Boston Symphony Orchestra Concert Programs, Season 46,1926-1927

vv liBS \ / BOSTON Uv> SYMPHONY ORCHESTRA INC. FORTY-SIXTH SEASON J926-J927

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INC. SERGE KOUSSEVITZKY, Conductor

FORTY-SIXTH SEASON, 1926-1927

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

THE OFFICERS AND TRUSTEES OF THE

BOSTON SYMPHONY ORCHESTRA, Inc.

FREDERICK P. CABOT President .'...; BENTLEY W. WARREN . . . Vice-President

ERNEST B, DANE Treasurer

FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN

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

1937 After more than half a century on Fourteenth Street,

Steinway Hall is now located at 109 West 57th Street.

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1938 '

Forty-sixth Season, 1926-1927 SERGE KOUSSEVITZKY, Conductor

Violins Burgin, R. Elcus, G. Gerardi, A. Hamilton, V. Gundersen, R Concert-master Kreinin, B. Eisler, D. Sauvlet, H. Kassman, N. Theodorowicz, J. Cherkassky, P. Graeser, H. Fedorovsky, P. Siegl, F. Pinfield, C. Hansen, E. Leveen, P. Mariotti, V.

Thillois, F. Zung, M. Tapley, R. Gorodetzky, L. Mayer, P. Leibovici, J. Diamond, S. Fiedler, B

Bryant, M. Knudsen, C. Stonestreet, L. Messina, S. Murray, J. Del Sordo, R. Erkelens, H. Seiniger, S.

Violas.

Lefranc, J. Fourel, G. Van Wynbergen, C. Grover, H. Fiedler, A. Artieres, L. Cauhape, J. Werner, H. Shirley, P.

Avierino, N. Gerhardt, S. Bernard, A. Deane, C.

Violoncellos.

Bedetti, J. Zighera, A. Langendoen, J. Stockbridge, C. Fabrizio, E. Keller, J. Barth, C. Belinski, M. Warnke, J. Marjollet, L.

Basses.

Kunze, M. Lemaire, J. Ludwig, O. Kelley, A. Girard, H. Vondrak, A. Seydel, T. Frankel, I. Demetrides, L. Oliver, F

Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Hamelin, G. Laus, A. Bladet, G. Devergie, J, Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Allegra, E. Bettoney, F. {E-flat Clarirut) Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets. Trombones.

Wendler, G. Valkenier, W. Mager, G. Rochut, J. Schindler, G. Lannoye, M. Perret, G. Adam, E. Van Den Berg, C. Pogrebniak, S. Lafosse, G. Hansotte, L. Lorbeer, H. Gebhardt, W. Mann, J. Kenfield, L. Kloepfel, L. Tuba. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Zighera, B. Polster, M. Sternburg, S. Seiniger, S. Organ Piano. Celesta. Librarian. Snow, A. Sanroma, J. Fiedler, A. Rogers. L. J. 1939 afifcU t r*-s

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FORTY-SIXTH SEASON, NINETEEN HUNDRED TWENTY-SIX & TWENTY-SEVEN

T me

FRIDAY AFTERNOON, APRIL 29, at 2.30 o'clock

SATURDAY EVENING, APRIL 30, at 8.15 o'clock

Beethoven Overture to "Leonore," No. 3, Op. 72

Dukelskv Suite from the Ballet, "Zephyr et Flore" Divertissements des Muses Andante non troppo. Variations: Giocoso. Allegretto commodo. Risoluto. Coda: Andante. Finale: Allegro non troppo.

(First Performance)

Aubert Habanera

Wagner Ride of the Valkyries from "The Valkyrie""

Brahms Symphony Xo. 1 in C minor, Op. 68

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

MASON & HAMLIN PIANOFORTE

There will be an intermission before the symphony

For Announcement ol Next Season see page 2017

The Massachusetts Division of the University Extension and the Boston Public Library announce a Fourth Series of Lectures on the Boston Symphony Concerts beginning Wednesday, October 5, 1927, at 8.15, at the Public Library. The permanent Lecturer, assisted by composers and artists, will be Professor John P. Marshall of Boston University.

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 eoncert

1941 The Most Convenient Travel Office in Boston

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1942 —

Overture to "Leonore" No. 3, Op. 72 Ltjdwig van Beethoven

(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827)

Beethoven's opera, "Fidelio, oder die eheliehe Liebe," with text adapted freely by Joseph Sonnleithner from the French of Bouilly ("Leonore; ou L'Amour Conjugal," a "historical fact" in two acts and in prose, music by Gaveaux, Opera-Comique, Paris, February 19, 1798), was first performed at the Theater an der Wien, Vienna, November 20, 1805, with Anna Pauline Milder, afterwards Mme. Hauptmann, as the heroine. The other parts were taken as follows: Don Fernando, Weinkopf; Don Pizarro, Meier; Florestan, Demmer; Rocco, Rothe; Marzelline (sic), Miss Muller; Jacquino, Cache; Wacht- hauptmann, Meister. "The opera was hastily put upon the stage, and the inadequacy of the singers thus increased by the lack of sufficient rehearsals." In later years Fidelio was one of Anna Milder's great parts: "Judging from the contemporary criticism, her performance was now (1805) somewhat defective, simply from lack of stage experience." The first performance of the opera in Boston was at the Boston

Theatre on April 1, 1857, with Mmes. Johannsen and Berkiel, and Messrs. Beutler, Neumann, Oehlein, and Weinlich. "Leonore" No. 2 was the overture played at the first performance in Vienna. The opera was withdrawn, revised, and produced again

^UI 1

J"Gena Branscombe is one of the small band of women who have the art of composing good music which needs no apology or excuse on account of the sex of the composer, and which can command respect and excite admiration by reason of its own intrinsic merit." Musical Courier.

Songs Piano Net Net Spirit of Motherhood (2 keys) 45 Four Ballet Episodes ...... 75 Happiness (2 keys) 60 When Joan of Arc was a Little Girl 75 Krishna (2 keys) 50 Suite In a Fairy Garden . . . . •. . • • - • -50 I Send my Heart up to thee (3 keys) . .50 A Woodsy Nymph Came Dancing . . .40 At the Postern Gate (2 keys) 50 Hill-top Dreaming . .45 Three Mystic Ships (2 keys) 50 The Squirrels' Party .40 I Bring you Heartsease (2 keys) ... .40 Yellow Jonquils 40

A Lovely Maiden Roaming (2 keys) . .50 The Morning Wind (2 keys) 45 Violin and Pianoforte In Arcady by Moonlight (2 keys) .50 Hail ye Tyme of Holiedayes (2 keys) .50 An Old Love Tale 40 Bluebells Drowsily Ringing (2 keys) .40 At the Fair 60 Dial The Sun (Song Cycle) (2 keys) . 1.00 A Memory 45 A Lute ef Jade (Song Cycle) (2 keys) 1.00 A Carnival Fantasy 75

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I'M 3 on March 29, 1806, when "Leonore" No. 3, a remodelled form of No. 2, was played as the overture. The order of these overtures, according to the time of composition, is now supposed to be "Leonore" No. 2, "Leonore" No. 3,"Leonore" No. 1, "Fidelio." It may here be added that Beethoven wished, and for a long time insisted, that the title of his opera should be "Leonore"; and he ascribed the early failures to the substitution of the title "Fidelio." The key of the "Leonore" Overture No. 3 is C major. A short fortis- simo is struck. It is diminished by wood-wind and horns, then taken up, piano, by the strings. From this G there is a descent down the scale of C major to a mysterious F-sharp. The key of B minor is reached, finally A-flat major, when the opening measures of Florestan's air, "In des Lebens Fruhlingstagen" (act ii. of the opera), is played. The theme of the Allegro, C major, begins pianissimo, first violins and violoncellos, and waxes impetuously. The second theme has been described as "woven out of sobs and pitying sighs." The working-out consists in alternating a pathetic figure, taken from the second theme and played by the wood-wind over a nervous string accompaniment, with furious outbursts from the whole orchestra. Then comes the trumpet-call off stage. The twice-repeated call is answered in each instance by the short song of thanksgiving from the same scene. Leo- nore's words are: "Ach! du bist gerettet! Grosser Gott!" A gradual transition leads from this to the return of the first theme at the beginning of the third part (flute solo). This third part is developed in general as the first part and leads to a wildly jubilant coda. The overture "Leonore" No. 3 was first played in Boston at a concert of the Musical Fund Society on December 7, 1850. G. J. Webb was BOSTON CONSERVATORY OF MUSIC AGIDE JACCHIA, Director

.. FACULTY .. E. Adam, Trombone A. Laus, Bassoon T. Seydel, Contrabass A. Alphin, Solfeggio J. S. Leavitt, Clarinet, Saxophone S. Somervell, Voice, Solfeggio A. Battles, Flute A. Leuci, Violin, Viola L. Speyer, Oboe, English Horn A. M. Bottero, Italian C. F. Ludwig, Percussion O. Straub, Theoretical Subjects E. S. Brown, Trumpet W. C. Mason, Dramatic Art C. Ullian, Pianoforte J. N.Bubk, History of Music R. C. McKay, Oboe C. Van Den Berg, Horn J. P. Drew, Voice Culture C. Miller, Pianoforte W. Van Den Berg, Harp E. Ferrabini, Voice Culture M. Munsterberg, German E. Vieh, French M. B. Frte, Organ R. Nagel, Violoncello G. C. Vieh, Pianoforte S. Korguefp, Violin M. Paporello, Ballet A. Vita, Voice, Coachino

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1945 the conductor. The score and the parts were borrowed; for the programme of a concert by the Society on January 24, 1852, states that the Overture was then "presented by C. C. Perkins, Esq." The score calls for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, and the usual strings.

Habanera Louis FRANgois Marie Aubert*

(Born on February 15, 1877, at Parame (Ille-et-Vilaine) , France; living at Paris)

When this Habanera was performed at the Pasdeloup concerts in Paris on March 27-28, 1920, Pierre de Lapommeraye wrote that Aubert had evoked on a dance rhythm, not exuberantly and without conven- tional local color, a perfume of passion that doubtless emanated from folk-songs and rhythms. "M. Rhene-Baton not only conducted it very well; he danced it on his little platform." The first performance was at a Pasdeloup concert, Paris, on March 22, 1919. The Habanera was performed in New York at a concert of the Sym- phony Society on February 1, 1920. It was performed at concerts of the Boston Symphony Orchestra in Boston, Mr. Monteux conductor, on October 19, 20, 1923.

*Louis Aubert, born in 1730, was at the age of eleven a violinist in the orchestra of the Op6ra, and in 1755 he was the leader of the first violins of this orchestra, as his father, Jacques Aubert, composer of ballets, a cantata, and violin sonatas, was before him. Louis wrote some ballet music, also many violin solos and duets, two violin concertos, etc. His brother, the Abbe Jean Louis Aubert, wrote a refutation of Rousseau's remarks about French music. It was published in Paris (1754).

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1946

Mr. Koussevitzky is scarcely more "forward" in plan- ning next season's programme than Slattery in forecasting the fashionable summer mode, and particularly its high

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1947 Emile Vuillermoz has given a chapter* to Aubert and the Habanera in his collection of remarkable essays, "Musiques d'Aujourdhui." He begins by paying tribute to Aubert as a virtuoso, for he had received this

"brilliant and terrible' ' gift from a wicked fairy: virtuoso as pianist, reader of scores, accompanist, composer. ' 'Nothing astonishes him, surprises him. For him there is nothing mysterious or difficult." A dangerous gift, and nothing in Aubert's previous work had announced or prepared the birth of the Habanera. This piece has no subtitle. It is not called etude, esquisse, tableau, or poeme symphonique. "It is from beginning to end, in spite of its fluctuations in movement, feeling, and atmosphere, a long nostalgic dance, a vast impassioned palpitation, a beautiful musical scarf, whose folds raised by the rhythm become in turn raging and calm, without ceasing to be harmonious." It bears as a motto these lines of Baudelaire: "Let me breathe for a long time, for a long time the perfume of your hair, bury therein my face as a thirsty man in the water of a spring, and stir with my hand your locks as an odorous handkerchief, to shake memories into the air. If you could know all that I see! All that I feel! All that I hear in your tresses! My soul journeys on perfumes, as the souls of other men on music !"f M. Vuillermoz does not write simply. His style might be described as Asiatic. The following description of the Habanera is condensed,

*This chapter is based on Vuillermoz's feuilleton in Le Temps of February 11, 1921. fFrom "Un Hemisphere dans une Chevelure," being No. XVII of "Petits Po6mes en Prose."

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1949 and there is no attempt to translate literally sentences that dangerously approach hifalutin. Violoncellos and the harp (quasi guiterra) begin the characteristic swaying motion of the Habanera. The regularity of this oscillation is assured by the nervous impulse of the semi-quaver. A languorous theme, charged with voluptuousness and sadness, is gently played by the solo viola. This theme contains already the emotional elements of the composition, the sighs, the stifled sobs, the acute pain of an F-sharp dashing against an F-natural, and the alternate binary and ternary rhythms so characteristic of Spanish restlessness. Other timbres one by one enter and accompany the passage of this melody. The strings at last follow the wood-wind and horn. But this theme then expands in an expressive manner into a chromatic figure, which still more enlarged will serve as a base for further developments, alternating with the first theme, which at times gives place to it. The pace quickens. Urged by the intoxication of the melancholy dance whose surge continues to rock it, the imagination of the dreamer is at work. Memories and images crowd on him. The tambourine and the castanets give emphasis. Bassoons and violoncellos bring back the first theme by augmentation to the wood-wind instruments. A harp glissando rises and falls. There is still a crescendo. The whole orchestra is now swayed by the billows of the obsessing rhythm. The chromatic design with its lyricism frankly avowed dominates the movement. It assumes various forms and values, is gorgeously ornamented without being masked.

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1953 The score, dedicated to Roger-Ducasse, calls for three flutes (one interchangeable with piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, sarrusophone (or double-bassoon), four horns, three trumpets, three trombones, bass tuba, kettledrums, snare drum, bass drum, cymbals, tambourine, castanets, two harps, and the usual strings.

Aubert, at the age of ten, won the second prize for solfege at the Paris Conservatory. Two years later he took the first prize. In 1893 he was awarded the second prize for piano, and in 1897 the second prize for harmony. His teachers at the Conservatory were Lavignac for harmony, Gabriel Faure for composition, and Diemer for piano. His chief

works are as follows : . "La Foret Bleue," an opera in three acts, based on the tales of Per- rault by Jacques Cheneviere, produced at the Boston Opera House on March 8, 1913; Prince Charmant, Fernand de Potter; L'Ogre, Jean Biddez; Pere du Petit Poucet, M. Sampieri; Petit Poucet, Jeska Swartz; Petit Chaperon Rouge, Bernice Fisher; La Princesse, Carmen Melis; La Fee, Elizabeth Amsden. Andre Caplet conducted. There were performances on March 14 and 17, 1913. Suite Breve. Originally for two pianofortes (four hands). Three movements orchestrated were played at the Paris Exhibition of 1900. The Suite was performed at one of Hasselmans's concerts in Paris in 1916. Fantasie" for pianoforte and orchestra. Produced at a Lamoureux concert in Paris on November 17, 1901, Louis Diemer, pianist. Per- formed in Boston at a concert of the New England Conservatory.

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Poemes Arabes (text from "Le Jardin des Caresses" by Franz Tous- saint). First sung with pianoforte by Mme. Jourdan-Nauroy in Paris on May 8, 1917; orchestrated, at the Vichy Casino on August 8, 1919. Songs, pianoforte pieces, a few pieces of chamber music, and music ( for the church. The pianoforte pieces, "Sillages," were played in Boston by E. Robert Schmitz on April 15, 1920. *

Few histories or encyclopedias of the dance mention the Habanera. Mr. H. V. Hamilton contributed the article about this dance to Grove's Dictionary of Music and Musicians (Revised Edition). He says that it is a Spanish song and dance of an older origin than its name implies that it was introduced into Cuba by negroes from Africa, and from Cuba went to Spain. "It is sometimes called 'contradanza crilla' (Creole

country-dance). . . . An Habanera usually consists of a short introduction and two parts of eight or sixteen bars, of which the second, should the first be in a minor key, will be in the major, and will answer the purpose of a refrain; but these rules are by no means strictly adhered to. There are many forms of the melody, a marked feature being that two triplets of semiquavers, or one such triplet and two semiquavers, are often written against the figure which occupies one whole^bar in the bass of the above example." (This example is given in notation.) "The performers opposite to each other, one of either sex, generally dance to the introduction, and accompany their singing of several 'copias' (stanzas) with gestures, and the whole of the music is repeated

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1957 for the final dance, which is slow and stately, and of a decidedly Oriental character, the feet being scarcely lifted from the ground (though an occasional pirouette is sometimes introduced), while the most voluptuous movements of the arms, hips, head and eyes are employed to lure and fascinate each other—and the spectator. The dance, if well done, can be extremely graceful." Neither the academic Desrat, in his "Dictionnaire de la Danse," nor the eloquent Vuillier in his history of dancing, mentions the Haba- nera. Richard Ford, who knew Spain perhaps better than the Spaniards, had much to say about the Jota of Aragon, the Bolero, the Galician and Asturian dances, "the Comparsas," or national quadrilles, but he did not name the Habanera. Did he have it in mind when he described a gypsy dance, the "dance which is closely analogous to the Ghowasee of the Egyptians and the Nautch of the Hindous"? It is the Ole of the Spaniards, the Romalis of the gypsies. "The ladies, who seem to have no bones, resolve the problem of perpetual motion, their feet having comparatively a sinecure, as the whole person performs a pantomime, and trembles like an aspen leaf; the flexible form and Terpsichore figure of a young Andalusian girl—be she gypsy or not—is said by the learned to have been designed by nature as the fit frame for her voluptuous imagination. "* Nor did the Spanish dancers who, visiting Paris in the late thirties of the nineteenth century, inspired Theophile Gautier to write dithy- rambs in prose, dance the Habanera; neither Mesdames Fabiani nor Dolores Tesrai; nor did Mile. Noblet, who followed Fanny Elssler in

*For other entertaining matter about Spanish dances, see Richard Ford's "Gatherings from Spain," pp. 349-356 (Everyman's Library).

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1959 imitating Dolores, dance the Habanera. The two Spanish dances that were then the rage were the Bolero and the Cachucha. Perhaps the Habanera came from Africa. Perhaps after a sea voyage it went from Cuba into Spain.* The word is generally known chiefly by reason of Chabrier's pianoforte piece and the entrance song of Car- men. Bostonians associate it also with Laparra's opera. Chabrier's Habanera for the pianoforte was published in 1885; arrangements for four hands, orchestra (1888), pianoforte and violin, pianoforte and harp followed. The Habanera was his last musical reminiscence of his journey to Spain. When "Carmen" was rehearsed at the Opera-Comique, Paris, in December, 1874, chorus and orchestra complained of difficulties in Bizet's score. Mme. Galli-Marie disliked her entrance air, which was in 6-8 time with a chorus. She wished something more audacious, a song into which she could bring into play the whole battery of her "perversites artistiques," to borrow Charles Pigot's phrase: "Caressing tones and smiles, voluptuous inflections, killing glances, disturbing gestures." During the rehearsals Bizet made a dozen versions. The singer was satisfied only with the thirteenth, the now familiar Habanera, based on an old Spanish tune that had been used by Sebastian Yradier. This brought Bizet into trouble, for Yradier's publisher, Heugel, de- manded that the indebtedness should be acknowledged in Bizet's score. Yradier made no complaint; but to avoid a lawsuit or a scandal, Bizet gave consent, and on the first page of the Habanera in the French edition of "Carmen" this line is engraved: "Imitated from a Spanish

*See "Afro-American Folk-Songs," by H. E. Krehbiel (New York, 1914), pp. 59, 68, 93, 114, 115.

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1961 song, the property of^the^publishers of Le MSnestrel." Then there is a Habanera in Ravel's "Spanish Rhapsody."

"LaI Habanera," a lyric drama in three acts, libretto and music by Raoul Laparra, was produced at the Opera-Comique, Paris, February 26, 1908. The chief singers were Salignac, Pedro; Seveilhac, Ramon; Mile. Demellier, La Pilar; Vieuille, Un Vieux. Ruhlmann conducted. The^opera was performed fifteen times in 1908, ten times in 1909. It has been revived in Paris this season. |t,This opera was produced for the first time in the United States at the Boston Opera House on December 14, 1910, when the chief singers were Robert Lassalle, Pedro; Ramon Blanchart, Ramon; Fely Dereyne, La|Pilar; and Jose Mardones, Un Vieux. Mr. Caplet conducted. There was a second performance on December 23, 1910. Later performances were on March 22, 25, 1912, when the chief singers were Mme. Gay, Riddez, and de Potter.

Suite from the Ballet "Zephyr et Flore": "Divertissements des Muses"; Coda; Finale Vladimir Dukelsky

(Born on September 27, 1903, near Pskov, Russia; living mostly in Paris and Monte Carlo) Serge de Diaghilev, having heard Dukelsky's piano concerto, asked him for a ballet to be performed by the Ballet Russe. This ballet, "Zephyr et Flore," scenario by Boris Kochno, performed publicly for the first time at Monte Carlo on April 28, 1925, was produced at the Theatre de la Gaiete, Paris, on June 15, 1925. There were four per- ADVANTAGES

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1<63 formances during the exposition. Scotto conducted. The chief dancers, according to Figaro were Mme. Nikitina; MM. Doline and } Lifar. This ballet was produced at the Coliseum, London, on November 12, 1925. The Observer of November 8 published an interview with M. Diaghilev. It appears that the ballet, after the performances in Paris, was completely reshaped: the music was revised; there were three scenes instead of one, "so that the work of Georges Braque, who is looked upon as a leader in modern French painting, has here become, because of the three scenes and all the costumes he has designed, the most important he has yet done for the theatre. "Braque," M. Diaghilev remarked, "is the only wise—shall we say? —and settled personality in the whole combination, for he alone has reached years of discretion; whereas the combined ages of the composer of the music, Vladimir Dukelsky, the author of the scenario, Boris Kochno, and the three principal artists, Alice Nikitina, Serge Lifar, and Constantin Tcherkas, come only to ninety-nine years. It is truly a ballet of youth, and in that it is in keeping with the subject; because in the story we have the Nine Muses, who, we presume, are eternally young, the two Winds, Boreas and Zephyr, and Flora, the Goddess of Flowers. "Because the action takes place on Olympus, you must not conclude that we are really in Greece. Everyone has the right to imagine Olympus as he thinks it was, never having been there. And in this

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1965 line of argument, I am reminded of the dispute between Debussy and Bakst 'over the last scene of 'St. Sebastian/ When the angels appeared on the stage, Debussy shouted angrily, These angels are not the angels of Paradise'; and Bakst replied, 'Anyone can see you have never been there, or you would certainly know better/ "In this spirit Braque has imagined to himself that Flora on Olympus had the appearance of a circus rider with a quasi-Manet hat and 'demi- tutu behind; that the Wind Zephyr wore a jockey's cap; that Boreas came straight from Knossos, being dressed, or rather undressed, in the manner of the Minoans; and that the Greek Muses saw far enough into the future to be somewhat influenced by French taste as represented by Chanel. "Nor are you expected to believe that things happened in Greece as they happen in the ballet. Kochno has taken the names, and with them has fashioned a story you will not find in mythology. No doubt the Gods would be shocked to learn that Boreas fell in love with his sister-in-law Flora, though they would derive satisfaction from knowing that for the guilty steps he took to achieve his ends he was in due course punished by being put to death by the Nine Muses, who all fall in love with him at once. "The composer, Dukelsky, is the third I have discovered. His two elder 'brothers/ Stravinsky and Prokofieff, are too well known to need discussion. If you ask me by whom iDukelsky is influenced, I should say that he has nothing in common 'with Stravinsky; that you could perhaps detect his admiration for Prokofieff,|'though in any case he is more classical; and that he is inclined rather to trace his heredity from his 'grandfather/ Glinka.

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"As for the artists, it is the first time Nikitina has had the opportunity of showing her extraordinary silhouette and the very special qualities of her technique. Lifar has well earned his opportunity to blow as Boreas. In Russia, being condemned to death by the Bol- sheviks, he was put in a prison where typhus was raging, and to escape infection he remained standing for twelve consecutive days and nights. Somehow he won the sympathies of the governor, and was sent to the market to get food, and immediately hid in a load of hay. He is now one year younger than the age at which Nijinski and Massine (who has invented for the ballet choreography worthy of his great talent) both made their debut, and the public can guess what he will develop into. As for Zephyr, I think Constantin Tcherkas, of all the artists in the company, is the one best suited to personify this light and caressing Wind, which is so beloved by the ladies. "Flora, herself, strangely translated into an ^artificial flower, was modishly attired to the waist, as for the Champs filysees, but thereafter contented herself with spotted tights. The Muses were led at the Coliseum by Mmes. Tchernicheva and Sokolova. These Muses had little pork pie hats and earrings, quite in keeping with the only Olympus they had ever known—one nearer Deauville than Thessaly; their Pierian spring being that of some sparkling Spa" (H. H. in the Observer). When the ballet was revived at His Majesty's Theatre in London on July 12, 1926, it was said that M. Lifar had developed considerably the role of Boreas. Andre Messager, reviewing the first performance at the Theatre de la Gaiete, in the weekly edition of Figaro (June 24, 1925), summed up a

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1969 discriminative article by saying: "It seems to me that, since Stravinsky, we have not encountered so characteristic a manifestation of that which appears to be the new tendency of the Russian musical art. The debut contains more than a promise, and M. Dukelsky can be proud of a well-deserved success.. The scenario has the fault of being very obscure; perhaps we are not sufficiently familiar with the Olympus where the action takes place; or is it necessary to admit simply that it is only a pretext for harmonious groupings, an ingenious choreography, the whole served with musical fancy that is much more interesting than the ensemble? I did not know, for example, that the game of blind man's buff was invented by Boreas! The programme says it was. Never mind, for the morceau is charming."

M. Nicolas Slonimsky contributed to Modern Music of April, 1927, an interesting article about Dukelsky. "Vladimir Dukelsky tried to skip Paris; he made a non-stop flight directly from Constantinople to New York. A boy of nineteen, in 1923 he offered his overture 'Gondla' to a sophisticated audience in Carnegie Hall. 'A farrago of atrocious noises' was the verdict. Dukel- sky, submitting to the inevitable, sailed for Paris in 1924. In his portfolio he bore the manuscript of a newly-completed piano concerto to offer the Parisian Witenagemot. "This concerto was written in Prokofieff's favorite key, C major, a key of irresistible dash and absorbing power. It was unquestionably portentous. The music, full of unstinted energy and invention, dis-

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1971 closed a genuine talent with an abundance of fertile ideas upon which to draw. Serge Diaghilev's discerning ear recognized a 'find/ and he commissioned Dukelsky to unite a ballet. "Thus, Dukelsky 'arrived'. His ballet, 'Zephyr et Flore/ was ac- claimed in Paris, London, Monte Carlo. "Recognition and a place in the hall of fame do not, however, solve all the problems of a composer. Dukelsky's versatility and a fine sense of rhythm led to popular success. A musical comedy written by Mr. 'Duke' and two others, produced by a London theatre, has proved a hit for several months. "Dukelsky mastered his musical language almost simultaneously with his native tongue. Xt eight he composed a 'Ballet in Fourteen Acts' in itself indicating at least a prolific gift. As a pupil at the Kiev Conservatory under Gliere and Yavorsky he wrote a Sextet at the age of thirteen. From then on came a flood of minor compositions, covering the preparatory period of his development. "At nineteen he had a style of his own and a characteristic technic. His melody flows freely, is at times humorously sentimental, and often adopts a folk-song pattern. He favors dance rhythms, but surprisingly enough, no jazz. A spiritual kinship with Prokofieff can often be discerned. He has the same richness and a healthy abundance of musical vitamins; the same decisiveness and squareness of rhythm. His youthful self-assurance pervades the whole; there are no twilight moods, no misgivings, but all-embracing optimism and joy."

* * When "Zephyr et Flore" was produced at the Coliseum, London,

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1 96 IBoylston Street, Boston 1973 Dukelsky wrote the following letter to Edwin Evans in response to the request for "a few words about himself": "I was born in September, 1903, in northern Russia. My mother is half-Spanish, and my father's mother was a direct descendant of the Kings of Georgia (Caucasus)—so I am not so terribly Russian after all. I studied composition in Moscow and Kiev under R. Gliere and B. Javorsky. My first important work was a ballet in fourteen acts, that I wrote when I was eight years old. During the Revolution, I suddenly became very serious and started to write fugues. In 1919 I was an extremely pale young man—not having much to eat and unsuccessfully imitating Debussy. I left Russia in January, 1920, after all sorts of usual adventures, that were quite unpleasant in those days, but seem so monotonous now, as they are the inevitable 'repertoire' of every Russian. "After two years in Constantinople, I left for the United States. My career in New York was far from being brilliant, but very interesting nevertheless. My love for jazz was never platonic, due to my friendship with George Gershwin. At the same time, I studied Bach, Scarlatti, and Mozart. My overture, 'Gondla' (to an Icelandic drama of Nicolas Gumilev), had a very cold reception in Carnegie Hall; the late Mr. Krehbiel said in the New York Tribune that it was a 'farrago of atrocious noises'; and a certain fashionable lady reporter, with a small nose and large ideas, said it was 'barbaric in its harmonies, Icelandic in its frozen remoteness, and decidedly hunchback in its form.' "In 1924 (May) I decided that with a piano concerto (dedicated to Arthur Rubinstein), two orchestral scores, and a vocal suite, I was good enough to return to Europe. June, 1924, finds me in Choisel,

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Seine-et-Oise, working on 'Zephyr et Flore,' the ballet that Diaghilev ordered after hearing my piano concerto. This ballet was completed in November in Monte Carlo. "As to my ideas on music; I do hate all 'modernism/ and I love being modern. I believe only in construction in the truly classical sense, knowing that it is more difficult to construct a fox-trot than to write a thousand 'poems' on golden fishes, bald Chinamen, or oyster-shells as the so-called 'modernists' do. I find that jazz is 'classicism for minors,' and, therefore, very useful. We must, and will, undress music; it doesn't need the heavy coat of harmonies any more—winter is gone." For the list of Dukelsky's works, we are indebted to Mr. Nicolas Slonimsky:

1911. "Cassiopea," ballet in 14 acts. 1912-1915. "The Death of Manfred/' opera. "Milovsor," opera-pastorale. "Alladine et Palomides" (Maeterlinck), opera in three acts. 1915-1919. Three concertos for piano. Five sonatas for piano. Two symphonies. Trio. 1919. String sextet (examination piece at the Conservatory of Kiev), performed there by students. 1922. "Gondla," overture for orchestra based on the poem by Gumilev. 1923. Five triolettes for voice and piano (words by Sollogub). Concerto for piano and orchestra in C major. 1924. "Zephyr et Flore," ballet. 1925. Three poems by Bogdanovitch, for voice and piano. A second ballet is being composed by Dukelsky for Diaghilev. Performances (other compositions have not yet been performed) "Gondla," overture for orchestra, 1922—New York, January 31, 1923, at

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Carnegie Hall, by the New York City Symphony, under the direction of Dirk Foch. London, July, 1926, under Eugene Goossens. "Z6phyr et Flore," ballet—Monte-Carlo, April 28, 1925 (previously, a private performance was given at the Palais de Monaco on January 31, 1925). Paris, June, 1925; June, 1926. Berlin, December, 1925. London, November, 1925; July, 1926. A suite from the ballet was made in 1926. First performance, Boston, April 29-30, 1927.

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 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 Sym- WOMEN'S REPUBLICAN CLUB 46 BEACON STREET Telephone, Haymarket 6400

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1978 '

phony. It impressed 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 Diisseldorf: T have been trying my hand at a symphony during the past summer, have even orchestrated the first movement, and have composed the second and third." This symphony was never completed. The work as it stood was turned into a sonata for two pianofortes. The first two movements became later the first and the second of the pianoforte concerto 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 C minor Symphony. The contents of the symphony, according to Kalbeck, portray the relationship between 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. Just when Brahms began to make the first sketches of this symphony is not exactly known. He destroyed the great majority of his sketches. The few that he did not destroy are, or were recently, in the Library of the Gesellschaft der Musikfreunde at Vienna. Dietrich saw the first movement in 1862. Kalbeck says that the Finale was conceived in the face of the Zurich mountains, in sight of Alps and the lake; and the horn solo with the calling voices that fade into a melancholy echo were undoubtedly suggested by the Alpine horn; the movement was finished on the Island of Rligen.

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1979 The symphony was produced at Carlsruhe by the grand duke's orchestra on November 4, 1876. Otto Dessoff conducted. There was a performance a few days later at Mannheim, where Brahms conducted. Many musicians journeyed to hear the symphony. Sim- rock came in answer to this letter: "It's too bad you are not a music- director, otherwise you could have a symphony. It's at Carlsruhe on the fourth. I expect from you and other befriended publishers a testimonial for not bothering you about such things." Simrock paid five thousand thalers for the symphony. He did not publish it till the end of 1877. Billow wrote to a music journal in 1877: "First after my acquaintance with the Tenth Symphony, alias Symphony No. 1, by Johannes Brahms, that is since six weeks ago, have I become so intractable and so hard against Bruch-pieces and the like. I call Brahms's first symphony the Tenth, not as though it should be put after the Ninth; I should put it between the Second and the 'Eroica/ just as I think by the first Symphony should be understood, not the first of Beethoven, but the one composed by Mozart, which is known as the 'Jupiter'."

The first performance in Boston was by the Harvard Musical Asso- ciation, January 3, 1878. Carl Zerrahn conducted. John S. Dwight wrote in his Journal of Music that the total impression made on him was "as something depressing and unedifying, a work coldly elaborated, artificial; earnest to be sure, in some sense great, and far more satis- factory than any symphony by Raff, or any others of the day which we have heard; but not to be mentioned in the same day with any symphony by Schumann, Mendelssohn, 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.

TUDOR MUSIC By Canon E. H. Fellowes, Minor Canon, Windsor

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ENGLISH MADRIGALS . $1.40 Contents — Music in the Elizabethan home. The Madrigal — Origin and Etymology. Form and technique. The part-book. Rhythm and Underlaying. Harmony. Words. BYRD and GIBBONS. Their lives and works $2.00 each TUDOR CHURCH MUSIC Fifty octavo numbers edited for modern choirs ...... 15 cents and up This series is being featured by the ENGLISH SINGERS on their American tour. LIST OF TUDOR CHURCH MUSIC SENT ON APPLICATION OXFORD UNIVERSITY PRESS, 35 West 32nd St., New York AMERICAN BRANCH

1980 WORKS PERFORMED AT THE SYMPHONY CONCERTS DURING THE SEASON OF 1926-1927

Works marked with a double asterisk were performed for the first time in Boston. Works marked with an asterisk were performed for the first time at these concerts. 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 Aubert: Habanera, April 29, 1927 1946

Bach, C. P. E. : Concerto for orchestra, D major (arranged by Steinberg), December 10, 1926 599 Bach, J. S.: Brandenburg Concerto, No. 4, G major, for violin, two flutes and string orchestra, January 21, 1927;

April 1, 1927 . . 1036, 1691 Brandenburg Concerto No. 3, for string orchestra, Janu- ary 28, 1927 1103

Bartok: **Dance Suite for orchestra, November 12, 1926 . . . 374 Beethoven: Symphony No. 3, "Eroica," October 8, 1926 ... 46

Symphony No. 4, B-flat major, Op. 60, March 25, 1927 . . 1607 Symphony No. 5, C minor, Op. 67, November 19, 1926; March 25, 1927 470, 1618 Symphony No. 6, F major, Op. 68, March 26, 1927 .... 1632 Symphony No. 7, A major, Op. 92, March 26, 1927 .... 1645 Overture to "Leonore," No. 3, Op. 72, December 3, 1926, April 29, 1927 515, 1943 '

Overture to "Egmont," Op. 84, November 12, 1926 . . . 347 Piano Concerto, No. 5, E-flat major, Op. 73, December 3, 1926 (Alfred Cortot) 534 Berlioz: Overture, "Le Carnival Rc-main/' Op. 9, October 29, 1926 259 Borodin: Symphony No. 2, B minor, October 29, 1926 .... 282

Brahms : Symphony No. 1, C minor, Op. 68, April 29, 1927 . . 1978

Symphony No. 2, D major, Op. 73, February 11, 1927 . . 1226

Symphony No. 4, E minor, Op. 98, November 12, 1926 . . 388 Overture, "Tragic," Op. 81, February 11, 1927 1187

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1981 Concerto No. 2, B-flat major, for piano (Momz Rosenthal) and orchestra, February 11, 1927 1194 "A Song of Destiny/' for chorus and orchestra, March 4, 1927 1462 Casella: **Partita for piano (*Walter Gieseking) and orchestra, January 14, 1927 (conducted by Casella) .... 960 **Orchestral Suite from the Ballet "La Giara" (after Pirandello) (conducted by Casella), January 14, 1927 982 Chadwick: "Tarn o' Shanter," Ballade for orchestra, April 22, 1927 1859 Converse: t"FHvver 10,000,000, A Joyous Epic: Fantasy for orchestra, April 15, 1927 1792

Copland : jConcerto for piano (**Aaron Copland) and orchestra, in one movement, January 28, 1927 ...... 1106 Debussy: Two Nocturnes, "Nuages" and "Fetes/' October 8, 1926 20 Delius: **"The Song of the High Hills" for orchestra and voices, March 4, 1927 1444 Dukelsky: fExcerpts from the ballet "Zephyr et Flore," April 29, 1927 1962

Elgar: Variations on an Original Theme, February 25, 1927 . . 1374 Falla, De: **Concerto for harpsichord (Wanda Landowska), flute, oboe, clarinet, violin, and violoncello, December 31, 1926 856 Franck: Symphony, D minor, October 15, 1926 130 Glazounov: Concerto for violin (f Richard Burgin) and orchestra, Op. 82, March 18, 1927 1542 Glinka: **Finale of "A Life for the Tsar," chorus and orchestra, March 4, 1927 1490

Handel: Concerto Grosso, G minor, No. 6, December 24, 1926 . 767

Concerto Grosso, B minor, No. 12, January 21, 1927 . . . 1019 "Water Music," March 18, 1927 1523 Haydn: Symphony, E-flat major (B. & H. No. 3), October 22, 1926 175 Hill: f "Lilacs," Poem for orchestra, Op. 33 (after Amy Lowell), April 1, 1927 (Insert)

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1983 Honegger: "Pacific 231," Orchestral Movement, April 1, 1927 . 1744 Ibert: **"Les Rencontres," Three Pieces for Ballet, October 22, 1926 182

Krasa : **"March and Pastorale" from Symphony, November 19,

1926 , . . 436 Lalo: Concerto, D minor for violoncello (fJean Bedetti) April 1, 1927 1702 Langendoen: **Variations for string orchestra on a Dutch theme of A. Valerius (first time in Boston with orchestra) March 4, 1927 1439 Lazar: f'Tziganes," Scherzo, October 29, 1926 304 Loefpler: Symphonic Poem "Memories of Childhood" (Life in a Russian Village), April 15, 1927 1782 Manuel, Roland: See Scarlatti. Milhaud: **"Le Carnaval d'Aix," Fantasy for piano (*Darius Milhaud) and orchestra, December 17, 1926 .... 706

Moussorgsky-Ravel : "Pictures at an Exhibition," December 3, 1926 .....:... 546 Mozart: "Eine Kleine Nachtmusik," Serenade for string orches-

tra (K. 525),, October 15, 1926 91 Concerto, C major for piano (*Walter Gieseking) and orchestra (K. 467) (conducted by Casella), January 14, 1927 948 **Rondo (Allegro di molto) for harpsichord (Wanda Landowska) and orchestra, December 31, 1926 .... 864 Prokofiefp: **Classical Symphony, Op. 25, January 28, 1927; April 1, 1927 1104, 1734

**Suite from the ballet "Chout," Op. 21, October 8, 1926 . . 26 **Suite from "The Love for Three Oranges," November 12, 1926 366 "Sept, ils sont sept," Incantation for tenor (Charles Stratton), chorus and orchestra, Op. 30, March 4, 1927 1480 Ravel: "La Valse," December 17, 1926 732 See Moussorgsky. Respighi: Symphonic Poem: "Fountains of Rome," February 18, 1927 (conducted by Respighi) 1324

Symphonic Poem: "Pines of Rome," October 29, 1926 . . 308 **Overture to "Belfagor," February 18, 1927 (conducted

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**01d Dances and Airs for the Lute (freely arranged), Suite No. 2, February 18, 1927 (conducted by Respighi) 1280 t"Vetrate di Chiesa" ("Church Windows"), Four Impres- sions for orchestra, February 25, 1927 1410 **Concerto in the Mixolydian mood for piano (**Ottokino Respighi) and orchestra, February 18, 1927 (conducted by Alfredo Casella) February 18, 1927 1276 **"I1 Tramonto" ("Sunset") (after Shelley's poem), for soprano (Elsa Respighi) and orchestra (first time in Boston with orchestra) (conducted by Respighi), February 18, 1927 ..*.". 1318 Rimsky-Korsakov: Symphonic Suite, "Scheherazade" (after "The Thousand Nights and a Night"), Op. 35, Decem- ber 24, 1926 790 "Sadko," a Tone Picture, Op. 5, February 25, 1927 .... 1355 **Tone Pictures from "The Legend of the Invisible City of Kitesch" (first time of Prelude: Hymn to Nature; Bridal Procession, and The Invasion of the Tartars), March 4, 1927. Also "The Battle," played in 1925-1926 1468 Roussel: f Suite in F major, January 21, 1927 1046 Scarlatti: * Three Pieces (arranged by Roland Manuel), December 31, 1926 851 *Five Sonatas arranged in the form of a Suite, and orchestrated by Tommasini (after the ballet "The Good- Humored Ladies"), April 15, 1927 1775 Schumann: Symphony, B-flat major, No. 1, Op. 38, December 17, 1926; January 28, 1927 683,1112

Scriabin: "The Poem of Ecstasy," Op. 54, January 21, 1927 . . 1058 Sessions: jSymphony, April 22, 1927 1874 Steinert: f "Southern Night," poem for orchestra, October 15, 1926 98 Sibelius: **Symphony No. 7, Op. 105, December 10, 1926 ... 630 "Finlandia," Symphonic poem, Op. 26, No. 7, December 10, 1926 597 "The Swan of Tuonela," February 25, 1927 1398

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1985 Strauss: "Till Eulenspiegel's Merry Pranks/' Op. 28, October 15, 1926 104 "Tod und Verklarung," April 22, 1927 1880 Salome's Dance from "Salome," April 22, 1927 1884

Stravinsky: Suite from "The Fire-Bird," December 10, 1926 . . 638 "Le Sacre du Printemps," A Picture of Pagan Russia, December 31, 1926 878 Tansman: f Symphony, A minor, March 18, 1927 1528 **"The Dance of the Sorceress," from the Ballet, "The Garden of Paradise," November 19, 1926 431

Tchaikovsky: Symphony No. 5, E minor, April 22, 1927 . . . 1796 Tommasini: See Scarlatti. Vivaldi: *Concerto for strings, A minor (arranged by Sam

Franko) (conducted by Casella), January 14, 1927 . . 935 Wagner: Prelude to "Lohengrin," October 22, 1926 192 Prelude to "The Mastersingers of Nuremberg," October 22, 1926 216

"Forest Murmurs," from "Siegfried," October 22, 1926 . . . 212 Funeral Music of Siegfried from "Dusk of the Gods," October 22, 1926; (In Memoriam Galen L. Stone),

December 31, 1926 . 206,849 Prelude and Love-Death, "Tristan and Isolde," Decem- ber 24, 1926 784 Ride of the Valkyries, April 29, 1927 1941

Walton: **Overture, "Portsmouth Point," November 19, 1926 . 448 Weber: Overture to "DerFreischutz," October 8, 1926 .... 7 Overture to "Oberon," March 18, 1927 1544 Webern: **Five Pieces for orchestra, Op. 10, November 19, 1926 444 * Williams, Vaughan: *Norfoik Rhapsody, No. 1, December 24, 1926 772 Wolf: **"The Fire-Rider," for chorus and orchestra (first time in Boston with orchestra), March 4, 1927 .... 1454

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1986 SUMMARY

The following composers were represented for the first time at these concerts: Bartok, Dukelsky, Krasa, Langendoen, Lazar, Scarlatti, Sessions, Steinert, Tommasini, Walton, Webern.

AUBERT 1 Loeffler . . 1

Bach, C. P. E 1 Milhaud . . 1

Bach,^ J. S 3 Moussorgsky ...... 1

Bartok 1 Mozart . . 3

Beethoven 10.0 Prokofieff . . 5

Berlioz 1 Ravel . . 1

Borodin 1 Respighi . . . 7

Brahms 6 RlMSKY-KoRSAKOV . . . . 3

Casella 2 ROUSSEL . . 1

Chadwick 1 Scarlatti . . 2

Converse 1 Schumann . . 2

Copland 1 Scriabin . . 1

Debussy . .' 1 Sessions . . 1

Delius 1 Steinert . . 1

Dukelsky 1 Sibelius ...... 3

Elgar 1 Strauss . . 3

DeFalla 1 Stravinsky . . 2

Franck 1 Tansman . . 2

Glazounov 1 Tchaikovsky . . . . . 1

Glinka 1 Vivaldi . . 1

Handel 3 Wagner . . 7

Haydn 1 Walton . . 1

* Hill 1 Weber . . 2

Honegger 1 Webern . . 1

IBERT 1 Williams, Vaughan . . . . 1

Krasa 1 Wolf . . 1 Lalo 1 Langendoen 1 103 Lazar 1

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1987 Bach's Brandenburg Concerto, No. 4, Beethoven's Overture, Leonore No. 3, and Symphony No. 5, Prokofieff's Classical Symphony, Schu- mann's Symphony, No. 1, and Siegfried's Funeral Music were played twice in the course of the season.

ORCHESTRAL WORKS PERFORMED FOR THE FIRST TIME ANYWHERE Converse: "Flivver 10,000,000." Copland: Concerto for piano (Aaron Copland**) and orchestra. Dukelsky: Excerpts from the ballet "Zephyr et Flore." Lazar: "Tziganes," Scherzo for orchestra. Respighi: "Vetrate de Chiesa" ("Church Windows"). Roussel: Suite in F major. Sessions: Symphony, E minor. Steinert: "Southern Night," poem for orchestra. Tansman: Symphony, A minor 9

OTHER WORKS PERFORMED IN BOSTON FOR THE FIRST TIME Bartok: Dance Suite for orchestra. Casella: Orchestral Suite from the Ballet "La Giara." Partita for Piano (Walter Gieseking*) and orchestra. DeFalla: Concerto for harpsichord (Wanda Landowska*), flute, oboe, clarinet, violin, and violoncello. Delius: "The Song of the. High Hills," for orchestra and voices. Glinka: Finale of "A Life for the Tsar." Hill: "Lilacs," poem for orchestra, Op. 33 (after Amy Lowell). Ibert: "Les Rencontres": Three Pieces for Ballet.

Krasa : March and "Pastorale from a Symphony.

Milhaud : "Le Carnaval d'Aix," Fantasy for piano (Darius Milhaud*) and orchestra. Carried forward '..." To

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1988 Brought forward 10 Mozart: Rondo (Allegro di molto) for Harpsichord (Wanda Landowska*). Prokofieff: Classical Symphony, Op. 25. Suite from the ballet "Chout." Suite from "The Love for Three Oranges." Respighi: Overture to "Belfagor." Old Dances and Airs for the Lute (freely arranged), Suite No. 2. Concerto in the Mixolydian mode for piano (Ottorino Respighi**) and orchestra. Rimsky-Korsakov: Prelude: Hymn to Nature; Bridal Procession from the Suite, "The Legend of the Invisible City of Kitesch." Scarlatti: Three Pieces (arranged by Roland Manuel). Two Sonatas orchestrated by Tommasini; Suite from the Ballet "The Good-Humored Ladies." Sibelius: Symphony No. 7, Op. 105. Tansman: "The Dance of the Sorceress," from the Ballet, "The Garden of Paradise." Walton: Overture, "Portsmouth Point." Webern: Five Pieces for orchestra.

Williams, Vaughan: Norfolk Rhapsody, No. 1 ...... 25

WORKS PREVIOUSLY PERFORMED IN BOSTON, PLAYED FOR THE FIRST TIME AT THESE CONCERTS

Langendoen: Variations for string orchestra on a Dutch theme of A. Valerius (previously played by a string quintet). Respighi: "II Tramonto" (previously sung with a string quartet).

ScARLATTi-ToMMASiNi : Five Sonatas; Suite from the Ballet "The Good-Humored Ladies." Vivaldi: Concerto for strings, A minor, arranged by Sam Franko. Wolf: "The Fire-Rider" (previously sung by tenor with piano accompaniment; by the Cecilia Society with piano accompaniment) 5

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THE FOLLOWING ARTISTS HAVE ASSISTED THIS SEASON

PAGE Bedetti,! Jean: April 1, 1927, Lalo's Concerto, D minor, for violoncello and orchestra 1702 BuRGiN,f Richard: March 18, 1927, Glazounov's Concerto for violin with orchestra, Op. 82. Sketch 1538 Copland,** Aaron: January 28, 1927, Copland's Concerto for piano and orchestra, f Sketch 1108 Cortot, Alfred: December 3, 1926, Beethoven's Piano Con- certo, No. 5. Sketch 532 Gieseking,* Walter: January 14, 1927, Mozart, Piano Con- certo, C major (K. 467); Casella, Partita for piano and orchestra.** Sketch 946 Landowska,* Wanda: December 31, 1926, De Falla's Concerto for harpsichord, flute, oboe, clarinet, violin, and violoncello**; Mozart's Rondo (Allegro di molto) for harpsichord and orchestra. Sketch 854 u Milhatjd,* Darius: December 17, 1926, Milhaud's** Le Carnaval d'Aix." Sketch 710 Respighi,** Elsa: February 18, 1927, Respighi's 'Tl Tramonto"* for soprano and orchestra 1318 Respighi,** Ottorino: February 18, 1927, Respighi's Concerto in the Mixolydian mode for piano and orchestra.** Sketch 1271 Rosenthal, Moriz: February 11, 1927, Brahms's Piano Con- certo, No. 2, B-flat major, Op. 83. Sketch 1188 Stratton, Charles: March 4, 1927, Delius's "Song of the High Hills," for orchestra and voices**; Prokofieff's "Seven, they are seven" 1437

Soprano: Elsa Respighi** 1

Tenor: Charles Stratton , 1 Violinist: Richard Burginj 1 Violoncello: Jean Bedetti f 1 Pianists: Aaron Copland,** Alfred Cortot, Walter Gieseking,*

Darius Milhaud,* Ottorino Respighi, Moriz Rosenthal . 6

Harpsichordist: Wanda Landowska* - . 1

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1991 ENTR'ACTES AND EXCURSIONS PAOB

Burney, C. C. : P. E. Bach 608 Calvocoressi, M. D.: Rimsky-Korsakov and Stassov 1364

Casad^sus, H. : The Collection of Old Instruments in Symphony Hall .... 295 Chorley, H. F.: Schumann's Music in England 1134 Damon, S. Foster: Beethoven: An Ode 1750

De Qtjincey, T. : The glory of a ball 738 Grainger, P.: Delius's "Song of the High Hills" 1446 Hale, P.: Anne Paton (Mrs. Joseph Woods) 1570 Beethoven, Goethe, and "Egmont" 352 E minor, Tonality of; also key color 400 Galliard, Saltarello, Canario, Bergamasca 1284. Gavotte 1736 Handel's Instrumentation 1024

Lalo'sLife ' 1712 Sadko, Legend of 1356 Salome, Legend of 1356

Heine, H. : Herodias and Salome 1898 Jean-Aubry, G.: Jacques Imbert, The Music of 1210

Kautz, J. : Schumann and Bcettger 690 Maine, B.: The Man in the Street: an Illusion and a Dream 964

Musical World (1854) : Schumann's Music in England 1130 Newman, E.: Walton's "Facade" 456

Saint-Saens, C. : Mozart's Instrumental Music, Performance of 872 Wagner, R.: His Prelude to "Lohengrin" 200

INDEX TO SUNDRY REFERENCES AND FOOTNOTES

Biographical (Men): Abingdon, Lord, 176; Alva, Duke of, 350; Armingaud- Jacquard Quartet, 1706; Assafieff, B., 1104, 1734; Aubert, L., 1946; Aubert, J. L., 1946; Ave-Lallement, 1806. Baermann, C, 8; Baermann, H. J., 8; Baif, 1282; Balducci, G., 260; Balmont, C, 1484; Bardella, 1024; Bargaglia, S., 1022; Beck, 192; Berkeley, 1562; Bernadello, 1302; Besard, J. B., 1300; Beutler, 516; CHARACTER AND BEAUTY

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1993 Billroth, T., 1196; Blecker, Ivan, 868; Boehner, J. L., 12; Boettger, A., 694 Bonnet, F., 1524; Bouilly, 524; Brandenburg, Margrave of, 1001. Caroso, M F., 1280; Carroll, A., 32; Cartelliere, 538; Casadesus, H., 295; Casad<§sus, L. 297; Casella, 935; Casella, P., 935; Castrucci, P., 1024; Cavos, C, 1492; Chris- tian, Ludwig (see Brandenburg, 1691); Crevecoeur, 1706. Decombes, E., 532 Derwies, P. von, 1790; Diemer, L., 532; Duponchel, 270. Dupont, A., 276 Duprez, G., 270 et seq. Elman, M., 1541; Esterhazy, 176. Falchi, S., 1780 Fischer, A., 1702; Fulehan, A., 32. Gallini, 176; Garcin, J., 131; Gaveaux, P. 526; George I, 1523; George IV, 1656; Gervaise, C, 1042; Gianoncelli, B., 1302 Gleboff (see Assafieff); Gounod, 131; Grahame, D., 1864; Gregory, St., 1412 Guiraud, E., 1790. Habeneck, 270; Hartmann, V., 554; Heller, R., 542 Hoelderlin, J. C. F., 1462. Jaeger, A. J., 1382; John the Baptist, 1898 Kaspsberger, 1026; Kautz, J., 690; Kempelen, 1652; Keussler, G. v., 442 Kilmansegge, 1523; Kodaly, Z., 378; Koessler, 376; Krehl, Z., 306; Kreisler, F. 1190; Krueger, J. C, 1044. Lennox, W. P., 1574; Leonardi,L., 550; Lifar, 1968 Maelzel, J. N., 1650; Maelzel, L., 1650; Manoury, A. T., 1720; Martucci, G. 1271; Marxen, E., 1200; Mayseder, 538; Mercy, 1042; Mersenne, M., 1302 Messner, C, 1040; Meyerbeer, 1654; Michelletti, 1022; Minckwitz, J., 696 Moerike, E., 1454. Nini, A., 1662. Offman, 1046; Oppendorf, 1608, 1612 Pach, J., 1556; Paisiello, 866; Philip of Hesse, 944; Pinelli, E., 1780. Quevedo, T Y., 1652. Ribas, A. L. de, 1645; Rimbaud, A., 438. Salomon, J. P., 175, 178 Sammartini, 98; Schneider, J. C. F., 536; Schubart, C. F. D., 407; Schulhoff, J. 1706; Schultzen, A., 1042; Scio, E., 528; Serov, A. N. K., 548, 1372; Shahryar 792; Siboni, 538; Sinclair, G. R., 1386; Solar, Comte de, 526; Stanesby, T. 1042; Stassov, V. V., 1372; Straram, W., 436; Stubbs, S., 1860. Tcherkas, 1968 Thoman, 376; Tiorba, 1026; Torelli, G., 1022; Touschmalov, 548; Trattner 866. Urban, C, 92; Urban, H., 854. Valerius, 1439; Vaucorbeil, A. E., 1722 Ward, J., 778; Webb, J. W., 1583; Weisheimer, W., 216; Wood, H., 550 Wuellner, F., 390. Zemlinsky, A. v., 442.

Biographical (Women): Aurnhammer, J., 870; Austin, 1562. Bernhardt, S., 1890; Bettina, 358; Borodin, Mme., 286; Brunsvik, T., 1608. Campi, A., 1634; Cannabich, R., 872; Canzi, C, 1554; Casella, 935; Chiara, St., 1410; Cruvelli, S., 520. Darlington, Countess of, 1523; Dobson, S., 1583; Duncan, I., 1662; Duschek, J., 1636. Elgar, Lady, 1382. Fairchild, Elizabeth, 1454; Ferrara, Duchess of, 92. Guimard, N. M., 524. Herodias, 1898 et seq.) Her- zogenberg, E., 392. Kelly, L., 18; Kendal, Duchess of, 1523; (Kilmansegge) Kilitzky, J., 1634. Lalo, Mme. (see Maligny); Leigh, M., 1892; Lorena di Medici, 1282. Maclezova, X., 654; Maligny, J. M. V. B. de, 1708; Medici, Catherine di, 1290; Medici, Lorena di, 1282; Milder, P., 515, 1632. Nikitina, 1968; Paton, M. A., 1570; Ployer, B., 866; Poitiers, Diane de, 1290. Ruegger, E., 1704. Salome, 1898; Sangali, R., 1718; Schulenberg, 1523; Scio, 526; Sessi, C, 538; Sessi, I., 538; Sessi, M., 538; Sessi, N. T., 538; Sharazade, 792; Simony,

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\tf$\- E., 772; Stein, N., 870; Sternberg, A. (Mme. Vaucorbeil), 1722; Stoltz, R., 272' Tailleferre, G., 716; Teyte, M., 1052. Vaucorbeil (see Sternberg). Wieck, C. 683; Wood, Mrs. Jos. (see Paton).

Musical Forms: Adagio, 876; Allegro, 876; Allegro moderato, 876; Andante, 876; Atonality, 1271; Aubade, 91. Cassazione, 94; Concertino, 768, 1019; Con- certo grosso, 768, 1019. Divertimento, 94. E minor, tonality of, 400. F., key of major, pastoral, 1643. Minuettos, 94; Mixolydian mode, 1278. Not- turno, 94. Presto, 876. Quodlibet, 92. Riccercare, 788. Serenade, 91. Tonality, E minor, 1032; F major, 1643.

Dances: Anthoinette, 1288. Baisons-nous, 1290; Basse danse, 1288; Bergomask, 1302; Bolero, 1958; Bourree, 94; Branle, 1290; Branle de village, 1300; Brawl, 1300, Cachucha, 1960; Canary, 1298; Ciacona, 404; Comparses, 1958; Contra- danza crilla, 1958; Courante, 94, 1290. Dance, de Quincey on the, 738. Ennui qui me tourmente, 1290. Fatigue, La, 1288; Forlane, 1298. Gaillard, 1284; Gavotte, 94, 1736; Ghowasee, 1958; Gigue, 94; Gregory against Dancing, St., 1918. J'aimerais mieux mourir seulette, 1290; Jig, 694, 1298; Jota, 1958. Les- quecarde, 1296. Mazurka, 1532; Milanaise, 1290. Nach-Tanz, 1298; Nautch, 1958. Passacaglia, 94, 404; Pavane, 1290, 1292; Polka, 1532. Romenesca, 1294. Saltarello, 262, 1296; Scene de Bouquet, 1296; Sicilienne, 1298; Si j'aime ou non, 1290. Tarantella, 648, 1298; Tordio, 1298; Traditore mi fa morire, II, 1288. Volte, 1290; Vor-Tanz, 1298.

Instruments: Balalaika, 292; Bassoon, 1028; Blochfloete, 1042; Buccina, 308. Cannon, 1028; Carillon, 1028; Cithern, 292; Clarinet, ivory, 298; Clavecin, 1028; Cornu, 308; Crotal, 732; Crotalum, 732. Drums, Handel's, 1028. Fiulte d'echo, 1040, 1049; Flageolet, 1040; Flauto dolce, 1042. Flauto piccolo, 1044; Flute a bee, 1040, 1042, 1694; Flute, Handel's, 1028; Flute, Nose, 1040. Gram- ophone (Respighi's "Nightingale"), 1321; Guitar, 292; Gusslee, 292, 1355. Harmonica, Mouth, 1044; Harp, David's, 1044, 1700; Harpeluth, 1042; Horn, 1026, 1524. Jew's-harp, 1046. Rankles, 292, 1355; Kannel, 292, 1355; Kantale,

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1997 292, 1355; Kuakles, 292, 1355. Lute, 1044; Lute, Short Octave, 1044. Melo- r)hone, 698; Metronome, 1650. Oboe, Handel's, 1028; Oboe players going mad, 1702; Orchestra, Balalaika, 292; Orchestra at London (1791), 180; Orches- tras, Private, 92. Pandero, 292; Panharmonicon, 1648. Quinton, 297. Re- corder, 1042. Schnabelfloete, 1042; Serpent, 297. Tabour, 297; Theorbo, 1024; Trombones, 1026; Trumpet, 1026; Trumpet, Marine, 297; Trumpeter, Automatic, 1648; Tuba, 308. Vielle, 298; Viol, Bass, 297; Viola d'amore, 297, 1024; Viola da gamba, 297, 1024; Violetta marina, 1024; Violetta piccolo, 1024; Violino concertino, 1019; Violino di grosso, 1029; Violino di ripieno, 1019; Violins, Handel's, 1032. Whistle, 1040. Zither, 1044.

Songs, Hymns, etc.: A un jeune gentilhomme, 1052; A une fleur, 1782; Adieu a la vie, 942; Ah! fors e lui, 44fAh! perfido, 470, 1620, 1634, 1636; Alissa, 730; Amarylli, 34; Amour de moy, 780, 782; As it fell upon a day, 1110; Auf d. Kirchhofe, 398. Basket of eggs, 774; Batti, batti, 34; Behold and See, 403; Berceuse, 942; Bold young sailor, 1774. Captain's Apprentice, 774; Catalogue des fleurs, 732; C'etait un songe, 942; Chanson, 190; Chanson bas, 730; Chanson de Barbarine, 1710; Chansons, Trois, 190; Clair de lune, 1304; Cloche felee, 942; Crowned Tone, 224. Dans le silence, 852. De Profundis, 1290; Dies Irae, 146; Dissolution, 712; Dundee, 1860. Elgin 1860; Esclaye, L', 1708, 1710. Fenaison, Le, 1710; Flaiolet, 942. Geheimnis, 1466; Gia grida la tromba, 1028; God Preserve the Emperor Francis, 180; God save the King, 1656; Greisen- gesang, 1466. Ich hoer' ein Voeglein, 694; Immer leiser wird mein Schlummer, 1208; In Haven, 1396; Into the Forest, 102. Jardin du ciel, 190. Kallistrate, 732. Lacquer Paints, Four, 102; Lauda Sion, 146; Lord, behold Thy children, 628. Martyrs, 1860; Messagere Infidele, 852; Mi tradi quell' alma ingrata, 40; Mouille du soir, 852; Musique, La. 102; My mother bids me, 180; Mysoli, Couplets du, 772. Non mi dir, 40; Notte di maggio, 942; Nova Creina, 1646; Novice, Le, 1708; Nuageries, 942. O sink' hernieder, 34; Oh, soft was the song, 1384; On Board a Ninety-eight, 774. Poemes Arabes, 1956; Poemes Juifs,730. Roadside Fire, the, 782. Sabbath Morning at Sea, 1394; Salve Regina, 768, 1020; Sea Pictures, 1394; Sea Slumber Song, 1394; Sera Fiesolana, 942; Silent Noon, 782; Soir paien, 942; Soirees de St. Petersbourg, 730. Souvenir, 1710; Stabat Mater, 146; Stormy Petrel, 1644; Swimmer, The, 1396. Todessehnen, 1208; Tritons, 456; Twilight, 1384. Veni, Sancte Spiritus, 146; Verdure doree, 190; Verdure en ouillee, 1216; Victimae Paschali, 146; Von Gott will ich nicht lassen, 1302. Waning Moon, The, 102; Ward the Pirate, 774; Was it some golden star? 1384; When the Flowers of Hope are fading, 1645; Where corals lie, 1396; Where love is, there is home, 1546; Winds, The, 456.

Legends and Myths: Aboulfouaris, 821; Abunda, 1902. Baba Yaga, 562; Belphegor, 1310. Crepitus, 1310. Diana, 1902. Fire-Riders, 1460. Katschei, 638, 641. Lemminkainin, 1398. Markahattu, 1402; Michael, St., 1410, 1616. Pohjoha, 1400; Priapus, 1310. Sadko, 1355; Sindbad, 810, 1362; Stromkarl, 1664; Swan of Tuonela, 1398. Tchernebog, 1104; Tuoni, 1402. Zhar-Ptitsa, 644. Theatre and Opera House: A. Abbe de l'Epee, 526; Abu Hassan, 1634; Acrobat, The, 1314; Adelasia ed Aleramo, 540; Agamemnon, 722; A'ida, 44; Alceste, 515, 1634; Aline, Reine

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1999 de Golconde, 538, 540; Alladine et Palomides, 1976; Amore di terra lontana, 1782; Ange Flamboyant, L', 372; Antony and Cleopatra, 1872; Arab Fantasia, 32; Ariadne auf Naxos, 44; Arlesienne, L', 1378; Armide, 515, 1634; Ascanio, 260; Astuzia Femminili, 1274. B. Barbiere di Siviglia, 44, 52, 92, 982, 1218, 1554, 1564, 1583, 1716; Bastien et Bastienne, 54; Bataille d'amour, 1722; Battle of Life, The, 1314; Beggar's Opera, The, 1583; Belfagor, 1272, 1310; Bella addormentata nel bosco, 1292; Belphagor, 1312; Belphagor the Mountebank, 1314; Belphegor. 1312; Ben- venuto Cellini, 259; Betrothed of the Tsar, The, 282; Black Crook, The, 1718; Black Maskers, The, 1876; Bceuf sur le Toit, 724; Boris Godunov, 550, 1368; Boutique Fantasque, 1272; Brebis Egaree, 720; Broceliande, 184; Buffoon, The,

• 30, 659, 982; Burg d. Herzogs Blaubart, 384. C. Calendal, 1716; Carmen, 1716, 1859, 1960; Cassiopea, 1976; Cenerentola, 1583; Cephale et Procris, 1740; Chansons Arabes, 1274; Charles VI, 52; Choephori, 722; Chout, 26, 659; Christmas Eve Revels, 543; Christoforo Colombo, 935; Clara and the Slave, 1583; Clarissa Harlow 1716; Conflagration of Moscow, 1652; Contento per amore, 935; Coppelia, 1712; Coq d'or, 372, 1468; Coriolanus, 1466, 1610; Corsaro, II, 1662; Coupe du roi du Thule, 1716; Couvent sur l'eau, 942; Creation du monde, 726; Cristina di Suezia, 1662. D. Death of Manfred, 1976; Debora e Sisera, 540; Deux Journees, 524, 1644; Devil's Bridge, The, 1583; Diable amoureux, 852; Don Giovanni, 40; Donna di buon carattere, 935. E. Egmont, 347, 1642; Entfuehrung aus dem Serail, 38; Equivoco, L', 935; Esther de Carpentras, 716; Es war einmal, 442; Eulenspiegel (see Till), 120; Eumenides, 728; Euryanthe, 530. F. Fabia dell' amore della tre melarancie, 366; Falstaff, 962, 982; Fanchon la vieilleuse, 524; Fantasia Indiana. 1274; Faust, 1716: Favorita, La. 1720; Festin del'araignee, 1052; Fidelio, 515, 1607. 1610, 1618, 1632, 1943; Fiesco, 1710, 1714; Fiesque, 144, 1710, 1714; Fire Bird, The, 26, 638; Florentinische Tragoedie, 442; Foret Bleue, 1954; Fra Diavolo, 1583; Francesca da Rimini, 1718; Freischuetz, Der, 7, 530, 1546, 1554, 1574, 1583. G. Gefaengnisse, 442; Geisselfahrt, Die, 442; Geschoepfe d. Prometheus, 56, 518; Giara, La, 942, 982; Giselle, 1712; Giudetta, 1780; Goetterdaemmerung, 206; Goettin d. Vernunft, 398; Good-Humored Ladies, The, 854, 1775; Griselidis, 1716; Guido et Ginevra, 698; Guy Mannering, 1583. H. Hamlet, 1187, 1824; Hannele, 306; Harlequin's Story, 26; Hasty Pudding Show, 102; Henry V, 1286; Holzgeschnitze Prinz, Der, 384; Homme et son Desir, 722; Hugh the Drover, 784; Huon de Bordeaux, 436. I. Ida della Torre, 1662; Inganno Felice, 1554; lie desenchantee, 184; Innocenza conosciuta, 935; Intruse, L', 1378; Iphigenie en Aulide, 1740; Iphigenie en Tauride, 515, 1634; Iron Horse, The, 1746; Isabelle et Pantalon, 852; Ivanhoe, 1583; Ivan le Terrible, 1716; Ivan Soussanin, 1492. J. Jacquerie, La, 1716, 1724; Jaegersbraut, 7; Jardin du Paradis, 431, 1534; Jardiniere de Samos, 190, 1216; Jeanne d'Arc, 1802; Juarez and Maximilian, 1378; Judith, 548; Julius Caesar (play), 1780; Julius Caesar (opera), 1026. K. King Christian II, 1406, 1408; King Lear, 1368; Kleide machen Leute, 442; Kcenigin von Saba, 1104; Kuolema, 1406. L. Legend of Joseph, 732; Leonore, 526; Life for the Tsar, 1430; Lohengrin, 192; Lorhelia, 1780; Love and Folly, 1030; Love for three oranges, 366; Love

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2001 in a village, 1583; Love's Labour Lost, 1300, 1534; Lucia di Lammermoor, 1662, 1859; Lysistrata, 436. M. Magic Flute, 38, 1660, 1878; Magnifique, Le, 1712; Maid of Judah, 1583; Maid of Pskov, 1372; Malheurs d' Orphee, 726; Manfred, 1824; Marescialla d" Ancre, 1662; Margherita di York, 1662; Maria Stuarda, 935; Maria Vittoria, 1272; Marriage of Figaro, 1218, 1572, 1583; Masaniello, 1583, 1645; Medea, 1782; Meistersinger v. Nuernberg, 216; Midas, 600; Midsummer Night's Dream, 1304, 1718; Milovsor, 1976; Mlada, 284, 290, 640; Morbinose, Le, 1778; Morbinosi, I, 1780. N. Namouna, 1716 et seq., 1722; Nero, 548; Neron, 1714, 1724; Norma, 1645; Nozze di Figaro, 1218 (see Marriage of Figaro); Norma, 1645; Nuit Kurde, 436, 1528, 1534. O. Oberon (Weber), 1544; Oberon, a Musical Romance, 1556; Odalisca, 1662; Oiseau de feu. 638 (see Fire-Bird); Orlando, 1030; Otello (Rossini), 1716; Othello (play), 1872. P. Padmavati, 1052; Paillasse, 1314; Panurge, 1740; Parade, 712; Paride, 935; Parsifal, 532, 1378, 1644, 1900; Parthenope, 1030; Pauvre Matelot, 714; Pelleas et Melisande, 468; Perle du Bresil; Persee et Andromede, 190; Petits Riens, Les, 1742; Petrouchka, 656; Pierre le Grand, 524; Pirrica, La, 1274; Power of Evil, 548; Protee, 722. Q. Quaker, The, 1583. R. Re Enzo, 1272; Rencontres, Les, 182; Retablo de Maese Pedro, 856, 858; 862; Re Teodore, II, 866; Retour de 1'Enfant Prodigue, 724; Rhadamisto, 1026; Rinaldo, 1030; Robert le Diable, 52, 276, 1583; Roi d'Ys, 1710, 1732; Roi s'amuse, 1296; Romeo and Juliet, 1824; Roue, 1746; Ruins of Athens, 518; Russian and Ludmilla, 652. S. Sacre du Printemps, 878; Sadko, 1364; Sadko of Novgorod, 1364; Salade, 708; Salome, 1884; Sarema, 442; Saudades do Brazil, 724; Scheherazade, 826; Semirama, 1272; Sept Princesses, 1378; Sextuor, 434, 1534; Siege de Corinth, 276; Siegfried, 212, 1644; Sold Bride, The, 1324; Song of Solomon, 1078; Sonnam- bula, La, 1583; Spiegel v. Arkadien, 515, 992, 1632; Sylvia, 1712, 1718. T. Taming of the Shrew, 1286; Tannhaeuser, 216, 1376; Tempest, The, 1368. 1824; Templiers, Les, 1716; Three-Cornered Hat, The, 862; Thyl Eulenspiegel', 120; Till Eulenspiegel, 118, 120 (see Eulenspiegel); Tournoi Singulier, 852; Train Bleu, 726; Trip to Japan in 16 minutes, 1078; Tristan and Isolde, 218, 468, 784; Twelfth Night, 1284. U. Uguale Fortuna, 1782. V. Virginia, 1662; Vita e un sogno, 1780.

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Critical and Literary

A. Aelfric the Saxon, Herodias, 1902. Alberti, Beethoven, Sym. No. 7, 1664. Alheim, P. d', Moussorgsky's "Tableaux," 560. Al-Idri, si, Travelers' Tales, 810. Al-Kazwini, Travelers' Tales, 810. Allen, G., Maelzel in the United States, 1654. Allg. M. Zeitung, Beethoven, Piano Cone. No. 5, 536, 540. Altschuler, M. Scriabin, 1058. Andersen, H. C, 431. Annales Dramatiques, Bouilly, 524. Apthorp, W. F., Beethoven, Piano Cone. No. 5, 544; Strauss's, "Schelmenweise," 104; Wagner's "Lohengrin," 198; Funeral music of Siegfried, 206; Weber—the word "Freischuetz," 16. Ars et Labor, Pictures of Salome, 1912. Ars Nova, Casella's, 936. Ascham, R., Galliard, 1288. Athenseus, Music denned, 98. Auric G., on "Les Rencontres," 186. B. Bacha, E., Tile Eulenspiegel, 124. Bacon, F., Galliard, 1286. Barry, C. A., translator, 108. Bartok, On his music, 380. Bartolini, Beethoven, Sym. No. 3, 50. Baudelaire, Hemisphere dans une chevelure, 1948. Beam, J. N., Salome, 1908. Beethoven, on Sym. No. 6, 1636; No. 7, 1646; on "Egmont," 362-4; on "Fidelio," 516; on Piano Cone. No. 5, 544; on Goethe, 354, 360; on Salomon, 178. Beregovsky, Tchaikovsky, Sym. No. 5, 1828. Berlioz, Bee- thoven, Sym. No. 3, 60; No. 4, 1614; No. 5, 472, 1620; on "Fidelio," 528, 530; on "Der Freischuetz" Ov., 12, 14; on "Lohengrin" Ov., 198. Besard, J. B., his writings, 1302. Bettina, Beethoven, and Goethe, 358. Billroth, T., Brahms, 1196. Bitter, C, P. E. Bach, 626. Bleuler and Lehmann, Color audition, 407. Blom, E., Serov, 548. Boettger, A., Schumann and poem, 688. Boettger, Tile Eulenspiegel, 128. Bord, G., R. Stoltz, 272. Borowski, F., Chadwick's Tarn o' Shanter, 1864; Elgar's Variations, 1375; Glinka's "Life for the Tsar," 1492; Prokofieff's Classical Sym., 1104. Boschot, A., "Ben- venuto Cellini," 259. Brahms, Sym. No. 2., 1226 -et seq; Sym. No. 4, 390, 400; Piano Cone. No. 2, 1196 et seq. Brenet, M., Serenade, 94. Breton, Colored audition, 407. Brewster, D., Aut. Chess Player, 1654. Brossard, S., Tempi, 870. Brown, T. A., "Der Freischuetz," 48; Jos. Wood, 1580. Brown, Sir Thomas, Galliard, 1286; Loadstone and ships, 821. Buckley, R. J., Elgar, 1374, 1380. Buelow, H. v. Beethoven, Sym. No. 3, 62; Sym. No. 5, 472; Leonora Ov. No. 3, 520; Brahms, Sym. No. 1,- 1980; Brahms, Sym. No. 2, 1238; Brahms, Piano Cone. No. 2, 1202; on Lalo, 1710. Burney, C, P. E. Bach, 608. Burns, Cotter's Saturday Night, 1860; Tarn o' Shanter, 1860. Burton, Sir R. F., Baghdad, 818; 1,000 and one Nights, 810, 1362. C. Cadamustus, Lodestone and ships, 822. Calvocoressi, Bartok, 386; Moussorgsky, 556, 566. Capu, A., Sacre du Printemps, 878. Carillo, Wilde and Salome, 1890. Carlyle, T., Tarn o' Shanter, 1868. Caroso, II Ballerino, 1280. Carse, A., Old Flutes, 1040. Casadesus, H., Ancient Instruments, 295. Casella, A., on his Partita, 960; Ravel's Waltz, 736; as an author, 944. Casti- glione, on Dancing, 1298. Celler, L., Gavotte, 1742. Cellini, His autobigraphy, 260, 266. Chadwick, His Tarn o' Shanter, 1859. Chatfield-Taylor, Goldoni, 1778. Chorley, "Benvenuto Cellini," 278; Schumann, 702, 1134. Christian

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2005 Science Monitor, Les Rencontres, 186; Webern, 448. Clapp, W. W., The Woods, 1583. Converse, on his Flivver 10,000,000, 1792. Copland, on his Piano Cone, 1106. Coster, C, Thyl Uylenspiegel, 120, 128. Cummings, W. W., Handel's house in London, 767, 1020. Curzon, H. de, Les Rencontres, 186. Czerwinski, Gavotte, 688. D. Daily Journal, Castrucci, 1024. Daily Post, Handel's Concertos, 1019. Daily Telegraph, Bart6k, 376; Borodin, Sym. No. 2, 292; Bceuf sur le toit, 724; Chout, 26; Elgar's Variations, 1378; Les Rencontres, 184; Good-Humored Ladies, 1776; Pines of Rome, 317. Daniel, Book of x.13, 21; xii.l, 1410. Dante and Casella, 935; quoted by Berlioz, 1616. Davis, Dancing, 1292. Debussy, on his Nocturnes, 22; Till Eulenspiegel, 118. De Foe, Capt. Singleton, 810. Deiters, Brahms's Tragic Ov., 1188. Delius, on his "High Hills," 1444. Dent, Bartok, 374, 386. De Quincey, Bali-Room Scene, A, 738. Desrat, Gavotte, 1740; Saltarello, 1298. Dickens, Great Expectations, 192; Railroad story, 1746. Dobree, B., Scriabin, 1078. Drayton, Stock, 1286. Duerenberg, Beethoven, Sym. No. 7, 1664. Dukelsky, about his life, 1974. Dumas, Olympe de Cleves, 526. Duprez, Benvenuto Cellini, 274. Duval, Rita Sangalli, 1718. Dvofak, Tchaikovsky's Sym's, 1818. Dwight, J. S., Roman Carnival Ov., 259; Brahms, Sym. No. 1, 1980; Sym. No. 2, 1238; "Egmont" music, performance of. 348; Schumann, Sym. No. 1, 700. E. Eddred, J., Bagdad, 820. Egan, T. S., tr. of Atta Troll, 1902. Egede, Magnetic mountains, 822. Ehrlert, Benvenuto Cellini, Ov., 280. Elgar, on his Variations, 1376. Ellis, W. A., Life of Wagner, 192. Elyot, Gaillard, 1288. Engel, C, on Loeffler, 1788. Erbs, Brahms, Sym. No. 2, 1228. Evans, on Sacre du Printemps, 892, 900; Vaughan Williams, 774. F F. Faminzin's "Gusli," 292, 1355. Ferrond, Krasa, 440. Fertiault, Gavotte, 1740. Finck, H. T., Lohengrin, 192. Fioretti di San Francisco, 1412. Flower, N., Handel, 1524. Ford, R., Spanish Dances, 1958. Fowler, H. G., Spelling of Mahomet, 780. Frazer, J. G., Sacre du Printemps, 892. Fuller, T.. Duke of Alva, 350. G. Galpin, F. W., Old Flutes, 1044. Gardiner, W., Haydn, 178. Gautier, T., Benvenuto Cellini, 272, 276. General Advertiser, Handel, 1030. Gerber, on Caroso, 1282. Gilman, L., La Giara, 984; Milhaud, 706; Pines of Rome, 316; Sibelius, Sym. No. 7, 632. Goethe, to Beethoven, 356; on Beethoven, 360, 362; Egmont Ov., 352; Elective Affinities, 536. Goldoni, on his "Morbinose," 1778. Gosse, P., Ward the Pirate, 778. Grainger, P., Delius's "High Hills," 1446. Gray, C, Bartok, 386; Elgar, 1396. Grenerin, Theorbo, 1026. Gretry, "Pierre le Grand," 524; the sonata form, 1820. H. Hall, Bishop, Galliard, 1292. Hamilton, Habanera, 1956. Hanslick, Brahms, Sym. No. 2, 1228. Harper, C. G., Rowlandson's "Portsmouth Point, 450. Hawkins, Theorbo, 1026. Heine, "Benvenuto Cellini," 268; Herodias, 1902. Henderson, W. J., Herodias, 1902; Lohengrin, 194. Henley, Arabian Nights,

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2007 806, 824; Napoleon and The Romantic Movement, 50; Tarn o' Shanter, 1872. Henry, L., Sacre du Printemps, 902. Herbelot, D', Kalandars, 814. Herzogen- berg, E., Brahms. Sym. No. 2, 1228. Hilliard, G. S., Antomatic Chess Players, 1654. Hoeree, A., Krasa, 440. Hoffmann, E. T. A., Salvator Rosa, 268. Hogarth, Enraged Musician, 1024. Hole, R., Arabian Nights, 810, 1362. Honegger, on his "Pacific," 1744. Hopkins, A. A., Magic (Robert Heller), 542. Hull, A. E., Scriabin, 1078. Huon of Bordeaux, 1546. Huysmans, Moreau's Salome, 1914. I. Ibn al-Wardj, Travelers' Tales, 810. Iken, Dr., Beethoven, Sym. No. 7, 1664. Imbert, Brahms, Sym. No. 2, 1234. Indy, V. d', Beethoven, Sym. No. 3, 48, 56; Sym. No. 6, 1638; Svm. No. 7, 1667; "Fidelio," 528; Franck's Sym., 130, 132, 140; Garcin, 131; Gounod, d', 131; Lalo's Sym., 144; Saint- Saens's Sym. No. 3, 144. Ivanov, Borodin, Sym. No. 2, 288. J. Jaehns, Der Freischuetz, 10; Oberon, 1556. Janacopulos, V., translator, 368. Jerrold, D., Der Freischuetz, Ov., 12. Johnson, S. Galliard, 1286. Journal des Luxus u. d. Mode, Beethoven, Sym. No. 4. 1610. Jude, Book of, 1410. K. Kalbeck, Brahms, Sym. No. 1, 1978; Sym. No. 4, 398; Piano Cone. No. 2, 1187, 1208. Kalevala, 1398. Kalischer, Beethoven Letters, 648. Kamarupa, 810. Karenin, Rimsky-Korsakov and Stassov, 1364. Kastner, G., Galliard, 1294; Old Flutes, 1042; Serenade, 92. Kautz, J., Schumann, Sym. No. 1, 690. Kerner, J.. Magikon, 1460. Kirov, W. F., trans, of Kalevala, 1400. Kirchner. Brahms, Sym. No. 2, 1226. Klatte, W., Strauss's Till Eulenspiegel, 108. Kodaly, Bartok, 386. Koerner, T., Beethoven, Piano Cone. No. 5, 536. Krasa, on his Sym., 438. Krehbiel, Elgar, Variations, 1378; Full Title of Strauss's Till Eulenspiegel, 104. L. Lampa, De Cymbalis, 734. Landowska, de Falla's concerto, 856. Langen- doen, J., on his Variations, 1440. Lavoix, Jr., H., Old Flutes, 1044. "L. C.," Walton's Portsmouth Point, 450. Ledebur, Kilitzky, 1634; P. v. Milder, 515, 1632. Le Flem, Ravel's orchestration of Moussorgsky's Tableaux, 552. Liszt, Borodin, Sym. No. 2, 294; Lohengrin, 198. Litzmann, Clara Schumann, 684-5. Loefller, on his "Memories of My Childhood," 1784. M. Mace, T., Galliard, 1292. Machiavelli, Belphegor, 1312. Mahillon, V., Old Flutes, 1044. Mahler, Leonore Ov., No. 3, 520. Mainwaring, J., Handel, 1523. Mandeville, Sir J., Lodestone and ships, 821. Manuel, Roland, Krase, 442. Marnold, J., Debussy's Nocturnes, 24. Marx, Beethoven, Sym. No. 3, 56, 58; Sym. No. 7, 1664. Mason, D. G., Elgar, Variations, 1388. Mason, W., Schumann, Sym. No. 1, 698. Matteson, Gavotte, 1736; Serenade, 96. Mauke, Till Eulenspiegel, 108. May, F., Brahms, Sym. No. 2, 1228, 1240; Sym. No. 4, 388; Piano Cone. No. 2, 1194, 1196, 1264; Song of Destiny, 1466. Mayne, Life of Moerike, 1460. Mees, A., Der Freischuetz, Ov., 10. Menil, Gaillard, 1290. Meredith, G., Apropos of Elgar's Variations, 1384. Messager, Dukelsky, 1968. "Metronome de Maelzel," 1654. Milhaud, on his Carnaval d'Aix, 708; his work, 714. Mitteldeutsch Volkzeitung, Meistersinger Ov., 218. Montagu-Nathan, Katschei, 640, 650; Kitisch, 1468; Scriabin, 1058, 1078. Morley, Galliard, 1292. Mottl, Leonore Ov., No. 3, 520. Mount-Edgcombe, Sessi, 538. Mozart, on his concertos, 866; piano playing, 868 et seq., 948. Muerner, Till Eulenspiegel, 108. Musical Times, Elgar's variations, 1378. Mus. Wochenblatt, Brahms, Piano Cone. No. 2, 1202. Musical World, Schumann, Sym. No. 1, 702, 1130. N. Nation and Athenceum, Webern, 446. Naylor, Galliard, 1294, 1296. Newman, E., Boutique Fantasque, 1274. Elgar's Variations, 1388, 1390; Pines of Rome, 312; Tchaikovsky, Sym. No. 5, 1822; Walton's "Facade," 456. Newmarch, Rosa, Kitesch, 1470; Scriabin, 1058; Swan of Tuonela, 1402; Tchaikovsky, 1796. New York Times, "Love for Three Oranges," 368. Noble, L., Pimenov,

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2008 translator of Scriabin, 1062. Nohl, Beethoven, Sym. No. 7, 1664. Nottebohm, Beethoven's Sketches for earlv symphonies, 1607. O. Observer (London), Dukelsky, 1964. Odyssey, 810, 1362. Ortigue, Bee- thoven, Sym. No. 7, 1664. Ovid, Buccina, 308. P. Pall Mall Gazette, magnetic mountains, 822. Parke, on Der Freischuetz, 10; Oberon, 1546; Sessi, 538. Parry, C, P. E. Bach, 600. Parville, Thyl Eulenspiegel, 122. "Phoenix, John," David's Harp, 1046, 1702. Pirandello, "La Giara," 982. Planche, Oberon, 1546, 1550, 1552. Poe, Kempelen, 1654; Maelzel Chess Player, 1654. Pohl, C. F., Bach (C. P. E.) and Haydn, 604. Pohl, R., Beck, 190. Poiree, Pastoral Key of F major, 1643. Pontecoulant, Panharmonicon, 1650. Pope, A., Handel, 1032. Porte, Elgar, 1396. Prae- torius, Gaillard, 1290; Theorbo, 1024. Prod'homme, Beethoven, Sym. No. 7, 1667. Proust, M., Parisian Children apropos of Moussorgsky's Tableaux, 558. Prunieres, Caroso, 1282. Ptolemy, magnetic mountains, 821. Punch, Playing the Plate, 1667. Puttock, lodestone and ships, 822. Q. Quanz, Handel's Orchestration, 1030. Quarterly Mus. Magazine, Der Freischuetz, 1554. R. Raabe, W., Fire-Rider, 1460. Rabelais, lodestone and ships, 821. Raff, keys and color audition, 404. Ralston, The Fire-Bird, 644, 646. Reichardt, Beethoven, Sym. No. 6, 1634. Reimann, Brahms, Sym. No. 2, 1228; Sym. No. 4, 403; Tragic Ov., 1188. Reinhold, Bylina, 1356. Respighi, on atonality, 1271; his Piano Cone, 1278. Revelation (xii. 7), 1634. Rich, Galliard, 1290. Riemann, Brahms, Sym. No. 4, 402; color of tonalities, 404. Ries, Beethoven, Svm. No. 3, 48; Sym. No. 4, 1618; Sym. No. 5, 472, 1620. Roeckel, Beethoven, Sym. No. 6, 1634. Rolland, Handel's Concertos, 768, 1022; Water Music, 1524. Rosenfeld, Bart6k, 386; Scriabin, 1076, 1078. Rousseau, Serenade, 92. Rowlandson, Portsmouth Point, 450. S. Saadi, on Kalandars, 814. Saint-Saens, Playing of Mozart's piano music, 874. Sala, Hogarth's Enraged Musician, 1024. Samazeuilk, Ravel's orch. of Moussorgskv's Tableaux, 552. Saminisky, Bartok, 386. Scheible, Fire- Rider, 1460. Schindler, Beethoven, Sym. No. 3, 46; Sym. No. 5, 472, 1620; Fidelio Ov., 518. Schloezer, Sacre du Printemps, 896-7. Schoelcher, Handel, 768, 1020 et seq., 1524. Schubart, color audition, 407. Schultes, Til Eulen- spiegel, 128. Schumann, C, Brahms, Sym. No. 2, 1228; Schumann, Sym. No. 1, 684 et seq. Schumann, R., his Sym. No. 1, 683; Beethoven, Sym. No. 7, 1664; Brahms, 1979. Schwob, M., Railway Engine story, 1746. Scriabin, Poem of Ecstasy, 1062. Serapion, lodestone mine, 820. Seyfried, Beethoven, Sym. No. 7, 1658; Fidelio Ov., 518. Shakespeare, Galliard, 1284. Shaw, G. B., Siegfried, 212. Shedlock, J. S., translator, 364. Shelley, The Sunset, 1318. Ship News, Maelzel in the United States, 1650. Shipwrecked Mariner, The, 1362. Signale, Meistersinger Ov., 218. Siloti, Beethoven, Sym. No. 7, 1658. Simrock, Till Eulenspiegel, 128. Sitwell, E., Sacre du Printemps, 892. Slonimsky, N., Dukelsky, 1970; Lazar's Scherzo, 304; Tansman, 1536. Smith, Seba, Conflagration of Moscow, 1652. Snoeck, Old Flutes, 1044. Sonneck, Beethoven's Immortal Beloved, 1608. Sophocles and Brahms, 398, 400. Speidel, Brahms, Sym. No. 4, 398. Spitta, Bach's Brandenburg concertos, 1036, 1103. Squire, W. B., Handel's Water Music, 1526. Squire, W. H., Krasa, 440. Stadler,. Beethoven, Sym. No. 7, 1658. Stanislavsky, Balmont, 1484. Stanley, Nose Flutes, 1040, 1696. Stassov, Borodin, Sym. No. 2, FARM AND GARDEN SHOP GREEN DOOR 39 NEWBURY STREET N. E. FARM AND GARDEN ASSOCIATION. INC.

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2009 288. Stefan, Webern, 444. Steinert, A., on his "Southern Night," 98. Strauss, B,., on "Till Eulenspiegel," 106. Sturm, Lehr u. Erbauunges Buch, 1640. Sue, E., Herodias, 1900. Sun (N. Y.), Milhaud, 714. Swift, Gulliver's Travels quoted, 894. T. Tabouret, Galliard, 1288; Gavotte, 1742. Tansman, on his Dance of the Sorceress, 432; his Sym., 1528. Taugert, Tanzmeister, 1294. Tchaikovsky on his Sym. No. 5, 1798 et seq. Tenger, Beethoven's Immortal Beloved, 1608. Thackeray, George I, 1523; quotation from the "Newcomes," 1568. Thalia, Beethoven, Piano Cone. No. 5, 536. Thayer, Beethoven, Sym. No. 3, 48; Sym. No. 4, 1608; Piano Cone. No. 5, 538. Thomas, J., on De Falla's concerto, 862. Thousand Nights and a Night, 1358, 1362. Tiersot, Benvenuto Cellini, 280. Times (London), Bceuf sur le toit, 724. Treitsche, Fidelio Ov., 518. Tschabuschnigg, Till Eulenspiegel, 128. U. Ulibichev, Beethoven, Sym. No. 7, 1664. U. S. Gazette, Maelzel, 1654. V. Van Vechten, C, Sacre du Printemps, 880. Verlaine, Clair de lune, 1304. Volkmann, H., Robert Volkmann, 98. Vuillermoz, Aubert's Habanera, 1948. W. Wagner, his Goetterdaemmerung, 210; Lohengrin, 200; Meistersinger, 218, 222, 228; Beethoven, Sym. No. 3, 60; No. 7, 1664. Walther, Besard, 1302; Galliard, 1294; Saltarello, 1298; tempi (definition of), 876. Walton, on his Portsmouth Point, 454. Weber, C, on his Freischuetz, 7; Oberon, 1552; Miss Paton, 1574. Weber, M., on Freischuetz, 8. Weingartner, Brahms, Sym. No 2, 1238. Weissheimer, Wagner and Liszt, 220. Weissmann, Bart6k, 374; Scriabin, 1078; Webern, 448. White, R. G., Mrs. Austen, 1562; Mrs. Joseph Wood, 1578. Wilde, O., Sarah Bernhardt, 1890; Pictures of Salome, 1912. Wise, Sacre du Printemps, 906. Wolf, Brahms, Sym. No. 4, 394. Wood, Memoirs of Mr. and Mrs. Wood, 1576. Z. Zamminer, color audition, 407. Zederbaum, Ravel's orchestration of Mous- sorgsky's Tableaux, 550. Zola, his Bete Humaine, 1746; on Schumann, 704, 1144. Zumpe, Beethoven, Leonore Ov., No. 3, 520.

* * * Miscellaneous References

A. Automata, Maelzel's, 1648 et seq. B. Baghdad, 818, 820. Balalaika (Russian orchestra in the U. S.), 1356. Bay- ans, 292. Bylinen, 1356. C. Chess Player, Automaton, 1650-2. Corporazione delle Nuove Musiche, 938. F. "Fipple," 1040, 1694. F major, the pastoral key, 1643. Freischuetz, the words, 16. G. Gap, 1738, G^Tots, 1738. Guggenheim, Musical Foundation Fellowship, 1110. H. Handel's house in London, 767, 1020. Haydn's house in Vienna, 176. Hogarth's "Enraged Musician." K. Kalandar, 814. M. Mahomet, Spelling of the name, 780. Militarisme in Beethoven's music, 56. Moabites and Belphegor, 1310. Mountains, Magnetic, 821. Musi- cian, Hogarth's Enraged, 1024. P. Phegor, the word, 1312. "Playing the Plate" (picture in Punch), 1667. Portsmouth Point, 450. S. "Schelmenweise" defined, 104. "Stocks," 1286. T. "Tourisme," a German mania, 1640. U. Urbanists, 1412. Uylenkot (top gallery in a theatre), 128.

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Extra Symphony Concerts

Five extra Symphony concerts were given in Symphony Hall on Monday evenings

1. November 15, 1926: Mozart, Eine kleine Nachtmusik; Prokofieff, Suite from the Ballet "Chout"; Strauss, "Till EulenspiegeFs Merry Pranks"; Franck, Symphony in D minor. 2. December 13, 1926: Brahms, Symphony No. 4, E minor; Liszt, Piano concerto, A major, No. 2 (Nadia Reisenberg**); Berlioz, Overture, "Roman Carnival." 3. January 24, 1927: Handel, Concerto Grosso for strings, B minor, No. 12; Vaughan Williams, Norfolk Rhapsody, No. 1; Achron, Concerto for violin and orchestra** (Joseph Achron**); Schumann, Symphony, B-flat major, No. 1. 4. February 21, 1927: Bach, Brandenburg Concerto No. 3, for strings; Wagner, Prelude to "Lohengrin"; Ravel, "La Valse"; Brahms, Symphony No. 2, D major. 5. April 18, 1927: Weber, Overture to "Oberon"; Converse, "Flivver 10,000,000"; Prokofieff, Classical Symphony; Tchaikovsky, Symphony No. 5, E minor.

Five extra concerts were given in Symphony Hall on Tuesday afternoons:

1. November 30, 1926: Beethoven, Overture to "Leonore," No. 3; Wagner, Prelude and "Love-Death" from "Tristan and Isolde"; Strauss, "Till Eulen- spiegeFs Merry Pranks"; Brahms, Symphony No. 4, E minor. 2. January 4, 1927: Berlioz, Overture, "The Roman Carnival"; Debussy, Nuages and Fetes, from "Nocturnes"; Ravel, "La Valse"; Franck, Symphony, D minor.

3. February 8, 1927: Moussorgsky, Prelude to "Khovantchina" ; Rimsky- Korsakov, "Sadko," a Tone Picture; Prokofieff, March, The Prince and the Princess, Scherzo from "The Love for Three Oranges"; Stravinsky, The Prin- cesses Play with the Golden Apples, Berceuse, Infernal Dance of all the Subjects of Katschei, from "The Fire-Bird"; Tchaikovsky, Symphony No. 4, F minor. 4. March 1, 1927: Purcell-Wood, Trumpet Voluntary; Vaughan Williams, A Norfolk Rhapsody, No. 1; Elgar, Variations on an Original Theme; Grieg, Piano Concerto, A minor (Irene Scharrer); Sibelius, "The Swan of Tuonela"; Svendsen, "Carnival in Paris." 5. April 26, 1927: Mac Dowell, "In War Time," from the Orchestral Suite, E minor, No. 2, "Indian"; Hill, "Lilacs," Poem for orchestra (after Amy Lowell); Sessions, Symphony, E minor; Scarlatti-Tommasini, Three Sonatas (Allegro, Andante, Presto), from the Suite derived from the ballet, "The Good-Humored Ladies"; Rossini, Overture to "William Tell"; Respighi, "Pines of Rome." * * *

announces Spring and Summer classes and private lessons following the School year's term, from June first to October first.

Twenty-five lessons in any one of the subjects are offered at a fee of $30.00, to be taken during the course of one month or extended as desired.

. . SUBJECTS . . Rhythmic Movement Plastic Expression SOLF$}GE Improvisation at the Piano Composition History and Appreciation of Music

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2011 Young People's Afternoon Concerts

1. December 8 and 9. Symphony Hall. Richard Burgin, conductor. Smetana, Overture to "The Sold Bride"; Haydn, Two movements from Symphony in G major, "The Surprise" (Andante and Finale); Grieg, "Morning Mood," "Anitra's Dance," "In the Troll King's Grotto,"from "Peer Gynt" Suite, No. 1; Debussy, "In a Boat" and "Procession" from the "Petite Suite"; Liadov, "The Music Box"; Chabrier, "Esparia." 2. January 25 and 26. Mr. Burgin, conductor. Auber, Overture to "Fra Diavolo"; Gluck-Mottl, Ballet Suite; Saint-Saens, "Danse Macabre"; Grieg, "Spring"; Grainger, "Molly on the Shore"; Tchaikovsky, Introduction and Russian Dance, with violin solo (Julius Theodorowicz) from "Swan Lake"; Wagner, Entrance of the Guests from "Tannhaeuser." * * * Pension Fund Concerts

1. December 26, 1926. Rossini, Overture to "William Tell"; Weber-Berlioz, Invitation to the Dance; Sibelius, Valse Triste; J. Strauss, Waltz, "Voices of Spring"; Tchaikovsky, Suite from the ballet, "The Nutcracker"; Tchaikovsky, Ouverture Solennelle, "1812" (with an additional brass band off-stage). 2. March 27, 1927. Beethoven's Missa Solemnis. Harvard Glee Club and Radcliffe Choral Society. Olive Marshall, Nevada van der Veer, Tudor Davies, Arthur Middleton. John P. Marshall, organist.

* * * Beethoven Festival

March ]22, 1927. Symphony Hall, 8.15 p.m. Missa Solemnis. Harvard Glee Club, trained by Dr. Davison; Radcliffe Choral Society, trained by G. Wallace Woodworth. Olive Marshall, Jeanne Gordon, Tudor Davies, Arthur Middleton. March 23, 1927. Symphony Hall, 8.15 p.m. Symphonies 1, 2, and 3. March 24, 1927. Symphony Hall, 8.15 p.m. Piano trio, Op. 97; Piano Sonata, Op. 110; string quartet, Op. 59, No. 2. London String Quartet. Harold Samuel, pianist. March 25, 1927. Symphony Hall, 2.30 p.m. Symphonies 4 and 5. March 26, 1927. Symphony Hall, 8.15 p.m. Symphonies 6 and 7. March 28, 1927. Monday evening, Symphony Hall, 8.15 p.m. Commemorative exercises. Introductory address by Judge Frederick P. Cabot, president of the Boston Symphony Orchestra's Board of Trustees. Address by Ernest Newman of London. S. Foster Damon read an original poem: "Beethoven, an Ode." String Quartet, F major, Op. 135. Lenox String Quartet. March 29, 1927. Symphony Hall, 8.15 p.m. Symphonies 8 and 9. Harvard Glee Club and Radcliffe Choral Society. Jeannette Vreeland, Nevada van der Veer, Charles Stratton, Fred Patton.

Sundry Notes

On December 31, 1926, Siegfried's Funeral Music was played in memory of Galen L. Stone, vice-president of the Board of Trustees of the Orchestra. Alfredo Casella conducted, as guest, the concerts of January 14, 15, 1927. On February 18, 19, he conducted the performance of Respighi's Piano Concerto in the Mixolydian mode.

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

2012 SYMPHONY HALL POPForty'Second Season of the Monday, May 2, at 8.15 OPENING NIGHT Orchestra of Symphony Players

PROGRAMME i. PRELUDE to "Carmen" ..... Bizet

2. TWO MARCHES Schubert (Arranged for Orchestra by Alfredo Casella) (First performance in America)

3. "FOUNTAINS OF ROME," Symphonic Poem . . Respighi I. The Fountains of Valle Giulia at Dawn. II. The Triton Fountain at Morn. III. The Fountain of Trevi at Midday. IV. The Villa Medici Fountains at Sunset.

4. PRELUDE to "The Mastersingers of Nuremberg" . . Wagner

5. OVERTURE to "Cinderella" .... Rossini 6. THREE DANCES from "Othello" .... Verdi (First performance in America)

7. "ITALIA" Rhapsody Casella

8. INDIAN WAR DANCE Skilton

9. VALSE TRISTE Sibelius

10. SPANISH CAPRICE . . . Rimsky-Korsakov

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2014 Ottorino Respighi, as guest, conducted the concerts of February 18, 19, with the exception noted, when he played the piano part of his own concerto. The Cecilia Society, trained by its conductor, Malcolm Lang, took part in the concerts of March 4, 5, 1927. The English horn solo in Sibelius's "Swan of Tuonela" was played by Louis Speyer. * * * Errata and Addenda Programme Book, October 15, 16, 1926. Page 120. For "Charles de Costar" read "Charles de Coster." Page 128. For "Bolksbuecher" read "Volksbuecher." See in Programme Book, December 10, 11, 1926, page 659, additional information about Prokoneff's ballet "Chout," performed on October 8, 9, 1926. Programme Book of December 3, 4, 1926. Page 516, twelfth line from the top. For "Leven" read "Leben." Page 515, tenth line from the bottom: for "Der Spiege" read "Der Spiegel." Programme Book of February 11, 12, 1927. Page 1187, second line from the top. For "Born in 1883" read "1833." Programme Book of March 25, 26, 1927. Page 1634, thirteenth line from the top. For "Rackel," read "Rockel." Page 1662, last line. For "Misere" read "Miserere." Programme Book of April 15, 16. Page 1794, eighth line from the top. For, "and too seriously" read "and not too seriously."

First Evening Concert of the Boston Civic Annual Music Festival BOSTON CIVIC SYMPHONY ORCHESTRA (Eighty Players) JOSEPH F. WAGNER, Conductor MINOT A. BEALE, Violinist HAROLD SCHWAB, Organist WOMEN'S CHORUS OF SEVENTY-FIVE VOICES JORDAN HALL, SATURDAY, MAY 14, AT 8.15 P.M. PROGRAMME

Marche Militare Francaise from the Algerienne Suite . . Saint-Saens Overture, "The Merry Wives of Windsor" Nicolai

"In Memoriam." Orchestra, Organ and Chorus . . Joseph F. Wagner Introduction and Rondo Capriccioso Saint-Saens Mr. Beale "Izeyl." Suite Pierne i. a. Entree du Roi. b. Entree des Princesses.

2. a. Introduction et Lamen to. b. Serenade a. Iezyl. (First time in Boston) Overture, "In Domremy," from Jeanne D'Arc Suite. Frederick S. Converse Tickets, 25 and 50 cents, for sale at Oliver Ditson Music Store, Bettoney & Mayer Park Square Building, and Jordan Hall Box Office

512 PIERCE BUILDING. COPLEY SQUARE. BOSTON 26 EVANS WAY. BOSTON Tel. Cop. 6527-M Tel. Hig. 1563

SUMMER SESSION 1927 FALL SESSION 1927 September 16 Music Students' Trip to Europe Pianoforte Course for Soloists July 5 — August 25 Artist Class Public Recitals Course in Pianoforte Pedagogy Wagner Festival — Bayreuth Golden Jubilee, Teaching; An Art and A Science Opening Operas, Tristan und Isolde — Parsifal Psychology in its Relation to Pianoforte Teaching Mozart Festival — Munich The Physiology of Pianoforte Playing Switzerland — Schaffhausen, Lucerne and Solfeggio, Harmony and Theory Interlaken Musical History Opportunities for beginners elemen- Italy — Milan, Florence and Venice Unusual and tary pupils with thoroughly trained assisting France — Paris, Fontainebleau teachers; Monthly Musicals giving early experience in semi-public performance.

Direction of F. ADDISON PORTER and LAURA HUXTABLE PORTER

2015 1829 1927

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20 6 NOTICE TO SUBSCRIBERS

FORTV-SEVENTH SEASON (1927-1928) OF THE BOSTON SYMPHONY ORCHESTRA

SERGE KOUSSEVITZKY, Conductor

24 Friday Afternoon Concerts

24 Saturday Evening Concerts

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

NOTICE, HE IS REQUESTED TO APPLY AT THE SUBSCRIPTION OFFICE.

Please note that the option for renewal expires May I

W. H. BRENNAN, Manager,

Symphony Hall, Boston.

2017 AARON RICHMOND

AK presents in TREMONT TEMPLE THURSDAY EVENING, MAY 5 Ensemble Choir THOMPSON STONE, Conductor

Representative of the Synagogue Cathedral and Church

Fourteen Outstanding Choirs of Greater Boston

FOUR HUNDRED VOICES STEINERT HALL TUESDAY EVENING, MAY 17 SONG RECITAL by

BARITONE Wilfrid Pelletier, at the Piano

Pierre Pelletier, Franco-American Baritone, was born in Quebec, Canada, in 1900. At the age of nine, he was singing in the church choir and soon became the soloist. He made his debut on the concert stage in 1921. The next year he sailed for Italy, where after four years' study at the Con- servatory of Naples, he graduated with highest honors. He completed a year's work in Paris and returned to America this last January to sing as guest artist of the Orpheon Choral Society of Lewiston, accompanied by Mr. Wilfrid Pelletier, Assistant Conductor of the Metro- politan Opera. This recital will be his first Boston appearance.

His programme will include works by Rossini, France:, Debussy, Duparc, Georges Hue, Alexis Contant Emile Vuillermoz, Augusta Holmes, Lily Strickland C. Villiers Stanford, Frank Bridge and Massenet THE PIANOFORTE BY MASON & HAMLIN

2018 Jlnnounces

Sopranos Violinists Gertrude Ehrliart Richard Burgin Norma Jean Erdraann Hazel Clark Claire Maentz William Dodge Katherine Follett-Mann Harrison Keller Dorothy Peterson Kaynor 'Cellists Marjorie Weaver Contraltos Alfred Zighera Amy Ward Durfee Claudia Khea Fournier Chamber Music Abbie Conley Rice The Chamber Orchestra of Boston Tenors (Members of the Boston Norman Arnold Symphony Orchestra) Rulon Robison The Burgin String Quartet Raymond Siinonds The Copley String Quartet Baritones The Boston Philharmonic Roberts Lunger String Quartet David Blair McClosky Heinrich Gebhard and Huntingdon Rice Harrison Keller in Ensemble Programs Pianists Hans Ebell Instrumental Ensemble Heinrich Gebhard Organizations F. Motte-LaCroix The Boston Philharmonic Clifford Kemp Orchestra Nicolas Slonimsky The Harvard Pierian Harry Whittemore Sodality Orchestra Lucille Oliver Harp Susan Williams Elford Caughey

Also the

lii<

SEND FOR CIRCULARS

I represent in New England the offices of Concert Man- agement Arthur Judson of New York and Philadelphia, whose lists and circulars will be forwarded upon request.

A. H. HANDLEY, 162 Boylston Street, Boston. Hancock 5488

2019 :lix rox PIA NIS T

available for recital appearances

and as soloist With orchestra

Concert Direction: JJARON RICHMOND

208-209 PIERGE BUILDING, BOSTON

MASON & HAMLIN PIANOFORTE

will give a series of Three Subscription Concerts in JORDAN HALL on the Monday Evenings of October 24 November 7 December 5

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Management: WENDELL H. LUGE, 175 Dartmouth St., Boston, Mass. Telephone Kenmore 6520

2020 FELIX FOX, Director PIANOFORTE INSTRUCTION FROM ELEMENTARY TO ADVANCED GRADES Season 1927-1928 opens September 12

403 MARLBOROUGH STREET BOSTON, MASSACHUSETTS Telephone Kenmore 0716 MASON & HAMLIN PIANOFORTE

JACOB SLEEPER HALL BOSTON UNIVERSITY

By some of the pianists now studying with

WEDNESDAY EVENING, MAY 18, AT 8.15

THE MASON & HAMLIN PIANOFORTE

2021 DICTION AND PRONUNCIATION FOR SINGERS, IN FRENCH, ITALIAN, GERMAN, SPANISH AND RUSSIAN SONG COACHING

Studio: 6 NEWBURY STREET

MUSICAL INSTRUCTION

TEACHER OF SINGING

1111 Boylston Street ACCOMPANIST Telephone Boston COACH Copley 4345-M FRANK ERNESTO

Coaching, Repertoire, Voice Building Piano (Leschetizky) and Accompanying Voice Culture, Concerts and Oratorio, Recitals — ARTHUR KRAFT, Tenor Ellsworth Bell, Secretary Phone Trafalgar 8993^ 14 West 68th Street, New York City

PIANIST TEACHER CUSSES IN PIANO ENSEMBLE PRIVATE STUDIO, 110 GAINSBOROUGH STREET, BOSTON, MASS. Tuesdays and Fridays Telephone Copley 0898-R

TEACHER OF SINGING {From Rudiments to Professional Excellence) DICTION DECLAMATION ORATORY 176 HUNTINGTON AVENUE - BOSTON, MASS.

from London, England Professor of Tobias Matthay Pianoforte School for ten years Pupil of Myra Hess for six years Teachers' Training Course in the form of Lectures at which various compositions of all grades will be analyzed technically and musically with illustrations by young students Terms, $10 per lesson 12 weeks' Course of 12 lessons, $72

For further particulars Address. 246 COMMONWEALTH AVENUE Tel. Copley 6314-W

2022 MUSICAL INSTRUCTION

THES' of

A partial record of the season's performances: April 26, DOROTHY GEORGE, "Gioconda" (Laura), Fitchburg Music Festival, George Dunham conductor. May 3 JOSEPH LAUTNER, "Aida" (Radames), Brockton Choral Society, George Dunham, conductor. May 4, Miss GEORGE, Recital, Memorial Hall, Providence, Rhode Island State Federation of Music Clubs.

Seven Jordan Hall Recital Appearances by Nelly Brown, Dorothy George, Angela McCarthy, Willard Amison, Louis Neal, Harry Delmore and Harry Hughes—a soprano, a mezzo-soprano, a contralto, three tenors and a baritone.

Solo appearances Handel and Haydn "Messiah" (Mr. Lautner); Boston Phil- harmonic Orchestra (Mr. Lautner); People's Symphony (Miss George); Women's Symphony (Lydia Gray); Recitals Harvard Musical Association, Harvard, St. Botolph and Art Clubs and others.

905 BOYLSTON STREET THURSDAYS IN PROVIDENCE BOSTON CHOPIN CLUB. STRAND THEATRE Mr. Wilson will teach during July

PIANIST — ACCOMPANIST PIANO INSTRUCTION THEORY COACHING Address: SYMPHONY HALL HARMONY

WILL PRESENT AT JORDAN HALL, TUESDAY, MAY 24, 1927, at 8 p.m. STUDENTS IN AN OPERATIC RECITAL TICKETS $1.10 and 50 cents Telephone Kenmore 7873 Studio. 30 HUNTINGTON AVENUE

VIOLINIST— TEACHER

Address, 270 Huntington Avenue, Boston Phone Back Bay 3181

Studio, 39-45 NEWBURY STREET, BOSTON, Suite 333 Phone, B. B. 7737 VOICE DICTION and RELAXATION through FUNDAMENTAL RHYTHM

Pupils visited at homes if desired Solfeggio Deverall Solfeggio Course Teaching the fundamentals of Music Sight Reading Specializing in Rhythm, Sight Reading, Ear Training and Construction of Scales, Classification of Intervals Ear Trainin The same principles as taught in European schools, g where solfeggio is the foundation of all music study

Studio . A. DEVERALL 270 Huntington Ave. INSTRUCTOR Tel. Bock Bay 3I«I Violoncello and Solfeggio 2023 MUSICAL INSTRUCTION SOPRANO SOLOIST TEACHER OF SINGING FORMERLY WITH WM. L. WHITNEY SCHOOL FOR VOCALISTS Address: 27 ST. STEPHEN STREET, BOSTON, MASS. Telephone Copley 5675-R

Voice Development SINGING PIERCE BLDG., COPLEY SQM BOSTON INTERPRETATION

For Information

Address, 105 REVERE STREET BOSTON ASHBURNHAM MASS. Telephone 5316 Haymarket

TEACHER OF SINGING 77a CHARLES STREET

SOPRANO TEACHER OF SINGING Studio Home Address 83 Newbury Street II Everett Street, Cambridge

Teachers of Singing in all its branches AND and of Dramatic Action as applied to Singing

and assistants. EDITH BULLARD ARTHUR J. HUBBARD JESSIE FLEMING VOSE 246 Huntington Avenue and Dr. GEORGE DWYER

TEAGHER OF SINGING Resident Studio: Among the Artists now before the public New York Studio: 84. THE FENWAY. BOSTON Lilla Snelling-Farquhar, Contralto 132 WEST 72nd ST. Monday, Tuesday,Wednesday, Thursday Ethel Frank, Lyric Soprano Friday and Saturday Tel. Copley 2694-M Sarah Edwards, Contralto INTERVIEWS ONLY BY APPOINTMENT

VIOLINIST Studio: 337 HUNTINGTON AVE. Concert Management, WENDELL H. LUCE B. B. 10460 175 Dartmouth Street BOSTON

PIANIST and TEACHER Lang Studios 6 NEWBURY STREET 2024 W

MUSICAL INSTRUCTION

oHje Hangs S>rff0ol af flluatr 103 HEMENWAY STREET BOSTON. MASS. KENmore 1328 SECOND TERM New classes in Solfeggio, Harmony, and Rhythmic-Gymnastics will be formed

February 1st, 1927

announces his JUNIOR, SENIOR AND ARTIST-STUDENT RECITALS TO BE HELD IN STEINERT HALL For information write: 122 ST. STEPHEN STREET, BOSTON

VIOLIN SOLOIST AND TEACHER MARIE NJ Studio, Lang Studios, 6 Newbury Street Telephone Back Bay 10556 Violin Instructor Bradford Academy and Home Address, 34 Parkman Street, Brookline Abbot Academy Telephone Aspinwall 6687

PIANIST AND TEACHER 405 PIERCE BUILDING COPLEY SQUARE BALDWIN PIANO Telephone University 7679-R

"'It is a pleasure to hear a singer to whom all songs are not alike." — PHILIP HALE in the Boston Herald Management: WENDELL H. LUCE

1 75 Dartmouth Street, Boston STUDIO 13 JACKSON HALL. TRINITY COURT BARITONE B. B. 10756 Residence. PORTER 2926- TEACHER OF SINGING Tuesdays and Fridays, 411 Enterprise Bldg.. Lowell

SOPRANO SOLOIST TEACHER OF SINGING 4 HAVILAND STREET Kenmore 1047 BOSTON In Worcester, Tuesdays, Wednesdays and Friday Afternoons, 317 Day Building

TEACHER OF SINGING Trinity Court, Boston 175 Dartmouth Street

VIOLIN SOLOIST 95 PRESCOTT STREET TEACHING CAMBRIDGE, MASS. AVAILABLE FOR ENSEMBLE Telephone Porter 2548 COACHING PAUL CHERKASSKY Member Boston Symphony Orchestra Graduate (1914) Petrograd Conservatory Pupil of Prof. Auer VIOLIN STUDIO, 132 HEMENWAY STREET Telephone Back Bay 2013 2025 MUSICAL INSTRUCTION

FRANK E. MORSE

AND ASSOCIATE TEACHERS Former pupil of the famous Paris Conservatory LESSONS IN SINGING VIOLIN LESSONS STUDIOS, STEINERT HALL, BOSTON 30 STEINERT HALL JOHN ORTH KARL DOERING PIANIST AND TEACHER Pupil of Jachman-Wagner, Berlin, and Liszt Lecture Recitals Galliera, Italy WITH PERSONAL REMINISCENCES TEACHER OF SINGING STEINERT HALL, BOSTON 27 STEINERT HALL Hancock 5337

L (Harvard) TEACHER OF PIANO, SINGING AND VIOLIN Residence and Salem studio (Wednesdays): 139 Federal Street Telephone, Salem 767-M. 181 Tremont Street, Boston, Room 35, Telephone, HAN cock 0592

Teacher of Singing and Correct Placement of the Speaking Voice 33 Abbottsford Road Brookline, Mass. CONTRALTO SOLOIST Commonwealth Ave.Car.Babcock St.or Naples Rd. stop Telephone A spinwall 2470

THEORY, HARMONY. COUNTERPOINT. COMPOSITION, ORCHESTRATION Special Courses in Musicianship STUDIO: 23 Steinert Hall. 162 Boylston Street. Tuesdays, Wednesdays and Fridays Telephone. Belmont 1872-M VIOLIN INSTRUCTION AND ENSEMBLE CLASS NICOLAS KASSMAN Member Boston Symphony Orchestra Graduate Petrograd Conservatory, class of Professor Auer 27 Litteti Road, Brookline Aspinwall 331

TEACHER OF WORLD STANDARD ENGLISH DICTION ON A SCIENTIFIC PHONETIC BASIS Address, THE LELAND POWERS SCHOOL 31 EVANSWAY. Telephone Regent 1038

TEACHER OF SINGING 610 PIERCE BUILDING, BOSTON DANA HALL GRADUATE SCHOOL OF MUSIC. WELLESLEY. MASS. OXFORD SCHOOL. HARTFORD. CONN. 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 Pianoforte School Beal. Stuttard & Co., London F. Hofmcister.-Germer Works. Leipzig Banks & Co., York Joseph Williams, Ltd., London Bach-Boekelman. Works in colors AGENTS FOR. AND PUBLISHERS OF. H. GERMER'S INSTRUCTIVE EDITIONS ____ SEND FOR A FREE THEMATIC CATALOG 2026 MUSICAL INSTRUCTION

MAESTRO DI BEL CANTO THE ART OF SINGING IN ALL ITS BRANCHES CLASSES IN SOLFEGGIO CANTATO 15 AUDUBON ROAD Telephone Kenmore 0397

ACCOMPANIST and COACH 74 THE FENWAY Telephone BOSTON Copley 4259-W

PIANIST—TEACHER 70 STRATHMORE ROAD, BROOKLINE Day Building. Worcester—Tuesdays MASON & HAMLIN PIANOFORTE Telephone Regent 9023-R VIOLIN STUDIO

TEACHER AND SOLO VIOLINIST Member Boston Symphony Orchestra 1904 Graduate Petrograd Conservatory Pupil of Professor Auer Former Professor of People's Conservatory in Petrograd Alexander Shedlovsky's Successor

12 JERSEY STREET Telephone Kenmore 6337

FRENCH PRONUNCIATION French Diction for Singers (Yersin Method) 371 HARVARD STREET. CAMBRIDGE TELEPHONE PORTER 2944-M

VOICE RELEASE AND DEVELOPMENT

25 HUNTINGTON AVENUE . . . BOSTON

VOICE CULTURE OPERATIC COACH GRAND OPERA ENSEMBLE 236 Huntington Avenue, Boston Telephone connection

\J SL I IB MEZZO-CONTRALTO TEACHER OF SINGING Exponent of the teaching of Percy Rector Stevena J COP. 0218-W 1 elephone Studio: 69 NEWBURY STREET j ^p 7190 2027 MUSICAL INSTRUCTION

Church and Concert Organists of the New England Chapter of the Guild Teachers of music in Greater Boston Instrumental and Theoretical Branches

ORGANIST and CHOIRMASTER TEACHER OF PIANO AND ORGAN T.R.I.N.I.T.Y. C.H.U.R.C.H. Coaching in Interpretation of Songs BOSTON and Ensemble ORGAN RECITALS 175 Dartmouth St. (Trinity Court), Boston, Mass. A LIMITED NUMBER OF PUPILS Phone 9691 -R (Copley)

CONCERT ORGANIST Fellow of the American Guild of Organists PIANO and ORGAN RECITALS A SPECIALTY LESSONS GIVEN AT PARK STREET CHURCH TRINITY COURT Kenmore 6520 Address Park Street Church, Boston

Teacher of Singing in all its branches TEACHER OF SINGING Among those who have studied with Miss Swift are: SPECIAL ATTENTION TO CHILDREN'S VOICES JERALDINE CALLA. JETSON RYDER ALAN DALE. DONNA DEANE and ROSE ZULALIAN 18 THE COPLEY. HUNTINGTON AVENUE Studio: Trinity Ct., Dartmouth St.. Boston Telephone Circle 4199 Telephone. Kenmore 4152

TEACHER OF SINGING TEACHER OF SINGING TECHNIQUE and REPERTOIRE PIERCE BUILDING, BOSTON . STUDIO, 327 HUNTINGTON AVENUE STUDIO 517 Mondays, Manchester. N.H,

(officier de l'lnstruction publique) OF PIANO Vocal Instruction, Breathing, Tone Production. TEACHER Phonetics, French Diction, Interpretation of 282 DARTMOUTH STREET French Songs Telephone Copley I075-M 25 BICKERSTAFF ST.. ROOM 7 Copley 7474-R Mason & Hamlin Piano used

SOPRANO TEACHER OF SINGING TEACHER of SINGING Assistant, Miss Alice Hutchinson Residen 17 STEINERT HALL Lang Studio 6 Newbury Street %l±^9 .M

VOICE SPECIALIST and TEACHER OF ARTISTIC SINGING PIANOFORTE SCHOOL Qualified to develop male and female voice Pupil of Tobias Matthay, George Copeland, Von Krizek Reference: PHILIP HALE Studio: 83 Newbury Street Studio, 175 Hemenway St., Boston, Tel. Copley 8609-J PORTLAND, Tuesdays and Wednesdays Telephone Needham 0107-M

MANDOLIN, GUITAR. BANJO AND UKULELE ROCKPORT, MASS. (North Shore) Foreign and American Instruments For Sale Baldwin Piano Welte-Mignon Records 177 NEWBURY STREET Telephone Copley 1457 -M COR1NNE HARMON TEACHER OF SINGING PIANIST and TEACHER STEINERT HALL Studio: 15 NORWAY STREET 162 BOYLSTON STREET . . BOSTON Telephone Dewey 4078-M Telephone Copley 7664-W

VIOLINIST and TEACHER PIANIST 4352- Member Boston Symphony Orchestra Mondays in Boston Telephone Copley Available tor concert engagements STUDIO. 61 WESTLAND AVENUE Management: A. H. HANDLEY (Boston) Telephone Copley 0532-M Mason & Hamlin Piano Bertha Putney Dudley er VIOLONCELLIST TEACHER OF VOICE AND PIANO SOLO AND ENSEMBLE PLAYING NOTTINGHAM BUILDING TEACHING IN CAMBRIDGE AT 119 WALKER STREET 25 HUNTINGTON AVENUE BOSTON. MASS. Phone University 3223-R

TEACHER OF SINGING TEACHER OF SINGING WHITNEY SCHOOL FOR VOCALISTS 157 NEWBURY STREET 1126 BOYLSTON STREET, BOSTON Telephone Back Bay 3577 Wednesday at Worcester STEINERT HALL, 162 Boylston Street Also STUDIO at 2 Westland Ave.. Suite 53. Boston Circle 4005 Tuesday. Thursday, Friday

l M. HOLMES VOCAL INSTRUCTION Miss JANE R. ROUSE. Assistant Corrective Method Interpretation TEACHER OF PIANO Lessons by Appointment 25 Westbourne Terrace, Brookline 726 COMMONWEALTH AVE.. BOSTON 5 64 Commonwealth Ave.. Tel. Aspinwall 8584 studiosc A' Kenmore 3490 ^ Milton Academy> Mi | ton THE DUNNING SYSTEM MUSIC STUDY FOR BEGINNERS KATE FR1SKIN Endorsed by Leschetizky. Gabrilowitsch. etc. PIANIST and TEACHER Class and Private Lessons —Separate Classes for Adults Faculty: Abbot Academy FRANCES IMOGEN WILSON Andover 35 PINCKNEY BOWDOIN 6082-R MARION KINGSBURY GERTRUDE BELCHER SOPRANO SOLOIST AND TEACHER TEACHER OF PIANO Recitals, Vespers, Oratorios TRINITY COURT HOTEL FRITZ CARLETON. J 138 Boylston Street Telephone Kenmore 2673 Telephone Kenmore 6888

Miss GERTRUDE FOGLER LUTHER O. EMERSON TEACHER OF SINGING English and French Diction 318 Pierce Building Copley Square Tuesday and Friday. Wednesday afternoon

10 RUE CASSINI . PARIS, FRANCE Residence Telephone Kenmore 2515 EMMA ROBERTS Mezzo Contralto

writes as follows of the

Pianoforte

MASON & HAMLIN CO. April 22, 1927 Gentlemen: —Someone has well said that no adjective can adequately describe the "beauty of tone of the Mason & Hamlin Pianoforte. With this I heartily agree. But surely it may he said that the Mason & Hamlin tone i3 at all times warm, sympathetic, full, and Ah, so sensitive! May I congratulate you and thank you for this chef d'oeuvre and for the superb contribution you are making in the production of these un,- equalled instruments to the cause of worthy music? Very truly yours.

MASON & HAMLIN CO. 146 Boylston Street, Boston