeral Music was played in his memory. The Mozart opened the program, and was followed by world premier of Chadwick”s Theme, Variations, and Fugue for organ and orchestra. Also on the program was another Boston premier, “Spring” from Musical Picture for Orchestra Opus 34 by Glazounoff. How appropriate that the concert should include two premiers-this was probably more a tribute to the work of bringing new music to Boston done by B. J. than was the playing of the Mozart.
The various obituaries contained a variety of mis-information. The Journal article of April 5 listed the three children, “Malcom, Rosmond and Mary Ruthven,” each spelled wrong. (Herald, April 5, 1909, p. 1 and 3, GenBank) It also had the dates of B. J.”s organ positions incorrect with him being “at the Old South Church for twenty years, and following this he played for a short time at Dr. Everettt Hale”s South Congregational Church.” (Ibid) The article in the Herald of the same date was longer than that in the Journal, and much more detailed, however it did list Margaret as Mary. (Herald, April 5, 1909, p. 1, GenBank)
The funeral at King”s Chapel included music sung from the galleries by the groups with which B. J. had been associated; the Cecilia Society, the Handel and Haydn Society, and the Apollo Club with Wallace Goodrich (who succeeded Lang as conductor of the Cecilia Society) from Trinity Church as the organist. The “volume of sound produced by so many trained voices probably never before was heard in King”s Chapel… Void of all display, save for quantities of beautiful flowers, and with as simple a service as possible, the funeral of Benjamin J. Lang, musician, teacher and conductor, was held this forenoon. The service took place at eleven o”clock from King”s Chapel, and long before the time for opening the doors, a crowd awaited an opportunity to pay reverence.”
Rev. Howard N. Brown, minister of the church where Mr. Lang had so long been in charge of music, met the body at the porch. Over the black broadcloth casket was thrown a purple pall, on which rested several fronds of sago palm, this final preparation having been made by Mrs. John L. Gardner, who, with a few assistants, had previously arranged the mass of floral tributes around the casket.” (Funeral notice-Transcript, Apr. 9, 1909) Mrs. Gardner placed a large floral harp of roses and ferns sent by the Boston Symphony in a central position and then arranged other “choice pieces” from the Handel and Haydn Society, the Cecilia Society, the Apollo Club, and the Baermann Club around it. She also placed a purple pall over the coffin while it was in the vestibule “before the body was borne into the sanctuary.” (Journal, April 8, 1909, p. 7, GenBank) The three children sat in the front row, but Frances could not attend because of her recent fall. Except for accompanying the hymns, the organ was silent, “as though its very silence were a mute tribute to him whose fingers were so familiar with every detail of its keyboard.” (Funeral notice-Transcript, Apr. 9, 1909) The hymns were the choruses O”er The Strife and Ten Thousand Times Ten Thousand accompanied by Wallace Goodrich.
Various newspaper reports mention those in attendance who included the crème de la crème of Boston musical, literary and artistic life: A. Lawrence Lowell, President Elect of Harvard; the Manger and Assistant Manager of the Boston Symphony and its founder, Maj. Higginson; organists George Whiting, Benjamin J. Whelpley, Arthur Foote, E Cutter, Jr., H. G. Tucker and S. B. Whitney; Mrs. John L. Gardner (Isabella Stuart Gardner); Miss Elizabeth Porter, Courtney Guild and Clayton Johns. (Herald, April 8, 1909, p. 3, GenB) A further article in the Herald gave the names of additional attendees: Mr. and Mrs. Richard C. Dixey, Mr. and Mrs. Henry M Rogers (Clara Doria), A. Wadsworth Longfellow, Timothee Adamowski, Ralph Adams Cram, and H. L. Burrage. (Herald, April 11, 1909, p. 28, GenB)
Many articles appeared soon afterwards. The Herald of April 6, 1909, p. 6 (GenBank) wrote a wonderful summasion of Lang”s life and work:
“He would have made his mark in any profession, in any calling, for he had qualities that insure success. His perseverance and industry were traditional. He was enthusiastic in whatever he undertook; he was sanguine as to the result. He was unusually alert, shrewd, tactful in dealing with individuals and with masses of men and women. He knew how to interest the rich and influential in musical plans for the general and civic good. Versatile, busied as teacher, pianist, organist, conductor…He was constantly consulted; his advice was respected and followed. It is not too much to say that Mr. Lang was the leading, the dominating influence in the musical life of this city for many years. How much the music-lovers of Boston owe to him! His own life was one of constant growth and development, and he wished his fellow-townsmen to grow with him. He was constantly urging the importance of hearing new works; of hearing them when they were new and not necessarily approved; and he saw to it that they were heard. It was not enough that he labored for Schumann, Brahms, Tchaikovsky, Wagner, he demanded audiences for Strauss, Charpentier, Debussy. His interest in all modern music that has character and distinction was unabated to the day of his death. Witness his enjoyment in the performances of Salome, Louise, Pelleas and Melisande. What he did for Boston is only imperfectly recorded in the programs of the Cecilia and the Apollo Societies. He brought out many works. Some of the performances, as that of Parsifal, were of a magnitude and on a scale that would have shaken the resolution of even bold and experienced conductors. In the production his determination and spirit were heroic… Today there is no man that will fill his place.” (Herald ???)
The Globe ran an extensive article just one day after Lang”s death. “He loved all music that was good, making no arbitrary distinctions against any school or composer, and in the last half-century probably introduced more new music into this country than did any other one man. In his devotion to music, and trained appreciation of what is best, his many-sided ability, he held a place that will not be easy to fill.” This same article also mentioned that Lang was a member the “Thursday Club, the St. Boltoph Club and several New York social organizations…He had had the personal acquaintance of Wagner and Liszt, Sir Sterdale Bennett and Michael Costa, Rubinstein, Widor and Saint Saens. And on his more than 30 trips to Europe he made the acquaintance of nearly every present-day musician of prominence abroad. (Globe, April 5, 1909, p. 1)
The Transcript article, which was entitled “The Distinction of Mr. Lang,” centered on the fact that “From the beginning to the end his working world was the little world of Boston and no other.” The article began with: “It was the paradox and the distinction of Mr. Lang”s career that while he did all his work in a single city and was little known elsewhere, the range of was wider than that of any other choral conductor of his time in America, and perhaps in all Europe.” The two groups that he led were mentioned and the Cecilia was highly praised. “By years of training he brought the Cecilia in particular to the accuracy, the finesse, the elegance of choral singing that have made it unusual among such choirs.” Of his work as a pianist: “As a concert pianist of the sixties and seventies, he had been quick to add new pieces to his repertory.” This emphasis on new works also applied to the choral groups that he conducted. “To Mr. Lang our public owes a long line of choral pieces that it might not otherwise have heard and that traverses the whole course of modern and ultra-modern choral from Berlioz and Schumann through Strauss and Debussy. To him no less it owes its first adequate performances of such great masterpieces as the two great masses of Bach and Beethoven. From him came its first knowledge of Wagner”s Parsifal, albeit in concert form, and, at the ”production concerts” of the nineties, its first acquaintance with the orchestral music of Debussy, and of other daring composers who were battling for a hearing…Few, if any, in Europe in our time have matched his record in the number and the interest of these compositions.” (Transcript)
The day that Lang died, George Whitefield Chadwick, at that time the head of the New England Conservatory, wrote in his Diary: “April 4th. B. J. Lang died this evening of pneumonia after an illness of four days. He had been losing his grip for two or three months and his time had come. He died peacefully and without suffering, seventy-one years old. Probably there never was a more ambitious man than B. J. Lang. He had excellent talent, especially for the technical side of piano playing, great perceptive powers and good brains for study. There was not a lazy bone in him, and he accomplished more by his energy and indomitable will-power than many people can do with genius. His playing was interesting musically and at times, when he forgot his mannerisms, powereful and effective. He was ambitious as a composer and is credited in Scribner”s Encyclopedia with having composed oratorios, symphonies and other large works, although I never have met anyone who ever has seen or heard any of them. He was a loyal friend to any one who needed him, even to those who had no claims to his friendship, and his personal life was that of a true-hearted, cultured, decent gentleman, a type of musician none too common in this day and generation. He had some bitter pills to swallow in his life, and one of them was to be succeeded by me as organist of the South Congregational Church where he had been organist for a very great number of years. He had his revenge however for they ”fired” me out subsequently!. On March 21st. he wrote to me ”You ought to thank God for your sense of humor, and it is always good-humor too.” We were always good friends in spite of a few spats, in which I think that he always got the worst of it, but liked me all the better for it.” (6489-90) Chadwick had known Lang professionally and personally for over thirty years. A second entry dated Wednesday, April 7th. noted: “Funeral of Mr. Lang at King”s Chapel; very simple and dignified; no music except the congregational hymns. Wallace Goodrich played the organ.” (6491)
Reginald C. Robbins writing on November 5, 1909 very effusively sees B. J.”s role as a local and national one. “Primarily and professionally a musician, Mr. Lang was throughout his long and wonderful career, as genuinely, as effectually musical as any man of his generation. In every department of musical technique an expert, in every side of musical life an active, organizing and leading force, he has impressed upon the culture of this city and his nation an insight and power which demonstrate beyond the possibility of cavil the presence in this person of musical talent, of musical genius, of musical inspiration as the dominating spiritual meaning of every moment of his life. And with this mighty contribution to the sum of our civilization only addition and extra praise to Mr. Lang can accrue, when we consider in him a conduct and character equally admirable… Musician wholly, he was also kindness counselor and most discerning friend.”
A short newspaper article entitled “Here in Boston” told that “A little bunch of lilies of the valley was sent to Symphony Hall, on Saturday, with a note unsigned and requesting that they be laid in the seat-in the second row of the first balcony on the right near the stage-that the late Mr. Lang had occupied for many years at the evening concerts. The request was fulfilled, the flowers remained on the seat through the evening, and they were then sent with a word of explanation to Mr. Lang”s family.”
An article by Frances E. F. Cornish in the April 22, 1909 “Christian Register” entitled “Mr. Lang as Church Organist” said: “During the last week in Boston words of just praise for the wonderful life and character of Mr. B. J. Lang have been spoken, -words which while they show love and appreciation can but faintly express, after all, the deep sorrow and the lasting gratitude of countless people. Mr. Lang”s personality was in truth so rich, so original, so many-sided, that when we think of him we in turn touch the inspiring teacher, the forceful leader, the generous friend, and these qualities blend into the whole character which we have loved and honored. Yet to many of us it was as organist at King”s Chapel that he was particularly close. Here he was not the interpreter of the music of others, but expressed himself: here his powers were especially and intimately revealed. Those who have worshipped in the churches where he played have realized how truly music may be the handmaiden of the Lord. To very many souls, seeking after spiritual comfort, his playing brought uplift and peace. Who that has heard his aspiring improvisations-a form of expression in which his genius was peculiarly happy-can ever forget the moments of solemn beauty, the exquisite harmony that seemed like the breath of a living creature, the triumphant rush of glorious sound, which swept the worshipper with it, as it seemed, into the very presence of the King of Kings.We shall never hear the like again, and in our sorrow for the loss of a friend we also deeply mourn the loss to the world, in that this creative power of radiant beauty is gone. For us all life has been enriched because of this great gift, and is the poorer for its loss.”
Even the music programmed at King”s Chapel after Lang”s death was reported in the papers: “Kings Chapel-At 10:30 A. M. Easter Psalm (chant), the Te Deum in F major, Tours; Jubilate in F major, Arthur Foote, and the choir will also sing a musical setting by Woodward of Tennyson”s Crossing the Bar in memory of Benjamin Johnson Lang, who died on Sunday, April 4, and who for so many years was organist at this place of worship. The organ numbers will include a portion of the first part of Resurrection music from Gounod”s oratorio,The Redemption, and for a postludium the chorale Unfold, ye Portals from this same work. Choir-Mrs. Alice Bates Rice, soprano; Mrs. Bertha Cushing Child, contralto; George Deane, tenor; Earl Cartwright, baritone.” (Newspaper notice)
B. J.”s career and standing in the musical community was probably best summed up by the remarks of Margaret who at the age of 95 wrote to Barbara Owen that “He was an example in all ways: honor, uprightness, and principle… he has left with me a standard of cultivated beauty.”(Owen p.59) But, Foote had already written over 65 years earlier that “Lang was a musician of great gifts and very versatile; a composer of originality, who would have been considered one of our leading men had he published.” (Foote-Auto., p. 45) In a 1911 article Margaret “said that the last work with which he [B. J.] was interesting himself [just before his death] was the translation from the Italian of a book on Gregorian music.” (Christian Science Monitor, March 25, 1911) She also noted that the last work he conducted with the Cecilia Society was by a contemporary French composer.
B. J.”s concern extended beyond his own pupils. “”B. J.” as we liked to call him, was never weary of doing kind things, quietly. He was President of the Oliver Ditson Fund For Needy Musicians, and it was astonishing to see the amount of time and trouble that he would take in investigating cases of destitution; he insisted on first knowing that an applicant for aid was deserving, and when that was the case no amount of pains was too great for him to take. In matters of that sort a good heart is not enough, there must be a good head, too. In that charity his keen intelligence as well as sympathy will be sorely missed.”(Boston Transcript, May 1, 1909)
An obituary article in the Springfield Massachusetts newspaper had a couple of negative comments: “His gift was not for the piano, where his touch was faulty and lacking in delicacy. He was much more at home at the organ, and his church work was quite as important as his directing of choruses. As a drillmaster of singers he had much success, and was a great favorite with his choruses; with the orchestral instruments he was never on such easy terms. As a teacher he was popular and successful, and he was a social favorite. In all these ways he exerted a great influence on the musical life of Boston, surviving from the old simple days which John Sullivan Dwight has depicted in his critiques into the most complicated and sophisticated musical Boston of the 20th. century.” (Springfield Republican, April 5, 1909, p.5, GenealogyBank) Certainly this last comment was a very important one, for throughout his career Lang kept up with the changes in the musical world universal. His interest in French music in his later years was reflected in his conducting of Debussy for the Chickering Concerts.
The Journal obituary mentioned that among “Mr. Lang”s personal friends were Wagner, Liszt, Rubinstein and Saint-Saens.” It also mentioned : “For twenty-five years [from c. 1884] he has lived in Brimmer Street, Boston, having also a summer home with 600 acres in New Hampshire.” (Journal, April 5, 1909, p. 3, GenealogyBank)
The Apollo Club was the first to honor Lang as they had a concert scheduled the day after Lang”s funeral. “Each program was provided with a memorial insert, giving the facts in Mr. Lang”s musical career…It is worthy of note that at this 203rd. concert the only original member of the club present at its formation by Mr. Lang in 1871, George C. Wiswell, still sings among the basses.” The final number in the concert was Gounod”s Gloria, and after that their conductor Mr. Mollenhauer led the group in Sullivan”s Long Day Closes. “The great audience stood reverently and departed silently without applause.” (Globe, April 8, 1909, p. 6)
The Cecilia Society gave its first concert of the 34th. Season on Thursday, December 2, 1909 as a tribute to Lang. The new conductor, Walter Goodrich chose Mozart”s Requiem and the “Grail Scene” from the first act of Parsifal. Among the soloists in the Mozart were soprano Mrs. Edith Chapman Gould and bass Leverett B. Merrill. Gould made a collection of articles about Lang which is now are part of the HMA collection, and Merrill had been Lang”s bass soloist at King”s Chapel. (Globe, December 3, 1909, p. 6) “The chorus of the society will be augmented on this occasion by many singers who were at one time or another [were] associated with Mr. Lang.” (Herald, November 14, 1909, p. 4, GenBank) The Herald noted: “He was happy conducting the Apollo Club; he enjoyed his seasons with the Handel and Haydn; but his heart and soul were in the Cecilia…The city owed much to Mr. Lang. He worked for musical righteousness when music was not fashionable. He knew not the word discouragement. His tact and shrewdness enabled him to enlist in his cause not only the sympathy but the substantial backing of those who were acquainted with his perseverance, industry and courage. Thus was he often enabled to bring about praiseworthy results when others might have failed.” (Herald, December 3, 1909, p. 8, GenBank)
The next night, Friday, December 3, 1909, the Harvard Musical Association remembered Lang with a “In Memoriam” Concert played by the Hoffmann Quartet: Jacques Hoffmann, First Violin; Adolf Bak, Second Violin; Karl Rissland, Viola; Carl Barth, Violincello. The concert opened with “Andante funebre e doloroso ma con moto” from Quartet Op. 30 by Tchaikovsky, and continued with Quartet in E Flat major by Dittersdorf, Quartet Op. 14 by Alexandre Winkler (first Boston performance), and finally the “First Movement-Allegro” from Beethoven”s Quartet Op. 59, No. 1. It was certainly appropriate that a first performance should be part of a program in honor of Lang.
Late in August the Herald ran a story, “TWO ESTATES APPRAISED.” It liisted stocks and bonds valused at $575,037 and real estate of $59,500 which included $40,000 for studio building at 6 Newbury Street, $11,500 for the 6 Brimmer Street home and $8,000 for his father”s house at 93 Waltham Street. There were also securities of the American Telephone and Telegraph Co. worth $32,226 and of the Boston Elevated Co. worth $33,250. (Herald, August 28, 1909, p. 11, GenBank)
The Cecilia Society, the Apollo Club, and the Handel and Haydn Society each received $1,000 in his will, and after other bequests, a trust fund of $150,000 was established for the benefit of his widow while each of the children also had trusts created for their benefit. The total estate valued over $600,000 (equivalent to over $12,000,000 today), a rather incredible amount for the time, especially considering his profession. An article entitled “Benjamin J. Lang Left Big Estate – Inventory Places Late Organist”s Property at Total of $634,587-About $375,000 Worth of the Property Is in Stocks and Bonds” goes on to state that “According to the inventory filed at the Suffolk Registry of Probate, the property left by B. J. Lang is estimated at $634,587.The personal property, consisting of gilt-edge stocks and baons, is rated at $575,087, and the rel estate at &59,500. The real estate includes the property at 6 Newbury Street, $40,000; property at 8 Brimmer Street $11,500, and the house at 93 Waltham Street [which had been his father and step-mother”s home] $8,000. Two fo the largest items in the personal estate are holdings in the stock of the American Telephone and Telegraph Company and the Boston Elevated, valused at $33,226 and $33250, respectively. The appraisers are A. Palmer Browne, John L. Saltonstall and Alfred J. Rowan.” (Journal, August 28, 1909, p. 6, GenealogyBank) Elson described him as “a perfect organizer. He was a man of enterprise beyond any European comprehension.”
In B.J.”s will (1909-#145059) he gave Margaret “my autographs of eminent people, framed and unframed and my Parsifal cup” while to Malcolm he gave “music and books, my body of programs and notes, and the Handel and Haydn Society watch.” A watch chain had been given to B. J. at a reunion of the Handel and Haydn chorus members held on June 14, 1865. Speeches were made, Gilmore”s full band performed, various gifts were presented, and F. G. Underwood “then presented to Mr. B. J. Lang, organist of the Society, a handsome gold watch chain, prefacing it with an admirable speech, to which Mr. Lang responded…The reunion was the happiest social gathering that has ever been held under the auspices of the Society.” (BMT, July 1, 1865, pp. 100 and 101) To Rosamond he gave “Music and books remaining, my silver box of Liszt”s hair, my Cecilia silver cup… and my music watch.” $5,000 each was given to Harvard and Yale to benefit their Music departments. He further gave $10,000 each to the Handel and Haydn Society and the Cecilia Society and $5,000 to the Apollo Club.
LANG INFLUENCE LIVES ON.
The programming of the Boston Singing Club”s 1909-10 Season reflected the model established by Lang. The first concert included Bach”s Thou Guide of Israel and the first performance of Chadwick”s Noel. The second concert was a miscellaneous selection while the final concert was Bach”s St John Passion “with Mr. Arnold Dolmetsch and others assiting with old-time instruments.” (Globe November 28, 1909. p. 51) The conductor was Lang”s longtime pupil, H. G. Tucker. Mrs. Isabella Stuart Gardner donated money to the Boston Public Library to set up the “Gardner Fund in Memory of Benjamin Johnson Lang.” A special bookplate was created. (Un. of Delaware William Augusus Brewer Bookplate Collection)
HALL OF FAME.
In the fall of 1909 the Boston Globe ran an article asking for nominations of 50 New Englanders for “Boston”s Hall of Fame.” Among the first to be nominated were Nathan Hale, Oliver Wendell Holmes and Lang. “His devotion to all that is best in music, his pioneer work for the last 50 years in bringing new music to Boston, the influenece of a truly great soul ex—ted at all times for the uplifting of musical ideals of not only Boston, but the whole country, entitle him to a lasting place in the hall of fame. Permit one of his pupils to suggest his name. Worchester, Sept. 17, R. C. R.” (Globe September 20, 1909, p. ??)