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Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492

Boston Symphoe; iesfra INC.

Dr. SERGE KOUSSEVITZKY, Conductor

FIFTY-FIRST SEASON, 1931-1932

WITH HISTORICAL AND DESCRIPTIVE

NOTES BY PHILIP HALE

COPYRIGHT, ly32, BY BOSTON SYMPHONY ORCHESTRA, INC.

THE OFFICERS AND TRUSTEES OF THE

BOSTON SYMPHONY ORCHESTRA, Inc.

BENTLEY W. WARREN President

ERNEST B. DANE . Treasurer

ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN FREDERICK E. LOWELL HENRY B. SAWYER BENTLEY W. WARREN

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

1425 THE CONDUCTOR

UNLY under the guidance of a most capable Conductor does the music of an Orchestra reach

its true value.

The orchestral performers are vitalized into sound at the raise of the Conductor's tiny white baton. He understands the composer's intentions and makes the patterns of his musical weaving clear. The Conductor reads the score perpendicularly and horizontally at the same time. He has many of the qualities of a painter for he brings out by a wave of his magic wand the varieties of music color with their varying subtleties of light and shade, glowing hues and delicate tricks.

Jean-Baptiste Lully, born in Florence in 1632, a clever and no less musically gifted performer

at the Court of the magnificent Louis XIV, is

said to have been the first real Conductor of an Orchestra. Some say that no one, save Wagner, the greatest master of orchestration the world has ever seen, stood for such musical perfection.

The fact that the Symphony Orchestras of this country have for many years been the most brilliant and the most finished in

the world is largely due to the high artistic aims of the Conductors who have developed them, and because no national prejudice prevents their being called from any country. * * * a|e

1 HOSE who do not want the care and responsibility of managing real or personal property will find the complete financial secretaryship of an Agency Account with Old Colony Trust Company ideally suited to their needs. Old Colony Trust Company

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1426 ©ilra

Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor

Violins. Burgin, R. Elcus, G. Gunderscn, R. Sauvlet, H. Cherkassky, P. Concert-master Kassman, N. Hamilton, V. Eisler, D.

Thcodorowicz, J.

Hansen, £. Lauga, N. Fedorovsky, P. Leibovici, J. Pinficld, C. Mariotti, V. Leveen, P. Tapley, R.

Thillois, F. Zung, M. Knudson, C. Gorodetzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B. Bryant, M Beale, M. Stonestreet, L. Messina, S. Seiniger, S. Murray, J. Del Sordo, R. Erkelens, H. Violas. Fiedler, A. Lefranc, J. Fourel, G. Bernard, A. Grover, H.

Artieret, L. Cauhape, J. Van Wynbergen, C. Werner, H. Avierino, N. Deane, C. Gerhardt, S. Jacob, R. Violoncellos. Fabrizio, E. Bcdetti, J. Langendoen, J. Chardon, Y. Stockbridge, C. Zighera, A. Barth, C. Droeghmans, H. Warnke, J. Marjollct, L.

Basses. Moleux, G. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Kelley, A.

Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Polatschek, V. Laus, A. Allard, Bladet, G. Devergie, J. Mimart, P. R. Amerena, P. Stanislaus, H. Arcieri, E. Panenka, E. Allegra, E. (E-flat Clarinet)

Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Bettoney, F. Piller, B. Horns. Horns. Trumpets. Trombones.

Boettcher, G. Valkenier, W. Mager, G. Raichman, J. Pogrebniak, S. Schindler, G. Lafosse, M. Hansotte, L. Van Den Berg, C. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Adam, E. Voisin, R.

Mann, J. Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L. Organ. Celesta. Librarian.

Snow. A. Fiedler, A. Rogers, L. J.

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1428 FIFTY-FIRST SEASON, NINETEEN HUNDRED THIRTY-ONE AND THIRTY-TWO

T

FRIDAY AFTERNOON, APRIL 29, at 2.30 o'clock

SATURDAY EVENING, APRIL 30, at 8.15 o'clock

Beethoven . . . . . Symphony No. 8 in F major, Op. 93

I. Allegro vivace e con brio

II. Allegretto scherzando.

III. Tempo di menuetto. IV. Allegro vivace.

Brahms ..... Symphony No. 1 in C minor, Op. 68

I. Un poco sostenuto; Allegro. II. Andante sostenuto. III. Un poco allegretto e grazioso. IV. Adagio; Allegro non troppo, ma con brio.

There will be an intermission between the symphonies

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

1429 Symphony in F major, No. 8, Op. 93 . . Ludwig van Beethoven

(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827) This symphony was composed at Linz in the summer of 1812. The autograph manuscript in the Koyal Library at Berlin bears this in- scription in Beethoven's handwriting: "Sinfonia—Lintz, im Month October 1812." Gloggl's Linzer Musikzeitung made this announce- ment October 5 : "We have had at last the long-wished-for pleasure to have for some days in our capital the Orpheus and the greatest musical poet of our time, Mr. L. van Beethoven; and, if Apollo is gracious to us, we shall also have the opportunity of wondering at his art." The same periodical announced November 10 : "The great tone- poet and tone-artist, Louis van Beethoven, has left our city without fulfilling our passionate wish of hearing him publicly in a concert." Beethoven was in poor physical condition in 1812, and as Stauden- heim, his physician, advised him to try Bohemian baths, he went to Toplitz by way of Prague; to Carlsbad, where a note of the postilion's horn found its way among the sketches for the Eighth Symphony; to Franzensbrunn and again to Toplitz; and lastly to his brother Johann's* home at Linz, where he remained until into November. *Nikolaus Johann, Beethoven's second younger brother, was born at Bonn in 1776. He died at Vienna in 1848. He was an apothecary at Linz and Vienna, the Gutsbesitzer of the familiar anecdote and Ludwig' s pet aversion.

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1430 At the beginning of 1812 Beethoven contemplated writing three symphonies at the same time; the key of the third, D minor, was already determined, but he postponed work on this, and as the auto- graph score of the first of the remaining two, the Symphony in A,

No. 7, is dated May 13, it is probable that he contemplated the Seventh before he left Vienna on his summer journey. His sojourn in Linz was not a pleasant one. Johann, a bachelor, lived in a house too large for his needs, and so he rented a part of it to a physician, who had a sister-in-law, Therese Obermeyer, a cheerful and well- proportioned woman of an agreeable if not handsome face. Johann looked on her kindly, made her his housekeeper, and, according to the gossips of Linz, there was a closer relationship. Beethoven meddled with his brother's affairs, and finding him obdurate, visited the bishop and the police authorities and persuaded them to banish her from the town, to send her to Vienna if she should still be in Linz on a fixed day. Naturally, there was a wild scene between the

FROM RECENT BOSTON PROGRAMS

Songs Sung by MRS. H. H. A. BEACH, O Were my Love Yon Lilac Fair David Blair McClosky ARTHUR FOOTB, Lilac Time David Blair McClosky ARTHUR FOOTE, Memnon John McCormack EARLY AMERICAN SONGS Anne Eagleston Kydd Hofkinson, From First ( "The American Com- My Days have Been so \ poser/' edited and arranged by Wondrous Free. Harold Vincent Milligan. J My Generous Heart Disdains ( (Schmidt's Educational Series No. 212) Reinagle, / I Have a Silent Sorrow I From "Pioneer American Composers/' Pelissier, J edited and arranged by Harold Return O Love Vincent Milligan. j

Carr, ( (Schmidt's Educational Series No. 256) Willow, Willow v Piano Played by EDWARD MacDOWELL, Op. 57, Sonata No. 3. (Norse) ..Barbara Whitman CHOPIN-PATTISON, Rondo for Two Pianos, Four Hands Stelle Anderson and Silvio Scionti Orchestra and Chamber Music

MRS. H. H. A. BEACH, Piano Quintet . .Mrs. Beach with the S'ulzen Quartet G. W. CHADWICK, Melpomene Overture People's Symphony Orchestra, Thompson Stone, Conductor ARTHUR FOOTE, Four Character Pieces Civic Symphony Orchestra, after the Rubaiyat of Omar Khayyam Joseph Wagner, Conductor. Choral Works

\ Cecilia Society Chorus and Boston MABEL DANIELS, Exultate Deo 1 Symphony Orchestra, ( Dr. Serge Koussevitzky, Conductor.

MABEL DANIELS, i Simmons College Glee Club, Songs of Elfland, Op. 28 J David Blair McClosky, Conductor. No. 1. Fairy Road '\ MacDowell Club Chorus, No. 2. Fairy Ring I William Ellis Weston, Conductor.

MABEL DANIELS, June Rhapsody ( MRS. II. H. A. BEACH. \ Massachusetts Federated Clubs Tho Chambered Nautilus < Chorus, MRS. H. H. A. BEACH, J George Sawyer Dunham, Conductor. Fairy Lullaby

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1431 brothers. Johann played the winning card: he married Therese on

November 8. Ludwig, furious, went back to Vienna, and took pleasure afterwards in referring to his sister-in-law in both his con- versation and his letters as the "Queen of Night." This same Johann said that the Eighth Symphony was completed from sketches made during walks to and from the Postlingberge, but Thayer considered him to be an untrustworthy witness. The two symphonies were probably played over the first time at the Archduke Rudolph's in Vienna, April 20, 1813. Beethoven in the same month endeavored to produce them at a concert, but without

success. The Seventh was not played until December 8, 1813, at a concert organized by Malzel, the mechanician. *

As the name of Malzel is associated closely with the second move- ment of the Eighth Symphony, a sketch of his adventurous career will not be impertinent. Malzel, maker of automata, exhibited in Vienna during the winter of 1812-13 his automatic trumpeter and panharmonicon. The former played a French cavalry march with calls and tunes ; the latter was composed of the instruments used in the ordinary military band of the period,—trumpets, drums, flutes, clarinets, oboes, cymbals,

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SYMPHONY SINCE BEETHOVEN . . . 1.00 By Felix Weingartner

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EARLY ENGLISH CLASSICS . 1.00 Edited and Revised by George Pratt Maxim

PROJECT LESSONS IN ORCHESTRATION . 1.50 By Arthur E. Heacox

ESSENTIALS IN CONDUCTING . . . 1.75 By Karl W. Gehrkens OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass.

1432 triangle, etc. The keys were moved by a cylinder. Overtures by Handel and Cheriibini and Haydn's Military Symphony were played with ease and precision. Beethoven planned his "Wellington's Sieg," or "Battle of Vittoria," for this machine. Malzel made arrange- ments for a concert,—a concert "for the benefit of Austrian and Bavarian soldiers disabled at the battle of Hanau."* This Johann Nepomuk Malzel (Malzl) was born at Regensburg, August 15, 1772. He was the son of an organ-builder. In 1792 he settled at Vienna as a music teacher, but soon made a name for him- self by inventing mechanical music works. In 1808 he was appointed court mechanician, and in 1816 he constructed a metronome,! though Winkel, of Amsterdam, claimed the idea as his. Malzel also made ear-trumpets, and Beethoven tried them, as he did others. His life was a singular one, and the accounts of it are contradictory. Two leading French biographical dictionaries insist that Malzel's

*For a full account of the bitter quarrel between Beethoven and Malzel over the "Schlacht Symphonie" see "Beethoven's Letters," edited by Dr. A. C. Kalischer (London, 1909) vol., i., pp. 322-326. The two were afterwards reconciled. f There were two kinds of this metronome radically different in construction. "This accounts for the different metronome figures given by Beethoven himself, as for instance for the A major symphony." Beethoven thought highly of the metronome; he thought of "giving up these senseless terms, Allegro, Andante, Adagio, Presto."

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"brother Leonhard" invented the mechanical toys attributed to Johann, but they are wholly wrong. Fetis and one or two others state that he took the panharmonicon with him to the United States in 182G, and sold it at Boston to a society for four hundred thousand dollars,—an incredible statement. No wonder that the Count de Pontecoulant, in his "Organographies repeating the statement, adds, "I think there is an extra cipher." But Malzel did visit America, and he spent several years here. He landed at New York, February 3, 1826, and the Ship News announced the arrival of "Mr. Maelzel, Professor of Music and Mechanics, inventor to (sic) the Panharmonicon and the Musical Time Keeper." He brought with him the famous automata,—the Chess Player, the Austrian Trumpeter, and the Rope Dancers,—and opened an exhibition of them at the National Hotel, 112 Broadway, April 13, 1826. The Chess Player was invented by Wolfgang von Kempelen.* Malzel bought it at tne sale of von Kempelen's effects after the death of the latter, at Vienna, and made unimportant improvements. The Chess Player

*Senor Torre y Quevedo, who claims to have invented a chess-playing machine, had a forerunner in Baron von Kempelen, who, at the beginning of last century, travelled through Europe with what he described as an unbeatable chess automaton in the likeness of a Turk. Kempelen used to conceal a man in the chest on which the Turk was seated, but so ingenious was the contrivance that for a long time everybody was deceived. Napoleon played chess with the pseudo-automaton when stopping at Schonbrunn, after the battle of Wagram. He lost the first game, and in the second deliberately made two false moves. The pieces were replaced each time, but on the Emperor making a third false move the Turk swept all the pieces off the board. (Daily Chronicle, London, Summer of 1914.)

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1435 had strange adventures. It was owned for a time by Eugene Beau- harnais, when he was viceroy of the kingdom of Italy, and Malzel had much trouble in getting it away from him. Malzel gave an exhibition in Boston at Julien Hall, on a corner of Milk and Congress Streets. The exhibition opened September 13, 1826, and closed October 28 of that year. He visited Boston again in 1828 and in 1833. On his second visit he added "The Conflagration of Moscow,"* a panorama, which he sold to three Bostonians for six thousand dollars. Hence, probably, the origin of the Panharmonicon legend. He also exhibited an automatic violoncellist. Malzel died on the brig "Otis" on his way from Havana to Philadelphia on July 21, 1838, and was buried at sea, off Charleston. The United States Gazette published his eulogy, and said, with due caution: "He has gone, we hope, where the music of his Harmonicons will be ex- ceeded." The Chess Player was destroyed by fire in the burning of the Chinese Museum at Philadelphia, July 5, 1854. An interesting and minute account of Malzel' s life in America, written by George Allen, is published in the "Book of the First American Chess Con- gress," pp. 420-484 (New York, 1859). See also "Metronome de

Maelzel" (Paris, 1833) ; the "History of the Automatic Chess Player," published by George S. Hilliard, Boston, 1826; Mendel's "Musikalisches Conversations-Lexicon." In Poe's fantastical "Von

See in "The Life and Writings of Major Jack Downing," by Seba Smith (Boston, 2d ed., 1834), Letter LXIX. (page 231), dated Portland, October 22, 1833, "in which Cousin Nabby describes her visit to Mr. Maelzel's Conflagration of Moscow."

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1437 Kempelen and his Discovery" the description of his Kempelen, of Utica, N.Y.. is said by some to fit Malzel, but Poe's story was probably not Avritten before 1848. Poe's article, "Maelzel's Chess Player/' a remarkable analysis, was first published in the Southern Literary Messenger of April, 1836. Portions of this article other than those pertaining to the analysis were taken by Poe from Sir David Brewster's "Lectures on Natural Magic." The first performance of the Eighth Symphony was at a concert given by Beethoven at Vienna in the "Redoutensaal" on Sunday, February 27, 1814. The programme included his Symphony No. 7; an Italian terzetto, "Tremate, empi, tremate" (Op. 116, composed in 1801[?]), sung by Mrs. Milder-Hauptmann, Siboni, and Wein- muller; this Symphony in F major; and "Wellington's Sieg, oder die Schlacht bei Vittoria" (Op. 91, composed in 1813). The Allgemeine Musik-Zeitung in a review of this concert stated that the Seventh Symphony (first performed December 8, 1813) was again heartily applauded, and the Allegro was repeated. "All were in anxious expectation to hear the new symphony (F major, 3-4), the latest product of Beethoven's muse; but this expectation after one hearing was not fully satisfied, and the applause which the work re- ceived was not of that enthusiastic nature by which a work that pleases universally is distinguished. In short, the symphony did not make, as the Italians say, furore. I am of the opinion that the cause

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1439 of this was not in weaker or less artistic workmanship (for in this, as in all of Beethoven's works of this species, breathes the peculiar genius which always proves his originality), but partly in the mis- take of allowing this symphony to follow the one in A major, and partly in the satiety that followed the enjoyment of so much that was beautiful and excellent, whereby natural apathy was the result. If this symphony in future should be given alone, I have no doubt concerning its favorable reception." Czerny remembered that on this occasion the new Eighth Sym- phony did not please the audience; that Beethoven was irritated, and said: "Because it is much better" (than the Seventh). There were in the orchestra at this concert eighteen first violins, eighteen second violins, fourteen violas, twelve violoncellos, seven double-basses. The audience numbered about three thousand, al- though Schindler spoke of five thousand. Beethoven described the Eighth in a letter (June 1, 1815) to Salomon, of London, as "a little symphony in F/' to distinguish it from its predecessor, the Seventh, which he called "a great symphony in A, one of my best." We know from his talk noted down that Beethoven originally planned an elaborate introduction to this symphony. It is often said that the second movement, the celebrated Alle- gretto scherzando is based on the theme of "a three-voice circular canon, or round, 'Ta, ta, ta, lieber Malzel,' sung in honor of the in- ventor of the metronome" and many automata "at a farewell dinner

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1441 given to Beethoven in July, 1812, before his leaving Vienna for his summer trip into the country." This story was first told by Schind- ler, who, however, did not say that the dinner was given to Beethoven alone, and did say that the dinner was in the spring of 1812. Beethoven was about to visit his brother Johann in Linz; Malzel was going to England to produce there his automaton trumpeter, but was obliged to defer this journey. Beethoven, who a among intimate friends was customarily gay, witty, satiric, 'un- buttoned/ as he called it," improvised at this parting meal a canon, which was sung immediately by those present. The Allegretto was founded on this canon, suggested by the metronome, according to Schindler. Thayer examined this story with incredible patience ("Beethoven's Leben," Berlin, 1879, vol. iii., pp. 219-222), and he drew these conclusions : the machine that we now know as Malzel's metronome was at first called a musical chronometer, and not till 1817 could the canon include the word "Metronom." Schindler, who was seventeen years old in 1812, heard the story from Count Bruns- wick, who was present at the meal, but was not in Vienna from March, 1810, till the end of February, 1813, four months after the completion of the symphony. Furthermore, Beethoven is reported as having said: "I, too, am in the second movement of the Eighth Symphony—ta, ta, ta, ta,—the canon on Malzel. It was a right jolly evening when we sang this canon. Malzel was the bass. At that time I sang the soprano. I think it was toward the- end of December, 1817." Thayer says: "That Malzel's 'ta, ta, ta,' suggested the Alle-

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1443 gretto to Beethoven, and that by a parting meal the canon on this theme was sung, are doubtless true; but it is by no means sure that the canon preceded the symphony. ... If the canon was written before the symphony, it was not improvised at this meal ; if it was then improvised, it was only a repetition of the Allegretto theme in canon form." However this may be, the persistent ticking of a wind instrument in sixteenth notes is heard almost throughout the movement, of which Berlioz said : "It is one of those productions for which neither model nor pendant can be found. This sort of thing falls entire from heaven into the composer's brain. He writes it at a single dash, and we are amazed at hearing it." * * * This symphony was first played in Boston at an Academy concert on December 14, 1844. The first performance in America was by the Philharmonic Society in New York on November 16, 1844; and at this same concert, led by George Loder, Mendelssohn's overture, "The Hebrides," was also performed for the first time in this country.

* • The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings. I. Allegro vivace e con brio, F major, 3-4. II. Allegretto' scherzando, B-flat major, 2-4. III. Tempo di minuetto, P major, 3-4. There has been dispute over the pace of this movement : whether it should be that of an

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1445 ordinary symphonic minuet or that of a slow, pompous minuet, so that the movement should be to the second as a slow movement to a Scherzo. IV. Allegro vivace, F major, 2-2. The first movement of this symphony was in the original version shorter bv thirty-four measures.

At first little attention was paid to the Eighth Symphony. Hans- lick says, in "Aus dem Concertsaal," that the "Pastoral" Symphony was long characterized as the one in F, as though the Eighth did not exist and there could be no confusion between Nos. 6 and 8, for the former alone was worthy of Beethoven. This was true even as late as 1850. Beethoven himself had spoken of it as the "little" symphony, and so it is sometimes characterized to-day. Leipsic was the second city to know the Eighth Symphony, which was played in the Gewandhaus, January 11, 1818. The Philharmonic Society of London did not perform the work until May 29, 1826, although it had the music as early as 1817. In Paris the Eighth was the last of Beethoven's to be heard. The Societe des Concerts did not perform it until February 19, 1832. Fetis, hearing the symphony, wrote that in certain places the sym- phony was so unlike other compositions of Beethoven that it gave room for the belief that it was "written under certain conditions which are unknown to us, which alone could explain why Beethoven, after having composed some of his great works, especially the

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Symphony in C minor, No. 1, Op. 68 . Johannes Brahms

(Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897)

Brahms was not in a hurry to write a symphony. He heeded not the wishes or demands of his friends, he was not disturbed by their impatience. As far back as 1854 Schumann wrote to Joachim : "But where is Johannes? Is he flying high or only under the flowers? Is he not yet ready to let drums and trumpets sound? He should always keep in mind the beginning of the Beethoven symphonies : he should try to make something like them. The beginning is the main thing if only one makes a beginning, then the end comes of itself." Max Kalbeck, of Vienna, the author of a life of Brahms in 2,138 pages, is of the opinion that the beginning, or rather the germ, of the Symphony in C minor is to be dated 1855. In 1854 Brahms heard in Cologne for the first time Beethoven's Ninth Symphony. It im- pressed him greatly, so that he resolved to write a symphony in the same tonality. That year he was living in Hanover. The madness of Schumann and his attempt to commit suicide by throwing himself into the Rhine (February 27, 1854) had deeply affected him. He wrote to Joachim in January, 1855, from Dtisseldorf : "I have been trying my hand at a symphony during the past summer, have even orchestrated the first movement, and have composed the second and

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third." This symphony was never completed. The work as it stood was turned into a sonata for two pianofortes. The first two move- ments became later the first and the second of the pianoforte con- certo in D minor, and the third is the movement "Behold all flesh" in "A German Requiem." A performance of Schumann's "Manfred" also excited him when he was twenty-two. Kalbeck has much to say about the influence of these works and the tragedy in the Schumann family over Brahms, as the composer of the G minor Symphony. The contents of the symphony, according to Kalbeck, portray the relationship be- tAveen Brahms and Robert and Clara Schumann. The biographer finds significance in the first measures poco sostenuto that serve as introduction to the first Allegro. It was Richard Grant White who said of the German commentator on Shakespeare that the deeper he dived the muddier he came up. In 1862 Brahms showed his friend Albert Dietrich an early ver- sion of the first movement of the symphony. It was then without the introduction. The first movement was afterwards greatly changed. Walter Niemann quotes Brahms as saying that it was no laughing matter to write a symphony after Beethoven ; "and again, after finishing the first movement of the First Symphony, he ad- mitted to his friend Levi : 'I shall never compose a symphony ! You have no conception of how the likes of us feel when we hear the " tramp of a giant like him (Beethoven) behind us.' The symphony was produced at Carlsruhe by the grand duke's orchestra on November 4, 1876. Dessoff conducted from manuscript. Brahms was present. There was a performance a few days later at Mannheim, where Brahms conducted. Why Dessoff? Brahms had written regarding the conductor of the Viennese Philharmonic concerts : "Dessoff now is absolutely not the right man in any way for this, the only enviable post in Vienna there are special reasons why he continues to beat time, but not a

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1453 soul approves. The orchestra has positively deteriorated under him." Dessoff had resigned this appointment in Vienna because the Phil- harmonic declined to play Brahms's Serenade in A major; and Brahms was attached to Carlsruhe, for Hermann Levi, the prede- cessor of Dessoff, had made it a Brahms city by introducing his works. Richard Specht, stating that the first symphony made its way slowly—even Hanslick was far from being enthusiastic—attributes the fact largely to unsatisfactory interpretations. The first performance in Boston was by the Harvard Musical Association, January 3, 1878. Carl Zerrahn conducted. The pro- gramme was as follows: Weber, Overture to "Euryanthe" ; Grieg,

Pianoforte concerto (William EL Sherwood, pianist) ; Gade, Alle- gretto from the Third Symphony; Pianoforte solos, Handel, Fugue in E minor; Chopin, Nocturne in F sharp, Op. 15, No. 2; Bargiel, Scherzo from Suite, Op. 31; Brahms, Symphony in C minor, No. 1. John S. Dwight wrote in his Journal of Music that the total im- pression made on him was aas something depressing and unedifying, a work coldly elaborated, artificial; earnest to be sure, in some sense great, and far more satisfactory than any symphony by Raff, or any others of the day, which we have heard; but not to be men- tioned in the same day with any symphony by Schumann, Mendels- sohn, or the great one by Schubert, not to speak of Beethoven's.

. . . Our interest in it will increase, but we foresee the limit; and certainly it cannot be popular; it will not be loved like the dear masterpieces of genius." The Harvard Musical Association gave a second performance on January 31, 1878.

The first movement opens with a short introduction, Un poco

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sostenuto, C minor, 6-8, which leads without a pause into the first movement proper, Allegro, C minor. Second movement, Andante sostenuto, E major, 3-4. The place of the traditional Scherzo is supplied by a movement. Un poco allegretto e grazioso, A-flat major, 2-4. The finale begins with an Adagio, C minor, 4-4, in which there are hints of the themes of the allegro which follows. Here William Foster Apthorp should be quoted "With the thirtieth measure the tempo changes to piu andante, and we come upon one of the most poetic episodes in all Brahms. Amid hushed, tremulous harmonies in the strings, the horn and afterward the flute pour forth an utterly original melody, the char- acter of which ranges from passionate pleading to a sort of wild exultation, according to the instrument that plays it. The coloring is enriched by the solemn tones of the trombones, which appear for the first time in this movement. It is ticklish work trying to dive down into a composer's brain, and surtnise what special outside source his inspiration may have had; but one cannot help feeling that this whole wonderful episode may have been suggested to Brahms by the tones of the Alpine horn, as it awakens the echoes from mountain after mountain on some of the high passes in the Bernese Oberland.* This is certainly what the episode recalls to anyone who has ever heard those poetic tones and their echoes. A short, solemn, even ecclesiastical interruption by the trombones and bassoons is of more thematic importance. As the horn-tones grad- ually die away, and the cloudlike harmonies in the strings sink lower and lower—like mist veiling the landscape—an impressive pause ushers in the Allegro non troppo, ma con brio (in C major, 4-4 time). The introductory Adagio has already given us mysterious hints at what is to come ; and now there bursts forth in the strings

* There has lately been an attempt to prove that Brahms had in mind the solemn notes of "Big Ben" in London. Brahms never was in London, but a friend told him about "Big Ben" and gave him the notation! P.H.

1456 the most joyous, exuberant Volkslied melody, a very Hymn to Joy. which in some of its phrases, as it were unconsciously and by sheer affinity of nature, flows into strains from the similar melody in the Finale of Beethoven's Ninth Symphony. One cannot call it plagia-

rism : it is two men saying the same thing." This melody is repeated by horns and wood-wind with a pizzicato string accompaniment, and is finally taken up by the whole or- chestra fortissimo (without trombones). The second theme is an- nounced softly by the strings. In the rondo finale the themes hinted at in the introduction are brought in and developed with some new ones. The coda is based chiefly on the first theme. Dr. Heinrich Eeimann finds Max KLinger's picture of "Pro- metheus Unbound" "the true parallel" to this symphony.

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1457 ;:

WOEKS PEEFOEMED AT THE SYMPHONY CONCERTS DURING THE SEASON OF 1931-1932

Works marked with an asterisk were performed for the first time at these concerts. Works marked with a double asterisk were performed for the first time in Boston. Works marked with a dagger were performed for the first time anywhere. Artists marked with an asterisk appeared at these concerts for the first time. Artists marked with a double asterisk appeared for the first time in Boston. Artists marked with a dagger are members of the Boston Symphony Orchestra. PAGE

Bach, C. P. E. : Concerto, D major, for orchestra (arranged by Maximilian Steinberg). March 11, 1932 1062

Bach, J. S. : Two Choral Preludes (orchestrated by Arnold

Schoenberg) , October 9, 1931 6 Suite No. 2, B minor, for flute and strings (Georges Laurent^ flute), December 21. 1931 578

Beethoven : Symphony Xo. 3, E-flat major. "Eroica," Op. 55, February 26,"l932 1021 Symphony No. 4, B-flat major, Op. 60, November 27, 1931 346 Symphony Xo. 8, F major, Op. 93, April 29. 1932 1430 Overture to Collin's "Coriolanus." Op. 62, November 27, 1931 326 Berezowskt: Concerto for violin,** Op. 14 (Nicolai Bere-

zowsky*) , December 4, 1931 400

Brahms : Symphony Xo. 4, E minor. Op. 98, October 9, 1931 7 Concerto for violin. Op. 77 (Adolf Busch**), November 13, 1931 294 Concerto for Piano (Myra Hess) and orchestra in D minor, Xo. 1, Op. 15, April 15. 1932 1341 Hungarian Dances: No. 5, G minor; Xo. 6. D major. April 15, 1932 1350 Symphony Xo. 1, C minor, April 29. 1932 1450

Bruckner : Symphony Xo. 8. C minor, April 22, 1932 1373

Chausson : Symphony, B-flat major, Op. 20, December 4, 1931 420

Copland : Symphonic Ode.f composed for the 50th anniver-

sarv of the Boston Symphonv" Orchestra (1931), Feb- ruary 19, 1932 978 THOMAS WHITNEY SURETTE Announces the Eighteenth Year of his Summer School of Music

In Concord, Massachusetts, June 27 to July 22 inclusive, 1932

A School for Teachers of Music, for Students and for others, who wish to Increase their understanding of Music. Special daily conferences for those interested in the practise of school music teaching. Studies of great composi- tions. Lectures on Education, on Literature, and on Art. Three Chamber Music Concerts. The program to include choral works of Bach, Beethoven, Brahms, Schonberg, Hoist, Vaughan Williams, and Delaney. Free Folk-dancing classes. Classes In Elementary and Advanced Harmony, in Piano Interpretation, School Orchestra Technique, and in Choral Conducting. Private Lessons Piano. Violin, Organ, and 'Cello. Chorus of one hundred and fifty voices orchestra of thirty-five. Circular on application. Mason & Hamlin Piano used.

1458 Corelli : Suite, November 6, 1931 IDS Daniels: "Exultate Deo"* for chorus and orchestra (Cecilia Chorus), April 15, 1932 1310 Debussy: "La Damoiselle £lue" (after Rossetti) (Radcliffe Choral Society; Mary Garden,* Marie Murray), December 11, 1931 480 Rhapsody** for orchestra and English horn (Louis SPEYERf), February 12, 1932 890 Two Nocturnes (Nuages, Fetes), March 11, 1932 1078 Dukelsky: ik Epitaph"t for chorus and orchestra (Cecilia Chorus), April 15, 1932 1313

Franck : "Les bolides," symphonic poem, October 9, 1931 . . 26 Frid: Suite for orchestra,** December 24, 1931 611 Gershwin: Rhapsody No. 2f for orchestra with piano (George Gershwin*), January 29, 1932 838 Griffes: Poem for flute* (Georges Laurent!) and orchestra, January 15, 1932 727 Handel: Concerto Grosso, No. 6,** for strings, Op. 6, No. 9, January 15, 1932 699

Haydn (Born March 31, 1732) : Symphony No. 1, D major (1759), April 1, 1932 1260 Symphony 94, G major ("Surprise") (B. & H. No. 6), April 1, 1932 1268 Symphony No. 104, D major (1795), (B. & H. No. 2), April 1, 1932 1280 Concerto for violoncello (Gregor Piatigorsky), April 1, 1932 1278

Hindemith : Konzertmusik for string and brass instruments, February 26 1002

Holst : St. Paul's Suite,* for strings, January 22, 1932 772 Prelude and Scherzo, "Hammersmith,"** January 22, 1932 789 Ballet** from the opera "The Perfect Fool," January 22, 1932 774 (Continued on page 1464)

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145 (J The annual expenses of the Boston Symphony Orchej by the generosity of the public in subscribing funds to m for the season 1931-32 follows:

Abbott, Gordon Beckwith, Mrs. Daniel Cabot, Mrs. Godfrey L. Adams, Miss Clara A. Providence, E.I. Cabot, Mr. and Mrs. Henry Ahlberg, Miss S. Laura Beebe, Miss Sylenda Cabot, Mrs. Richard C. Alford, Miss Martha A, Bell, Mrs. Jaffrey de Cabot, Stephen P. Allen, Mrs. Thomas Hauteville Cochran, Mrs. Edwin Paul Almirall, Lloyd V. Bemis, Mr. and Mrs. A. Carter, Mrs. Albert P. Ames, Mrs. Hobart Farwell Carter, Mrs. J. W. Ames, Dr. and Mrs. John L. Bemis, Frank B. Carter, Miss Nina Ames, Mrs. John S. Bentinck-Smith, Mrs. W. F.Case, Miss Louise W. Ames, Mrs. William H. Bernheim, Mr. and Mrs. Champlin, Mrs. George P. ' Anderson, Mrs. C. S. Henry S. Chandler, Mrs. John Andrews, Miss Katharine H. New York, N.Y. Chapin, Horace D. Andrus, Miss Esther F. Betts, Miss Dorothy L. Chapman, Miss Annie B. Jersey City, N.J. Brooklyn, N.Y. Chase, Miss Helen B. Anthony, Miss Annie B. Bird, Mrs. Frances A. M. Chase, Mrs. Henry M. Anthony, Miss Margaret Blake, Mrs. Arthur W. Cheever, Miss Alice Appleton, Mrs. Blake, Mrs. Francis Cheever, Mrs. David Atkinson, Edward W. Blake, Miss Marion L. Choate, Mrs. Katharine S. Ayer, Dr. and Mrs. James B. Bliss, Henry W. Clark, Mrs. B. P. Booth, Miss A. G. Coffin, Miss Mary Langdon Bacon, Mr. and Mrs. New York, N.Y. Coffin, Winthrop Charles E. Bouve, Charles O. Collens, Mrs. Charles Baker, Miss Helen Marion Bovey, John A., Jr. Colt, Mr. and Mrs. James Brooklyn, N.Y. Bowden, Mrs. Herbert L. Conant, Mrs. William C. Bancroft, Mrs. Hugh Bradlee, Miss Sarah C. Converse, Miss Luna B. Bangs, Miss Edith Bradlee, Mr. and Mrs. Woodstock, Vt. Bangs, Mrs. Francis S. Thomas S. Coolidge, Mrs. Algernon New York, N.Y. Bradley, Mrs. J. D. Cameron Coolidge, Miss Elsie W. Barlow, B. S. Bradley, Mr. and Mrs. Coolidge, Harold Jefferson Barnard, Mrs. William L. J. Gardner Coolidge, Julian L. Barnard, William L. Brandegee, Mrs. E. D. Cotton, Miss Rachel E. In Memory of Mrs. S. J. Bray, Mr. and Mrs. Robert C.Covell, Robert R. Barnet Bremer, Miss Sarah F. Crane, Miss Elizabeth K. Barney, Mrs. J. Dellinger Brewer, Miss F. R. East Orange, N.J. Barr, Miss Laura M. Brewer, Robert D. Crehore, Miss Lucy C. Brook Harry C. Creighton, Gordon K. Barrett,. Mrs. William E., Sr. » far Boothbay Harbor, Me. Brooks, Mrs. Henry * Crocker, Alvah Bartlett, Mrs. Matthew Brooks, John G. 2nd Crosby, Mrs. S. V. R. Bartlett, Mrs. Nelson S. Brown, Miss Edith B. Cummings, Mr. and Mrs. Bartol, Miss Ann Bruzza, Leo, Brooklyn, N.Y. Charles K. Bartol, Miss Dorothy Buckingham, Miss M. H. Cummings, Miss Margaret h Bartol, Mrs. John W. Bucklin, Mrs. Walter S. Curtis, Miss Frances G. Batchelder, Miss Louise Bullard, Miss Ellen T. Curtis, Mrs. G. S. Bullard, Mrs. W. N. Curtis, Mrs. Louis Bates, Mrs. Oric Burgess, Mrs. George Sargent Curtis, Miss Mary Bates, The Misses Burgess, Mrs. H. R. Curtiss, Mr. and Mrs. Mrs. E. B. Bayley, Burnham, Miss Helen C. Frederic H. Baylies, Mrs. Walter C. Burnham, Miss M. C. Cushing, Mrs. W. E. ten Baxter, Miss Katharine F. Burr, Mrs. Heman M. Cutler, Mrs. C. H. Bazeley, Miss Louisa T. Burr, I. Tucker Cutler, Miss Elisabeth A. Beal, Miss Ida G. Cabot, Mrs. Arthur T. •This subscription was made Bearse, Mrs. Horace L. Cabot, Frederick P. Mr. Crocker during hit

The Orchestra can be carried on only by the generosity of the help it financially. All such are invited to join in sustaining the C

1460 rchfK exceed its income . These concerts are made possible only tojlthe operating deficit. A list of those who have subscribed

tter, Mr. and Mrs. R. Ammi Fenollosa, William S. Greenough, Mrs. Henry V. Memory of C. S. D. Ferrin, Mrs. Dana H. Greenough, Mrs. Robert B. c, Scarsdale, N.Y. Greenslet, Ferris ibney, Mr. and Mrs. Ferris, Miss Ida J. Greenwood, Mrs. Allen George B. Filene, Mrs. A. Lincoln Griffith, Miss Josephine ily, Mrs. Eeginald A. Fish, Miss Margaret A. Grover, Mrs. Frances L. ma, Mrs. Richard H. Fitch, Miss Carrie T. Grozier, Mrs. E. A. me, Mr. and Mrs Fletcher, Mrs. Arthur W. Ernest B. Foote, Arthur Haile, Pennington miels, Miss Mabel W Foote, George L. Hall, Mrs. Frederick G. avenport, Mr. and Mrs. Forbes, Allyn B. Hall, Mrs. George A. George H. Forbes, Edward W. Hall, Mrs. H. S. avis, Mrs. Livingston Forbes, Mrs. Ralph E, Hallowell, Miss Emily ay, Mrs. Frank A. Forbes, Mrs. Waldo E. Hallowell, Mr. and Mrs. N ay, Mrs. Henry B. Forness, Mrs. Arthur A. Penrose Miss Bertha ean, Fox, Walter S., Jr. Hamilton, Miss Ruth W. ean, Paul Dudley Frazer, Miss Mary G. Hammond, Franklin T. err, Thomas S. Elizabeth, N.J. Harding, Emor H. L. exter, Miss Rose French, Miss Isabel Cobb Harmon, Miss Lilian oane, Miss M. E. French, Miss Katharine Harriman, Mrs Henry I. Ethel odd, Miss Frost, Mr. and Mrs. Donald Harrington, Mrs. Francis B. Mrs. Malcolm onald, McKay Haskell, Mrs. Clarence G. Miss Elizabeth P. ouglass, Frost, Horace W. Hatfield, Mrs. Charles E. A. T. owner, Frothingham, Dr. and Mrs. Hatfield, Dr. and Mrs. owner, Mrs. Cutler B. Langdon Hugh K. B. H. owse, Mrs. W. Frothingham, Mrs. Louis A. Hathaway, Miss Bertha L. rew, Mrs. E. B. But Fuller, Alvan T. Hartwell, Miss Mary A. lift, Mrs. John I Furber. Miss Jane M. Harwood, Mrs. John H. Mrs. uncan, Haughton, Mrs. M. G. 'feis unne, F. L. Co. Gardner, Roy R. Hawley, Mr. and Mrs. George Hayden, Mrs. Harold B E. ager, Miss Mabel T. Garritt, Mrs. Walter G. New York- "tf.Y. arle, The Misses Gaston, Mrs. W. A. Hayward, Miss Emily H. h I astham, Mrs. Melville Gebhard, Heinrich Hazelton, Miss Olivia I aton, Miss L. H. Gelber, Miss Anne D. Bowditeh ddy, Mrs. W. H., New York Gibson, Mrs. K. H. Heilman, William dwards, Miss Grace M. Gilbert, Miss Helen C. C. dwards, Mrs. L. F. Giles, Miss Louise Henderson, Mrs. Amalia Herman, Mrs. Joseph hrlich, Mrs. Henry Gilmore, Mrs. G. L. M. Hewes, Miss Bessie b lms, Miss Florence G. Ginn, Mrs. Edwin C. Hiddinga, Mrs. Francois Ily, Miss Elizabeth B. Golden, E. I. W. if Imery, Mr. and Mrs. Goodnow, Mrs. W. N. New York, N.Y. Higginson, Frederick L. Goodwin, Miss Frances Charles Higginson, Mrs. F. L. mdicott, S. C. Goodwin, Mr. and Mrs. Higginson, Mrs. Henry L. ]rnst, Mrs. George A. O. Frederic S. Higginson, Miss >ans, Mrs. David J. Goodwin, Miss Sarah S. Margaret G. Grandin, Miss Isabella New York Hill, Arthur D. ^arlow, Dr. and Mrs. John W Grannis, Mrs. Arthur E. Hill, Mr. and Mrs. B. ^arnsworth, William Graves, Mrs. Edward C. Edward Hill, Miss Elizabeth D. ^ast, J. R., New York Graves, Miss Lavinia R., New York, N.Y. ?ay, Mrs. D. B. New York Gray, Reginald Hill, Mrs. John F. i; iFay, Mrs. Henry H. Gray, Mrs. Russell (Continued on next page) ii.<4 Pay, Mrs. S. Prescott ,i, fthofwho believe it important in the life of Boston and are willing to jestra.

1461 Hinds, Mrs. C. L. Kinsley, Mrs. James D. Monks, Miss Olga Hobson, Miss Dorothy M. Kirstein, Louis E. Montague, Mrs. C. H. Hoermann, Mrs. H. Kite, Mr. and Mrs. Hugh W. Moore, Mrs. Edward C. Montelair, N.J. Kline, Mrs. S. C. Moors, Mr. and Mrs. Holbrook, Miss Mary S. Nyaek, N.Y. Arthur W. Hollis, Edward P. Kneeland, Miss Edith, Morey, Mrs. Edwin Holmes, Mr. and Mrs. New York Morison, Samuel Eliot Edward J. Knight, Miss Anita E. Morse, Miss J. G. Holmes, Miss New York, N.Y. Morse, Miss Leonice S. Homans, Miss Katharine A. Kuhn, Mrs. Charles L. Morss, Mrs. Charles A. Hopkins, Mrs. A. L. Morss, Mrs. Henry A. Hopkinson, Miss Leslie W. Lamb, Miss Aimee Moseley, Mrs. F. S. Hornblower, Mrs. Henry Lang, Mrs. B. J. Motley, Mrs. E. Preble Houghton, Clement S. Lang, Miss Margaret Euthven Motte, Mrs. M. I. Houghton, Mrs. Clement S. Lasell, Mrs. Chester W. Murdock, Mrs. Harold Houghton, Miss Elizabeth G. Lasell, Miss Elizabeth Houser, Mrs. H. M. Laughlin, Henry A. Neal, Mrs. J. A. Howe, James C. Lauriat, Mrs. C. E. Newbury, John S., Jr. Howe, Mrs. J. Murray Lawrence, Mrs. John Nichols, Mrs. Henry G. Howe, Miss Katharine Lawrence, Miss M. B. Nickerson, Mrs. W. G. McPherson Lee, Joseph Nourse, Miss Annie Endicott Howe, M. A. DeWolfe Lee, Mr. and Mrs. J. S. Nutter, George E. Hoyle, Alexander E. Lewis, Mrs. George Hoyt, Charles B. Lewis, Mr. and Mrs. George, Olds, Herbert V. Hubbard, Mr. and Mrs. Eliot Jr. Osgood, Miss Emily L. Hungerford, Miss Dorothy Lewis, Mr. and Mrs. Leo Eich Hungerford, Mrs. Harry Littell, Miss Lucy Pagenstecher, Miss Bertha Hunneman, Miss Ida Little, Mrs. David M. New York, N.Y. Hunnewell, Mrs. Henry S. Lockwood, Miss Laura E. Paine, Mrs. Frank C. Hunt, Miss Abby W. Loeffler, Mrs. C. M. Paine, Eev. George L. Hunt, Mrs. Albert W. Logan, Mrs. Hiram H. Paine, E. T., 2d Hunt, Frederick V. Lord, Mrs. W. H. Palache, Mrs. Charles Hutchins, Mrs. Edward W. Lothrop, Miss M. B. Parker, Miss E. M. Lothrop, Mrs. W. S. H. Parker, Haven Jack, Dr. Frederick L. Lowell, Miss Lucy Parker, Mr. and Mrs. Jackson, Miss Annie H. Luce, Stephen B. Philip S. Jackson, Dr. Delbert L. l.yman, Arthur Parkman, Mrs. Henry Jackson, Dr. Henry Lyman, Herbert Parnell, Miss Alice M. Jackson, Mrs. James, Sr. Lyman, Miss H. W. Patton, James E. Jamieson, Mrs. J. B., Jr. Lyon, Mrs. George Armstrong Peabody, Miss Caroline E. Jaques, Miss H. L. Peabody, Mrs. Endicott Jenney, Mrs. Edwin C. Machin, Joseph Peabody, Mrs. W. Eodman Johnson, Arthur S. Manning, Mr. and Mrs. Perera, Mr. and Mrs. Gino L. Johnson, Miss Edith Morse Earl G. Perkins, Mrs. James H., 2d Johnson, Miss Harriet E. Mark, Professor E. L. Pfaelzer, Mrs. Franklin T. Johnson, Mrs. Otis S. Markson, Mr. and Mrs. A. L. Phillips, Mr. and Mrs. Jones, Miss Dorothy W. Marquette, W. G. William New York, N.Y. Pleasantville, N.Y. Pickman, Dudley L. Jones, Miss Eleanor H. McConnel, Mrs. C. W. Pickman, Mr. and Mrs. Jones, Miss Margaret H. McCreary, Mrs. Lewis S. Edward M. Jordan, Mrs. Helen L. McElheny, Mrs. V. K. Pierce, Mrs. Edgar New York, N.Y. Pigors, Mrs. Paul J. W. Kaffenburgh, Mr. and Mrs. McGinley, Mrs. Holden Pitman, Mrs. Harold A. Albert W. McKee, Mrs. William L. Platner, Mrs. John W. Kaffenburgh, Mr. and Mrs. McKibbin, Miss Emily W. Postlethwaite, Miss Edna Donald Merrill, Mr. and Mrs. C. H. S. Potter, Mrs. John B. Metcalf, Mrs. Kaufman n, Mrs. Herbert M. Thomas N. Prendergast, Miss Julia C. Meyer, Annie Nathan, New York, N.Y. Proctor, Mrs. Charles A. New York Keeler, Mrs. L. M. Putnam, Mrs. F. Delano Miller, Miss Isabelle P. Kent, Mrs. Edward L. Brooklyn, N.Y. Putnam, Mrs. George Kibrick, I. S. Miller, Miss Mildred A. Putnam, Mrs. James J. King, Mrs. Henry P. Milliken, Arthur N. Putnam, Miss Louisa H. King, The Misses Moir, Mrs. John Putnam, Mrs. Tracy J.

1462 Backliffe, Mrs. John B. Sears, Miss Jean S. Thurber, Miss Elizabeth Eaiman, Bobert I. Sears, Miss Mary C. Tower, Miss Florence E. Brooklyn, N.Y. Sears, Mrs. Montgomery Tozzer, Mrs. Alfred M. Band, Mr. and Mrs. E. K. Sears, Mrs. Bichard Trafford, Mrs. Bernard W. Banney, Miss Helen M. Selfridge, Mrs. George S. Tucker, Benjamin M. Bantoul, Mrs. Neal Sever, Miss Martha Tucker, Mrs. Edwin D. Bantoul, The Misses Shaw, Miss Miriam Tucker, Miss M. H. Baymond, Mr. and Mrs. Shepard, Mrs. Willis S. In Memory of Franklin F. Sigourney, Miss Edith William Bartlett Tyler Beed, Mrs. Chester A. Simes, Miss Olive Bemick, Mrs. Frank W. Slattery, Mrs. Charles Lewis Underwood, Miss Sophia A. Bice, Mrs. Albert W. Slocum, William H. Bice, Mrs. Arthur W. Slocum, Mrs. Winfield S., Sr Vaillant, Mrs. George W. Bice, Miss Ellen P. Smith, Charles Lyman Vaughan, Miss Bertha H. Bichards, Mrs. J. L. Smith, Dane F. Vaughan, Mrs. John F. Bichardson, Mrs. Charles F. Smith, Miss Elizabeth H. Vaughan, Mrs. W. W- Bichardson, Mrs. John Smith, Mr. and Mrs. Bichardson, Mrs. Mark W. F. Morton Wadsworth, Mr. and Mrs. Bichardson, Nicholas Smith, Louis C. Eliot Bichardson, W. K. Sonnabend, Mr. and Mrs. Wait, William Cushing Biley, Miss Mabel Louise Abraham M. Walker, Mrs. George Bipley, Hubert G., Jr. Sortwell, Mrs. A. F. Walter, Mrs. W. A. Bobb, Mrs. Bussell Spalding, Mrs. Philip L. Ward, Miss M. DeC. Boberts, Mrs. Coolidge S. Spalding, Mr. and Mrs. Ware, Henry Bobinson, Miss Katherine Walter E. Ware, Miss Mary Lee Bogers, Miss Bertha F. Spaulding, Miss Emma F. Waring, Mrs. Guy Sogers, Mr. and Mrs. Sprague, Mrs. Charles Warren, Mr. and Mrs. Howard L. Spring, Bomney Bentley W. Boosevelt, Mrs. J. West, Stackpole, Miss Alice Warren, Mrs. George E. New York Stackpole, Mr. and Mrs. Weatherby, C. A. Bopes, Mrs. James H. Pierpont L. Webster, Mr. and Mrs. Bopkins, Mrs. Kate C. Staniford, Mrs. Daniel Edwin S. Mrs. Bosenau, Dr. M. J. Stanton, Miss Katharine Weeks, Mr. and Bosenthal, Mrs. Louis Stearns, Miss Elsie B. Bobert S. Weidhorn, Leo Bothwell, Bernard J. Stearns, Mrs. Foster Welch, Mr. and Mrs. E. Buben stein, Philip Steinert, Mr. and Mrs. Sohier Bussell, Mrs. C. T. Alexander Bowe, Mrs. Bichard Stevens, Mrs. Charles L. Weld, Mrs. Charles G. Eaynor G. Stevens, Miss L. M. Wellington, Frederic A.. Sabine, Miss Mary L. Stevens, Moses T. Wetherbee, Mrs. Wetherbee, Miss Martha Sachs, Professor Paul J. Stevenson, Mrs. Bobert H. Wheeler, Mrs. Leonard Sacker, Miss Amy M. Stone, Mrs. Galen L. Wheelwright, Miss Mary C. Stone, Miss Katharine H. Sampson, Mrs. Bobert deW. White, Miss Gertrude R. Stroock, Mrs. Sol M. Sanborn, Mr. and Mrs. White, Mrs. Joseph Ashton New York, N.Y. Whitin, Mrs. G. Marston Sanger, Mrs. Charles B. Sturgis, The Misses Whitney, Mrs. Margaret F. G. Sanger, Mrs. George P. Sumner, Mrs. Charles P. Whittemore, Miss H. S. Sargent, Miss Katharine A. New York, N.Y. Taber, Miss Gertrude S Wilder, Mrs. Edward F. Sargent, Porter E. Taft, Edward A. Williams, Moses Williams, Mrs. Ealph B. Saville, Mrs. William Taintor, Mrs. Charles W. Williamson, Miss Clara R. Sawyer, Mr. and Mrs. Tapley, Miss Alice P. Henry B. Tappan, Mrs. Frederick H. Willis, Miss Clara L. Schenck, Miss Martha Tappan, Miss Mary A. Willson, Donald B. McLeod Taylor, Miss Katherine B. Winsor, Mrs. Frederick Schneider, Miss Elizabeth Terstegge, Miss Meta Winsor, Mrs. Kennard Schnepf, Miss Eleonore M. Newark, N.J. Wolcott, Mrs. Roger Mount Vernon, N.Y. Thacher, Miss Elisabeth B. Woodworth, Miss M. B. Scranton, Mrs. Gilmore G. Thaw, Mrs. Edward Woolley, Mrs. Edith Sears, Miss Annie L. Thorndike, Albert Christiana Sears, Mrs. Francis B. Thoron, Mrs. Ward Wrenn, Philip W. Sears, Mr. and Mrs. Henry F. Thorp, Miss Alice A. Wright, Mrs. Walter P.

14 (,:', "The Planets" (complete). (Chorus of women's voices for "Neptune"—No. VII—trained by Arthur Fiedler.!) January 22, 1932 799 (All four compositions conducted by the composer) u'Indy (In Memoriam—died December 2, 1931) : "Istar," Symphonic Variations, Op. 42, December 11, 1931 450

Symphony No. 2, B-flat major, Op. 57, January 1, 1932. . 638 Liszt: "Les Preludes," Symphonic Poem No. 3 (after Lamar- tine), February 19, 1932 982 Faust Symphony (after Goethe) (Harvard Glee Club.

Tenor solo : Rulon Y. Robison. In memory of Goethe, who died March 22, 1832.) March 18, 1932 1154 Loeffler: "La Mort de Tintagiles" (after Maeterlinck), for orchestra and viola d'amore (Jean LEFRANcf), Op. 6, February 26, 1932 1004 Mahler: Symphony No. 9f (first time in the United States), October 16, 1931 70

Martelli: Concertof for orchestra, Op. 31, April 22, 1932 . . 1370 Morris: Concerto for pianof (Harold Morris, pianist) Oc- tober 23, 1931 152 Mozart: Symphony in C major, No. 34 (K. 338), October 23, 1931 134

Overture to "Le Nozze di Figaro," February 19, 1932 . . 942 Concerto for violin (Yelly d'Aranyi*) and orchestra, February 19, 1932 972 "Requiem"* (Bach Cantata Club; Gertrude Ehrhart,* Marie Murray, Joseph Lautner, David Blair McClosky), December 18, 1931 514

Pick-Manciacallt : Scene Carnavalesque** from "Casanova in Venice" (first time in the United States), Novem- ber 13, 1931 306

Prokofieff : "Classical" Symphony, Op. 25, February 12, 1932 882 Rachmaninoff: Five Picture Studies (arranged for orches-

tra by Otterino Respighi),! November 13, 1931. . . . 262 Ravel: "Daphnis et Chloe" (Second Suite), October 9, 1931 43

Introduction and Allegro* for harp (Bernard ZiGHERAf ), with accompaniment of strings, flute, and clarinet, December 24, 1931 609 Rhapsodie Espagnole, February 12, 1932 900

Estimated deficit for the season 1931*32 * . $100,000 Amount subscribed to date 62,719 Balance needed $37,281

Subscriptions are applicable to deductions from the Federal Income Tax

Subscriptions to annual deficit and to the Endowment Fund should be sent to E. B. Dane, Treasurer, 6 Beacon Street, Boston, Mass.

1464 "Tzigane" for violin (Yelly d'Aranyi*) and orchestra, February 19, 1932 981 Concerto for piano and orchestra (Jesus Maria San- roma), April 22, 1932 1371

Kimsky-Korsakov : Symphonic Suite, "Scheherazade" (after "The Thousand Nights and a Night"), Op. 35, No- vember 6, 1931 228 Schmitt: "La Tragedie de SalomS" (after Robert d'Humi- eres), November 13, 1931 270 Schumann: Symphony, E-flat major, No. 3 ("Rhenish"), Op. 97, December 24, 1931 612

Scriabin : "The Poem of Ecstasy," Op. 54, January 29, 1932 854

Sibelius : Symphony No. 2, D major, Op. 43, January 15, 1932 738 Symphony No. 4, A minor, November 6, 1931 204 Sowerby: "Prairie,** Poem for orchestra, March 11, 1932.. 1090 Strauss: "Ein Heldenleben," Op. 40, October 23, 1931 173 "Don Quixote," Op. 35 (Jean Bedetti/j- violoncellos; Jean Lefranc,! viola), December 11, 1931 488 "Also Sprach Zarathustra," February 12, 1932 912 "Till EulenspiegePs Merry Pranks," Op. 28, March 11, 1932 1094

Stravinsky : Suite from the Ballet "Petrouchka," January 1, 1932 672 Suite from the Ballet "Pulcinella" (after Pergolesi), March 11, 1932 1068 Concerto in D for violin** (first time in the United States; Samuel Dushkin,* violinist), January 1, 1932 662 "Symphonie de Psaumes," for orchestra with chorus (Cecilia Society), April 15, 1932 1332 Taylor: Suite, "Through the Looking-Glass" ("Lewis Car- roll," born on January 27, 1832), January 29, 1932 822 Tchaikovsky: Symphony No. 5, E minor, Op. 64, March 25,

1932 , 1206

Tcherepnin, N. : "Enchanted Kingdom" (After a Kussian

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^^^H .» , , The Boston Music Co., (16 Boylston St., Boston, Mass.

1465 Tale)** (conducted by the composer), November 27, 1931 368 Eight Miniatures (After a Russian Illustrated Alpha- bet)! (conducted by the composer), November 27, 1931 368 Prelude "In Memory of Rimsky-Korsakov"f (conducted by the composer), November 27, 1931 370 Toch: Little Theatre Suite, Op. 54,** December 4, 1931 392 Bunte Suite,** Op. 48 (first time in the United States), March 25, 1932 1186 Concerto, for piano (Ernst Toch**) and orchestra, Op. 38, March 25, 1932 1200 Vogel: Two Etudes:** Bitmica funebra; Ritmica scherzosa, December 4, 1931 390

Wagner : Overture to "Tannhaeuser," October 16, 1931 112 A Siegfried Idyl, October 16, 1931 102 "Daybreak" and "Siegfried's Rhine Journey" from "Dusk of the Gods," January 15, 1932 735 A Faust Overture, March 18, 1932 (In memory of Goethe, who died March 22, 1832), March 18, 1932 1124

SUMMARY

Bach, C. P. E 1 Mahler 1 Bach, J. S 2 Martelli 1 Beethoven 4 Morris 1 Berezowsky 1 Mozart 4 Brahms 5 Pick-Mangiagalli 1 Bruckner 1 Prokofieff 1 Chausson 1 Rachmaninoff 1 Copland 1 Ravel 5 Corelli 1 RlMSKY-KORSAKOV 1 Daniels 1 SCHMITT 1 Debussy 3 Schumann 1 Dukelsky 1 scriabin 1 Franck 1 Sibelius 2 Frid 1 Sowerby 1

Gershwin J Strauss 4 Griffes 1 Stravinsky 4 Handel 1 Taylor 1 Haydn 4 Tchaikovsky 1 HlNDEMITH 1 Tcherepnin, N 3 Holst 4 Toch 3 d'Indy 2 Vogel 2 Liszt 2 Wagner 4 loeffler 1 85

The following composers were represented for the first time at these concerts: Berezowsky, Daniels, Frid, Gershwin, Morris, Sowerby, Vogel.

14C(i WORKS PERFORMED FOR THE FIRST TIME ANYWHERE Copland: Symphonic Ode. Dukelsky: "Epitaph," for chorus and orchestra.

Gershwin : Rhapsody No. 2, for orchestra with piano.

Martelli : Concerto for piano and orchestra. Morris: Concerto for piano. Rachmaninoff: Five Picture-Studies (arranged for orchestra by Respighi).

Tcherepnin, N. : Eight Miniatures (After a Russian Illustrated

Alphabet) ; Prelude, "In Memory of Rimsky-Korsakov."_ ~8

OTHER WORKS PERFORMED IN BOSTON FOR THE FIRST TIME Berezowsky: Concerto for violin. Frid: Suite for orchestra (first time in the United States). Handel: Concerto Grosso for strings, Op. 6, No. 9.

Haydn : Symphony No. 1. Holst: Prelude and Scherzo, "Hammersmith." Ballet from the opera "The Perfect Fool." Mahler: Symphony No. 9 (first time in the United States).

Pick-Mangiagalli : Scene Carnavalesque (first time in the United States).

Ravel : Concerto for piano and orchestra.

Sowerby : "Prairie," Poem for orchestra. Stravinsky: Concerto in D for violin (first time in the United States).

Tcherepnin, N. : "The Enchanted Kingdom" (After a Russian Tale) (first time in the United States).

Toch : Little Theatre Suite. Bunte Suite (first time in the United States).

Vogel : Two Etudes : Ritmica funebra ; Ritmica scherzosa. T6

ROCK of AGES MEMORIALS

GRANITE, MARBLE BRONZE, SLATE

V STONE AND TAYLOR .JJj 122A NEWBURY STREET .*. BOSTON COMMONWEALTH 1585

1467 WORKS PREVIOUSLY PERFORMED IN BOSTON, PLAYED FOR THE FIRST TIME AT THESE CONCERTS Daniels: "Exultate Deo." Holst: St. Paul's Suite for strings. Ravel: Introduction and Allegro for harp, with accompaniment of strings, flute, and clarinet. 3

THE FOLLOWING ARTISTS HAVE APPEARED AS SOLOISTS THIS SEASON

Aranyl/* Yelly d', violinist. Mozart, Concerto for violin and orchestra, D major, No. 4 (K. 218). February 19, 1932 972 Berezowsky,* Nicolai, violinist. His own concerto** for violin. December 4, 1931. (Sketch) 404 Busch,** Adolf, violinist. Brahms, Concerto for violin and orchestra. November 13, 1931. (Sketch) 293 Dushkin,* Samuel, violinist. Stravinsky, Concerto** in D for violin and orchestra. January 1, 1932. (Sketch) 662 Gershwin,* George, pianist. His own Rhapsody, No. 2f for

orchestra, with piano. January 29, 1932. (Sketch) . . 844 Hess, Myra, pianist. Brahms, Concerto for piano, D minor, No. 2, Op. 15. April 15, 1932 1341

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E. C. SCHIRMER MUSIC CO. 221 COLUMBUS AVENUE, BOSTON, MASS. Telephone Kenmore 1772 Publiahmn of Dmpot for THE CONCORD SERIES PETERS EDITION AUGENER'S EDITION THE COMMONWEALTH SERIES SCHIRMER LIBRARY OF MUSICAL CLASSICS HARVARD UNIVERSITY GLEE CLUB CURWEN. GRAY ft NOVELLO PUBLICATIONS COLLECTION OF PART SONGS SoU Agents for FOR MEN'S VOICES RADCLIFFE CHORAL MUSIC AND VASSAR COMPOSITIONS OF PAUL JUON CHORAL MUSIC FOR WOMEN'S VOICES HONEGGER "KING DAVID" THE COWLEY CAROL BOOKS THE "A CAPPELLA" SERIES AND THE ST. DUNSTAN EDITION OF SACRED MUSIC CHESTER POLYPHONIC LIBRARY

1468 Morris/* Harold, pianist. His own Concertof for piano and orchestra. October 23, 1931. (Sketch) 152 Piatigorsky, Gregor, violoncellist. Haydn's Concerto in D major. April 1, 1932. (Sketch) 1278 Sanroma, Jesus Maria, pianist. Ravel, Concerto** for piano and orchestra. April 22, 1932 1371 Toch,** Ernst, pianist. His own concerto for piano and or- chestra, March 25, 1932. (Sketch) 1186

Violinists: Yelly d' Aranyi,* Mcolai Berezowsky,* Adolf Busch,** Samuel Dushkin* 4 Violoncellist: Gregor Piatigorsky 1 Pianists: George Gershwin,* Myra Hess, Harold Morris,** Jesus Maria Sanroma, Ernest Toch** 5 16

THE FOLLOWING HAVE ASSISTED IN PERFORMANCES

Adelle Alberts,* soprano, Dukelsky's "Epitaph,"f April 15, 1932. Jean Bedetti,! violoncellist. Strauss's "Don Quixote." December 11, 1931. Gertrude Ehrhart,* soprano. Mozart's "Requiem,"* December 18, 1931. Mary Garden,* soprano. Debussy's "La Demoiselle filue," Decem- ber 11, 1931.

ANNOUNCEMENT MR. FELIX FOX Will Teach at BOOTHBAY HARBOR, ME., During JULY and AUGUST and Will Accept Advanced Players and Teachers for Private Lessons in Pianoforte Playing Mr. Fox will also conduct a six-week class. Interpretation, the technical approach to various compositions, from a pre-arranged list of standard and modern works, short cuts to mastery of well-known studies and the teaching of technic will be taken up. For detailed information, terms and dates, address MR. FOX, 403 Marlborough St., Boston, Mass.

BOUND COPIES of the The ANNALS OF MUSIC IN AMERICA loatan &gmplj0nB QDrrljfHtra'H BY HENRY C. LAHEE PROGRAMME BOOKS 1640—1922 Containing Mr. Philip Hale'* analytical and de- "... Nothing else approaches it in value" scriptive notei on all works performed during the — leaion ("musically speaking, the greatest art Musical Courier. annual of to-day"—W. J. Henderson. New York $3.00 Sun), may be obtained by addressing Boston Musical and Educational Bureau PRICE, $4.00 SYMPHONY HALL 12 Huntington Ave. Boston, Mass.

1469 Georges Laurent^ flute. Bach's Suite No. 2, B minor, for flute and strings. December 24, 1931. Griffes' poem for flute and orchestra. January 15, 1932. Joseph Lautner, tenor. Mozart's "Kequiem."* December 18, 1931. Jean LEFRANC,f viola. Strauss's "Don Quixote." December 11, 1931. Loeffler's "Le Mort de Tintagiles/' for orchestra and viola d'amore. February 26, 1932. David Blair McClosky., baritone. Mozart's aKequiem." December 18, 1931. Marie Murray, contralto. Debussy's "La Demoiselle £lue." Decem- ber 11, 1931. Mozart's "Requiem."* December 18, 1931. Rulon Y. Robison, tenor. Liszt's "Faust" Symphony. March 18, 1932. Jesus Maria Sanroma, pianist. Stravinsky's "Petrouchka." January 1, 1932. Louis SPEYER.f Debussy, Rhapsody for orchestra and saxophone (or English horn). February 12, 1932. ZiGHERAjf Bernard^ harpist. Ravel's Introduction and Allegro* for harp, with accompaniment for string orchestra, flute, and clarinet. December 24, 1931. (Sketch). Bach Cantata Club (G. Wallace Woodworth, conductor). Mozart's "Requiem."* December 18, 1931. Cecilia Society (Arthur Fiedler^ conductor). Women's voices in Hoist's "Neptune," January 22, 1932; Daniels' "Exul- tate Deo,"* Dukelsky's "Epitaph,"f Stravinsky's "Sym- phonic de Psaumes," April 15, 1932. Harvard Glee Club (Dr. Archibald T. Davison, conductor). Liszt's "Faust" Symphony, March 18, 1932. Radcliffe Choral Society (G. Wallace Woodworth, conductor). Debussy's "La Demoiselle £lue." December 11, 1932.

GUEST CONDUCTORS

Clifton/ Chalmers. January 15, 1932. Handel's Concerto Grosso for strings, F major, Op. 6, No. 9**; Griffes' "Poem for flute and orchestra*; Wagner's "Daybreak" and "Sieg-

Flowers By Wire . . GUARANTEED SERVICE

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1470 friecfs Rhine Journey" from "Dusk of the Gods" ; Sibelius's Symphony No. 2, D major. Holst,** Gustav. January 22, 1932. His St. Pauls' Suite* for

strings ; Prelude and Scherzo, "Hammersmith"** ; Ballet** from the opera, "The Perfect Fool"; "The Planets." Nikolai Tcherepnin** conducted on November 27, 1931, his "En- chanted Kingdom,"** "Eight Miniatures"! and Prelude "In memory of Rimsky-Korsakov."f Richard BuRGixf conducted on December 4, 1931, Vogel's Two Etudes,** Toch's "Little Theatre Suite,"** Berezowsky's violin concerto** (Berezowsky, violinst), Chausson's Symphony in B-flat major.

COMMEMORATIVE CONCERTS

Thomas Alva Edison (died October 18, 1931) : Extra concert on October 22, 1931, at 4 p.m. Beethoven's "Eroica" symphony.

Vincent d'Indy (died December 2, 1931) : Symphonic Variations "Istar." December 11, 1931.

Frederick Pickering Cabot (died January 6, 1932) : memorial con- cert on Tuesday afternoon, January 12, 1932, at 4 o'clock. Mozart, choruses from the Requiem; Tchaikovsky, "Pathetic" Symphony No. 6.

"Lewis Carroll" (Charles L. Dodgson) (born January 27, 1832) : Taylor's Suite "Through the Looking-G-lass." January 29, 1932.

Johann Wolfgang Goethe (died March 22, 1832) : Wagner's "Faust" overture and Liszt's "Faust" Svmphonv. March 18, 1932.

Franz Joseph Haydn (born March 31, 1732) : Symphony No. 1,

D major (1759) ; Symphony No. 94, G major ("Surprise") ; Violoncello Concerto, D major (Gregor Piatigorsky,

violoncellist) ; Svmphony No. 104, D major (his last sym- phony, 1795). April 1, 1932. • * *

A concert was given on January 30, 1932, for the Boston Un- employment Fund. Dr. Koussevitzky, George Gershwin, and the Orchestra contributed their services. Mr. Gershwin played his Second Rhapsody, for piano and orchestra.

A MARK of DISTINCTION in a GOWN or DRESS

*>y] BOYLSTON STREET, opposite CopIey.Plaza, BOSTON

1471 ENTR'ACTES AND EXCURSIONS PAGE 1018 Apthorp : Viole d' Amour Votinsk 1225 Belaiev : Tchaikovsky's House at 355 Berlioz : Beethoven's Fourth Symphony Haydn, Bourgeois 1254 138 Blackburn : Mozart

: Music 792 C^lvocoressi : Hoist's "Hammersmith" A Word for Pure

Tone-Poems and Their Programmes : A Stimulus or a Prop? 158 830 Columbia University : C. L. Dodgson 100 Copland : Mahler's Music Farjean: Progressing Backwards: An Astronomical Fantasy 408

Fox-Strangways : Explaining Modern Music, On 224 Musical Criticism 303 Opera in English 106 Orchestra, A Good 366 Why We Listen 38

Gatti : Stravinsky 664

Hale : Bourree 598 Bruckner 1378 E minor, Tonality of 16 English Horn 896 Gavotte 883 Gigue 704 Habanera 909 Handel's Orchestra 712 Haydn's Singers in London (1795) 1287

D'Indy's Early Years , 466 D'Indy in Boston 474 Laforgue's "Salome" 284 Maeterlinck's "La Mort de Tintagiles" 1008 Mahler, Man and Composer 70 Malaguena 904 Minuet 605 "Nozze di Figaro," Original Cast 956 Polonaise 602 Pulcinella 1076 Sarabande 588 Till Eulenspiegel 1103 Viole d' Amour 1018

Henderson : Musical Criticism, A Note on 668

d'Indy : The Art of Composition, On 476

Jean-Aubry : Ernest Chausson 416 Vincent d'Indy 652

Kramer : Charles Tomlinson Griffes 731

Mendl : Composers and Stunts 34 Composers' Missed Opportunity 164

Meyers : Hyphenated Composition. The 263

Mischa-Leon : Folk-Songs and Folk Dances : A Parisian at Home .... 795

Newman : Mozart, The Dual Nature of 546 DOLL & RICHARDS GARDEN SCULPTURE By MARY OGDEN ABBOTT OLD MOORISH COSTUMES AND JEWELRY RUGS, EMBROIDERIES ITALIAN AND SPANISH DAMASKS 138 NEWBURY STREET BOSTON

1472 ;

Mozarts, The Two : Serenity and Passion 555-974 Strauss, The Problem of 167 Tchaikovsky's Fifth Symphony 1221 Work and the Interpreter, The 358

Newmabch : Finnish Music 738

Rosenfeld : Scriabin 864

Runciman : Haydn 1248 Mozart's Last Years 148 Mozart and His "Requiem" 541

Scholes : Poets, Those Unmusical 296

Squire : Hoist's "The Perfect Fool" 778

Times (London) : Beaumarchais 962

Times (New York) : Toch Talks in New York 1190

Vuillermoz : Gabriel Faure, The Art of 109

Wagner : Beethoven's "Coriolanus" Overture 334

Williams, Orlo : New Problems : 214

INDEX TO SUNDRY REFERENCES AND FOOTNOTES

Biographical (Men) : A. Abington, Lord, 1280; Alexander the Great, 289; Al-Idri si, 235; Al- Kazwini, 235; Arco, Oount 552; Arthurson (Mr.), 538; Assafiev, B., 882; Ave-Lallement, T., 1217. B. Bargaglia, S., 702; Beecham, T., 363; Beethoven, N.J. 1430; Benucci, 960; Bernadotte, 1024; Blanc-Gatti, C, 241; Bono, J., 134; Bruckner and Mahler, 72; Buelow with Brahms, 10, 16, 22; Bussani, 960. C. "Carroll, L.," 822; Casanova, 307; Casella, A., 298; Casella, P., 298; Castrucci, 714, 1022; Collin, 329; Coriolanus, 326; Oowper, Lord, 1290; Cramer, W. 1282.

D. Da Ponte, L., 942 ; Dessoff, 1452 ; Diaghilev, 43, 47, 1316 ; Dodgson, C. L., 822; 830. E. Eberwein, C, 1122; Epstein, J., 71; Esterhazy, N., 1266; Esterhazy, P.

A.. 1266 ; Eybler, J., 520. F. Ferlandis, G., 1290; Fischer, A., 1167; Fisher, J. A., 958; Florsheim, O., 914; Franzl, 972; Fred. Wilhelm II., 152; Fries, Count, 348; Fuern- berg, K. J. E. von, 1260. G. Gallim, 1280 et &eq.; Garaude, 1258; Gardel, 888; Gardiner, W., 1283;

George I., 199 ; George IV., 1284 ; Gershwin, I., 849 ; Gevaert, F. A., 1279 Giardini, 1286; Goldfarb, 844; Gruber, 1382; Guitainer, A., 1262.

H. Hambitzer, C, 844 ; Hamet ben Hadji, 592 ; Heinichen, J. D., 578 Herbeck, 1388, 1392; Hodgson, L. J., 732; Hoist, A., 762; Horn, 534; Humi6res. R. D., 270. I. Indy, S. A. W. d', 466.

J. James, V., 45 ; John of Austria, 606 ; Joseph II., 952 ; Julien, 1246. K. Keller. P., 1266; Kelly, M., 960; Kitzler, 1390; Kraft, A., 1279; Kraft, N., 1279; Krenn, J., 71, Kempelen. L. La Liberty 856; Lambert, M., 594; Leopold, Prince, 578; Lopatnikov, 1200; Louis, R., 1378.

M. Maelzel, J. N., 1432 ; Mandini, ; 960 ; Mandelstamm, 1316 Marback, 1126 ; Metastasio. 1262; Michelletti, 702; Monn, G. M., 135; Morelli (N. Y.), 538; Morelli (Haydn's singer), 1290; Morzin, Count, 1262; Mozart, L., 972; Muller, I., 534.

RUSSIAN Antique chandeliers, sconces, silver, ANTIQUE IKONS mirrors, furniture, candlesticks, etc. JEWELRY MAJA INGMAN, European Antiques 6 NEWBURY STREET, BOSTON DETROIT, MICH. HELSINGFORS, FINLAND

1473 ;

N. Naldi, 1290; Napoleon, 1024, 1030; Nearchus, 239. 0. Oppersdorff, F., 352, 354; Ortoboni, Cardinal, 199.

P. Pearman, 943 ; Pedrazzi, 958 ; Pick, J., 1247 ; Pinelli, E., 198. Q. Quevedo, 1434. R. Rehberg, W., 396, 1186; Richelieu, 590; Riera, J. A. A., 608; Rosen, Max, 844; Rovedino, C, 1290.

S. Sala, A., 365 ; Salieri, 515 ; Salomon, J. P., 1281 et seq. ; Scheffer, A., 1155; Schor, 1262; Scriabin, A. I., 861; Sechter, 1386; Servais, 1279; Smith, S., 699; Spiering, T., 84; Stein, C, 541; Steinberg, C, 541; Storace,

S., 956 ; Stricher, 579 ; Suessmayer, 520, 545, 559. T. Tellegen, L., 270; Thalberg, 539, 541; Tichatschek, 115; Tiessen, H.,

391 ; TiU Eulenspiegel, 1095 ; Tiorba, 716 ; Torelli, 702 ; Tournier, M., 608.

V. Valentini, 200 ; Viotti, 1290 ; Vogt, 898. W. Walsegg, Count, 514, 522; Weinlich, J., 359; Wezlar, Baron, 948. Z. Zoffany (his picture of Mozart), 553; Zoroaster, 924.

Biographical (Women) :

? A. Alvarez, D', 851 ; Amelita, 797 ; Angri, D , 538.

B. Bach, A. M., 578 ; Bach, M. B., 578 ; Banti, B., 1287 ; Brunsvik, T., 350

Bulz, Ida, 1406 ; Bussani, 958. C. Candar, Sara, 588; Carmencita, 796; Catherine de Medici, 598; Croiza, 487. E. Enclos, N. de 1', 590.

F. Fonta, 592 ; Frank, 78 ; Frazer, H., 358 ; Fuller, L., 270.

G. Gauthier, E., 850 ; Gottlieb, A., 960 ; Griglietti, 98.

H. Hall, Mrs. R. J., 890, 892 : Herodias, 286; Hodges, 1266; Holman, 943. 1. Indy, T. d', 466. K. Karsavina, T., 272; Keller, A. A., 1266.

L. Laschi, 956 ; Lolitta, 797 ; Long, Mrs. J. H., 538. M. Mahler, Mme., 82, 100; Marguerite of Burgundy, 606; Marguerite of

Valois, 598 ; Marie Antoinette, 888, 1290 ; Mariska, 798 ; Morichelli, A. B., 1288; Morzin, W., 1264. N. Ney, E., 1200. O. Obermeyer, T., 1431. P. Polzelli, L., 1266. R. Ramann, L., 1154; Rath, G. A., 578; Reischel, M, 1406; Rimsky-Kor- sakov, Mme. (Steinberg), 1063. S. Sandford, C. W., 943; Sayn-Wittgenstein, 1166; Schindler, A. M. (Mme. Mahler), 82; Schroeder-Devrient, 115; Schroeter, 1266; Scriabin, Tania. 864; Shaw (Mrs.), 1266; Steinberg, Mme., 1063; Storace, A. S., 956; Strieker, C, 579.

W. Wagner, J., 115 ; Wagner, Rosalie, 1126.

Musical Forms : B'adinerie, 202. Concertino, 700 ; Concerto grosso, 700 ; Con- tinuo, 580. E minor, key of, 1218. Form, Plotinus on, 1090. Gigue, 704.

Minuet in symphony, 135. Overture, 584, 1286. Parties, 584 ; Partheyen. 584. Rondo, 586. Sonata, Gretry on, 1200; Symphony-overture, 1286.

Dances : Bourree, 598. Contraclanza criolla, 910. Fandanga, Gavotte, 833; Gigue, 704. Habanera, 909. Jig, 596-710. Malaguena, 904; Minuet, 604; Minuet in symphony, 135. Pavane, 596. Rodena, 904; Rondo, 586.

Sarabande, 588. Sprightly Phrygian, 710 ; Syrian dancing girls, 113.

CARL LAMSON SCHOOL OF MUSIC SUMMER SESSION LAKE PLACID CLUB, NEW YORK

JULY 1st to SEPTEMBER 1st.

For information apply to Secretary, LAMSON STUDIO, 83 Newbury St., Boston

1474 — ;;;

Instruments : Balalaika orchestra, 741 ; Baryton, 1249 ; Bassett horn, 532.

Caisse claire, 45 ; Carillon, 367 ; Chittarone, 714 ; Cithern, 741 ; Clarinet,

367 ; Clarini, 367 ; Consort, 367 ; Cor Anglais, 896 ; Corno di Bassetto, 532. Drums see caisse claire and tambour. Flute a bee and flute traversiere,

580. Gigue, 704 ; Gusli, 741. Horn. English, 896 et seq. Kankles, Kannel, Kantele, Knakles, 741. Lyra-viol, 1020. Metronome, 1433. Oboe, 361 1290;

Orchestra changes in character. 367 ; orchestras in Haydn's time, 1262,1284.

Pandero, 741 ; Panpipe, 45. Sarangi, 1024 ; Syrinx, 45. Tambour, 45

Theorbo. 714 ; Trumpet. 367. Viola bastarda, 1022, 1249 ; viola da gamba,

1022 ; viola de mori, 1024 ; viola di bordone, 1249 ; viola marina, 714 ; viole

d'amour, 1018 ; violetta marina, 1022 ; violetta piccola, 714.

Legends and Folklore : Aeolus, 32 ; Albat, 456 ; Anu, 454. Baba-Yaga, 369. Fire-Bird, 369. Gilgamesh, 454. Herodias, 286; Horseman, Black, 369.

Istar, 450. Kastchei, 369. Nimrod, 454. Schadriar, 229 ; Scheherazade, 229; Sindbad, 235. Till Eulenspiegel, 1095. Zoroaster, 925.

Songs :

A. Ah ! mon fils, 539 ; Aica, Chant d', 276 ; Apaisement, 418 ; Auf dem Kirchhofe, 16; Aus dem Nachtliede Zarathustras, 924; Aveu L\ 418.

B. Behold and see, 20 ; Belisarius, Song of, 1247 ; Betrachte meine Seele, 1022. C. Cantique a 1' epouse, 418, 430; Caravane, 430; Chanson perpetuelle,

418, 430 ; Clair de lime, 476 ; Colibri, Le, 418 ; Crudele perche, 354.

D. Dans la Foret du Charme, 418, 430 ; Dargason, 774 ; Dark eyes to mine, 783. E. Eilbote, 354. F. Fra i pensier piu funesti di morte, 357, 975.

G. Garden of Karma, 730 ; Green Sleeves, 774. H. Les Heures, 418.

I. Ich atmet einen Lindenduft, 86 ; Ich war an manch vergess'nem Grab

gewesen, 16 ; Idole si douce et si pure, 985 ; In a myrtle shade, 730 In questa tomba, 326; Inflammatus (Rossini), 1037; Irish Washer- woman, 1094.

J. Je dis que rien ne m'epouvante, 898 ; Joyselle au Jardin, 371.

K. Kindertotenlieder, 92 ; Komm, Gott, Schoepfer, 7.

L. La-bas dans le prairie, 476 ; Lament of Ian the Proud, 730 ; Laschia

ch'io pianga, 596 ; Leviathan, The, 1283 ; Lieder eines fahrenden Gesellen,

86 ; Lied Maritime, 476 ; Londonderry Air, 304. M. Madrigal, 476; Ma Lisette, 476; Meine Run', 1126; Minuet d'Exaudet,

607 ; Misero ! o sogno, 555, 974 ; Morts, Les, 430 ; My mother bids me bind my hair, 1283. N. Nina, 1078; Notturne, 418. O. Old Temple among the Mountains, 730.

P. Parfum imperissable, 112 ; Pieta, Signore, 539 ; Pilgrim Song, 156

Pluie, 430 ; Plus blanche que la blanche hermine, 1018 ; Poeme de l'amour et de la mer, 430.

R. Rheinlegendchen, 86 ; Rheinweinlied, 615.

S. Sappho's Song, 371 ; Schlaf mein Kind, 105 ; Schmuecke dich, o liebe

Seele, 6 ; So-fei gathering flowers, 730 ; Soir, 112.

T. Temps des Was, 418 ; To the Skylark, 353 ; Traum durch die Daem-

merung, 177 ; Tu che a Dio spiegasti Pali, 616. U. Urlicht, 96. SERGEI KOXJSSEVITZKY AND HIS EPOCH A BIOGRAPHICAL CHRONICLE, by Arthur Laurie $3.50 at all bookshops A BORZOI BOOK ALFRED • A KNOPF

1475 ;;;

V. Veni Creator, 7; Viens deletti e in ciel la luna, 1037. W. Waikiki, 730; With eagerness the husbandman, 1276.

Opera House and Theatre : A. Achilles, 735; Adelaide, ou Le Langage des Fleurs, 462; Alceote, 896; Alexander chez Appelles, 898; Alice in Wonderland, 838; Ali-Hitsch- hatsch, 1386; Alladine et Palomides, 1005, 1330; Almanzor, 485; Almira.

596 ; Amours de Oherubin, 948 ; Apollo et Hyacinthus, 950 ; Apollon Musagete, 37, 662, 665; Apres-midi d'un faune, 47; Argonauten, 75; Ariadne, 168; Ariadne auf Naxos, 977; Armut ist keine Schande, 370;

Ascanio in Alba, 950 ; Attendez-moi sons l'orme, 468 ; At the Boar's Head, 764. B. Baby Factory, The, 398; Bacchae, The, 1188; Bacchantes, The, 398;

Baiser de la Fee, 665 ; Barbiere de Seville, 964, 1037 ; Basi e Bote, 306

Bastien et Bastienne, 950, 1038 ; Beggar's Opera, 302 ; Berceuse, La, 306 Birds, The, 165; Blue Monday, 852; Boese Verhaengnis, 541; Boite a Joujoux, 487; Boris Gudunov, 305; Bradamante, 327; Burbero di buon cuore, 943. C. Cabinet, The, 958; Caligula, 109; Caprices de Marianne, 429; Caprice on Spanish Themes, 462; Carillon Magico, 306; Carmen, 89S; Casanova,

307 ; Casanova at Venice, 307 ; Cassiopea, 1330 ; Oephale et Procris, 888

Chant de la Cloche, 464, 640, 656 ; Charles VI, 1037 ; Cheerio, 853 ; Children of Don, 536; Olemenza di Tito, 514, 534; Coq d'or, 164; Cosa rara, 943, 960; Cos! fan tutte, 960. D. Danae, 134; Daphnis et Chloe, 36, 43, 1200; Death of Manfred, 1330; Delicious, 840; Demoiselle Elue, 486; Demoiselle-Paysanne, 1328; Demon, The, 462; Dernier Troubadour, 270; Dionysius, 370; Don Carlos (play),

1165 ; Don Giovanni, 76, 84, 148, 152, 328, 542, 543, 1123. E. Egmont, 611; Egon u. Emelie, 398, 1188; Elektra, 168; Enfant Pro-

digue, 486 ; Entfuehrung aus d. Seraglio, 534, 950 ; Ereo Cinese, 134 Ernst v. Schwaben, 73; Etranger, L', 472, 640, 658; Eulenspiegel, 1102

(see Till Eulenspiegel) ; Euryanthe, 1146, 1454; Ezio, 134. F. Faecher, Der, 398, 1188; Fair at Sorotchintzy, 371; Fairy Tale of the Princess Ulgba, 370; Falstaff, 164, 172; Faust (play), 616, 1122 et seq. (Klingemann), 1132; Favorita, La, 985; Fervaal, 431, 472, 640, 658; Fidelio, 80, 82, 152, 328, 350; Fille du Regiment, 354; Finta Giardiniera, 950; Finta Semplice, 950; Fire-Bird, 37, 662; Flying Dutchman, 1138;

Folle Journee , 946 ; Fra i due litigente, 956 ; Frau ohne Schatten, 536 Freischuetz, Der, 1037, 1132; Funny Face, 853.

G. Gasthaus zum goldenen Loewe, 541 ; Geschoepfe d. Prometheus, 536. 1040; Giustino, 718; Goetterdaemmerung, 734; Goettin der Vernunft, 14; Golden Goose, 766; Gondla, 1320; Good-humored Ladies, 1070; Guntram, 177, 913. H. Habanera, La, 910; Haensel u. Gretel, 731; Hamlet, 391; Happy

Hypocrites, 1090 ; Helene, 429 ; Heure espagnole, 36 ; Histoire du Soldat, 37; Huguenots, Les, 539; 1018. I. Idomeneo, 326, 950; Interieur, 1006; Iphigenie en Aulide, 888; Isola disabitata, 134; Istar, 462.

J. Jeanne d' Arc, 1214 ; Jesus of Nazareth, 735 ; Johannes, 286 ; Julius Caesar, 716. K. Karin of Koridwen, 729, 732; Kinderfabrik, Die, 1189; Kinder Neu-

PENNELL GIBBS & QUIRING CO. 203-5 CLARENDON ST INTERIOR DECORATORS

1476 ;;

jahrstraum, 398, 1188; King Lear, 892; Kitezh, 673, 674; Klabunds

Kirschblutenfest, 1189 ; Koenig Thamos, 950. L. Lady, Be Good, 852; La La Lucille, 850; Legende de St. Christophe,

475 ; Legende de Ste. Cecile, 430, 650 ; Legend of the Invisible City, 370 Little Monday Blues, 850; Lohengrin, 152, 165, 468, 1146; Love and Folly, 722; Lucia di Lammernioor, 616, 1286; Lucio Silla, 557, 950, 975. M. Macbeth, 327, 328, 370; Mage, Le, 9^5; Magic Flute, 514, 534, 540,

556, 960 ; Mahit, II, 306 ; Ma Mere l'Oye, 1200 ; Manfred, 1452 ; Masque of

the Red Death, 370 ; Masques et Bergamasques, 109 ; Mavra, 665 ; Meister-

singer von Niirnberg, 108, 224, 735, 1413 ; Merchant of Venice, 602 ; Merlin (Immermann's), 391; Michael Strogoff, 672; Midas, 1063; Midsummer

Night's Dream, 165 ; Miss 1917, 850 ; Milovsor, 1330 ; Mistress and Maid, Tintagiles, 1004, 1078 ; Mitridate, 950 ; Morning of the Year, 766 ; Mort de 1014; Moses in Egypt, 539; Musical Snuff-Box, 462. N. Narcisse et Echo, 370; Natale di Giova, 134; Neue krumme Teufel, 1262; Neues vom Tage, 1090; Noces, Les, 166; Notturno, 370; Nozze di Figaro, 82, 148, 165, 328, 534, 543, 942. O. Oca del Cairo, 950; CEdipus Coloneus, 16; CEdipus Rex, 37, 293, 344,

665 ; Oh Kay, 853 ; Orlando, 714, 720, 1022 ; Orpheus, 303, 896 ; Our Nell, 852. P. Palaophron u. Vesterpe, 1165; Panurge, 888; Parsifal, 74, 78, 152, 172, 268, 654; Parthenope, 720; Pavilion d'Armide, 370; Pazzie di

Stallidaura e Zoroastro, 925 ; Pelleas et Melisande, 88, 109, 450, 660 Penelope, 109; Perfect Fool, The, 764, 774; Peri, La, 462; Petite Pouce, 602; Petits Riens, 888; Petrouchka, 37, 402, 662, 672; Phedre, 1200;

Piccolomini, 468 ; Pipe of Desire, 536 ; Pique Dame, 82 ; Pittore Parigino, 956; Polyeucte, 486; Polyxena, 327; Poor Broom-Maker, 391; Primrose, 852; Prince Batrak, 406; Princesse Lointain, 370; Prinzessinn auf der Erbse, 398, 1188; Prometheus, 344; Prophete, Le, 539; Pulcinella, 1068; Puritani, 1037. Q. Questede de Dieu, 472.

R. Rainbow Revue, 850 ; Regulus, 327 ; Re Pastore, 134, 950 ; Revoke, The, 764; Rhadamisto, 716; Rheingold, 76, 736; Rinaldo, 596, 720; Robert le Diable, 1037, 1123; Roi Arthus, 418, 427, 428, 429; Romance of a Mummy, 370; Romeo et Juliette, 798; Rosenkavalier, 168, 559, 978; Rosiere de Salency, 607; Ruebezahl, 73; Russian Fairy Tales, 370. S. Sacre du Printemps, 37, 664; Saint from the United States, The, 398, 1189; Salome, 167 (see Tragedie de Salome), 272; Salut au Monde, 730;

Samson, 924 ; Savitra, 764 ; Schauspieldirector, 950 ; Scheherezade, 241

Schojo, 729, 732 ; Schuldigkeit d. ersten Gebothes, 950 ; Sensational Article, 270; Serva Padrona, 1078; Show Girl, 853; Siegfried, 105, 164, 735, 784, 864; Skyscrapers, 1202; Snow Maiden, 368; Sogno di Scipione, 950; Sold Bride, The, 82; Song of Solomon, 865; Song of the Flame,

853 ; Sosarme, 1022 ; Spiegel V. Arkadien, 520 ; Sposo deluso, 950 ; Stop

Flirting, 852 ; Strike Up the Band, 853 ; Sumitra, 306 ; Swat, 370 ; Sweet Little Devil, 852. T. Tannhaeuser, 112, 538, 864; Tell me more, 853; Tempete, La, 439; Through the Looking Glass, 838; Thyl Uylenspiegel, 1103; Till Eulen- spiegel, 1102; Tip-Toes, 852; Tragedie de Salome, 270 (see Salome);

Treasure Girl, 853 ; Trip to Japan in Sixteen minutes, 865 ; Tristan u. Isolde, 80, 82, 84, 152, 164, 171, 546, 900, 1068, 1390; Tyle, 1103. V. Vero omaggio, 134; Vestale, La. 1068. W. Walkuere, Die, 84, 106, 164; Wanka, the Kanzler, 370; Wegwende,

1 Practically every LIBERTY kind of Insurance SQUARE except Life including Fidelity BOSTON and Surety Bonds

1477 ;

398; White Peacock, 729; White's Scandals, 850; Wieland, The Smith, 735; William Tell, 358, 898, 1037.

Y. Yellow Mask, The, 1328 ; Young Siegfried, 735 ; Yvonne, 1328.

Z. Zaide, 950 ; Zephyr et Flore, 1332 ; Zoroastre, 924.

Miscellaneous :

A. Applause, 342; Astrology, 800; Audition, Colored, 23, 24.

B. Badinerie, 202, 608 ; Beckmesserton, 176 ; "Big Ben," 1456 ; Bunte, 1186.

C. Chatelet Theatre, 672 ; Color Audition, 23 et seq. ; Conducting in the 18th Century, 1282. E. Egile, meaning of the word, 32. F. "Fearsomely," 113; Flamenco and flamencos, 904; Frolovskoe— Tchaikovsky's house, 1206. G. Gap and gavots, 884. H. Handel's house in London, 699; Hanover Square Rooms in London, 1282; Haydn's house in Vienna, 1281. J. Jazz (Casella on), 218. K. Key of E minor, 1218; Kink's Theatre, London, 1285. M. Maelzel's Automata, 1432-1434; Malaga, Women of, 904; Mountain,

Magnetic, 239 ; Music, pure, 792. P. Patrons' Fund, 763; Pictures for music, 241; Planisphere, 800; Pro- fessional Concerts (London), 1282; Pulcinella, 1076. S. Saraband (the word) and Sarao, 588; Schulmenweise, 1094; Super- man, 916. T. TMorie, 288.

U. Uebermensch, 916 ; Superman, 915. W. Wagner's dwelling in Paris (1839), 1124.

Critical and Literary* :

A. Abert's Mozart, 548. Aboulfouaris, Magnetic mountain, 239. Adler, Mahler, 72, Albion, Pearman the singer, 943. Allen, G., Maelzel, 1436. All. Mus. Ztg., Beethoven, 334; Sym. No. 8, 1438; Ov. Coriolanus, 328. Aloysius Cadamustus, "Novus Orbis," 239. Altschuler, Scriabin, 855.

Ambros, Beethoven, Sym. No. 3, 1032 ; Offenbach, 1160. Antcliffe, Ravel's "Tzigane," 982. Apthorp, "naeh alter Schelmenweise," 1094; d'Indy's

"Istar," 450 ; Haydn, 1246 ; Liszt's "Faust," 1156 ; Schumann, Sym. No. 3,

615 ; Untergehen, 915 ; voile d'amour, 1018 ; Brahms, Sym. No. 1, 1456

tr. "^Eolidse," 30 ; tr. "Istar," 452. Astruc, Paris restaurants, 672. Aubray, Les Quatre Elements, 983. B. Bacha, Till Eulenspiegel, 1104. Banks, J., tr, Theocritus, 32. Barry, C. A., tr. Strauss, 1097. Bayle, P., Zoroaster, 925. Beaumarchais, on himself, 964. Beethoven, his Sym. No. 3, 1030, 1036, 1043; Sym. No. 4, 348 et seq.; Sym. No. 5, 354; Sym. No. 8, 1440; letter to Collin, 327; on libretti, 328; on Maelzel, 1433; Petition to Court Theatre, 330; on. Salomon, 1283. Berezovsky, Tchaikovsky's Sym. No. 5, 1223. Berlioz, Beethoven's Sym. No. 3, 1032, 1034; Sym. No. 8, 1448; on Haydn, 1254. Bertolini, Beethoven's Sym. No. 3, 1031. Blackburn, V., Wagner in London, 1146. Blaikley, D. J., English horn, the, 900. Blanchard, H, Wagner's "Faust" Ov., 1128. Bleuler and Lehmann, color audition,

*P. c.=piano concerto; v. c.=violin concerto; vc. c.=violoncello concerto;

Sym.=aymphony ; tr.=translator ; Ov.=overture.

*ohn r. perry howard r. perry

248 BOYLSTON STREET, BOSTON Telephone: Ken. 4550 Decorators of Symphony Hall

1478 24. Boettger, Till Eulenspiegel, 1105. Borowski, Prokofieff's "Classical"

Sym., 882 ; Schumann's Sym. No. 3, 619 ; conducting in 18th century,

1282 ; Hanover concerts in Square Rooms, 1282 ; professional London, 1282. Brahms, on his Sym. No. 1, 1452; Sym. No. 4, 9, 10, 16;

Letter on Bruckner, 1406 ; on Tchaikovsky's Sym. No. 5, 1215 ; on Dessoff, 1452. Breville, P. de, Chausson, 425. Brooks, C. T., tr. Wagner's "Faust" Ov., 1142. Browne, Sir T., Magnetic mountain, 239. Browning, R., quoted, 42. Bruckner, on his music, 1411. Bruneau, on Ravel, 46. Buelow, Mahler, 74; Beethoven, Sym. No. 3, 1035; Liszt's Faust Sym., 1167. Burney, annotating Metastasio, 1262. Burton, R. F., Baghdad,

238 ; magnetic mountain, 239 ; Sindbad, 235. C. Oalvocoressi, d'Indy's Sym. No. 2, 639-640; Hoist's "Hammersmith," 792; on F. Schmitt, 290. Carraud, Debussy's "Blessed Damozel," 487. Casanova, tr. "Samson," 924. Casella, "21 + 26," 216. Chanler, T., Copland, 980. Chatfield-Taylor, Goldoni, 1076. Celler, Bourree, 600; Gavotte, 884; Types populaires en theatre, 1076. Cherubini on Vogt, 898. Chorley, Wagner in London, 1146. Common, T., tr. "Thus Spake Zarathustra," 913. Copland, A., on his "Ode," 977; Mahler, 100. Cor- nelius, Liszt's "Faust" Sym., 1155. Craig, D. M., Hoist's "Hammer- smith," 790. Cummins, Handel's house in London, 699. Czerny, Beethoven's Sym. No. 3, 1031; No. 8, 1440. Czerwinski, Gavotte, 888. D. Daily Post, Handel's concerts, 699. .Daily Telegraph, Hindemith, 1003;

Karsavina, 274 ; Sibelius, Sym. No. 4, 210 ; Stravinsky's "Pulcinella,"

1074. Damrosch, W., on Gershwin, 851. Dante, quoted, 298, 357 ; giga,

706. Da Ponte, on Mme. Banti, 1288 ; "Nozze di Figaro," 948. Debussy,

on his Nocturnes, 1082 ; English horn, 896 ; Mrs. R. J. Hale, 892 ; Strauss's "Till," 1102. De Foe, "Capt. Singleton," 235; Robinson Crusoe, 235. Delvau, Bourree, 600. Desrat, Gavotte, 884; Minuet, 608. Diabacz, Count Morzin's orchestra, 1262. Diderot, tr. Goethe, 1123. Downes, O., Sibelius, Sym. No. 4, 214. Dryden, and St. Cecilia, 406. Duparc, French tendency for dramatic music, 658. Durand, J., Ravel's "Daphnis et Chloe," 43, 48. Dvorak, Tchaikovsky's symphonies, 1220. Dwight, J. S., Mozart/s

Requiem, 536 ; Wagner's "Faust" Ov., 1152 ; Brahms Sym. No. 1, 1454. Dyson, lectures, 226. E. Eckermann, Goethe and music, 1122-23. Egede, Magnetic mountain, 239. Ehrlert, Color of tonalities, 26. Einstein, on Tiessen, 391. Eldred, Baghdad, 238. Ellis, A., Wagner and Chorley, 1146. Ellis, H., Casanova, 307. Elson, L. C, Jig, 710; Sarabande, 596. Engel, G., Bruckner, 1406.

Evans, on Hoist's "Planets," 801 ; Vogel, 390. Evening Post, Sibelius, Sym. No. 4, 208. F. Faminzin, on the gusli, 741. Fausset, H. d'A., Study of Coleridge, 546. Ferroud, F. Schmitt, 270, 291. Fertiault, Gavotte, 888. Fetis, Beethoven's Sym. No. 8, 1446. Figaro (Berlin), Wagner's "Faust" Ov., 1132. Flodin, Sibelius, 743. Ford, R., Women of Malaga, 904. Forsyth, Basset horn,

534 ; Viole d'amour, 1020. Freimuethige, Beethoven, Sym. No. 3, 1041. Fuerstenau, Voltaire's "Samson," 924. G. Garaude, Haydn, 1258. Gardiner, Haydn, 1283. Gatti, Stravinsky's V. C, 664. Gauthier-Villars, Chausson, 428. Gautier, Polonaise at St. Petersburg, 604. Gazette Musicale, "Faust" Ov., Wagner's, 1126, 1128. General Adviser, Handel, 722. Gershwin, on his "Rhapsody" No. 2, 838 et seq.; on opera, 853. Gevaert, viole d'amour, 1020. Gilgamesh, 452. Gilman, Philadelphia Sym. Programme Notes, 394. Glasenapp, Wagner's "Columbia" Ov., 1128. Goddard, S., Ravel's harp piece, 610. Goethe, on HARLOW & INTERIOR DECORATORS 164 NEWBURY STREET

1479 contemporary composers, 1122; music, the art, 1123; music for "Faust,"' 1122. Goldberg, Gershwin, 849. Graf, M. Mahler, 98. Grammont, Sara- bande, 590. Gray, C, Strauss's "Heldenleben," 193. Gray, G. D., Istar, 458. Green, L. D., Hoist's "Planets," 803; Toch's p. c, 1204; on Toch, 396. Gretry, on Haydn, 1258; on the sonata form, 1220. Griepenkerl, Beethoven, Sym. No. 3, 1034. Griesinger, Haydn, 1264, 1270. Griffes, Letter to Kramer ("Kubla Khan"), 733. Grimm, Baron, on "Nozze di Figaro," 946. Grove (Mrs.), Malaguena, 904. Gyrowetz, Haydn, 1290. H. Hahn, Strauss's "Don Quixote," 489. Hamilton, Habanera, 909 Hanslick- Bruckner, 1373, 1376; Beethoven, Sym. No. 8, 1446. Harper, Gilgamesh, 454. Harris, H. W., Liszt's "Faust" Sym., 1156 ; Strauss's "Don Quixote," 490. Hawkins, Sarabande, 592. Haydn, Minuet in London, 607 ; his suc- cess in London, 1286. Heine, Herodias, 286. Henderson, Sibelius, Sym. No. 4, 206. Henley, Arabian Nights, 233; Magnetic mountain, 240; Napoleon, 1030. Herbeck, Bruckner, 1390, 1392. Herbelot, d', Kalandars, 236. Herbert, "Water Gipsies," 790. Herzogenberg, E. v. Bruckner, 1401. Heuss, Mozart, 549. Hilliard, Maelzel's Chess Player, 1436. Hogarth, "Enraged Musician," 714. Hole, Sindbad, 235. Holmes, O. W., "Elsie Venner," Sarabande, 596. Hoist, on his "Hammersmith," 790; "Perfect Fool," 776; "Planets," 800. Homer, Molus, 33; Odyssey, 235. Howard, J. T., on Griffes, 729. Hruby, Bruckner, 1409. Hueffer, tr. Wagner-Liszt correspondence, 1132. Hull, Scriabin, 862. I. Imbert, d'Indy, 466. Indy, d', Beethoven, 478; Beethoven, Sym. No. 3, 1030; Franck, 474; on the cinema, 412; Cours de composition, 474, 477; on symphonic music, 640; d'Indy and Nature, 472. J. Jahn's "Mozart," 548. Jastrow, Istar, 458. Jean-Aubry, d'Indy, 652; Hoist's "Savistra," 764; Ravel's "Tzigane," 981. Jensen, Istar, 458. Jeremias, A., Istar, 458. Journal des Luxus, Coriolanus Ov., 328. Jullien, Goethe and Music, 1123. K. Kahn, Strauss's "Thus Spake Zarathustra," 923. Kalbeck, Brahms Sym. No. 1, 1450; Sym. No. 4, 16; v. c, 295. Kalevala, 741. Kanteletar, 741. Karsavina, T., Chatelet, The, 672. Kastner, the word "gigue," 708. Kelly, "Nozze di Figaro," 954. Kipling, quoted, 1130. Klatte, Strauss's "Till," 1096. Koecklin, Debussy's "Clouds," 1082. Koenig, Strauss's "Heldenle- ben," 174. Krehbiel, Beethoven, Sym. No. 3, 1032; Sibelius, Sym. No. 4,

344 ; Coriolanus Ov., 344 ; Afro-Am. Folksongs, 154 ; Da Ponte, 942 ; Haydn and Mrs. Schroeter, 1266; "Schelmenweise," 1095. L. Laforgue, J., Pan et la Syrinx, 45; Salome, 286. Lamartine, Liszt's "Preludes," 984. Lambert, C, Music with titles, 792. Lambinet, d'Indy's "Istar," 460. Lappenberg, Till Eulenspiegel, 1103. Laube, Wagner's "Columbus" Ov., 1128; J. R. Wagner, 1126. Laurencie, L. de la, Haydn, 1256. Lavoix the younger, Basset horn, 534. Lazare, Moliere's birth house in connection with Wagner, 1124. Leconte de Lisle, "fiolides," Les, 28; Lenz, Beethoven Sym. No. 8, 1448. Leuchs, Early German Theatre in New York, 541. Levinson, "Petrouchka," 678. Liebech, Debussy's "Blessed Damozel," 485. Linzer Musikzeitung, Beethoven, Sym. No. 8, 1430. Liszt, Wagner's "Faust" Ov., 1134 et seq. Louis, R. Bruckner, 1378. M. Mace, Gigue, 710; Sarabande, 594. Machabey, Hindemith, 1003. Mag-

nim, Histoire de Marionettes, 1076. Mahler, on his music, 92 ; letter to Buelow, 74; Strauss, 92. Mandeville, Magnetic mountains, 239. Marcel, minuet, 588. Mariana, Sarabande, 588. Marnold, Debussy's Nocturnes, 1084; Strauss's "Heldenleben," 177. Marx, Beethoven, Sym. No. 3, 1032,

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; Polonaise, 602 ; Rondo, 1040. Mattheson, Bourree, 598 ; Gavotte, 883 586 ; Sarabande, 594. Mauke, Strauss's "Till," 1097. May, Brahms, Sym. No. 4, 8, 14; v. c. 295. Meilhan, Senac de, minuet, 606. Merian, Strauss's "Thus Spake Zarathustra," 923. Mersmann, Mozart, 557, 976. Meynell, Magdalena Bach, 578. Milne, T., Titles or Music, 793. Montagu-Nathan, "Petrouchka," 673. Morgenblatt, Coriolanus Ov., 328. Moroni, Minuet, 606. Morris, H., on his p. c, 154. Mount-Edgecombe, on singers for

Haydn in London, 1287. Mozart, on minuets, 607 ; violin playing, 992

on a hanging, 553 ; his last sickness, 515. Muck, Dr., and revised Liszt's "Faust" Sym., 1168. Mueller-Reuter, Liszt's "Preludes," 982. Murner, T., Strauss's "Till," 1097. N. Naylor, Jig, 710. Newman, on Frid, 239; Hoist's "Perfect Fool," 84; Liszt's "Faust" Sym., 1160; Tchaikovsky's Sym. No. 5, 1221 et seq. Xewmarch, Sibelius, Sym. No. 4, 204. Niemann, Key of Eminor, 1210 Brahms Sym. No. 1, 1452. Nietzsche, "Thus Spake Zarathustra," 912, Nodnagel, Mahler, 88, 94.

O. Odell, "Marriage of Figaro," 943 ; New York stage, 540. Oracle, Haydn's "Surprise" Sym., 1268. Ortigue, d', Nature of the Requiem Mass, 532. Osgood, H. O., Gershwin, 851; Sowerby's "Monotony," 1093.

Oulibischeff Beethoven, Sym. No. 3, 1032 ; Sym. No. 8, 1448.

P. Pall Mall Gazette, Magnetic mountains, 239 ; Wagner's "Columbus" Ov., 1130. Parke, Mme. Bussani, 958. Parry, on C. P. E. Bach, 1063; Oorelli, 200. Pater, quoted, 363. Peladan, "Istar," 454. Peyser, Stravin- sky's v. c, 663. Philharmonic Soc. of N. Y. Programme, Beethoven, Sym. No. 3, 1037. Pimenov-Noble, tr. Scriabin poem, 857. Playford, Jig, 712. Plotinus, Fire as perfect form, 1090. Poe, "The Raven," 480; Maelzel's

Chess Player, 1436. Pohl, C. F., Bach, C. P. E., 1065 ; Haydn, 1270, 1278. Pohl, R., Liszt's "Faust" Sym., 1156. Pontecoulant, Maelzel, 1434. Pope, on Handel, 722. Praetorius, viola bastarda, 1022. Prud'homme, Bee- thoven's "Geliebte," 350. Prunieres, French Ov., 584; Richelieu and the ballet, 590. Ptolemy, Magnetic mountains, 239. Puttock, Magnetic mountains, 239.

R. Rabelais, Magnetic mountain, 239. Raff, Color tonality, 22 ; Liszt's "Preludes," 783. Ralston, Katschei, 369. Ramann, Liszt's "Preludes," 982. Ravel, Letter about "Daphnis et Chloe," 47, 48; on his "Tzigane," 981.

Reichardt, Beethoven and Collin, 327 ; Haydn, 1258. Reichert, Bruckner,

1376. Reimann, Brahms Sym. No. 1, 1457 ; Sym. No. 4, 20 ; Strauss's "Thus Spake Zarathustra," 923. Revue Moderne des Arts, Blanc-Gatti's pictures for music, 241. Richardson, "Pamela," 596. Richepin, gigue, 708. Riemann,

Brahms, Sym. No. 4, 18 ; gigue, 704, 710. Rimsky-Korsakov, on his "Scheherazade," 230. Risvaeg, Chausson's Sym., 421. Roesch, Strauss's

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1481 "Heldenleben," 174. Holland, Handel's concertos, 700, 702; Strauss's "Heldenleben," 175. Rosenfeld, Mahler, 94; "Petrouchka," 678; Scriabin, 864; Sibelius, Sym. No. 2, 740; Strauss's "Heldenleben," 176. Rossetti, D. G., "The Blessed Damozel," 480, 482. Rousseau, Rondo, 588. Row-

botham, quoted, 113 ; Panpipe, 45. Runciman, Mozart, 148. S. Saadi, on Kalandars, 236. Samaran, "Jacques Casanova," 924. Sand- burg, "Prairie," 1090. Sarrazin, tr. of Rossetti, 482. Scl^chtner, on Mozart, 550. Schiedermaier, Mahler, 94. Schindler, Beethoven, Sym. No. 3, 1024. Schneevoight, Sibelius, Sym. No. 2, 738. Schoelcher, Handel's

concerts, 700 ; his orchestra, 723 ; viola marina, 714. Schrader, Istar, 458. Schultes, Till Eulenspiegel, 1105. Schumann, C, Schumann's Sym. No. 3, 612. Schumann, R., his Sym. No. 3, 613; Brahms and Sym., 1450. Schurig, Mozart, 550. Scott, Sir Walter, "Dies Irae," 524. Selden, Jig, 710. Serapin, Magnetic mountain, 239. Servieres, Wagner in France, 1126.

Shaw, G. B., on title "Dusk of the Gods," 735 ; Uebermensch, 916. Shelton, tr. "Don Quixote," 489. Simrock, Till Eulenspiegel, 1105. Smith, S., Maelzel, 1434. Sonneck, Beethoven's "Geliebte," 350; Haydn, 1246. Sophocles, "CEdipus Coloneus," 16. Specht, Wagner's "Columbus" Ov., 1128. Specht, R., Brahms Sym. No. 1, 1454; Tchaikovsky and Brahms, 1216. Squire, Hoist's "Perfect Fool," 778. Steinitzer, Strauss's "Don Quixote," 489. Stock, Griffes's "Kubla Khan," 727; Schumann's Sym. No. 3, 617. Stoullig, Ravel's "Daphnis et Chloe," 47. Strauss, on his "Don Quixote," 488; his "Till Eulenspiegel," 1096; his "Thus Spake Zarathustra," 914. T. Tabourot, Gavotte, 888. Tallemant des Reaux, quoted, 594. Taylor,

D., his "Through the Looking Glass," 823 ; Gershwin's "American in Paris," 851. Tchaikovsky, M., Brother Peter at Frolovskoi, 1206. Tchai- kovsky, P., his Sym. No. 5, 1208 et seq. Tenger, Beethoven's "Geliebte,"

350. Terry, O. S., Bach's orchestra, 580 ; Prince Leopold, 578. Thackeray,

"Barry Lyndon," 307. Thayer, Beethoven and Court Theatre, 332 ; his Sym. No. 3, 1030, 1031; Sym. No. 4, 351; Sym. No. 8, 1442; Coriolanus Ov., 334. Theocritus, Aigilos, 32. Thomas, T., Schumann's symphonies and orchestration, 617. Thomson, V., Copland, 980. Tille, tr. "Thus Spake Zarathustra," 913, 917. Times (London), Sibelius, Sym. No. 4, 210; Ravel's "Tzigane," 982; Stravinsky's "Pulcinella," 1070. Toch, on Hinde-

mith, 1194 ; Schoenberg, 1190 et seq. ; Stravinsky, 1192. U. Usher, editor of Scriabin, 857. V. Vander Straeten, Voltaire Musician, 924. Vanity Fair, Sarabande, 596. Virgil, iEolus, 34. Voltaire, on his "Samson," 924. Vuillermoz, Istar, 462. Vuillier, Jig, 712. W. Wagner, on his "Tannhaeuser" Ov., 113; his "Faust" Ov., 1132 et sequ- in Paris (1839), 1124, 1260; in London, 1146; Beethoven's Coriolanus Ov.,

335 ; his Sym. No. 3, 1034 ; Morelli, the singer, 538 ; operas thought of by,

735. Walther, Bourree, 598 ; Rondo, 586. Wasielewski, Schumann Sym. No. 3, 614. Weissmann, Hindemith, 1002; Strauss's "Heldenleben," 176. White, R. G., German Commentators, 1452. Wiener Zeitung, "Nozze di Figaro," 943. Williams, Vaughan, Hoist, 804. Wolf, H., Applause, and Coriolanus Ov., 342; Brahms Sym. No. 4, 12. Wolff, J., Till Eulenspiegel, 1105. Wuellner, Brahms Sym. No. 4, 9. Z. Zamminer, Tonalities, their color, 24.

Comments on Composers :

Beethoven: All. Mus. Ztg., Ambros, Beethoven. Berlioz, Bertolini, Buelow, Czerny, Fetis, Freymuethige, Griepenkerl, Hanslick, d'Indy, Journal d.

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1482 Luxus, Krehbiel, Linzer Micsikzeitung, Marx, Morgenblatt, Oulibischeff, Philharmonic Society of New York, Prod'homme, Reicharclt, Ries, Schindler, Sonneck, Tenger, Thayer, Wagner, Wolf.

Brahms : Brahms, Buelow, Dwight, Kalbeck, May, Niemann, Reimann, Rie- mann, Specht, Wolf, Wuellner.

Bruckner : Brahms, Bruckner, Engel, Hanslick, Herbeck, Herzogenberg, Hruby, Louis, Reichert, Wolf.

Chatjsson : Breville, Jean-Aubry, Risvaeg, Gauthier-Yillars.

Debussy : Bruneau, Carraucl, Debussy, Liebach, Marnold, Plotinus.

Haxdel : Cummings, Daily Post, General Adviser, Hogarth, Rolland, Schoel- cher.

Haydn : Abington, Apthorp, Banti, Berlioz, Esterhazy, Fuernberg, Gallini, Garaude, Gevaert, Gretry, Griesinger, Gyrowitz, Hanover Square, Haydn, Julien, King's Theatre, Kraft, Krehbiel, de la Laurencie, Morzin, Meta- stasio, Morzin, Oracle, Pohl, Reichardt, Salomon.

Hindemith : Daily Telegraph, Machabey, Toch, Weisemann.

Subscribers to Endowment Fund to April 23, 1932

Cochran, Estate of Sallie C. Fay, A. D. Higginson, Mrs. Henry L. In memory of Howard Clifton Jewett, M. D.

Endowment Fund $350,329.87 Endowment Fund, in memory of Henry L. Higginson 70,310.18 Endowment Fund, in memory of Richard C. and Ellen Sturgis Dixey .... 5,000.00 Endowment Fund, The Adele Wentworth Jones Trust Income dedicated to purposes other than running expenses 10,000.00

Subscriptions are applicable to deductions from the Federal Income Tax

Subscriptions to annual deficit and to the Endowment Fund should be sent to E. B. Dane, Treasurer, 6 Beacon Street, Boston, Mass.

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It is suggested that subscribers who for any reason find themselves unable to attend the Symphony Concerts, and whose tickets would not otherwise be used, send them in to be sold for the benefit of the Boston Symphony Orchestra, Inc. Endowment Fund. Last season the Endowment Fund received over $7,000.00 from this source. Kindly send tickets as early each week as convenient to the Boston Symphony Orchestra, Inc., Symphony Hall, Boston.

(If it is too late to mail the tickets, kindly telephone their location to Symphony Hall, Commonwealth 1492.)

1488 : : ;; ;

Holst: Calvocoressi, Craig, Evans, Green, Hoist, Jean-Aubry, Lambert, Newman, Squire, Vaughan Williams. d'Indy: Calvocoressi, Elwell, d'Indy, Jean-Aubry. Liszt: Apthorp, Buelow, Harris, Lamartine, Liszt, Mueller-Reuter, New- man, Pohl, Raff, Ramann, Wagner. Mahler: Adler, Buelow, Copland, Epstein, Graf, Krenn, Mahler, Nodnagel, Rosenfeld, Schiedermaier, Spiering, Strauss. Mozart: Abert, Arco, Eybler, Frederick William II., Heuss, Jahn, Kelly, Krehbiel, Mersman, Mozart (L.), Mozart (W. A.), Newman, Runciman, Salieri, Spazier, Studien fuer Tonkwenstler, Suessmeyer, Walsegg, Weiner Zeitung, Zoffany. Ravel: Antcliffe, Bruneau, Diaghilev, Durand, Jean-Aubry, Ravel, Stoullig, Times (London). Schumann: Apthorp, Borowski, Schumann (C), Schumann (R.), Stock, Thomas, Wasielewski.

Scriabin : Altschuler, Hull, Pimenov-Noble, Rosenfeld.

SiBELros : Daily Telegraph, Downes, N. Y. Evening Post, Flodin, Henderson, Krehbiel, Newmarch, Rosenfeld, Schneevoight, Times (London). Strauss: Apthorp, Barry, Debussy, Gray, Hahn, Harris, Kahn, Klatte, Koenig, Krehbiel, Mauke, Meriam, Reimann, Roesch, Rolland, Rosenfeld, Shaw, Steinitzer, Strauss, Weissmann. Stravinsky: Astuc, Daily Telegraph, Gatti, Karsavina, Levinson, Montagu- Nathan, Peyser, Rosenfeld, Times (London), Toch.

Tchaikovsky : Ave-Lallement, Berezovsky, Brahms, Dvorak, Newman, Nie- mann, Specht, Tchaikovsky (M.), Tchaikovsky (P.). Wagner: Blackburn, Blanchard, Brooks, Chorley, Dwight, Ellis, Figaro (Berlin), Gazette Masdcale, Glasenapp, Laube, Lazare, Liszt, Pall Mall Gazette, Servieres, Specht, Wagner.

Extra Symphony Concerts Six symphony concerts were given in Symphony Hall on Monday nights, Dr. Koussevitzky conductor 1931. November 9. Mahler, Symphony, No. 9; Wagner, A Siegfried Idyl; Wagner, Overture to "Tannhaeuser."

December 14. Corelli, Suite ; Brahms, Symphony No. 4, E minor Mozart, "Tali e Cotanti sono," concert aria for tenor with orchestra

(K. No. 36) (Roland Hayes) ; Berlioz, "The Repose of the Holy Family,"

from "The Flight into Egypt" (Roland Hayes) ; Ravel, "Daphnis et Chloe" (Second Suite).

1932. January 25. Beethoven, Overture to "Coriolanus" ; Sibelius, Sym- phony No. 4, A minor; Scriabin, Piano concerto, F-sharp minor (Lilias

Mackinnon**) ; Tchaikovsky, "Francesca da Rimini." February 15. Prokofieff, "Classical" Symphony; Beethoven, Con- certo No. 1 for piano, C major (first performance by this orchestra)

(Robert Goldsand**) ; Strauss, "Also Spake Zarathustra."

March 14. Beethoven, Symphony, No. 4, B-flat major ; Debussy, Two

Nocturnes—Nuages, Fetes ; Sowerby, "Prairie," Poem for Orchestra Strauss, "Till Eulenspiegel's Merry Pranks."

April 25. Haydn, Symphony, G major, "The Surprise" ; Hill, Con-

certino t for piano and orchestra, Op. 36 (Mr. Sanroma, pianist) ; Tchaikovsky, Symphony No. 5, E minor.

Six symphony concerts were given in Symphony Hall on Tuesday after- noons. Dr. Koussevitzky conductor

1931. November 24. Wagner, Overture to "Tannhaeuser" ; Prelude to

"Lohengrin" ; Prelude and "Liebestod" from "Tristan und Isolde" Strauss, "Ein Heldenleben." 1932. January 5. Bach, Suite No. 2, B minor, for flute (Georges

LAURENTf) and strings; Mozart, Symphony, C major, No. 34 (K. 338) ; Beethoven, Symphony No. 5, C minor.

February 9. Schubert, Ballet Music from "Rosamunde" ; Schubert,

Symphony, B minor, "Unfinished" ; Brahms, Symphony No. 4, E minor. 1484 ;

February 23. Taylor, "Looking- Glass Insects" and "The White Night"

from the Suite "Through the Looking-Glass" ; Carpenter, "Song of Faith,"** for chorus and orchestra (written for the Washington Bi- centennial; Cecilia Society; speaker, Clifton Joseph Furness,** by

courtesy of the New England Conservatory of Music) ; Beethoven, Sym- phony, No. 3, "Eroica."

March 8. Prokofieff, "Classical" Symphony ; Moussorgsky, Prelude

to the opera "Khovantehina" ; N. Tcherepnin, Eight Miniatures, "After a Russian Illustrated Alphabet" (Arab-Boy, Egypt, Baba-Jaga, Stars,

"Mama," General, The Forest, The Tsarina) ; Tchaikovsky, Symphony, No. 6, B minor ("Pathetic").

April 19. Beethoven, Overture to Goethe's "Egmont" ; Liszt's "Faust" Symphony.

Pension Fund Concerts

1931. December 27. Tchaikovsky : "Francesca da Rimini," Orchestral

Fantasia after Dante, Op. 32 ; Air of Lenski from "Eugen Oniegen"

(Roland Hayes) ; Serenade, "Don Juan" (Roland Hayes) ; Symphony, No. 4, F minor, Op. 36. Dr. Koussevitzky, conductor. 1932. March 27. Bach's Mass in B minor. (Harvard Glee Club—Dr.

Davison, conductor ; Radcliefe Choral Society—Mr. Woodworth, con-

ductor. Amy Evans, soprano ; Margaret Matzenauer, mezzo-soprano

Richard Crooks, tenor ; Frasor Ganges, baritone. ) Dr. Koussevitzky, conductor.

Erratum and Addenda

Programme Book of December 24-26, 1931. Title-page : For "Schumann, Symphony in E-flat major No. 3, 'Rhenish' No. 97," read "Schumann, Sym- phony in E-flat major No. 3, 'Rhenish' Op. 97."

Programme Book of January 29-30, 1932. Pages 864-865 : The long quotation about Scriabin is from Paul Rosenfeld's essay on that composer.

Programme Book, October 23-24, 1931. Page 152 : Concerto by Morris, fourth line from the bottom. Insert "in 1890" after "born at San Antonio, Texas."

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I486 SYMPHONY HALL, BOSTON

OPENING CONCERTS, OCTOBER 7-8

FIFTY-SECOND SEASON, 1932-1933 BOSTON SYMPHONY ORCHESTRA

Dr. SERGE KOUSSEVITZKY, Conductor

24 Friday Afternoon Concerts

24 Saturday Evening Concerts

6 Monday Evening Concerts

6 Tuesday Afternoon Concerts

RENEWAL CARDS HAVE BEEN MAILED TO ALL FRIDAY AND SATURDAY SUBSCRIBERS. IF ANY SUBSCRIBER HAS NOT RECEIVED HIS

NOTICE, HE IS REQUESTED TO ADVISE THE SUBSCRIPTION OFFICE TODAY.

W. H. BRENNAN, Manager,

Symphony Hall, Boston.

Those who may be interested in subscribing to any of the four series are invited to inquire for particulars at the subscription office, Symphony Hall.

1487 SYMPHONY HALL, BOSTON Season 1932-1933 Two Concert Courses BY THE WORLDS GREATEST ARTISTS

Five Sunday Five Week-day Afternoons at 330 Evenings at 830

Oct. 23 Nov. 27 Nov. 29 Jan. 7 Dec. 11 Jan. 15 Apr. 9 Feb. 21 Mar. 4 Apr. 11 LILY LOTTE Pons Lehmann Soprano Soprano

SERGE SERGE Koussevitzky Rachmaninoff

Double Bass Piano

JOSEF YEHUDI Hofmann Menuhin Piano Violin JOHN JOHN CHARLES McCormack Thomas Tenor Baritone

English Singers Don Cossacks

Cuthbert Kelly, Leader Serge JarofF, Leader

Season Tickets for each Series, $5, $7.50, $10, $12.50 Choose your own locations now from the AUTOMATIC SUBSCRIPTION BOARD in the Huntington Avenue Lobby

Payment not due until next Autumn

1488 —

ARTHUR FIEDLER, Conductor OPENING NIGHT 47th Season

Wednesday Evening, May 4, at 8:30

PROGRAMME "POMP AND CIRCUMSTANCE" Elgar OVERTURE to "Der Freischiitz" Weber VARIATIONS on the Austrian National Anthem, from the String Quartet, Op. 76, No. 3 Haydn

"DIE MEISTERSINGER VON NURNBERG," Excerpts . . . Wagner Entrance of the Meistersinger—"Am stillen Herd"—Dance of the Apprentices—Entrance of the Guilds—Prize Song Greeting to Hans Sachs—Finale

"VIRGINIA," A Southern Rhapsody Haydn Wood "FACADE" Walton Polka Valse Swiss Jodelling Song Tango Pasodoble Tarentella Sevillana OUVERTURE SOLENNELLE, "1812" Tchaikovsky

"BAND WAGON," Selection Schwartz PERPETUUM MOBILE Strauss "GIRLS OF BADEN," Waltz Komzak

1489 .

A. H. HANDLEY announces:

BOSTON OPERA HOUSE * BOSTON Tuesday Evening, May 10th, at 8*15

UKRAINIAN CHORUS and UKRAINIAN FOLK BALLET presented by ALEXANDER KOSHETZ and VASILE AVRAMENKO IN TRIBUTE TO GEORGE WASHINGTON PROGRAMME Act I MEMOIRS OF THE UKRAINE (Ballet-Pictures from the Highlanders' Life) 1. Hayevka, Easter Roundle, Avith the chant "Christ is Risen" and the song "Lord of Heaven and Earth", at the close. 2. Zhuravlee—Cranes flying over the Ocean to the Land of Promise. Accom- panied by the song "Do you listen my brother?" 3 Kolomeyka 4. Little Hutzul Boy of the Highlands (Solo) 5. Siyanka—Sowing Dance in Kolomeyka rhythm— (Girls and Boys) 6. Little Hutzul Girl of the Highlands (Solo) 7. Hopak Circle (Ensemble) 8. Arkan, a dance of old Scythian-Ukrainian origin (Boys) 9. Honyveeter—Playing with the Winds (Girls) 10. Cossachok of Podolia (Solo) Finale—Hopak Parubotzkey (Solo by ballet master, Avramenko) Act II THE UKRAINE'S FOLK SONG IN AMERICA Alexander Koshetz and his Ukrainian Chorus 1. "A Chant to St. George" (Washington's first name is George) Arr. by M. Yasnevitch 2. Psalm on Christ's Sufferings Arr. by A. Koshetz 3. "You Little Azure Star" (a love song) Arr. by A. Koshetz 4. "Tchumak Song" Arr. by S. Ludkevich 5. Suite of Christmas Carols Arr. by M. Lyssenko 6. A Suite of Kolomeyka Dance Songs Arr. by F. Kolessa 7. "Chornomoretz", a historical song of the Cossacks of the Black Sea Arr. by A. Koshetz 8.. "An Irate Peasant Woman" (a narrative song) Arr. by A. Koshetz 9. "Cossack Courting His Girl, Dziuba" Arr. by A. Koshetz Act III IN THE COUNTRY OF GEORGE WASHINGTON Ballet Picture of the Young Ukrainian Generation in America 1. Metelitza winding (Ensemble) 2. Hretchanyky (a merrymaking dance) (Girls and Boys) 3. Tchumak from the Steppes (Boys) 4. Katherine from the Kherson (a salon dance) 5. Cossachok, Solo (Little Girl) 6. Ballet Cossachok (Group of Girls) 7. Hopak Circle (Pair of Children) 8. Zaporroggian Knight's Battle (Dance with Swords) Finale—A homage to the spirit of George Washington, by the ballet ensemble and chorus All ballet pictures and dances arranged by Mr. Vasile Avramenko Costumes from all Provinces of Ukraine. All historical costumes from the wardrobe of Mr. Avramenko UKRAINIAN FOLK ORCHESTRA Tickets $1 to $3. Mail orders now at office of Manager.

JORDAN HALL * \ - BOSTON Saturday Evening, May 14th, at 8.15 Recital by Laselle Orphean Club and the Andover Glee Club GEORGE SAWYER DUNHAM and DR. CARL F. PFATTEICHER, Conductors Tickets at 75c. and 50c. now on sale at the Box Office at Jordan Hall

Management: A. H. HANDLEY, 162 Boylston Street, Boston, Mass.

1490 Concert 'Direction: JARON RICHMOND

AK N. B. C. Artists Service

Now planning New England appearances for Season 1932-33

— BY — Paderewski Jeritzd Kreisler Rachmaninoff John Charles Thomas Qigli Supervia Qiannini Mary Wigman and her Group Escudero Guy Maier, Musical Travelogues

— ALSO —

Boston Sinfonietta, Arthur Fiedler, Conductor Felix Fox Jean Bedetti Royal Dadmun Compinsky Trio Jesus Maria Sanroma Richard Burgin

COMPLETE LIST SENT ON REQUEST

Suite 208, Pierce Building, Copley Square, Boston

1491 AN INTIMATE GLIMPSE OF THE WOODWINDS Informal Lecture with Demonstration of the Woodwind Instruments in a Symphony Orchestra

How well do you know the woodwinds? What does a bassoon look like? What is the difference between an English Horn and a French Horn? With such questions in mind I arranged this lecture and demonstration, believing that it would prove instructive and entertaining. I am sure that you will enjoy a Symphony Concert much more keenly if you know these strange and beautiful instruments, how they look and what quality of sound they produce when they are played by masters. This unique entertainment may be given in your private music room, where you and your guests can examine the instruments closely and question the players; and it is also well suited for an afternoon feature at your club. The players are members of the Boston Symphony Orchestra. This demonstration has been highly recommended by Dr. Serge Koussevitzky, Conductor of the Boston Symphony Orchestra, Wallace Goodrich, Director of the New England Conservatory of Music, and Professor Hill of Harvard College. For further information, programmes, and prices write to BOAZ PILLER Symphony Hall Boston, Mass*

REPERTORY THEATRE Tuesday Evening, May 10th, at 8.30 HANS WIENER OTTO ASHERMANN and DANCE GROUP Assisted by a Motion Choir

TICKETS ON SALE NOW AT 520 BOYLSTON STREET, 6th FLOOR Phone KENmore 2336, or at Box Office after May 5th

Proceeds to be given to the work for Cardiac Children.

1492 4MUEL ENDICOTT DICTION AND PRONUNCIATION FOR SINGERS, IN FRENCH, ITALIAN, GERMAN AND RUSSIAN SONG COACHING Studio: 402 PIERCE BUILDING

MUSICAL INSTRUCTION

TEACHER OF SINGING ACCOMPANIST Telephone 1 1 1 1 Boylston Street Boston COACH Kenmore 7932

Mrs. hall McAllister TEACHER OF SINKING

384 COMMONWEALTH AVENUE Kenmore 0384 BOSTON. MASS.

®t|? Enttgg 8>rlj00i of ffimlt 44 CHURCH STREET Founded in 1915 CAMBRIDGE, MASS. WIND INSTRUMENT INSTRUCTION UNDER GASTON BLADET, Flute LOUIS SPEYER, Oboe, English Horn PAUL MIMART, Clarinet GEORGES MAGER, Trumpet EUGENE ADAM, Trombone, Tuba ABDON LAUS, Bassoon, Saxophone For information apply to the Secretary. Telephone: Univ. 0956

PIANOFORTE THEORY Interpretation of Songs

6 NEWBURY STREET BOSTON

TEACHER OF PIANO PUPIL OF CARL BAERMANN Member of Faculty of the New England Conservatory of Music Address: NEW ENGLAND CONSERVATORY OF MUSIC, BOSTON, MASS. A BABY SONG WORDS BY AGNES CARR MUSIC BY HENRI PIERRE-d'OR (HERMAN GOLDSTEIN)

in g "ONE YEAR OLD" inE-flat At PERCY ASHDOWN, Publisher 25 Huntington Avenue 1493 MUSICAL INSTRUCTION

SPECIAL TRAINING FOR RADIO VOICE WEEKLY BROADCAST BY ADVANCED PUPILS PIANO Scholarships Awarded , 7Tm T1VT JSHKiifcKUN 5UHUOL U¥ MU51U VliJLlJN Mile. MARIE BERGERON, Director For appointment telephone Kenmore 9178 30 HUNTINGTON AVE. VINCENT V. HUBBARD Assisted by Mrs. VINCENT V. HUBBARD

Successors to the late Arthur J. Hubbard VOCAL STUDIO 246 Huntington Avenue

SOPRANO TEACHER OF SINGING

STUDIO: Home Address: 41 Commonwealth Ave. LANG STUDIOS Chestnut Hill 6 NEWBURY ST.. BOSTON Tel. Newton Center 3850

Pianist Former professor of the Tobias Matthay Pianoforte School, London Teachers' training course in the instruction of children Courses in musical appreciation The first course on Beethoven's Sonatas Private and class instruction in 'the Matthay principles of technique and interpretation Studio, 366 Commonwealth Avenue Telephone, Commonwealth 3810 Mason & Hamlin Piano

TEACHER OF SINGING 77A CHARLES STREET CAPITOL 5157

TEACHER OF SINGING

541 Boylston Street, Copley Square Telephone Ken. 1164

BARITONE and TEACHER of SINGING Is at his BOSTON STUDIO, 6 NEWBURY STREET, Tel. Ken. 0019, every day excepting Mondays, and at his NEW YORK STUDIO, on Mondays, 15 E. 38th STREET, Tel. Caledonia 5-6934 Residence Tel. Com. 6225

BARITONE IN BOSTON THURSDAYS AND FRIDAYS STUDIO, 129 Newbury Street Telephone Circle 929 J For appointment write to above address or phone secretary—Beacon 1205 PIANIST ORGANIST

Studio, Kenmore 0491 Residence. N.N. 2500-W TEACHER Lang Studios 6 NEWBURY ST. 1494 MUSICAL INSTRUCTION ;tcalf hol PIANO

cJ'iJ^iLair'in SOPRANO SOLOIST TEACHER OF SINGING 4 HAVILAND STREET Kenmore 1047 BOSTON In Worcester, Tuesdays, Wednesdays and Friday Afternoons, 317 Day Building

T3 r. 4ddIaoe Porier mra Huxtahle Portei Programmes of Poetry, TEACHER OF PIANOFORTE Drama and Pianoforte Music 512 Pierce Building, Copley Square, Boston 26 EVANS WAY, BOSTON, MASS.

SINGER AND TEACHER OF SINGING

_ ( Kenmore 8258 STUDIOS, 83 NEWBURY STREET Telephones, , j Aspinwall 7190

TEACHER OF SINGING RESIDENCE: PELHAM HALL, COOLIDGE CORNER BROOKLINE, MASSACHUSETTS Telephone Beacon 2430 CARNEGIE HALL, NEW YORK CITY

: il iCi. L-i -l^X WW ill \1 Jl iLdll \k \lil H '%-* ART OF VIOLIN PLAYING Address, Residence Studio 20 QUINCY STREET, CAMBRIDGE 270 HUNTINGTON AVENUE, BOSTON Telephone, University 3530

TEACHER OF SINGING 6 VAN BUREN HALL TRINITY COURT 175 DARTMOUTH STREET WILLIAMS CONCERT DIRECTION Miss Bertha Wells, Manager 506 Pierce Building Boston, Mass. Kenmore 3393 EDWARD SCHUBERTH & COMPANY Importers, Music Publishers and Dealers, 11 East 22nd Street, New York PUBLISHERS' AGENTS IN THE UNITED STATES FOR Steingraeber Edition, Leipzig Gould & Bolttler. London J. B. Cramer & Co.. London Cotta Edition. Stuttgart Forsyth Bros., Ltd., London Cary & Co.. London Practical Pianolorte School Beal, Stuttard & Co.. London F. Hofmeister. German Works. Leipzig Banks & Co., York Joseph Williams, Ltd., London Bach Boekelmar Works in colors AGENTS FOR AND PUBLISHERS OF, H. CERMERS INSTRUCTIVE EDITIONS SEND FOR A FREE THEMATIC CATALOG

1 196 MUSICAL INSTRUCTION

Mr. Moulton's twenty-five years of training under some of the finest musical authorities here and abroad, together with his twenty-three years of successful teaching is your guarantee when studying at his school 83 NEWBURY STREET, BOSTON Telephone Needham 1550

PIANIST AND TEACHER Matthay Principles BALDWIN PIANO 405 PIERCE BUILDING, COPLEY SQUARE Telephone Capitol 1095

.B. VIOLINIST Tutor in Harmony and Solfeggio SOLOIST VIOLIST Ensemble music furnished for all occasions TEACHER STUDIO, 102 GAINSBOROUGH STREET, BOSTON Phone Commonwealth 4025

TEACHER OF SINGING Special attention given to interpretation Telephone Commonwealth 2959 Studio: 6 Marlborough Street

TEACHER OF SINGING 611 PIERCE BUILDING, BOSTON DANA HALL SCHOOL OF MUSIC, WELLESLEY, MASS. OXFORD SCHOOL. HARTFORD, CONN.

TEACHER OF SINGING Prepares lor Oratorio, Church, Opera and Concert

Symphony Studios, Hemenway and Boylston Streets Tel. Asp. 0846

DRAMATIC TENOR VOCAL INSTRUCTOR A method that guarantees results STUDIO, 240 HUNTINGTON AVENUE PHONE, KENMORE 2795 fUNNE HARMON TEACHER OF SINGING PIANO TEACHER Tuesdays and Fridays at Lasell Seminary 48 CLEARWAY STREET 66 FENWAY Kenmore 0456 PIANO TUNING RE-STRINGING RE-FELTING RE-BUILDING POLISHING done in your home at substantial savings GERMAN LIEDER over 800 Newton, Needham and Wellesley patrons

J. W. TAPPER 14 Aberdeen St., Newton Hlds. Cen. New. 1306 270 Huntington Ave. Tel. Com. 3181

149G n

MUSICAL INSTRUCTION Instruction Program of PERSIS PIANIST and TEACHER n Y Original of d o C HARLES Inana PUr 1 a no. Compositions COX Piano and Musicianship plTyTn^g REPPER with informal dance music. comments. TRINITY COURT, BOSTON For appointments telephone Wellesley 0491 Trinity Court, Boston. Ken. 6520 BALDWIN PIANO Mrs. Charles Adams White Mrs. Mabel Mann Jordan Pupil of SILVESTRI, Naples, Italy TEACHER OF SINGING TEACHER OF MANDOLIN, GUITAR, BANJO and UKULELE 509 Pierce Building Copley Square Foreign and American Instruments For Sale Telephone 5316 Haymarket 206 COMMONWEALTH AVE., BOSTON Commonwealth 8908 Miss ROSE STEWART HARRIS S. SHAW TEACHER OF SINGING PIANO, ORGAN, COACHING STUDIO 245 Chestnut Hill Avenue, Brighton 175 DARTMOUTH STREET, BOSTON Telephone Stadium 2326 (Kenmore 8431) Boston Huntington Chambers JOHN LANE Room 409 TEACHER OF SINGING STEINERT HALL Ruth Thayer Burnham Faculty, Abbot Academy 162 BOYLSTON STREET .. .. BOSTON And over, Mass. Telephone Hubbard 6677 Member of Guild of Vocal Teachers, Inc., New York LOUISA BURT WOOD ROSALIE THORNTON CONTRALTO PIANO STUDIOS TEACHER OF SINGING 282 Dartmouth Street, Boston 41 Concord Avenue, Cambridge 701 PIERCE BLDG. Telephone Kenmore 6520 Telephone: Commonwealth 4994 Lessons in Singing FRANK E. DOYLE 14 STEINERT HALL FRANK E. MORSE SINGING 31 Steinert Hall Teacher of Tohn Smallman; Edgar Isherwood; Apolyna Stoskus (Juilliard fellowships 1930, 1931; In Manchester, N. H. Thursdays and Fridays Worcester Festival 1931) ALENA G. EMERSON LUTHER O. EMERSON TEACHER OF SINGING BARITONE SOLOIST Formerly with W. L. Whitney TEACHER OF SINGING Suite 37, 20 Hemenway Street 30 HUNTINGTON AVENUE Room 406 Telephone Ken. 3761 Wednesdays in Worcester Kenmore 9415 PRISCILLA WHITE FRANCES ADELMAN TEACHER OF PIANO TEACHER OF SINGING ENSEMBLE ACCOMPANIST Removed to Home Address: Studio: 3 Outlet Road, Mattapan 83 Newbury Street 543 BOYLSTON STREET, BOSTON Milton 8964 Mondays and Thursdays PIANO TUNING AND REPAIRING ROSALIND KEMPTON VIOLIN TEACHER FRANCIS SHEEHAN SOLO AND ENSEMBLE WORK 29 Parkview Avenue, Newtonville, Mass. 262 COMMONWEALTH AVENUE. BOSTON North NEWton 0486W Creative work with children a specialty Mombtr tftbo National Aisoctation of Piano Tuntrs Ear training, Solfege, Dalcroze Tel. Ken. 612) In Copley Square

X HE Copley Square Office

of the Lee, Higginson Trust Company . . . across

from Trinity Church at the corner of Boylston and

Clarendon Streets, specializes in personal banking.

Its organization has been selected with a view to

providing the most competent and cordial service

possible for the individual.

We believe that the Copley Square location will prove to be especially convenient to those who

come to the city by automobile as well as to the

residents of the Back Bay.

Personal checking accounts are invited

Lee, Higginson Trust Co. 50 FEDERAL STREET, BOSTON UPTOWN-CORNER OF CLARENDON AND BOYLSTON STREETS