1939 - 1940 MUNICIPAL AUDITORIUM

SAINT LOUIS SYMPHONY ORCHESTRA VLADIMIR GOLSCHMANN , Conductor MARCH 21-23, 1940 SAINT LOUIS SYMPHONY ORCHESTRA

SEASON 1939-1940

VLADIMIR GOLSCHMANN, Conductor Scipione Guidi, Assistant Conductor

FIRST VIOLINS OBOES Harold Gomberg Scipione Guidi, Pierre Mathieu Concertmaster. Assistant First Francis E. Jones Joseph Antonucci Saul Turner Alfred H. Hicks Harry Melnikoff Arthur Baron ENGLISH HORN Sidney Greenstein Alfred H. Hicks Isadore Grossman CLARINETS Jacob Levine Ladislav Nagy Rocco M. Zottarelle Irvin Rosen C. L. Gesner David Salomon Carlos E. Camacho Meyer Schumitzky BASS CLARINET Edward Shalett Carlos E. Camacho Max Tartasky L. Ernest Walker, Jr. BASSOONS Norman Herzberg SECOND VIOLINS VIOLONCELLOS Henry Cunnington John E. Ferrell Louis Druzinsky, Max Steindel, Principal. Principal. CONTRA BASSOON Paul Schreiber Pasquale De Conto John E. Ferrell Carl Nagel Martin Lake Simon Poles Carl Rossow HORNS Robert Burger Igor Geffen Edward Murphy Rex Clark Abe Kessler Joseph Vegna Irwin Eisenberg Antonio La Marchina John B. Dolan Louis Etzkow Domenick Sottile Robert L. Gustai Meyer Lipsitz Carl Steppi John Mountz Rudolph J. Magin Joseph Tonar Joseph F. Oswald, Jr. TRUMPETS Samuel G. Krauss David J. Rizzo BASSES Jerome Rosen Joseph Gustat Warren Benfield, Joseph Carione VIOLAS Principal. Frank Miller Waldemar F. Helmholz John Hartl Herbert Van den Burg, Karl P. Auer Principal. Salvatore Campione TROMBONES Alvin Dinkin Clinton Manning Salvatore De Vincenzo Hyman Dickler Vincent Grimaldi Oscar H. Hallback George Morgulis Earl Hyna Charles F. Meier Henry J. Falkenhainer David Koch Stellario Giacobbe TUBA John Hartl HARP John Bambridge Victor Hugo Walter Riediger Graziella Pampari TYMPANI Walter S. Roehrborn William Ehrlich FLUTES Carl A. Tholl PERCUSSION Laurent Torno Harry H. Moskovitz Elmer Gesner LIBRARIAN William Albers Elmer Gesner John F. Kiburz PIANO AND CELESTE PERSONNEL MGR. PICCOLO Corinne Frederick Max Steindel John F. Kiburz Joseph F. Oswald, Jr. Sixtieth Season, 1939-1940 ¡'PRESIDENT TREASURER Oscar Johnson Oliver F. Richards ACTIVE VICE-PRESIDENTS Henry T. Brinckwirth Morton J. May George Spearl Mrs. Clifford W. Gaylord Mrs. Charles M. Rice Alex T. Primm, Jr. HONORARY VICE-PRESIDENTS L. Warrington Baldwin Mrs. Irene W. Johnson George D. Markham Mrs. Theron E. Catlin *Hugo A. Koehler Joseph Pulitzer Dr. Malvern B. Clopton J. D. Wooster Lambert Charles H. Stix Mrs. John T. Davis, Jr. Mrs. E. Mallinckrodt, Jr. Charles Wiggins David L. Grey Mrs. F. E. Woodruff BOARD OF DIRECTORS tAlexander Fraser, Chairman Mrs. William Dee Becker Mrs. James Lee Johnson Samuel Plant Mrs. Adolphus Busch, III W. Geoffrey Kimball Mrs. M. Hayward Post William Charles Mrs. Ella Peters Lauman Mrs. Arthur W. Proetz l.eo C. Fuller tWilliam S. Milius Mrs. Daniel L. Schlafly J. Lesser Goldman tThomas C. Noel Robert B. Smith tMrs. M. A. Goldstein Isaac C. Orr Mrs. Mahlon Wallace, Jr. W. L. Hemingway Henry B. Pflager BOARD OF CONTROL Mrs. Willard Bartlett Mrs. Louis M. Hall E. Lansing Ray Mrs. O. K. Bovard Frank V. Hammar Robert R. Reeve Mrs. Paul Brown Mrs. H. McK. Jones Dr. John L. Roemer Mrs. Henry Bry L. M. Kagy Adolph N. Rosenberg Mrs. E. G. Burkham Mrs. C. S. Kennerly Mrs. Fred Z. Salomon F. A. Brickenkamp Mrs. Joseph W. Lewis Mrs. T. M. Sayman Mrs. Chas. McLure Clark Miss Martha Love Mrs. J. F. Schlafly Mrs. H. Blakesley Collins Robert L. Lund Mrs. Alfred L. Shapleigh Mrs. B. B. Culver Mrs. Frank M. Mayfield Mrs. J. F. Shoemaker Mrs. Edward G. Curtis Mrs. John G. McDonald Miss Eunice C. Smith Vietor Davis Milton C. Mendle Mrs. David R. Sparks Mrs. Firmin V. Desloge Mrs. Louis T. Meyer Mrs. Sadie Stix Hon. Bernard F. Dickmann Leo C. Miller John B. Strauch Thomas N. Dysart Mrs. James Nelson, Jr. James E. Taussig Irving Edison Mrs. Tom W. Pettus Rev. Sylvester I. Tucker Miss Geòrgie Elliot Joseph Pulitzer, Jr. James K. Vardaman, Jr. Mrs. Leicester B. Faust Henry Putzel Mrs. Aaron Waldheim Dr. Henry J. Gerling Edgar E. Rand Mrs. Clinton L. Whittemore Clifford Greve Mrs. T. Edward Rassieur

STANDING COMMITTEES Finance and Budget Maintenance Fund Oscar Johnson, Chairman Thomas C. Noel, Chairman Mu sic Public Relations Mrs. M. A. Goldstein, Chairman William S. Milius, Chairman

John S. Edwards, Acting Manager Offices, Fourth Floor, Municipal Auditorium Telephone CHestnut 8590 *Deceased tMember of Executive Committee John Kessler

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Products of Baldwin: ACROSONIC, HAMILTON, HOWARD, MONARCH PIANOS THE SYMPHONY SCORE By JOHN S. EDWARDS OVERTURE, “THE RUSSIAN EASTER”, OPUS 36— —Nicholas Andreievitch Rimsky-Korsakoff (Born in Tikhvin, government of Novgorod, March 18, 1844; Died in Leningrad, June 21, 1908) With the subtitle “Overture on Themes of the Russian Church”, this work was dedicated by the composer to the memory of the great composer, Moussorgsky. Rimsky-Korsakoff sought a program for the work to be printed with the score. A friend supplied one in verse, which did not suit the composer, who turned around and wrote out his own curious program for this brilliant composition as follows: “ ‘Let God arise, let His enemies be scattered; let them also that hate Him flee before Him. “ ‘As smoke is driven away, so drive them away; as wax melteth before the fire, so let the wicked perish at the presence of God.’ (Psalm LXVIII, 1-2.) “ ‘And when the Sabbath was past, Mary Magdalene and Mary the mother of James, and Salome, had brought sweet spices that they might come and anoint Him. And very early in the morning, the first day of the week, they came unto the sepulchre at the rising of the sun. And they said among themselves, who shall roll us away the stone from the door of the sepulchre ? And when they looked, they saw that the stone was rolled away; for it was very great. ’ “ ‘And entering into the sepulchre they saw a young man sitting on the right side, clothed in a long, white garment: and they were affrighted. And he saith unto them: Be not affrighted, ye seek Jesus of Nazareth, which was crucified: He is risen.’ (Marie XVI, 1-6.) “And the joyful tidings were spread abroad all over the world and they who hated Him fled before Him like smoke. “ ‘Resurrexitl’ sing the chorus of Angels in Heaven to the sound of the Archangels’ trumpets and the fluttering of the wings of the Seraphim. ‘Resurrexitl’ sing the priests in the temples in the midst of clouds of incense, by the light of innumerable candles, to the chim­ ing of triumphant bells.’ * * * _ “The rather lengthy slow introduction on the theme of ‘Let God Arise!’, alternating with the ecclesiastical theme, ‘An Angel waited’, appeared to me, in its beginnings, as it were the ancient Isaiah’s prophecy concerning the resurrection of Christ,” writes the composer in his autobiography entitled My Musical Life. “The gloomy colors of the Andante lugubre seem to depict the Holy Sepulchre that had shown with ineffable light at the moment of the Resurrection—in the transition to the Allegro of the Overture. The beginning of the ‘Let them also that hate Him flee before Him’, led to the holiday mood of the Greek Orthodox church service on Christ’s matins; the — 471 — solemn trumpet voice of tlie Archangel was replaced by a tonal reproduc­ tion of the joyous, almost dance-like bell-tolling, alternating now with the sexton’s rapid reading, and now with the conventional chant of the priest’s reading the glad tidings from the Evangel. The liturgical theme, ‘Christ is arisen’, which forms a sort of subsidiary part of the overture, appearing amid the trumpet blasts and the bell-tolling, con­ stitutes also a triumphant coda ...” TWO GYMNOPEDIES—Erik Satie (Born at Honfleur, France, May 17, 1866; Died in Paris, July 1, 1925) One of the most eccentric musicians of his generation, Erik Satie, came by music naturally, for his mother was a pianist and composer, and his father was a music publisher in Paris. Thus it was not strange that, in 1883, he was entered as a student in the Paris Conservatoire, where his teachers criticized him bitterly for his novel ideas, strange harmonies and pointed dissonances. Unhappy in the atmosphere of the Conservatoire, the youthful composer left after a year and taught himself, as best he could, in music. Forced to work, Satie took a job as pianist in a café in Mont­ martre, frequented by Debussy. Here the two composers met and chatted and it has been violently asserted and denied that Satie ex­ erted a considerable influence on Debussy and his art. Satie’s work was known to a small group of younger musicians only, until about 1910, when the general musical public of France be- lie

—PRESENTS— ~T/ie ihl.tmote And Their Orchestra With JJanctj 2va.nl Vocalist ‘ ‘THE’ ’ PLACE TO DINE AND DANCE Featuring— Our Famous Chicken and Steak Dinners . . $1.25 —NO COVER CHARGE— nnoNAPO HoTil — 4T3 — came aware of a new genius in their midst. Even today some fifteen years after Satie’s death, his work is not widely known or played. Satie wrote many pieces for the piano and among them were the Gymnopédies, written in 1888, which attracted the interest of Debussy and were orchestrated by him. The first, Lent et grave, is scored for two flutes, oboe, four horns and strings, which except for the double basses and the solo violin, are muted throughout. The second, Lent et douloureux, is scored for the same orchestra plus cymbals and two harps. Satie has achieved a great reputation for his wit, but it has been pointed out that this lies chiefly in the titles and directions printed on the scores rather than in the music itself. Among the titles of his piano pieces are such as Three Pieces in the Form, of a Pear, Airs to Make You Run, The Dreamy Fish, etc., and pianists are instructed to play “on yellow velvet”, “dry as a cuckoo”, “light as an egg”, or “with hands in the pockets”. The gymnopaediae (from which the French Gymnopédies derives) were a great athletic festival of religious significance given in ancient Sparta. The music is simple, dignified and might well suggest a pro­ cession in the once-great Greek city in connection with the solemn festival. TWO NOCTURNES: “CLOUDS” AND “FESTIVALS”—Claude Debussy (Born in St.-Germain-en-Laye, August 22, 1862; Died in Paris, March 26, 1918) First Performance: At a Lamoureux concert in Paris on December 9, 1900. The conductor was Camille Chevillard. Actually there are three Nocturnes in this work of Debussy, the third being for orchestra and a women’s chorus. Called Sirens, it was presented by Mr. Golschmann at concerts last season. Debussy orig­ inally conceived the three compositions as pieces for violin and or­ chestra. The Nocturnes were published in 1900 with a dedication to Georges Hartmann, Parisian music publisher, and well-known librettist who had worked with Massenet, Messager and other composers. Léon Valias, writing in his splendid book on Debussy, has found

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— 475 — traces of Charpentier’s Louise [an opera of which Debussy was not fond] in the N octurnes and claims that the theme from the beginning of Clouds is note for note a copy of the main idea of Moussorgsky’s song, Sunless. For the first performances of his work, Debussy devised a pro­ gram note that is reprinted below:

“The title of Nocturnes is to be interpreted in a wider sense than is usually given to it, and most especially it is understood as having a decorative meaning. Therefore, the usual form of nocturne has not been considered, and the word is accepted as signifying in the amplest manner diversified impressions and special lights. . . . I. Nuages (“Clouds”)—“The unchanging aspect of the sky, and the slow, solemn movement of the clouds, dissolving in gray tints, light­ ly touched with white.” II. Fetes. (“Festivals”)—“The restless dancing rhythm of the atmosphere interspersed with sudden flashes of light. There is also an incidental procession (a dazzling imaginary vision) passing through and mingling with the aerial revelry; but the background of uninter­ rupted festival is persistent with its blending of music, and luminous dust participating in the rhythm of all things.”

— 477 — Final Concert of Season Saint Louis Symphony Orchestra VLADIMIR GOLSCHMANN Conductor 4 •/ ♦ FIFTH POPULAR CONCERT SUNDAY—APRIL 7 4:00 P. M. ♦ 1. OVERTURE TO "OBERON"...... von Weber

2. ANDANTE AND FINALE FROM SYMPHONY No. 5, IN E MINOR, OPUS 64...... Tschaikowsky

3. EXCERPTS FROM SUITE, "THE CHILDREN'S CORNER"..... Debussy a—LITTLE SHEPHERD b—GOLLIWOG'S CAKE-WALK

4. RONDO, "TIL EULENSPIEGEL'S MERRY PRANKS", OPUS 28 ...... Strauss

5. POLKA AND FUGUE FROM "SCHWANDA"...... Weinberger

♦ MUNICIPAL AUDITORIUM Tickets Now on Sale at Box Office and at Aeolian Company, 1004 Olive St.

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-TICKET PRICES (Tax Exempt)—ALL SEATS RESERVED - Entire Main Floor...... 50c Entire Balcony...... 25c Mezzanine (Rear of Boxes)....75c Box Seats...... $1.00 NO TELEPHONE RESERVATIONS-■ '

See Page 4 of Insert For March 24 Program Announcing the Sixty-first Season of the Saint Louis Symphony Orchestra—1940-1941

Eighteen pairs of concerts — Friday afternoons at 2:30, and Saturday evenings at 8:30 — Opera House, Municipal Audi­ torium. Vladimir Golschmann will celebrate his tenth year as Conductor of the Saint Louis Symphony Orchestra during the 1940-1941 Season. Since his arrival in Saint Louis, he has created a new Orchestra, finer than any the city has ever enjoyed before. He has aroused a wider public interest in symphonic music than the city has ever experienced previously. Famous for his superb programs, hailed by critics of New York, Chicago, Philadelphia, Los Angeles, and other musical centers for his matchless interpretations, the presence of Mr. Golschmann in Saint Louis insures an ever finer quality of performance and achievement. To supplement the orchestral programs for the Sixty-First Season, the Saint Louis Symphony Society is proud to announce the engagement of the following distinguished artists: VLADIMIR HOROWITZ, Pianist JASCHA HEIFETZ, Violinist ARTUR RUBINSTEIN, Pianist JOSE ITURBI, Pianist and Guest Conductor MARJORIE LAWRENCE, Soprano JOSEPH SZIGETI, Violinist SIR. THOMAS BEECHAM, Guest Conductor IGOR GORIN, Baritone CORINNE FREDERICK, Pianist E. ROBERT SCHMITZ, Pianist SCIPIONE GUIDI, Violinist Why YOU Should Be a Season Ticket Subscriber You Save Money . . . You can save as much as $10.00 per Orchestra Seat for the series of 18 concerts by purchasing a Season Ticket. You can save as much as $11.00 per seat in the Balcony by purchasing a Season Ticket for the series of 18 concerts. You Enjoy the Convenience of Regular Seats . . . No standing in line for seats to hear the world's greatest artists. Always the same good seat near your own friends for all performances. You Get First Choice of Seats For Extra Concerts . . . Season Ticket subscribers receive first choice of.seats for all extra con­ certs sponsored by the Saint Louis Symphony Society, including the performances of the Ballet Russe de Monte Carlo and the Pension Fund. You Help Maintain the Orchestra's High Standard . . . Critics in Saint Louis and on tour agree that the Orchestra is setting a new high standard of perfection under Vladimir Golschmann. These performances are yours to enjoy and cherish, and you can help maintain the Orchestra's high standard by subscribing for Season Tickets.

♦ Announcements to present Season Ticket holders have been sent with renewal cards. Those who are not Season Ticket subscribers at present are urged to fill out the blank below • and mail it to the Symphony Office, Municipal Auditorium.

St. Louis, Mo...... 1940 I hereby subscribe for Season Tickets as indicated below for the St. Louis Symphony Orchestra, Season 1940-1941, and (a) Attach check for S...... or (b)...... I agree to pay the amount of my subscription on or before September 15, 1940.

SERIES DESIRED: ...... 18 FRIDAY Aft. Concerts -OR- ...... 18 SATURDAY Eve. Concerts

.Box (Seating four) .... $200.00 .Lower Balcony (Rows A to D)- $25.00 .Orchestra (3rd to 21st rows) - 35.00 .Lower Balcony (Rows E to L)- 18.00 .Orchestra (1st 2 & last 8 rows) 30.00 .Upper Balcony (Rows M to V)- 14.00 .Mezzanine (rear of Boxes) - 35.00 .Upper Balcony (Rows W to Z)- 10.00 Indicate clearly series, number and price of seats desired. Telephone Symphony Office, CHestnut 8590, for further information

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Address. . Telephone. Saint Louis Symphony Orchestra VLADIMIR GOLSCHMANN Conductor

♦ FOURTH POPULAR CONCERT EASTER SUNDAY — MARCH 24 4:00 P. M.

♦ 1. CHORALE, "NOW COMES OUR SAVIOR"...... Bach (Orchestrated by Alexandre Tansman) 2. BALLET SUITE FROM "CEPHALE ET PROCRIS"...... Gretry-Mottl I— TAMBOURIN II— MENUETTO III— GIGUE 3. TWO MOVEMENTS FROM SYMPHONY No. 7, IN A MAJOR, OPUS 92...... Beethoven a—ALLEGRETTO b—FINALE (ALLEGRO CON BRIO) 4. WALTZES FROM "DER ROSENKAVALIER"...... Strauss 5. ALBORADO DEL GRACIOSO...... Ravel 6. "CAPRICCIO ESPAGNOL", OPUS 34...... Rimsky-Korsakoff I— ALBORADA II— VARIATIONS III— ALBORADA IV— SCENE AND GYPSY SONG V—FINALE—FANDANGO OF THE ASTURIAS

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See Page 1 of Insert For April 7 Program I—JL------‘»S 77, ...... "------■ "

EIGHTEENTH SYMPHONY CONCERTS Thursday Afternoon, March 21, at 2:30 Saturday Evening, March 23, at 8:30

RIMSKY-KORSAKOFF Overture, "The Russian Easter"

SATIE Deux Gymnopedies (Orchestrated by Claude Debussy) LENT ET DOULEUREUX LENT ET GRAVE

DEBUSSY Two Nocturnes CLOUDS FESTIVALS MILHAUD Fanfare Dedicated to the Sixtieth Anniversary of the Saint Louis Symphony Orchestra (First Performances)

INTERMISSION

BRAHMS Symphony No. 4 in E Minor, Opus 98 ALLEGRO NON TROPPO ANDANTE MODERATO ALLEGRO GIOCOSO ALLEGRO ENERGICO E PASSIONATO

Don't Miss Two Remaining Popular Concerts SUNDAY, MARCH 24 — 4:00 P. M. SUNDAY, APRIL 7 — 4:00 P. M. FANFARE—Darius Milhaud (Born in Aix-en-Provence, September 4, 1892; Now residing there) Mr. Milhaud was commissioned to write the Fanfare for the Saint Louis Symphony Orchestra’s Sixtieth Anniversary Season, closing with these concerts, and it was the hope that the work would be here in time to perform it as the opening number on the first concert pair. The work was written last summer in France and was sent to a copyist in Paris, who as an Austrian citizen, was interned at the out­ break of the present war. It was some weeks before the manuscript of the Fanfare, from which the copyist had been working, could be re­ covered and sent to another copyist. In view of its recent arrival in Saint Louis, Mr. Golschmann determined to schedule the première for the last concerts of this season. Milhaud is today one of the major personalities of modern French music. He has written a large number of works in many forms—for the theatre, for orchestra, chamber music, piano, voice and piano and so on. The music of Milhaud is not easily classifiable. Aaron Copland, in analysing his music, declares: “Milhaud’s gift is clearly that of a lyricist. His musical nature impels him toward one end: A spon­ taneous outpouring of the emotions in terms of pure music . . . Spring­ ing from a native lyricism, his music always sings. Whether he com­ poses a five-act opera or a two-page song, this singing quality is para­ mount. The music flows so rationally that it seems to have been im-

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— 4SI — provised rather than composed.” Among his more important compositions are the ballets, La Crea­ tion du Monde, Salade, Le Train Bleu and Le Pauvre Matelot; the orchestral works, Saudades do Brazil, two symphonic suites, Sér­ énade, Deux Hymnes and five symphonies for small orchestra. One of his finest scores is the incidental music for Paul Claudel’s drama, L’Annonce fait à Marie, produced in Brussels in 1934. The Fanfare, as its name implies, is a brief work, brilliant in nature, making extraordinary use of the entire resources of the mod­ ern orchestra. SYMPHONY No. 4 IN E MINOR—Johannes Brahms (Bom in Hamburg, Germany, May 7, 1833; Died in Vienna, April 3, 1897) First Performance: At Meiningen, on October 25, 1885; the composer was the conductor. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, contra­ bassoon, four horns, two trumpets, three trombones, tympani, triangle and string quintet (first and second violins, violas, violoncellos and contra­ basses). # # # In his book on Brahms, Reimann has given an excellent and brief account in an impressionistic vein of the symphony : “It begins as in ballad fashion. Blaring fanfares of horns and cries of pain interrupt the narration, which passes into an earnest and ardent melody (B major, violoncellos). The themes, especially those in fanfare fashion, change form and color. The formal appear­ ance, now powerful, prayerful, now caressing, tender, mocking, homely, now far away, now near, now hurried, now quietly expanding, ever surprises us, is ever welcome: It brings joy and gives dramatic im­ petus to the movement. “A theme of the second movement constantly returns in varied form, from which the chief theme, the staccato figure given to the wind, and the melodious song of the violoncellos are derived. “The third movement, Allegro giocoso, sports with old-fashioned harmonies, which should not be taken too seriously. “This is not the case with the Finale, an artfully contrived Ciacona of antique form, but of modern contents. The first eight measures give the ‘title-page’ of the Ciacona. The measures that follow are

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— 483 variations of the leading theme; wind instruments prevail in the first three, then the strings enter; the movement grows livelier, clarinets and oboes lead to E major; and now comes the solemn climax of this movement, the trombone passage. The old theme enters again after the fermata, and rises to full force, which finds expression in a Piu allegro for the close.” • * * Characteristically, Brahms wrote his friends about the new sym­ phony in a disparaging vein during the summers of 1884 and 1885, in which he composed the work at Mürzzuschlag in Styria. In one letter he described it as “a couple of entr’actes”. He also called it a ‘‘choral work without text”. It is related that the manuscript of the virtually completed master­ piece was almost destroyed one summer afternoon when the house in which Brahms had taken lodgings caught fire. Brahms, who had been out for a walk, returned to find his home in flames and his friends busily engaged in bringing his papers, including the manuscript of the Fourth Symphony, into the garden. Brahms played the work in two-piano arrangement with his friend Ignaz Brüll and gathered from the reactions of the few intimates who were present that they were not enthusiastic about the symphony. The first performance in Meiningen was, however, warmly received, the audience endeavoring to get Brahms to repeat the third movement— which he refused to do. On its first performances in Vienna and Leip­ zig, the symphony met with a mixed reception, but Brahms’ friends, as a whole, were apparently disappointed. On March 7, 1897, less than a month before his death, Brahms attended the last Vienna Philharmonic concert he was to hear and on this occasion the E Minor Symphony was being performed. We quote an account of the reception from Miss Florence May’s biography of the composer: “The fourth symphony had never become a favorite work in Vienna. Received with reserve on its first performance, it had not since gained much more from the general public of the city than the respect sure to be accorded there to an important work by Brahms.

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lende/tated HAM 21st Street and ”Unbelievably Delicious” Tender and Juicy Bremen Ave. Phone CEntral 2925 for name of your Nearest Dealer ST. LOUIS “On this occasion, however, a storm of applause broke out at the end of the first movement, not to be quieted until the composer, com­ ing to the front of the artist’s box in which he was seated, showed him­ self to the audience. The demonstration was renewed after the second and the third movements, and an extraordinary scene followed the conclusion of the work. “The applauding, shouting house, its gaze riveted on the figure standing in the balcony, so familiar and yet in present aspect so strange, seemed unable to let him go. Tears ran down his cheeks as he stood there, shrunken in form, with lined countenance, strained expression, white hair hanging lank; and through the audience there was a feeling as of a stifled sob, for each knew that they were saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master; and Brahms and his Vienna had parted forever.”

THE LITTLE SYMPHONY CONCERTS ASSOCIATION announces its Sixth Annual Season of out-of-door con­ certs in the Washington University Quadrangle during June and July, under the direction of Hans Lange; Max Steindel, resident conductor. * * * The orchestra will be composed of members of the Saint Louis Symphony and will play music selected for its lightness and charm, to give you a pleasant summer evening. * * * The officers of the Association are William Julius Polk, Jr., president; Miss Mary Bolland Taussig, vice- president; Mrs. Henry Bry, secretary; L. Benoist Tompkins, chairman, board of directors. * * * For information call W. J. Polk, Jr., GArfield 5225.

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— 486 — WORKS PERFORMED AT THESE CONCERTS — SEASON 1939-1940

NOTE—Roman numerals designate the number of the concert pair at which the work was presented; figures indicate the page upon which annotation will be found. ♦Indicates first performance at these concerts. ♦♦Indicates first performance in America. ♦♦♦Indicates first performance anywhere.

ALBENIZ-ARBOS— Three Excerpts from Suite, “Iberia”...... VI 159

BACH, C. P. E — Andante Molto Lento from Concerto for Orchestra in D Major...... VI 139 (Arranged by Maximilian Steinberg) BACH, J. C.— * Recitative and Rondo...... VI 139 (Gladys Swarthout, Mezzo-Soprano) BACH, J. S.— Brandenburg Concerto No. 3 in G Major for String Orchestra...... VII 173 ***Two Chorales: “Through Adam Came Our Fall” and “Now Comes the Gentiles’ Savior”...... V 111 (Orchestrated by Alexandre Tansman)

BARBER— ♦Adagio for Strings...... VI 151

BEETHOVEN— Symphony No. 3 in E-flat Major (“Eroica”), Opus 55...... II 47 Symphony No. 4 in B-flat Major, Opus 60...... XI 283 (Carlos Chavez, Guest Conductor) Overture, “Coriolanus”, Opus 62...... VIII 195 Overture, “Leonore” No. 3, Opus 72A...... XI 281 (Carlos Chavez, Guest Conductor) Concerto for Piano and Orchestra, No. 1 in C Major, Opus 15...... V 113 (Willard MacGregor, Pianist) Concerto for Piano and Orchestra, No. 3 in C Minor, Opus 37...... VIII 197 (Ray Lev, Pianist) ♦Triple Concerto for Piano, Violin, Cello and Orchestra in C Major, Opus 56...... ;...... 7;...,... VIII 205 (Ray Lev, Pianist; Scipione Guidi, Violinist; Max Steindel, Cellist) BERLIOZ— Overture, “The Roman Carnival”, Opus 9...... I 7

BRAHMS— Symphony No. 1 in C Minor, Opus 68...... I H Symphony No. 2 in D Major, Opus 73...... X 253 Symphony No. 3 in F Major, Opus 90...... XIV 365 Symphony No. 4 in E Minor, Opus 98...... XVIII 483 Concerto in D Major for Violin and Orchestra, Opus 77...... XVI 429 (Nathan Milstein, Violinist)

BRUCKNER— ♦Symphony No. 7 in E Major...... V 125 — 488 — CANTELOUBE— ♦Chants d’Auvergne...... VI 151 (Gladys Swarthout, Mezzo-Soprano) CARPENTER— ♦Tone-Poem, “Sea Drift”...... X 251 COPLAND— *“E1 Salon Mexico”...... IV 85 DEBUSSY— “Iberia” (Images, No. 2)...... Ill 67 “La Mer”, Trois Esquisses Symphoniques...... XI 293 (Carlos Chavez, Guest Conductor) Prelude a L’Apres-midi d’un faune...... VII 187 Two Nocturnes: “Clouds” and “Festivals”...... XVIII 475 DVORAK— Concerto for Violin and Orchestra in A Minor, Opus 53...... XIII 337 (Ruth Posselt, Violinist) FALLA— Dances from “The Three-Cornered Hat”...... XI 295 (Carlos Chavez, Guest Conductor) FRANCK— Symphony in D Minor...... VII 177 HANDEL— Suite from “The Water Music”...... XVII 447 (Arranged by Sir Hamilton Harty) HAYDN— Symphony No. 13 in G Major...... Ill 61 Concerto for Violoncello and Orchestra in D Major...... X 263 (Raya Garbousova, Cellist) HILL— ♦Sinfonietta for String Orchestra, Opus 40A...... XII 307 MANFREDINI— ♦♦Prelude and Fugue...... II 35 (Arranged by Yyes Tinayre) MARCELLO— ♦♦♦Introduzione, Aria and Presto for String Orchestra...... XV 391 (Arranged by Ettore Bonelli) MENDELSSOHN— ♦Concerto for Piano and Orchestra, in G Minor, Opus 25...... XVII 449 (Beveridge Webster, Pianist) MILHAUD— ♦♦♦Fanfare ...... XVIII 481 MOZART— Symphony No. 38 in D Major (“Prague”), (K. 504)...... IV 85 Symphony No. 41 in C Major (“Jupiter”), (K. 551)...... XV 393 Overture, “The Marriage of Figaro”...... IV 85 Eine Kleine Nachtmusik for String Orchestra (K. 525)...... XIII 335 PROKOFIEFF— ♦“Peter and the Wolf”, An Orchestral Fairy-Tale, Opus 67...... II 39 (Charles Galloway, Narrator) PURCELL— ♦Dido’s Lament from “Dido and Aeneas”...... VI 141 (Gladys Swarthout, Mezzo-Soprano) “Nymphs and Shepherds”...... VI 145 (Gladys Swarthout, Mezzo-Soprano) — 489 — RACHMANINOFF— Concerto for Piano and Orchestra, No. 3 in D Minor, Opus 30...... XIV (Vladimir Horowitz, Pianist)

RAVEL— “Alborada del Gracioso”...... II Choreographic Poem, “La Valse”. XII RIMSKY-KORSAKOFF— Symphonic Suite, “Scheherazade”, after “The Thousand Nights and a Night”, Opus 35...... XV Overture, “The Russian Easter”, Opus 36...... XVIII ROSENTHAL— * Jeanne d’Arc. XIII (Harold Bassage, Narrator) SATIE— Deux Gymnopedies. XVIII (Orchestrated by Claude Debussy)

SCHUBERT— Symphony No. 7 in C Major...... XVI Overture to “Rosamunde”, Opus 26...... XVI

SIBELIUS— Symphony No. 2 in D Major, Opus 43...... Symphony No. 1 in C Major, Opus 105...... “Finlandia”, Symphonic Poem, Opus 26, No. 7. “Valse Triste”, Opus 44......

STRAUSS, J.— *“The Beautiful Blue Danube”...... XII

STRAUSS, R.— “Also Sprach Zarathustra”, Tone-Poem, Opus 30.... IV “Don Juan”, Tone-Poem, Opus 20...... VI Rondo, “Till Eulenspiegel’s Merry Pranks”, Opus 28. X Waltzes from “Der Rosenkavalier”...... XII

STRAVINSKY— *Capriccio for Piano and Orchestra...... XVII (Beveridge Webster, Pianist) Excerpts from the ballet, “L’Oiseau de feu ...... IX Suite from the ballet, “Pulcinella” (after Pergolesi)...... XVII TSCHAIKOWSKY— Symphony No. 6 in B Minor (“Pathétique”). Opus 74...... Concerto for Piano and Orchestra No. 1, in B-flat Minor, Opus 23. (Simon Barer, Pianist)

WAGNER— Prelude to Act I, “Lohengrin”...... Prelude and Love-Death, “Tristan und Isolde”...... “Siegfried Idyl”......

WEINBERGER— Polka and Fugue from “Schwanda the Bag-Piper”. VII

VALENTINI— ***Concerto Grosso for String Orchestra...... (Arranged by Yves Tinayre) — 490 —