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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492

INC.

PIERRE MONTEUX, Conductor

FORTY-THIRD SEASON. 1923-1924

'Mil ©J

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA. Inc.

FREDERICK P. CABOT President

GALEN L. STONE Vice-President ERNEST B. DANE Treasurer

ALFRED L. AIKEN ARTHUR LYMAN

FREDERICK P. CABOT HENRY B. SAWYER

ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH

W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager

1585 :BE£TN0V6^, and cT^ture

Sumvay Colircrion bjoXC^Vjeth

STEIN WAY TH£ /NSTKUMENT OF THE IMMORTALS the 26th of March, 1827, died Liszt and Rubinstein, for Wagner, Berlioz ONLudwig van Beethoven, of whom and Gounod. And today, a still greater it has been said that he was the Steinway than these great men knew, greatest of all musicians. A generation responds to the touch of Paderewksi, later was born the Steinway Piano, which Rachmaninoff and Hofmann. Such, in is acknowledged to be the greatest of all fact, are the fortunes of time, that today,

pianofortes. What a pity it is that the this Instrument of the Immortals, greatest master could not himself have this piano, more perfect than any played upon the greatest instrument — Beethoven ever dreamed of, can be poS' that these two could not have been born scssed and played and cherished not only together! Though the Steinway was de- by the few who are the masters of music, nied Beethoven, it was here in time for but by the many who are its lovers.

Steinway & Sont and their dealen have made it conoenlently possible for music lovers to own a Steinicay. Prices: $875 and up, plus freight at points distant from New York-

STEINWAY Q SONS, Steinway HaU, 109 E. 14th Street, New Yoflc

1586 ^

Forty-third Season. 1923-1924 PIERRE MONTEUX, Conductor

Violins.

Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Siegl, F. Kassman, N. Cherkassky, P. Leveen, P. Mariotti, V.

Thillois, F. Gorodetzky, L. Kurth, R. Riedlinger, H. Murray, J. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, L. Tapley, R. Del Sordo, R. Messina, S. Diamond, S. Erkelens, H. Seiniger, S.

Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A. Arti&res, L. Van Wynbergen, C. Shirley, P. Mullaly, J

Gerhardt, S. Kluge, M. Deane, C. Zahn, F.

Violoncellos.

Bedetti, J. Schroeder, A. JULIUS CHALOFF

In this musician a composer -pianist of rare quality and power has been added to the list of Ampico artists. ^He was born in Boston of Russian parents and has attained a high place among eminent musicians and real distinction in his musical achievements. THE AMPICO

His playing of Islamey, that won- position — its blazing color, its derful Oriental Fantasia by Baia- Oriental enchantment, with ut- kirew, adds yet another triumph most fidelity. ^From crashing to the long line of Ampico suc- crescendo to delicate diminuen- cesses. For the Ampico re-enacts do, all the exquisite shading in- Julius Chaloff's interpretation of spired by the artist's own genius this tremendously difficult com- is brought to you by the Ampico.

ISHtD 1813 (V"*S^_; '

169 Tremont Street, Boston

PIANOS OF ALL PRICES — EACH PRE-EMINENT IN ITS CLASS

1588 .

SYMPHONY HALL 44th Season 1974-1925

24 FRIDAY AFTERNOON CONCERTS 24 SATURDAY EVENING CONCERTS

BEGINNING OCTOBER 10-11. 1924

BY THE Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor

WITH DISTINGUISHED SOLOISTS

SUBSCRIPTION INFORMATION

This year's subscribers for the series of 24 Friday afternoon and 24 Saturday evening concerts have an option until May 1 to retain their seats for the following season of 1924-25.

Applications from new subscribers are now being received and their names placed on the waiting list. These applications will be filled in order of receipt and seats allotted as near the desired location as possible shortly after May 1 Season Tickets for 24 concerts, $70, $65, $60, $55, $50, $48. $45. $40, $35, $30, $20. No Tax.

Address all communications to

W. H. BRENNAN, Manager

Symphony Halt Boston

Please advise if you have not already received your renewal subscription notice.

(over) SERGE KOUSSEVITZKY

Next autumn Serge Koussevitzky, called the most striking figure and dominant personality in the orchestral concerts of London and Paris, will come to America for the

first time, to be the conductor of the Boston Symphony Orchestra.

He is described as a leader of rare magnetism and forcefulness, and as an artist of impassioned convictions.

Mr. Koussevitzky's earlier career in Russia was perhaps most conspicuous in the famous orchestra which he organized in Moscow. He as- sembled his country's best musicians, subsidized them, that his hand might be entirely free, and drilled them into a remarkable organization. In Moscow and Petrograd, Beethoven and Bach festivals figured among his concerts. He likewise championed music of genius from living com- posers. It was also characteristic of him to travel all over Russia with his orchestra, bearing symphonic music to parts where it had never been heard. He even chartered a steamer and, sailing the length of the Volga, gave concerts in town after town.

It was in 1920 that circumstances took him westward. In Paris he organized what have come to be known broadly as the "Koussevitzky Concerts" which for the last four seasons have been the most prominent in that city. In London he has made a similarly vivid impression, particularly as guest conductor of the London Sym- phony Orchestra. He has likewise appeared as guest over numer- ous other European orchestras. He has occasionally conducted opera, notably at the Grand Opera in Paris and in Barcelona.

Serge Koussevitzky will be the first Russian to lead the Boston Symphony Orchestra. He is named as the only truly great conductor whom as yet America has not heard.

(OVIlR) FORTY-THIRD SEASON. NINETEEN HUNDRED TWENTY-THREE

Tweety-seci

FRIDAY AFTERNOON, APRIL 18, at 2.30 o'clock

SATURDAY EVENING, APRIL 19, at 8.15 o'clock

Rimsky-Korsakov "The Russian Easter," Overture on Themes of the Russian Church, Op. 36

Schubert Symphony in B minor, "Unfinished"

I. Allegro moderate. II. Andante con mo to.

Mozart Aria, "Ach nur einmal noch im Leben" from "Titus"

Converse "Song of the Sea," Tone-poem for Orchestra (After Walt Whitman) (First Performance)

Strauss Songs with Orchestra a. Morgen b. Muttertandelei c. Cacilie

Schelling . "A Victory Ball," Fantasy for Orchestra (Conducted by the Composer) (First time in Boston)

SOLOIST SIGRID ONEGIN

There will be an intermission of ten minutes after Mozart's aria

City of Boston, Revised Regulation of August 5. 1 898,—C^iapter 3, relating to the covering of the head in places of public amusement Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obilructi the view of the exhibition or performance in such place of any person seated in any seat therein provided for tpectatort. it beinz understood that a low bead covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN. 6ty Clwk.

The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert

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, J--W^Ti ''La Grande Paque Russe'' (''The Russian Easter"); Overture ON Themes op the Russian Church, Op. 36 Nicholas Andrejevitch Rimsky-Korsakov

(Born at Tikhvin, in the government of Novgorod, March 18,* 1844; died at Petrograd, June 21, 1908)

Rimsky-Korsakov wrote this overture in 1888. It was not published until 1890. The score, dedicated to the memory of Moussorgsky and Borodin, calls for these instruments: three flutes (the third interchangeable with a piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, three kettledrums. Glock- enspiel, triangle, cymbals, bass drum, tam-tam, harp; first violins, 20-12, second violins, 18-10; ^dolas, 14-8; violoncellos, 12-8; double- basses, 10-6. The first performance of the overture in Boston was at a concert of the Boston Symphony Orchestra on October 23, 1897, Emil Paur conductor. The programme also comprised: Gernshelm's Violin Concerto in D major (first time in Boston), I. Schnitzler violinist ; Schumann's Symphony No. 1 ; Tchaikovsky's Italian Capriccio (first time in Boston).

This date is given in the catalogue of Belai'ev, the Russian publishing-house. One or two music lexicons give May 21.

RECENT PERFORMANCES OF THE WORKS OF

MABEL W. DAMIELiI=-3Ds~> SONGS SUNG BY

GLORY AND ENDLESS YEARS . . Reinald Werrenrath, Daisy Krey G. Roberts Lunger, Henry Jackson Warren BEYOND G. Roberts Lunger DAYBREAK Daisy Krey, G. Roberts Lunger VILLA OF DREAMS Marie Sundelius, Reinald Werrenrath THE SONG OF THE PERSIAN CAPTIVE Marion Aubens Wise THE WATERFALL Lydia Lipkowska, Bernice Fisher Zelina de Maclot, Daisy Krey THE DESOLATE CITY Herbert Wellington Smith with the People's Tone Poem for Baritone and Orchestra Symphony Orchestra

SONGS OF ELFLAND Trios for Women's Voices with accompani- The Fairy Road ment of Harp, Flute and Strings The Fairy Ring First performed by the St. Louis Symphony Orchestra and Chorus First performance in Boston to be given April 27th at the Boston Flute Players' Club

PEACE WITH A . . . . Chorus for Mixed Voices SWORD _ The Cecilia Society JUNE RHAPSODY Trio for Women's Voices Boston Choral Society, Radcliffe College, Northfield Seminary To be given by a chorus of 1600 voices from_ the Boston Public Schools, in Symphony Hall, Music Week

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1591 — : : —

A programme in Kussian and French is printed on a fly-leaf of the score: two verses from Psalm LXVII., six verses from the six- teenth chapter of tlie Gospel according to Mark, and further matter written by the composer. The Biblical quotations are given in the old Slavonic tongue, which is still used in the Russian liturgy. Rimsky-Korsakov's part of the programme is in modern Russian. The French version of Psalm LXVII. states that it is a translation of the Septuagint adopted by the Russian Church; this Psalm therein is numbered LXVII. In the King James English version it is LXVIII.

Let God arise, let his enemies be scattered Let them also that hate him, flee before him. As smoke is driven away, so drive them away As wax melteth before the fire. So let the wicked perish at the presence of God. Psalm LXVII. And when the Sabbath was past, Mary Magdalene, and Mary the mother of James, and Salome, had bought sweet spices, that they might come and anoint him. And very early in the morning, the first day of the week, they came unto the sepulchre at the rising of the sun : And they said among themselves. Who shall roll us away the stone from the door of the sepulchre? (And when they looked, they saw that the stone was rolled away, for it was very great.) And entering into the sepulchre, they saw a young man sitting on the right side, clothed in a long white garment ; and they were affrighted. And he saith unto them. Be not affrighted ye seek Jesus of ;

Nazareth, which was crucified : he is risen. St. Mark xvi. And the joyful tidings were spread abroad all over the world, and they who hated Him fled before Him, vanishing like smoke. "Resurrexit !" sing the choirs of Angels in heaven, to the sound of the

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1593 Archangels' trumpets and the fluttering of the wings of the Seraphim. "Res- urrexit!" sing the priests in the temples, in the midst of clouds of incense, by the light of innumerable candles to the chiming of triumphant bells.

The overture begins with an Introduction (Lento mystico, D minor, 5-2 time) in which a melody of the Russian Church is given to the wood-wind. The strings take it up. A cadenza for the solo violin leads to a section in which the solo violoncello repeats a phrase. The opening chant is now given to the trombones. Strings answer antiphonally. The solo violin has another cadenza, An- dante lugubre, sempre alia breve. A portion of the chant is devel- oped. The main body of the overture. Allegro agitato. D minor, 2-2, begins with the exposition and development of the first theme, which is taken from the ecclesiastical melody of the Introduction, first in the strings and clarinet, then in a steadily fuller orchestra. The second theme, Poco piu sostenuto e tranquillo, E minor, is allotted ADVANTAGES

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1595 : to the violins (two of them in altissiino play harmonics) against repeated chords in the wood-wind and a triplet figure for the harp. A call is sounded by horns and trumpets. A new section follows with much work for percussion instruments. '^Note the imitation of a deep-toned bell in the gong." There is a church-like return of the second theme in the wood-wind, and then a recitative, Maestoso, for the trombone, accompanied by sustained harmonies for the violoncellos and double-basses. The first theme reappears. There is the customary recapitulation section, more extended, with very different instrumentation. The coda is long. At the end the second theme is sounded vigorously by trombones and lower strings. When this overture was first played in Boston (1897), William Foster Apthorp, then the editor of the Boston Symphony Orches- tra's programme books, wrote: "As far as this overture can be considered to adhere to the traditional form, its form is that of the sonatina, rather that of the sonata ; there is no free fantasia proper. But the development assumes, from the beginning, so much of the character of working-out that the form loses whatever of elementary simplicity might be taken to be implied in the term 'sonatina.' Upon the whole the development is very free."

* *

These compositions of Eimsky-Korsakov have been performed in Boston at subscription concerts of the Boston Symphony Orchestra. First performances are starred

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1597 ;

1897, April 17, "Scheherazade"* ; October 23, "The Russian Easter"* December 11. "Scheherazade." 1898, March 12, "Antar."* 1900, January 13, "Scheherazade." 1902, November 15, Overture to "The Betrothed of the Tsar."* 1904, April 16, Overture to "The Betrothed of the Tsar." 1905, February 4, "Scheherazade"; March 25, "Sadko."* 3906, November 24, Overture to "The Betrothed of the Tsar."

1908, February 15, Caprice on Spanish Themes* ; October 17. "Schehera- zade" (in memory of the composer). 1910, January 1, Caprice on Spanish Themes. 1911, November 18, "Scheherazade." 1913, April 5, "Antar." 1914, March 28, Caprice on Spanish Themes.

1915, November 12, "Antar" ; December 31, Caprice on Spanish Themes. 1916, April 28, Overture to "The Betrothed of the Tsar"; November 10, "Scheherazade." 1918, November 15, Caprice on Spanish Themes.

1919, Januarv 3, "Antar" ; February 21, "Scheherazade" ; March 14, "Sadko."

1920, January 30, "The Russian Easter" ; April 16, Introduction and March from "Le Coq d'Or."*

1921, October 7, "Sadko" ; December 23, "Night on Mount Triglav."*

1922, February 24, "The Russian Easter" ; March 3, "In Novgorod we lived together"* from "The Betrothed of the Tsar" (Nina Koshetz, singer) ; April 28, "Scheherazade"; October 7, "Sadko"; October 20, "Conte Feerique."* 1923, April 20, Suite* from "The Legend of the Tsar Saltan."

* *

1598 What the Boxes are Bringing Us

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1599 "Scheherazade" (1897-1922) 9 "The Russian Easter" (1897- 3 "Antar" (1898-1919) 4 Overture to "The Betrothed of the Tsar" 1902_1916) 4 "Sadko" (1905-1922) 4 Caprice on Spanish Themes (1908-1918) 5 Introduction and March from "I-e Co^d'Or" (1920) 1 "Night on Mount Triglav" (1921) 1 Air from "The Betrothed of the Tsar" (1922) 1 "Conte Feerique" (1922) 1 Suite from "The Legend of the Tsar Saltan" (1923) 1

Unfinished Symphony in B minor Franz Schubert

(Born at Lichtenthal, near Vienna, January 31, 1797; died at Vienna, November 19, 1828)

Two brothers, Aiiselm and Joseph Htittenbrenner, were fond of Schubert. Their home was in Graz, Styria, but they were living at

Vienna. Anselm was a musician ; Joseph was in a government office. Anselm took Schubert to call on Beethoven, and there is a story that the sick man said, ''You, Anselm, have my laind ; but Franz has my soul." Anselm closed the eyes of Beethoven in death. These brothers Avere constant in endeavor to make Schubert known.

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1601 Anselm weut so far as to publish a set of "Erlkiug Waltzes," and assisted in putting Schubert's opera, ''Alfonso and Estrella" (1822), in rehearsal at Graz, where it would have been performed if the score had not been too difficult for the orchestra. In 1822 Schubert was elected an honorary member of musical societies of Linz and Graz. In return for the compliment from Graz, he began the Sym- phony in B minor, No, 8 (October 30, 1822). He finished the Allegro and the Andante, and he wrote nine measures of the Scherzo. Schu- bert visited Graz in 1827, but neither there nor elsewhere did he ever hear his unfinished work. Anselm Htittenbrenner went back to his home about 1820, and it was during a visit to Vienna that he saw Beethoven dying. Joseph remained at Vienna. In 1860 he wrote from the office of the Min- ister of the Interior a singular letter to Johann Herbeck, who then conducted the concerts of the Gesellschaft der Musikfreunde. He begged permission to sing in the concerts as a member of the society, and urged him to look over symphonies, overtures, songs, quartets, choruses by Anselm. He added towards the end of the letter, "He [Anselm] has a treasure in Schubert's B minor symphony, which we put on a level with the great Symphony in C, his instrumental swan-song, and any one of the symphonies by Beet- hoven." Herbeck was inactive and silent for five years, although he visited Graz several times. Perhaps he was afraid that if the manuscript came to light, he could not gain possession of it, and the symphony,

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1603 7 like the one in C, wonld be produced elsewhere than in Vienna. Perhaps he thought the price of producing one of Anselm Htitten- brenner's works in Vienna too dear. There is reason to believe that Joseph insisted on this condition. (See "Johann Herbeck," by L. Herbeck, Vienna, 1885, page 165.) In 1865 Herbeck was obliged to journey with his sister-in-law, who sought health. They stopped in Graz. On May 1 he went to Ober- Andritz, where the old and tired Anselm, in a hidden, little one- story cottage, was awaiting death. Herbeck sat down in a humble inn. He talked with the landlord, who told him that Anselm was in the habit of breakfasting there. While they were talking, An- slm appeared. After a few words Herbeck said, "I am here to ask permission to produce one of your works at Vienna." The old man brightened, he shed his indifference, and after breakfast took him to his home. The workroom was stuffed with yellow and dusty papers, all in confusion. Anselm showed his own manuscripts, and finally Herbeck chose one of the ten overtures for performance. "It is mj purpose," he said, "to bring forward three contemporaries. Schubert, Htittenbrenner, and Lachner, in one concert before the Viennese public. It would naturally be very appropriate to rep- resent Schubert by a new work." "Oh, I have still a lot of things by Schubert," answered the old man ; and he pulled a mass of papers out of an old-fashioned chest. Herbeck immediately saw on the cover of a manuscript "Symphonic in H moll," in Schubert's handwriting. Herbeck looked the symphony over. "This would do. FIERCE-ARROW

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Will you let me have it copied immediatelr at mr cost?" "There is no hurrv," answered Anselm, "take it with vou." The symphom^ was first played at a Gesellschaft concert, Vienna, December 17, 1865, under Herbeck's direction. The programme was as follows :

Overture in C minor (new) Huttenl)ren7ier Symphony in B minor Scliuhert

1. Allegro ) , . ^"^^^-.j^jg *"^^J,. "^'^j 2. Andante \ 3. Presto vivace D major Old German Songs, unaccompanied 1. Liebesklage / Herieck Jagergluck (First time.) Symphony in A Mendelssohn

What was this "Presfo vivace, D major," put on the programme as the third movement of the "Unfinished" Symphony? There are only nine measures of the Scherzo, which is in B minor. Neither Ludwig Herbeck nor Hanslick tells us, Hiittenbrenner's overture was described as "respectable KapelT- meistermusik ; no one can deny its smoothness of style and a certain skill in the workmanship." The composer died in 1868. The Unfinished Symphony was played at the Crystal Palace, Sydenham, in 1867.

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1607 The first performance iu Boston was by the Orchestral Union, led by Carl Zerrahn, February 26, 1868. The first performance at a concert of the Boston Symphony Or- chestra in Boston was on February 11, 1882, Georg Henschel conductor. The symphony remained a fragment, as ^'Christabel," until a Berliner named August Ludwig added two movements of his own invention. He entitled the third "Philosophen-Scherzo," in which "a ring was put through the nose of the bear Learning, i.e., counter- point, that he might dance, to the amusement of all." ''The second and tender theme conjures from the fairyland of poetry (Invention) a fay which tames and frees the bear, who pines in constraint." The Finale is a "March of Fate," described by the composer at length and in fearsome words. The motto is, "Brazen stalks Fate, yet is she crowned with roses and love!" "Truly," says Ludwig, "Fate has stalked with brazen steps over our ancient masters. A new age has awakened a new music-era." There is much more of this. The incredible work, the iTnfinished Sj^mphony of Schubert, finished by August Ludwig, was performed at the Philharmonic, Berlin, December 8, 1892. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, kettledrums, strings.

Mme. SiGRiD Onegin was born at Stockholm. Her girlhood was spent in France. When she was fifteen years old she went to Germany. Having studied with E. R. Weiss, and later with teachers in Italy, she made her debut in recital at Berlin in 1912. ,Max Schillings advised her to sing in opera. She made her first appearance as "Carmen" at Stuttgart. Later she sang in various

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1609 opera houses of Europe. Mr. Gatti-Casazza, hearing her when she was a member of the Opera at Munich, engaged her for the Met- ropolitan Opera House. She sang in New York for the first time at a concert of the Philadelphia Orchestra on October 31, 1922 (Andromache's Lament from Bruch's ''Achilles" and songs by Strauss). Her first appearance at the Metropolitan Opera House was as Amneris on November 22, 1922. Her first recital in Boston was on February 8, 1923, in Symphony Hall, when she sang songs by Marcello, Lotti, Paisiello, Schubert, Brahms, seventeenth century pastorales and romances, etc.

Aria, "Ach^ nur einmal noch im Leben" ("Deh per questo istante solo"). Act 2, No. 19, from "Titus" ("La Clemenza di Tito^^) Wolfgang Amadeus Mozart

(Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791)

"La Clemenza di Tito," or "Titus," opera seria in two acts, original Italian text based by Caterino Mazzola on the like-named libretto of Metastasio, was performed for the first time on Septem- ber 6, 1791, at the coronation festivities of the Emperor Leopold II. at Prague. Titus Vespasianus, Baglione ; Vitellia, Maria Marchetti Fantozzi; Servilia, Antanini; Sextus, Carolina Perini; Annius, Bedini; Publius, Campi.

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1011 ; ;

The air "Ach, niir einmal noch im Leben" is snug by Sextus. Adagio, A major, 3^-4. Ach, nur einmal noch im Leben

Lass dein Herz mir ofCen steli'n ! Ruhiger, hast du vergeben, AVerd' ich dann zum Tode geh"u.

Zwar verdien' ich nicht Erbarmeu. Bange Furcht leischt mein Vergeh'n Dennoch ziirntest du gelinder, Konnt'st dn meine Reue seh'n.

Allegro.

xV.ch ! verzweifelud werd' ich sterben, Aber nicht vor Todeszagen. Ich verirrter konnt' es wagen Treulos gegen dich zu sein.

Das ist mehr als Todeszagen. Ja noch melir als Hollenpein.

This has been freely translated :-

For once open your heart to me while I am living. Forgiven I can easier meet death. True, I do not deserve compassion. Fear goes with death

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1613 you would be less angry if you could see my repentance. Fear of death does not cause me to despair. To be faithless towards you.—that is more than pangs of death or hell's torments.

Mozart's accompaniment is scored for flute, two oboes, two bassoons, tw^o horns and strings.

The librettist, Caterino Mazzola, Avas Venetian and a friend of da Ponte. He was appointed Conrt Poet at Dresden in 1782, and one of his duties was to provide librettos for operas and cantatas. Metastasio's libretto in three acts was written in 1 734, and Caldara was the first to set it to music, for the birthday festival of Charles VI., at Vienna, 1734. This opera w'as ordered b}' the Estates of Bohemia for the coronation of Leopold II. Mozart was a sick man when he received the commission in August, but he buckled himself to the task. The opera was written and rehearsed within eighteen days. The secco recitatives Avere not by Mozart, but by his friend Stissmaier, who Avent Avith him to the first performance. The earth Avas becoming impatient for Mozart. He was obliged

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1615 to take medicine during his visit; he was very pale; and, although he now and then jested with friends, he was in doleful dumps, and when he took his leave he shed tears. The failure of the opera deepened his melancholy. Niemtschek thought that the audience, in holiday humor, was unable to appreciate the music. The opera is a return to the old-fashioned opera seria in construction and character. For instance, the parts of Sextus and Annius, the lovers, were written for women and played and sung by them. An incredible opera to come after "Don Giovanni" and twenty-four days before the first performance of "The Magic Flute"! The Prague correspondent of the Musikalisches Wochenhlatt (Berlin) wrote: "The music did not please, although it is by Mozart. This other- wise great composer appears to have forgotten the motto of Octa- vius, 'Make haste slowly!' Furthermore, only the arias and choruses were by him. The recitatives were composed by another.

. . . Mozart is dead. He went home sick from Prague, and never recovered. They thought he was dropsical, and he died at Vienna towards the end of last week." This letter is dated December 12, 1791. "Because his body swelled after his death, it is said that he was poisoned. One of his last works is a Requiem, they say, which was performed at his funeral. Now he is dead, the Viennese will indeed discover what they have lost in him. Alive, he had constantly to do with a cabal, which he, it is true, used to irritate by his manners sans souci. Neither his 'Figaro' nor his 'Don Juan'

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© /iz.l s.. c. &• i. c% had any luck in Vienna ; the more conspicuous their success at Prague. Peace to liis ashes." Metastasio wrote the original libretto of "La Clemenza di Tito" at Vienna in 1734, the year in which his dearly beloved Marianni Bulgarini, called Romanina, the greatest female singer and actress of her time, died and bequeathed to him, after the death of her husband, all she had, to the amount of 25,000 crowns. Smug Dr. Burney remarks in his "Memoirs of the Life and Writings of the

Abate Metastasio" : "It seems as if the character and court of the emperor Charles VI. had directed the muse of Metastasio to choose a virtuous prince for the principal hero of most of the musical dramas that were represented in the Imperial Theatre. The emperor Avas a religious prince and a rigid observer of decorum himself, which constantly kept licentiousness at a distance from his court. And the poet, naturally a friend to virtue and morality, seems to have gratified his own feelings by conforming to the serious sentiments of his Imperial Patron." The story is practically the same, with change of characters, as that of Corneille's "Cinna; on, la Clemence d'Auguste" (1639) Metastasio took for his hero Titus, "the lovely dearling and delight- full joy of Mankinde." Titus has unthroned Vitellius, whose daugh- ter Vitellia is sore vexed because Titus does not woo her. She con- spires with her lover Sextus, friend to the emperor, the latter's downfall. Titus exiles his sweetheart, Berenice, and prays Sextus to give him the hand of his sister, Servilia, who is already promised to Annius. Servilia tells the truth to Titus, who abandons his pur-

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ênrp Jf. iWiller Sc ông îano Co. 395 BoylstOn Street Near Arlington Subway Station. Boston 1619 — — pose, and uow thinks favorably of Vitellia. She meanwhile goes on with her plot. There is a report that Titus has been assassinated. Sextus, about to escape, is imprisoned, but out of love for Vitellia is silent. Vitellia, to save him, declares in the amphitheatre, as Sextus is about to be put to death, that she alone is guilty of in- stigating the plot. Titus pardons all.

Zelter wrote to Goethe : ''Such a Titus, who is in love with every woman who wishes to kill him, is yet to be born." This text Avas set to music by many besides Caldara and Mozart, Leo, Hasse, Wagenseil, Pampani, Perez, Gluck, Adolfati, Jomelli, Cocchi, Naumann, Bernasconi, Anfossi, Sarti, Holzbauer, Guglielmi, Apell, Ottani, Mccolini, Galuppi, Grua, Mazzoni. There is a curious passage in the "Osservazione sopra i Drammi deir Abate Metastasio," published at Nice in 1785 : "In the 'Clemenza di Tito' as in some of his other works, Metas- tasio has dared to beat down the idol to which modern music has ofifered so much incense, namely, the Duet. We applaud his bold- ness. The fierce and furious Vitellia was not permitted to warble along with the foolish Sextus or the gentle Titus. But if this opera is again brought on the stage in our time, who knows what non- sense may be introduced into it by the tribe of stage-poets, here to supply a duet, there to introduce a rondeau, now in compliance with the dictates of caprice, and now to satisfy the demands of ignorance !'' For strictures on the revision of this libretto by Maz- zola, wiiom da Ponte declared to be *'an elegant poet and the first who has known how to write an opera-buffa" ; for objection to the

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1020 1621 : iindramatic character of Mozart's opera, see Gteorge Hogarth's

''Memoirs of the Musical Drama," vol. i. pp.' 838-340 (London, 1838). "La Clemenza di Tito" was the first of Mozart's operas to be performed in England. It was produced at the King's Theatre, London, March 27, 1806, for Elizabeth Billington's benefit. Honest

Mr. Parke, oboist and gossip, wrote : "In this charming opera Bil- lington, who was ably supported by Braham, made a display of talent rarely witnessed; and the music stamps the composer of it as the greatest musical genius of the age. Mrs. Billington, with whom I had lived on terms of friendly intimacy for several years, sent me a ticket. ... I was highly gratified with the refined science, elegant taste, and natural simplicity displayed in this fine produc- tion." * * *

These airs from "La Clemenza di Tito" have been sung at these concerts in Boston "Parto, parto" (Rosa Olitzka), January 1, 1896; "Recitative," "Ecco il punto," and Rondo, "Non piii di fiori" (Mme. Schumann- Heink), October 27, 1900, and December 4, 1910.

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1623 The average annual expenses of the Boston Symph( This operating deficit is met by subscriptions. A Hst of th(

Abbott, Gordon Browning, Mrs. C. A. Curtis, Mrs. G. S. (Estate Adams, Miss Clara A. Bruzza, L., Brookljai, N.Y. Curtis, Miss Harriot S. Agassiz, Mrs. George R. Buckingham, Miss M. H. Curtis, Miss Mary G. Aiken, Mr. and Mrs. Alfred Bullard, Miss Ellen T. Gushing, Sarah P. Ames, Mrs. F. L. Burdett, Everett W. Gushing, Mrs. W. E. Ames, Mrs. Hobart Burnham, Miss Helen C. Cutler, Mrs. C._H. Ames, Hobart Burnham, Miss M. C. Cutler, Miss Elisabeth A. Ames, John S. Burnham, Mrs. W. A. Ames, Oakes Burr, Mrs. Heman Dabney, Mr. and Mrs. Ge( Ames, Mrs. William H. Burr, I. Tucker Dana, R. H. Amory Mrs. Harcourt Dane, Mr. and Mrs. Erne; Daniels, Miss Mabel Anonymous (3) Cabot, Miss Amy W. W. Anthony, Mrs. Margaret Cabot, Mrs. Arthur T. Davenport, Mrs. George \\ Anthony, Miss A. R. Cabot, Frederick P. Day, Mrs. Henry B. Apsey, Laura Soule Cabot, Henry B. Derby, Miss EHzabeth P. Apthorp, Mrs. H. O. Cabot, Mrs. Sewall Dexter, Miss Rose L. Dixey, Mrs. Richard C. Atherton, Percy L. Carter, Mrs. J. _W. Atwill, Miss EHzabeth M. Case, Miss Louise W. Dodd, Mrs. Henry Aubin, Miss Margaret H. Cate, Martin L. Dole, Mrs. Charles F. Dunne, F. L. and Compan; Chadbourne, Mrs. J. H. Bacon, Mrs. William Chapin, Horace D. Dupee, W. A. Baker, Mr. and Mrs. G. B. Chapin, Miss Mabel H. Eager, Miss Mabel T. Baker, Miss Helen S. Chase, Mrs. Henry M. Eaton, Miss B. L. Balch, Mrs. John Cheever, Dr. and Mrs. D. Eaton, Miss L. H. Barbour, Thomas Chromatic Club Edwards, Robert Barkhouse, Mrs. Arthur Coale, George O. G. J. J. Eisemann, Juhus Barlow, R. S. Coale, Mrs. George O. G. Eisemann, Ludwig Barnet, Mr. and Mrs. S. J. Codman, Miss C. A. Ellery, Mr. and Mrs. Willia Barrett, Mrs. William E. Codman, Mrs. Russell S. ElUot, Mrs. John W. Bartol, Mrs. John W. Coffin, Winthrop Ely, Miss Augusta C. Bates, The Misses Colby, A. E._ Ely, Elizabeth B. Bates, Mrs. One Coleman, Miss E. L. Endicott, S. C BayUes, Mrs. Walter C. Colt, Mr. and Mrs. James D. Ernst, Mrs. Harold C, Beal, Miss Ida G. Conant, Mrs. William C. Eustis, H. D. Beebe, Frank H. Converse, Mrs. Costello C. Eustis, The Misses Beebe, E. Pierson Converse, M. M. Beebe, Miss Sylenda Coolidge, Mr. and Mrs. Harold J. Farlow, Dr. and Mrs. John Berwick-Walker, Clara CooUdge, Mrs. J. G. Farlow, Mrs. William G. Best, Mrs. Edward H. Coolidge, Mrs. J. T. Farrington, Robert D. Bigelow, Dr. W. S. Coohdge, Juhan L. Faulkner, Miss Fannie M. Bishop, Miss Margaret Coolidge, Mrs. T. J. Fay, Mrs. D. B. Blake, Mrs. Arthur W. Coonley, Howard Fenollosa, William S. Blake, Estate of William P. Corey, Mrs. H. D. Fish, Frederick P. BKss, Henry W. Getting, Mrs. C. E. Fisher, Miss Edith Boit, Mrs. John E. Cotton, Miss EUzabeth A. Fisher, Frances B. Bostwick, JuUette C. Courtney, Mr. and Mrs. Paul G. Fitch, Miss Carrie T. Bradford, Mary G. Crafts, Mrs. George P. Fitz, Mrs. R. H. Bradlee, Mrs. Arthur T. Craig, Mrs. Helen M. Fitz, Mrs. W. Scott Bradlee, Mr. and Mrs.Thos. S. Crosby, Mrs. S. V. R. Foote, Arthur Bradlee, Miss S. C. Crowninshield, Mrs. F. B. Foote, George L. Brandegee, Mr. and Mrs. E. D, Cummings, Estate of Mrs. Forbes, Allan Bremer, Mrs. J. L. Charles A. Forbes, Mrs. Ralph E. Brewer, F. R. Cummings, Mr. and Mrs. Forbes, Mrs. Waldo E. Brigham, Mrs. Cyrus Charles K. Fox, Miss Alice M. Brown, George W. Cunningham, Miss Mary Fox, Felix

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S. Loring, Miss Louisa P. h, Miss Katharine Howe, Mrs. Henry Loring, Mrs. Thacher h, Mrs. HolUs Howe, M. A. DeWoKe Loring, WilUam Caleb enstein, Lina H. Howe, Mrs. J. Murray Lothrop, Mrs. Thornton K. i Hoyt, Mrs. C. C. Lothrop, Mrs. William S. H. ingham, Mrs. Langdon Hyde, Mrs. Katharine H. Luce, Stephen B. ingham, Mrs. Louis A. Hunnewell, Mrs. Arthur Hunnewell, Mrs. Henry S. Lowell, Miss Lucy , Alvan T. Hunt, Miss Abby W. Lyman, Arthur E. Howard Lyon, Mrs. George Armstrong n, Mrs. W. A. Ivers, Miss Ella F. Lyon, Mrs. W. H.

•t, Mrs. Ellen J. Jackson, Mrs. Henry Macomber, John R. re, Mrs. G. L. Jackson, Mrs. James, Jr. Maguire, Mrs. Emily M. mn, Miss Frances Jackson, Miss Marian C. Manning, Mr. and Mrs. Earl G. in, Mrs. John L., Jr. L. _ Jaques, Miss H. Mason, Miss Fanny P. e, Mr. and Mrs. Edwin Johns, Clayton • McMichael, Mrs. L. G. amham Mrs. Arthur S. Johnson, Mr. and In Memoriam—C. S. D.- field, Joseph Baram Johnson, Miss Edith Morse Miller, Miss Mildred A. ough, Mrs. H. V. Johnson, Mrs. E. J. Arthur N. wood,Mr.and Mrs.LeviH. Milliken, Jordan, Helen L. Milliken, Mrs. James I. old, Roger Kaffenburgh,Mr.&Mrs.AlbertW. Moir, Mrs. John r, Mrs. Frances L. Moore, Mrs. Edward C. Eleanor Kaufman, M. B. , Miss Moors, Mrs. Arthur W. L. Keeler, Mrs. A. M. , Miss S. Kent, Mrs. Edward L. Morison, Mrs. John H. Mrs. H. S. Kimball, The Misses Morse, Miss Frances R. Mrs. John L. King, Mrs. Henry P. Morse, Henry Lee well, Mrs.FrankW Mr.and • King, The Misses Morse, Miss J. G. Penrose well, N. Koshland, Mr. and Mrs. Morse, J. Torrey, Jr. nond, Mrs. Edward Abralaam Morss, Mr. and Mrs. Charles A. ng, Emor H. Koshland, Mr. and Mrs. Jesse Motley, Mrs. E. Preble ngton, Mrs. Francis B. Mumford, Mrs. George S. Aimee s. Miss Frances K. Lamb, Miss Murdock, Mr. and Mrs. Harold Lamb, Horatio A. ;, Mrs. Richard Murfitt, Mrs. S. C. away, Miss Ellen R. Lamson, Clement R. McKibbin, Miss Emily W. hton, Mrs. M. G. Lane, Mrs. G. M. MacLaurin, Mrs. Richard C- n, Parkman B. Lang, Mrs. B. J. Newell, Mrs. Edward A. ey, Mr. and Mrs. George Lang, Miss Margaret Ruthven

. Nichols, Mrs. Henry G. rard, Mrs. G. G. Lanz, Jeanne M., Brooklyn, N.Y Nickerson, William E. lan, William C. Lapham, Henry G. Norcross, Mrs. Otis lan, Mrs. Joseph M. Lasell, Miss Elizabeth Lasell, Josiah M. Nutter, George R. 3, Mrs. John Jay Latimer, Miss W., Brooklyn, inson, Mrs. F. L. J. Oakes, Francis J., Jr. inson, F. L., Jr. N.Y. Osgood, Emily L. Arthur D. Lawrence, Mrs. John Rev. George L. Mr. and Mrs. Edward B. Lawrence, Miss Sarah Paine, Paine, R. T. 2d Mrs. John F. Lee, Miss Bertha Parker, Mrs. Edward L. irt, PhiHp W. Lee, Mrs. F. H. Parkman, Henry les, Mr. and Mrs. E. J. Lee, George C. S. Parkman, Mrs. Henry les, Ida E. Lee, Mr. and Mrs. James Patton, James E. ans, Miss Katharine A. Lee, Joseph Peabody, Charles ans, Miss Marian Leland, Mrs. Lester Peabody, Mrs. Endicott i, Miss Helen Leman, J. Howard Peabody, Mrs. Francis ?hton, Clement S. Lewis, Mrs. George Peabody, Mrs. H. Rodman ;hton, Elizabeth G. Lilly, Mrs. Changing e, Mrs. George D. Lodge, John E. (Continued on following page) e, Henry S. Lombard, Mrs .Ephraim

willing to help it ilieve it important in the life of Boston and are

1625 Peabody, Margaret Saville, Mrs. WiUiam Torbert, Dr. James R. Perera, Mrs. Gino L. Sawyer, Mr. and Mrs. Henry B, Tower, Florence E. Peters, Mrs. William Y. Schneider, Miss Elizabeth Tuckerman, Mrs. L. S. Pfaelzer, Mrs. Franklin T. Sears, Miss Annie L. Turner, Nellie B. Phillips, Mrs. John C. Sears, Miss Mary P. Vaughan, Bertha H. PhiUips, Mrs. W. Sears, Mrs. Montgomery Vaughan, Mrs. Henry G. Pickman, Dudley L. Sears, Mr. and Mrs. Richard D, Vorenberg, Felix Pickman, Edward M. Sears, Richard D. Pierce, Mrs. M. V. Sears, WiUiam R. Wadsworth, Mrs. A. F. Pitman, Mrs. B. F. Shaw, Mrs. Henry S. Ward, Prof. R. DeC. Post, Mrs. John R. Shaw, Mrs. Henry S., Jr. Ware, Mrs. Arthur L. Potter, Mrs. Murray A. Shaw, Mrs. Q. A., Jr. Waring, Mrs. Guy Pratt, Mrs. L. Mortimer, Jr. Sheldon, Katharine H. Warner, Elizabeth Pratt, Mrs. Walter W. Shepard, Mrs. WiUis S. Warren, Mrs. Bayard Putnam, Mrs. James J. Silsbee, Mrs. George S. Warren,Mr. and Mrs.BentleyW. Putnam, Marion C. Slocimi, Mrs. WilUam H. Warren, Mr. and Mrs. E. R. Smith, F. Morton Watson, Mrs. Thomas R. Rand, E. K. Sortwell, Mrs. A. F. Webster, Mr. and Mrs. Edwin Ranney, Miss Helen M. S. Spalding, Walter R. Weeks, Mr. and Mrs. Robert S. Rantoul, Harriet C. Spaulding, Miss Emma F. Weeks, Sinclair Rantoul, Mrs. Neal Sprague, Mrs. Phineas Welch, E. Sohier Reed, Miss Emily W. Stackpole, Mrs. Frederick D. Weld, Mrs. Bernard C. Reed, Miss IdaB. Stackpole, Mr. and Mrs. Pier- Weld, Mrs. Charles G. Richardson, Mrs. Charles F. pont L. Weld, Miss Mary Richardson, Mrs. F. L. W. Staniford, Mrs. Daniel Wells, Mrs. Webster Richardson, Mrs. John Stanton, Katharine Wendell, Mrs. Barrett Richardson, W. K. Steinert, Alexander Wheatland, Richard Robb, Russell Steinway, Frederick T., Wheelwright, A. W. Robinson, B. L. New York, N.Y. Wheelwright, Miss Mary C. Rogers, H. L. Stevenson, Mr. and Mrs.R.H., White, Miss Gertrude R. Rollins, Mrs. W. Jr. J. Stone, Galen L. White, Miss Susie E. Rothschild, John Stone, Mrs. Galen L. Whitin, Mrs. G. Marston Rousmaniere, Mrs. E. S. Stone, Nathaniel H. Whiting, Mrs. Jasper Rothwell, Bernard J. Streeter, Mrs. E. C. Whitman, WiUiam Russell, Mrs. Richard S. Sturges, AUce K. Whitney, Mrs. Margaret F. G. Russell, Mrs. Robert S. Sturgis, The Misses Whittier, Mrs. Albert R. Sachs, Prof. Paul J. Swallow, Maude C. WhitweU, Mr. and Mrs. Fred- Sagendorph, George Swift, Miss Lucy W. erick S. Saltonstall, Mrs. John Swift, Newton WiUiams, Moses Saltonstall, Leverett Wilson, Miss A. E. Saltonstall, Miss Muriel Gurdon Taft, Edward A. Winsor, Mrs. Alfred Saltonstall, Mrs. Philip L. Tapley, Miss Alice Wolcott, Mrs. Roger Saltonstall, Richard Tapley, Henry F. Wood, WiUiam E. Saltonstall, Mrs. R. M. Tappan, Miss Mary A. Wright, A. M. Sanger, Mrs. Charles R, Thayer, Mrs. W. H. Sanger, Mrs. George P. Thorndike, Mrs. J. L.

Edmands, Miss Violet Sargent, Mr. and Mrs. Edward H. Squibb, Dr. Edward H., Fay, A. D. Scott, Mrs. Arnold Brooklyn, N. Y. Lyman, Mrs. G. H., Jr. Tozzer, Mr. and Mrs. AlfredjM.

Badger, Dr.and Mrs.George S.C. Frost, Horace W. , Moseley, Mrs. F. S. Beckwith, Mrs. Daniel, Hornblower, Henry Stevens, Moses T. Providence, R. I. Hornblower, Mrs. Henry Tappan, Mrs. Frederick H. Cochran, Mrs. Edwin Paul, KafFenburgh,Mr.andMrs.Carl J. Ware, Henry New Haven, Conn. Lyons, John A.

Beach, John P. Farnsworth, WilUam Ripley, Edward L. Bemis, Mr. and Mrs. A. FarweU Holbrook, Miss Mary S. Selfridge, Mrs. G. S. Carr, Cornelia P. Hutchins, Mr. and Mrs. Edward Shattuck, LilUan Chapin, Mrs. Mary G., Little, Mrs. David M. Sibley, Mrs. Henry C.

Providence, R. I. Metcalf , Mr. and Mrs. Jesse H.. Steedman, Mrs. C. J., Clark, Mrs. Myroa H. Providence, R. I Providence, R. I. Dana, Dr. Harold W. MillUien, Miss Lois H. Thayer, Mrs. John E. Dowse, William B. H. Palmer, Mrs. Marion C. DuBois, Mrs. L. G. Plainer, Mrs. John Winthrop 1626 Latimer, IMr. and J\Irs. George D. Sampson, Charles E. In Memory of Albert van Raalte Carmichael, Dr. and Mrs. Henry Friend Harwood, Mrs. John H. Guild, Courtenay Huntsman, Ray Galacar, Mr. and Mrs. Frederic R Loeffler, Mrs. C. M. Jackson, Mrs. Arthur E. Shrigley, Mrs. Wilfred R. Alford, Mrs. O. H. Duff, Mr. and Mrs. John Jones, Miss Margaret H. Anonymous Friend Morse, Leonice S. Beebe, C. Philip Harwood, G. Fred Peirce, Miss AHce Foster Bramhall, Miss Eleanor Appleton, Miss Mar}' Frost, Mr. & Mrs. Donald McKay Putnam, Mrs. George Curtis, Miss Frances G. Houser, Mrs. H. M., Ratshesky, Mr. and Mrs. A. C. ElHs, Miss Helen Washington, D. C. Sherman, Mrs. Henry H Nickerson, Mrs. William G.

Manson, Elizabeth E. Sampson, Mrs. Robert deW. Stone, Mrs. William E. Pingree, Mrs. Arthur H. Pledges received from New Subscribers, April 14th Osgood, Mrs. E. L. Raymond, Mrs. Franklin F.

Subscriptions to date for season of 1923-24 - $81,998.34

Endowment Fund - - - - - 146,970.72 Endowment Fund, in memory of Henry L. Higginson 10,025.00 Subscriptions are applicable to deductions from the Federal Income Tcix.

The list of subscribers to the operating deficit of the Boston Symphony Orchestra, Inc. for 1923-24 was first printed in the programme books of November 16 and 17. Two weeks later, with the names of many new subscribers added in the interval, the pledged amount of $58,706.00 was published. Since then the total has been increased to $81,998.34 This has come about through a greatly extended cooperation in the support of the Orchestra on the part of its patrons. The Trustees, with much appreciation of what has already been done, would be glad to have it generally understood that subscriptions of small and moderate amounts are warmly welcomed from those who cannot make such contributions as they would like to offer. The widest possible distribution of support is as much to be desired as the support itself. Subscriptions to annual deficit and to the Endowment Fund should be sent to E. B. Dane, Treasurer. 6 Beacon Street, Boston, Mass. DONORS TO THE ENDOWMENT FUND Adams, Mrs. Brooks Bennett, Mrs. T. W. Cary, Miss Georgina S. Adams, Mrs. Charles H. Best, Mrs. Edward H. Case, Miss Louise W. Alford, Martha A. Bird, Mrs. Frances A. Chafee, Mrs. Z. Alford, Mrs. O. H. Bishop, Mrs. C. J. Chapin, H. D. Allen, Mary O. Bowditch, Dr. and Miss Olivia Y. Chapin, Miss Mabel H. Allen, Mrs. Philip R. Bradlee, Miss S. C. Chase, Mrs. Theodore Andrews, Miss Katharine H. A. B. Clark, Mrs. Frederic S. Anthony, Miss Margaret Bradlee, Col. and Mrs. Thomas S. Clarke, MarshaU G. Ashton, Joseph N. Brewer, Miss F. R. Clay, Mrs. B. B. Atherton, Percy L. Briggs, Miss H. S. Codman, Miss C. A. Atkinson, Mr. and Mrs. E. W. Brigham, Mrs. Clifford Cole, Mrs. Mollie R. Aubin, Miss Margaret H. Brooks, Miss Phyllis Cooper, Charlotte E, Austin, Mrs. Calvin Bruce, James L. Cram, Robert V. Buckingham, Mary H. Curtis, Mrs. Horatio G. "B" Burnham, Miss Alice E. Gushing, Mrs. W. E. Bailey, Miss Alice H. Bumham, Miss Helen C. Cutler Mrs. Elbridge G. Baker, H. S. Burnham, Miss M. C. Barr, Laura M. Daly, Mrs. Reginald A. Burr, Mr. and Mrs. Allston Bartlett, Mrs. S. Davenport, Mrs. George H- J. Burr, Mrs. Heman Bartlett, Mary F. Davenport, Mrs. Mary H. Butler, Miss Isabel Bartol, Mrs. J. W. Day, Mrs. Frank A. Bayley, Mrs. M. R. Cabot, F. Ernest Delano, Miss Julia Bazeley, Mr. and Mrs. W. A. L. Cabot, Frederick P. Derby, Miss Elizabeth P. Beach, Mr. and Mrs. Jonn Cabot, J. W. Dickerman, Mrs. Frank E. Bearse, Mrs. H. L. Cabot, Miss Theodora Dole, Mrs. Charles F. Beebe, Sylenda Carmichael, Dr. and Mrs. Henry Dudley, Frances Gardner 1627 Duff, Mr. and Mrs. John Hunter, Miss LiUian PhilUps, Mrs. A. V. Duncan, Mrs. Albert Greene Hurlbut, Mr. and Mrs. B, S PoweU, Mrs. W. B. Durkee, A. Imogene Friend Prather, Miss Elisabeth Hyde, Mrs. J. M. E. Prince, Mrs. Morton P. Earle, C. B. Ingraham, Mary Edwards, Miss Hannah M. Quincy, Ehnor "Cash" Ivers, Ella F. EUery, Mr. and Mrs. William Jack, Dr. Edwin E. Rantoul, Miss Edith Ehns, Helen T. Jack, Dr. Frederick L. Rantoul, Harriet C. Anonymous Friend Rantoul, Miss Margaret Emery, Mr. and Mrs. Frederick L Jennison, Miss Katharine A. Rawles, James D. Emery, Georgia H. Johnson, Miss Edith Morse Raymond, Mrs. Franklin F. Emery, Miss M. S. Rider, Mrs. LeHa Y. Johnson, Mrs. E. J. Ensign, Mrs. C. S., Jr. Johnson, Ellsworth E. Robbins, The Misses Estabrook, Mrs. Ida F. Robinson, Jeannie D. Kaffenburgh, Carl J. Robinson, Mrs. M. Fairbanks, Miss Catherine J. Kent, Mr. and Mrs. Edward L, Rogers, Henry M. and_Clara Farlow, W. John King, Miss Anne P. Kathleen Fay, Miss Helen B. King, Miss Caroline W. Ropes, Mrs. C. B. Felton, Mrs. C. C. King, Franklin Rueter, Mrs. Helena C. Fenollosa, William S. L.,J.D. Russell, Mrs. Robert S. Ferris, Ida J. Lampney, Alice E. Fisher, Miss Edith S. Lancaster, Stella C. Sargent, Mrs. Francis W. Fisher, Miss Frances B. Mrs. Lang, Ruthven Schneider, Elizabeth Fisher, R. B. Margaret Lee, Mrs. Francis H. Sears, Miss Annie L. Fiske, Arthur P., In Memory of Sears, Miss Mary P. Florence Sumner Fiske Lee, Mr. and Mrs. James S. Friend • Sedgwick, Prof, and Mrs Fitz, Mrs. W. Scott WiUiam T. Fogg, Mrs. Louisa H. Lee, Mr. and Mrs. Joseph Mrs. Selfridge, Mrs. George S. Foote, Arthur Levey, WiUiam M. Carrie L. Anonymous Forbes, Edward W. Lewis, S. Littell, Harriet Shaw, Miss Eleanor Fox, Miss Alice M. Miss R. Shaw, Mrs. Henry S. Fox, Felix Littell, Miss Lucy Annie F. Sheldon, Edward S. Fox, Isidor Lombard, Shepard, Miss Emily B. French, Miss Katherine Loring, Miss Louisa P. Shepard, Mrs. W. S. Frothingham, Mrs. L. A. Lothrop, Mrs. Thornton K. Lothrbp, Mrs. W. S. H. Sherman, Henry H. Gay, E. Howard LoweU, Miss Lucy Shurtleff, Gertrude H. Gebhard, Heinrich Lyon, Mrs. W. H. Silsbee, Elizabeth W. Slocum, Mrs. W. H. Grant, Mrs. EUzabeth McCabe, Gertrude B. Smith, Mrs. Frederick M. Gray, Elizabeth F. McCrary, Mabel S. SneU, Miss Frances Gray, Marion E. McDaniels, Mrs. W. H. Spalding, Miss Dora Gray, Mr. and Mrs. Russell MacFadden, Hamilton Spring, Mr. and Mrs. Romney Griswold, Mrs. Fitz-Edward McKibbin, Miss Emily W. Stackpole, Mrs. Frederick D. Guild, Miss Charlotte H. Manson, Miss Elizabeth E. Staniford, Mrs. Daniel Guild, Miss Eleanor Marrs, Mrs. KingsmiU Stearns, Mrs. C. K. Mayo, Lawrence Harding, Emor H. Stearns, Mrs. F. P. Miller, Miss Mildred A. Harpham, Mrs. SherUe B. Stevens, Mary Louisa Minot, Laurence Harrington, Mrs. F. B, Stewart, Mrs. Cecil Moore, Mrs. Edward C. Harris, Miss Frances K. Sturges, Dorothy Moran, Mrs. John Hatfield, Dr. and Mrs. H. K. J. Sturges, Mrs. Howard O. Morey, Mrs. Edwin Hayward, Mrs. A. F. Sullivan, Mrs. T. Russell Morrill, Miss Helen Ha3rward, Miss Emily H. Swallow, Maude C. Morrill, Miss Isabel W. Hayward, Mrs. G. G. Swan, Miss M. H. HiU, Mr. E. B. Neal, Mrs. J. A. Swift, Miss L. W. Hill, Miss Marion Newell, Mrs. Edward A. Nickerson, William E. Taft, Edward A. Hitch, Miss Julia D. j Hobbs, Mrs. Jane W. Norcross, Mrs. Otis Tapley, Miss Alice P. Tapley, Henry F. Hofman, H. O. Ogden, Mrs. David B. Tappan, Mrs. Frederick H HoUand, Charles P. Osgood, Miss Emily L. Homans, Mrs. William P. Thayer, Mrs. John E. Hooper, Mrs. Susan Thayer Paine, Robert Treat, 2d Thomas, Miss Anna B. Hopkinson, Miss Leslie W. Parkman, Henry Thompson, C. A. Hosmer, Mrs. Elizabeth T. Parkman, Mrs. Henry Thorndike, Mrs. J. L. Howe, Mrs. George D. Perera, Mrs. Gino L. Thorndike, Mary D. Howe, Sarah L. Perkins Institution for the Blind Townsend, Miss Annie R.

1628 ' N

Wadsworth, Mrs. A. F. Watson, S. L. D. Whittier, Mr. Albert R. Walton, Alice Weidhorn, Leo WilHams, J. Bertram Walworth, Harriet E. Wheatland, Mrs. Richard Wilson, Miss A. E. Ward, Miss A. S. Wheeler, Mrs. H. R. WinUey, Hobart W. Ware, Mrs. Whitman Whitin, Mrs. G. M. Winsor, Mrs. Alfred Waring, Mrs. Guy Whitman, Miss Effie E. Worthington, Miss Julia H. Watson, Mrs. Donald C. Whitman, Mrs. Florence Lee Wright, Mrs. Walter P.

SIGRID ONEGI

is singing with success SIGRID ONEGIN

GHINOISERIE. By Dagmar de Corval Rybner. High, in D minor; Medium, in C minor .... .60 I HEARD A CRY. By WilUam Arms Fisher. High, in C; Medimn, in B-flat; Low in A-flat .50

SNOW FAIRIES By Cecil Forsyth. High, in C; Medium, in A . .60 SPRING FANCY By John H. Densmore. High, in E-flat; Medium, in C. 60

TIME ENOUGH By Deems Taylor. High; Medium . .50 (Usual sheet music discount)

Mme. Onegin wrote Mr. Fisher: "I have so great a success with your song that I sing it by request always two times. ' IR DITI 178-179 TREMONT STREET BOSTON 10, MASS. Order of Your Local T)ealer

It has been suggested that subscribers who for any reason find themselves unable to attend the Friday Symphony Concerts, and whose tickets would not other- wise be used, send them in to be sold for the benefit of the Boston Symphony Orchestra, Inc. Endowment Fund. Kindly send such tickets as early each week as convenient to Boston Symphony Orchestra, Inc. Symphony Hall, Boston.

1629 ' "Song op the Sp:a- : Tone Poem for Orchestra after the Poem BY Walt Whitman "On The Beach at Night" from "Sea Drift" Frederick Shepherd Converse

(Born at Newton, Mass., January 15, 1871; now living in Boston)

Mr. Converse sketched this tone poem in the winter of 1922-23. The scoring was completed in December, 1923. "Song of the Sea" was suggested, Mr. Converse writes, by the poem of Walt Whitman which is here printed. "While it is not in any sense a literal interpretation of it, it follows the spiritual and emotional sequence of the lines. Beginning with moods of mystery and sadness, it culminates in elation and joy. I have not attempted a realistic picture of the sea; only something of its spiritual suggestion."

On the Beach at Ntght On the beach at night. Stands a chikl with her father, Watelling the east, the autumn sky.

Up through the darkness. While ravening clouds, the burial clouds, in black masses spreading. Lower sullen and fast athwart and down the sky. Amid a transparent clear belt of ether yet left in the east. Ascends large and calm the lord-star .Jupiter, And nigh at hand, only a very little above, Swim the delicate sisters the Pleiades.

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1631 From the beach the child holding the hand of her father, Those burial-clouds that lower victorious soon to devour all, Watching, silently weeps.

Weep not, child, Weep not, my darling. With these kisses let me remove your tears. The ravening clouds shall not long be victorious, They shall not long possess the sky, they devour the stars only in apparition, Jupiter shall emerge, be patient, watch again another night, the Pleiades shall emerge. They are immortal, all those stars both silvery and golden shall shine out again. The great stars and the little ones shall shine out again, they endure. The vast immortal suns and the long-enduring pensive moons shall again shine.

Then dearest child, mournest thou only for Jupiter? Considerest thou alone the burial of the stars?

Something there is, (With my lips soothing thee, adding I whisper, I give thee the first suggestion, the problem and indirection,) Something there is more immortal even than the stars, (Many the burials, many the days and nights, passing away,) Something that shall endure longer even than lustrous Jupiter. Longer than sun or any revolving satellite, Or the radiant sisters the Pleiades.

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1632 The score calls for three flutes (one interchangeable with pic- two colo), two oboes, English horn, two clarinets, bass clarinet, bassoons, donble-bassoon, fonr horns, three trumpets, three trombones, tuba, a set of three kettledrums, snare drum, bass drum, cymbals, celesta, Glockenspiel, two harps, and the customary strinss. * *

These compositions of Mr. Converse have been played in Boston at concerts of the Boston Symphony Orchestra. Those played for the first time are starred.

1899. January 14, first movement of Symphony in D minor, Op. 7 (first the Hoch-Schule, July 14, 1898. time in Boston) ; first performance at Munich 9.* 3900, December 22. "Tlie Festival of Pan," Romance for Orchestra, Op. 10.* 1903, April 11. "Endymion's Narrative," Romance for Orchestra, Op. 1905, January 21, Two Poems. "Night" and "Day," for Pianoforte and Orchestra. Op. 11* (suggested by Walt Whitman), Mr. Gebhard pianist. 1906, March 3. "La Belle Dame sans merci" (after the poem of Keats), Ballade for Baritone Solo and Orchestra, Op. 12 (Mr. Bispham baritone, Boston Sym- first public performance in Boston) ; first performance by the phony Orchestra at Providence. R.I., March 1, 1906. 1907, January 26, "The Mystic Trumpeter," Orchestral Fantasy, after the first by poem by Walt Whitman, Op. 19 (first time in Boston) ; performance the Philadelphia Orchestra at Philadelphia. March 3, 1905. 1908, March 7. ".Jeanne d'Arc." Dramatic Scenes for Orchestra, Op. 23. From the music written for Percy Mackaye's drama produced by Miss Mar- lowe and Mr. Sothern (Philadelphia, October 15, 1906; Boston, January 1,

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STEINWAY PIANOFORTE 1907). The Suite was played in Boston at a Jordan Hall orchestral concert, January 10, 1907, and afterwards revised. 1910, April 9, "Bndymion's Narrative."

1912, February 10. "Ormazd." Symphonic Poem ; first performance by the St. Louis Symphony Orchestra, January 26, 1912. 1915, March 6, "Ormazd."

1917, April 27. "Ave atqiie Vale," Tone Poem for Orchestra ; first performance by the St. Louis Symphony Orchestra, January 26. 1917. 1918, December 13, "The Mystic Trumpeter." 1920, January 30, Symphony in C minor.* 1922, April 21, Symphony No. 2, E major.*

Mr. Converse's svmphonv in D minor, of which the first movement was played at these concerts in 1899, was composed in Munich when he was a student at the Hoch-Schule of that city, and is not now numbered among liis works.

Three Songs: Op. 27, No. 4; Op. 43, No. 2; Op. 27, No. 2 Richard Strauss (Born at Munich, June 11, 1864; now living at Vienna) On the 10th of September, 1894, Strauss dedicated to his wife on their wedding day the book of songs, Op. 27, which had been written during the preceding winter. These songs, "for a voice with pianoforte accompaniment," are (1) "Ruhe, meine Seele!" (2) "Cacilie," (3) "Heimhche Aufforderung," and (4) "Morgen." Strauss afterwards orchestrated Songs 2 and 4.

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1635 !

MORGEN (Op. 27, No. 4) Und Morgen wird die Sonne wieder scheinen; Und auf dem Wage, den ich gehen werde, Wird uns die Glticklichen sie wieder einen In mitten dieser sonnenatmenden Erde; Und zu dem Strand, dem weiten, wogenblauen, Werden wir still und langsam niedersteigen, Stumm werden wir uns in die Augen schauen Und auf uns sinkt des Gllickes stummes Schweigen. John Henry Mackay. TO-MORROW

To-morrow's sun will rise in glory beaming, And in the pathway that my foot shaU wander, We'll meet, forget the earth and, lost in dreaming, Let heav'n unite a love that earth no more shall sunder; And towards that shore, its biUows softly flowing, Our hands entwined, our footsteps slowly wending Gaze in each other's eyes in love's soft splendor glowing Mute with tears of joy and bliss ne'er ending. Translation by John Bernhoff.

This song was sung in Boston by Mme. Strauss-de Ahna at Richard Strauss's concert in Symphony Hall with the Philadelphia Orchestra, March 8, 1904. Elena Gerhardt sang it at a Symphony concert in Boston, January 4, 1913; Julia Gulp sang it at a Symphony concert on April 6, 1917. The accompaniment is scored for solo violin, strings, and harp.

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1636 ' ! ! !! ! —

MUTTERTANDELEI (Op. 43, No. 2) MOTHER-LOVE Seht mir doch mein schones Kind, Come and see my pretty child. Mit den gold'nen Zettellockchen With cheeks ruddy like a cherry, Blauen Augen, rothen Biickchen Curls so golden, eyes so merry! Leutchen, habt ihr auch so eins? Good folk, have you such a one? Leutchen, nein, ihr habt keins! Good folk, no, you have none.

Seht mu' doch mem susses Kind, Come and see my darhng child. Fetter als ein fettes Schneckchen, Fat as a sn^il, only fatter. Stisser als ein Zuckerweckchen Sweet as a pudding of batter! Leutchen, etc. Good folk, etc.

Seht mir doch mein holdes Knd, Come and see my gentle child. Nicht zu miirrisch, nicht zu wahlig! Never dainty, never snappy, Immer freundlich, immer frohlich Always friendly, always happy. Leutchen, etc. Good folk, etc.

Seht mir doch mein frommes Kind! Come and see my angel child, Keine bitterbose Sieben Angel—for I'm sure no other Wlird' ihr Mlitterchen so lieben. Could so dearly love its mother. Leutchen, mochtet ihr so eins? Good folk, would you like my pet? O, ihr kriegt gewiss nicht meins! Mine, good folk, you'll never get.

Komm' einmal ein Kaufmann her, If a merchant comes this way, Hunderttausend blanke Thaler Piles of silver in his coffer, Alles Gold der Erde zahl' er All the earth's gold let him offer O, er kriegt gewiss nicht meins! Mine he will not get, I swear;

Kauf ' er sich wo anders eins Let him go and try elsewhere. G. A. Burger. Alfred Kalisch. This is the second of "Drei Gesange alterer Deutscher Dichter": No. 1, "An Sie" (Klopstock); No. 3, "Die Ulme zu Hinau" (Uhland). The set is dedicated to Mme. Schumann-Heink. No. 2 bears the date Marquestein, August 5, 1899.

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1637 ! — — —

CACILIE (Op. 27, No. 2)

Wenn du es wiisstest, was Traumen heisst If you but knew, sweet, what 'tis to dream Von brennenden Kiissen, von Wandern Of fond, burning kisses, of wand'ring and und Ruhen resting Mit der Geliebten Aug' in Auge With the beloved one; gazing fondly, Und kosend und plaudernd caressing and chatting. Wenn du es wiisstest, du neigtest dein Could I but tell you, your heart would Herz assent.

Wenn du es wiisstest, was Bangen heisst If you but knew, sweet, the anguish of In einsamen Nachten, umschauert vom waking Sturm, Through nights long and lonely Da niemand trostet milden Mundes And rocked by the storm when no one is Die kampfmlide Seele near Wenn du es wiisstest, du kamest zu mir. To soothe and comfort the strife-weary spirit. Wenn du es wiisstest, was Leben heisst Could I but teU you, you'd come, sweet, Umhaucht von der Gottheit weltschaffen- to me. dem Atem, Zu schweben empor lichtgetragen If you but knew, sweet, what living is Zu sehgen Hoh'n In the creative breath of God, Lord and Wenn du es wiisstest, du lebtest mit mir. Maker; Heinrich Hart. To hover, upborne on dove-Uke pinions To regions of light. If you but knew it, Could I but tell you, you'd dwell, sweet, with me. John Bernhoff.

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163S "Cacelia" was sung by Mme. Strauss-de Ahna in Boston at the concert of Richard Strauss, with the Philadelphia Orchestra, in Symphony Hall on March 8, 1904. It has been sung at concerts of the Boston Symphony Orchestra in Boston on January 4, 1913, by Elena Gerhardt; on February 14, 1914, by Ehsabeth van Endert.

*'A Victory Ball," Fantasy for Orchestra . . Ernest Schelling

(Born at Belvidere, N. J., July 26, 1876; now living in New York)

Mr. Schelling began the composition of this work in New York in the spring of 1922. He completed it in Switzerland in the following summer. The first performances were by the Philadelphia Orchestra in Philadelphia on February 23-24, 1923. Mr. Schelling then wrote

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BOi — ; to Mr. Lawrence Gilman, the accomplished editor of the Philadel phia Orchestra's programme books :

". . .1 had come back from Europe still very much under the impression of the cataclysm, much troubled for the future, and Avas amazed 'to find that so few seemed to remember what the war really had meant, with its sacrifice of life and youth. I had won- dered, when watching the seething mass of humanity at some cabaret, what our boys would think of it all, and I had a sinister vision similar to the one that made me write my '1914' Impression [in the Variations for piano and orchestra, 'Impressions from an Artist's Life']. I came across Alfred Noyes' poem, 'A Victory Ball,' while in this mood, and was impelled to use it as the basis of an orchestral fantasy.

''I have used two army bugle-calls : the 'Call to Arms' and 'Charge,' which ominously usher in the War Vision; and at the very end of the piece I have used 'Taps.' The work is a perfectly free fantasy, with, however, a certain amount of thematic development. "I had occasion during the war to hear the Scotch Pipers, and to observe the extraordinary effect their music had on the troops and at the end of the work I have tried to make the whole orchestra a huge bagpipe, perhaps the most pagan and primitive form of music. The piece is scored for full symphonic orchestra " and bears this inscription : 'To the memory of an American soldier.'

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1641 —

The verses* by Alfred Noyes that suggested this Fantasy are as follows:

The cymbals crash, and the dancers walk, With long silk stockings and arms of chalk. Butterfly skirts, and white breasts bare. And shadows of dead men watching 'em there.

Shadows of dead men stand by the wall, Watching the fun of the Victory Ball. They do not reproach, because they know. If they're forgotten, it's better so.

Under the dancing feet are the graves. Dazzle and motley, in long bright waves, Brushed by the palm-fronds, grapple and whirl • Ox-eyed matron and slim white girl.

See, there is one child fresh from school. Learning the ropes as the old hands rule. God, how that dead boy gapes and grins As the tom-toms bang and the shimmy begins.

, "What did you think we shovild find," said a shade, '"When the last shot echoed and peace was made?" "Christ," laughed the fleshless jaws of his friend. "I thought they'd be praying for worlds to mend."

*"The Victory Ball" is reprinted by permission from Collected Poems, vol. iii., by Alfred Noyes. Copyright, 1920, by Frederick A. Stokes Company.

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1643 ! ! ! :

"Pish," said a statesman standing near, "I'm glad they can busy their thoughts elsewhere We mustn't reproach 'em. They're young, you see." "Ah," said the dead men, "so were we !"

Victory ! Victory ! On with the dance Back to the jungle the new beasts prance God, how the dead men grin by the wall, "Watching the fun of the Victory Ball.

We quote Mr. Oilman's comments on the Fantasia. He observes that in the English edition of Mr. Noyes's collected poems, the text of several of these stanzas differs from that of the American edition quoted by Mr. Sclielling in his score, and then remarks "Mr. Schelling has conceived his tone-poem as a bacchanale trav- ersed by a vision—an apparition of troops 'marching on irresist- ibly, inexorably. Nothing stops them—not those that fall by the way, not those whose fate is written in fiery, stormy skies. On they march to victory or disaster, with—in either case—desolation, suffering, death.' ''The music (after an introductory section, Moderato) evokes the ballroom and its heedless, swirling crowd. There is a brilliant polonaise, and the rhythms of the fox-trot and tango are suggested.

Then comes the dramatic and poignant interruption : the vision of the marching hosts—those valorous and forgotten dead who

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1645 " sacrificially 'laid the world away.' The approach of the ghostly legions is announced by the two trumpet-calls: the 'Call to firms' and 'Charge.' We hear (as in the Variation entitled '1914' in Mr. Schelling's 'Impressions of an Artist's Life') the 'Dies Irse' on the brass. The tramping of the soldiers is momentarily drowned by the wild tumult of the dance; the lights flare up, and we see the revellers waltzing through the melee. But the vision reshapes itself. The Scots and their bagpipes pass. There is a great climax, a long drum-roll, diminuendo ; and then, from a distant trumpeter, 'Taps.'

* * *

Mr. Schelling's first teacher was his father, Dr. Felix Schelling. The boy at the age of five appeared in public to show his technical proficiency and unusual sense of pitch. He entered the Paris Con- servatory when he was nine years old, and continued his studies with Hans Huber at BMe. As a lad, he played in London, Paris, and in cities of Germany, Switzerland, Sweden, and Denmark. Mr. Paderewski became interested in him and taught him for some time. Mr. Schelling has played in cities of South America. TJie list of his compositions includes a symphony, "Impressions from an Artist's Life" in the form of Variations on an Original Theme, a Violin Concerto, Symphonic Legend for orchestra, Fantastic Suite for pianoforte and orchestra, chamber music, and pianoforte

Announces the Tenth Year of his

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1647 — ; pieces. The Symphonic Legend was performed at Warsaw in 1903 the Fantastic Suite at Amsterdam in 1907. The Fantastic Suite was performed at a concert of the Boston Symphony Orchestra in Boston on January 25, 1908; the "Impres- sions'- on December 31, 1915 (hrst performance) ; the Violin Con- certo (Fritz Kreisler, yiolinist), on October 20, 1916. He has appeared as pianist at these concerts : 1905, February 25, Schumann's Concerto. 1908, January 25, his own Fantastic Suite. 1915, December 31, his "Impressions.'' 1916, December 8, Liszt's Concerto, A major. No. 2. He played Chopin's Concerto, F minor, at a concert at the Boston Opera House on March 8, 1914, Felix Weiugartner conductor. On December 11, 1922, at an extra concert of the Boston Sym- phony Orchestra, he played Liszt's Concerto, E-flat major, Xo. 1.

Chamber concerts : 1905, March 11, Kneisel Quartet concert

(Saint-Saens's Pianoforte Quartet, B-flat major) ; 1908, December 22, Hess-Schroeder Quartet (Juon's Trio Caprice for yiolin, yiolon- cello, and pianoforte. Op. 39) ; 1917, February 8, Boston Quartet (Brahms's Pianoforte Quintet). His first recitals in Boston were on March 2 and 11, 1905. He gave other recitals, as in 1908 and in 1913.

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1650 "Excuse lue. Miss Hills, my head aches. It is bad all the time. What shall I do?" '"Miss Hills, Nick's shoes are no good. All broken on the bottom. He can't go to school." "Miss Hills, Nick is fresh, awful fresh." "Miss Hills. Mary is sick. She is nervous. Nervous all the time. Shall I bring her to the doctor?" "Miss Hills, what shall I do? I can't buy clothes for the children. It costs too much. They must look nice for school. The teacher sends them home if they are dirty. Nick has only one shirt. What can I do. Miss Hills?" "Miss Hills, it is cold. Too cold. I have only a little coal. It costs too much. My mother is old. What shall I do?"

What answers can a Social Worker in a busy hospital out- patient clinic find for these questions? A hospital is a place where people go when they are sick in mind or body. This poor Italian-born widow, trying to bring up four little children, care for her aged parents and make both ends meet on a scanty income, has come to feel that it is the place to go with all one's troubles, whether of mind, body, or estate.

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other troubles, has epilepsy ; the "spells" were very bad, especially for her who had so much to do. But God is good, and modern scientific medicine has found what seems like a cure, or at least a help for this mysterious trouble. The pills must be taken for a long time, however, the patient must often be seen by the clinic doctor, and (hardest of all when one has barely suflScient money to pay rent and buy food for seven hungry mouths) these wonderful pills cost lots of money.

Well, money was found to buy the pills ; "Miss Hills" saw to it that Mrs. Vincenza came to the clinic two or three times a month, sometimes oftener, for two years, and now it is three months since she has had a "spell." Outside relief agencies were called upon and have helped out on some of the other needs. It takes endless time and patience and real human sympathy, to say nothing of training and experience, to keep track of the individual patient among the scores crowding the clinic. However, incessant oversight and much advice have at last started this foreign-born mother on a sensible way to bring up her little American brood and to support them and her old parents.

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1652 FORTY-THIRD SEASON. NINETEEN HUNDRED TWENTY-THREE 6- TWENTY-FOUR

FRIDAY AFTERNOON, APRIL 25, at 2.30 o'clock

SATURDAY EVENING, APRIL 26. at 8.15 o'clock

Mozart ..... Symphony in C major (K. No. 200) (First time in Boston)

I. Allegro spiritoso. II. Andante. III. Minuetto: Allegretto. IV. Presto.

Tchaikovsky Concerto for Violin in D major, Op. 35 I. Allegro moderate II. Canzonetta: Andante. III. Finale: Allegro vivacissimo.

Strauss Symphonia Domestica, Op. 53 (In one movement)

SOLOIST EFREM ZIMBALIST

There will be an intermission of ten minutes after the concerto

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Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it beinz understood that a low head covering without projection, which does not obstruct such view, may be work. Attest: J. M. GALVIN. Gty Clerk.

The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert

1653 STEINERT HALL

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1654