SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES
Branch Exchange Telephones, Ticket and Administration Offices, Eack Bay 1492
INC. SERGE KOUSSEVITZKY, Conductor
FORTY-EIGHTH SEASON. 1928-1929
WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE
COPYRIGHT, 1929, BY BOSTON SYMPHONY ORCHESTRA, INC.
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
1869 "COLONIAL SONG,"£y Percy Grainger, painted for the STEINWAY COLLECTION by Everett Henry
In studios, in cultivated homes, particularly for the home of limited wherever people of taste and artis- income. For 30, 40, or even 50 years tic perception are to be found, it is and more it will make its rich return almost inevitable that one finds the of pleasure and companionship, and Steinway. revelation. And there lies the true -of It is the fortunate lot of this great index economy. . . . You need piano to be associated with those who never buy another piano, can appreciate it. For music-lovers of / / / modest means will make almost any A new Steinway piano can be sacrifice to procure it, and those of bought from more ample circumstances own it as a matter of course. $875 up
That is why virtually every musi- Any Steinway piano may be purchased cian of note from Liszt to Percy with a cash deposit of 10%, and the bal- Grainger has chosen the Steinway, ance will be extended over a period of two years. Used pianos accepted in partial both for personal and concert use. In exchange. A few completely rebuilt Stein- the fullest sense, it is 'The Instru- ways are available at special prices. ment or the Immortals. -* Hall Nevertheless the Steinway is es- Steinway & Sons, Steinway sentially a piano for the home, and 109 West 57th Street, New York
Represented by foremost dealers everywhere 1870 Forty-eighth Season, 1928-1929
SERGE KOUSSEVITZKY, Conductor
Violins.
Burgin, R. Elcus r G. Gundersen, R. Sauvlet, H. Cherkassky, P. Concert-master Kreinin, B. Kassman, N. Hamilton V. Eisler, D. Theodorowicz, J.
Hansen, E. Lauga, N. Fedorovsky, P. Leibovici, J. Pinfield, C. Mario tti, V. Leveen, P. Tapley, R.
Jacob, R. Zung, M. Knudson, C. Gorodetzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B.
Bryan t, M. Beale, M. 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. CauhapS, J. Werner, H. Shirley, P.
Avierino, N. Gerhardt, S. Bernard, A. Deane C.
Violoncellos.
Bedetti, J. Langendoen, J. Chardon, Y. Stockbridge, C. Fabrizio, E. Zighera, A. Barth, C. Droeghmans, H. Warnke, J. Marjollet, L
Basses.
Kunze, M. Lemaire, J. Ludwig, 0. Girard, H. Kelley, A. Vondrak, A. Oliver, F: Frankel, I. Dufresne, G. Demetrides, L.
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. IE-flat Clarinet) Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Mimart, P. Piller, B.
Horns. Horns. Trumpets. Trombones.
Boettcher, G. Valkenier, W. Mager, G. Rochut, J. Pogrebniak, S. Schindler, G. Voisin, R. Hansotte, L. Van Den Berg, C. Lannoye, M. Lafosse, M. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Raichman, J. Mann, Adam, E. : J.
Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Ludwig, C. Adam, E. Caughey, E. Polster, M. Sternburg, S. White, L.
Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J.
1871 Snakeskin Handbags
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Established over a century
1872 Forty- eighth Season. Nineteen Hundred Twenty-eight and Twenty-nine
FRIDAY AFTERNOON, APRIL 19, at 2.30 o'clock
SATURDAY EVENING, APRIL 20, at 8.13 o'clock
Josten . . . Two Movements from the "Concerto Sacro" for String Orchestra a. Lamento. b. Sepulcro e Transfigurazione. (First time in Boston)
Faure ..... Elegie for Violoncello and Orchestra
Loeffler 'La Bonne Chanson," Poem (after Verlaine)
Schumann Symphony in E-flat major No. 3, "Rhenish," Op. 97 I. Vivace. II. Moderato assai. III. Allegro non troppo. IV. [Maestoso. V. (Vivace.
SOLOIST JEAN BEDETTI
MASON AND HAMLIN PIANOFORTE
There will be an intermission before the symphony
The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert
! 873 RAYMOND—WHITCOMB NORTH CAPE CRUISES
Two Identical Cruises on Sister Ships
Sailing June 26 on the S. S. ppCarinthia" and June 29 on the S. S. "Franconia" The Raymond-Whitcomb North Cape Cruises of 1929 are the most comprehensive northern cruises ever devised. They include Iceland—The North Cape The Midnight Sun Norway's Finest Fjords All four Scandinavian Capitals (Reykjavik, Oslo, Stockholm, Copenhagen) Trondjhem, Bergen, Visby The New Baltic Republics (Finland & Esthonia) An Optional Trip to Leningrad & Moscow Take one for a complete summer holiday of six weeks—or for an unusual prelude to summer travel. Both cruises will end at Southampton early in August and the prices include return passage whenever convenient. Rates $800 and up.
LAND CRUISES IN AMERICA Summer trips of unequalled luxury and com- pleteness, travelling on special trains that were built especially for Raymond-Whitcomb ROUND SOUTH AMERICA CRUISE Visiting all the characteristic sections of South America with complete comfort. Sailing Feb. 1, 1930. INDIVIDUAL TRAVEL SERVICE IN EUROPE AND AMERICA STEAMSHIP TICKETS RAYMOND & WHITCOMB CO. 165 TREMONT ST. 122 NEWBURY ST. HANCOCK 7820 BOSTON KENMORE 2870
1874 Concerto Sacro for String Orchestra and Piano Werner Josten
(Born on June 12, 1888, at Elberfeld, Germany; now living at Northampton, Mass.)
This concerto was performed for the first time at a concert of Orchestra of the Graduate School, Juillard Musical Foundation, in the Town Hall, New York, on March 27, 1929. Mary Huggins was the pianist; Albert Stoessel conducted. The programme also included a Suite from PurcelPs dramatic music arranged by Albert
Coates ; Vaughan William's Concerto Academico, (Julius Kisman, solo violin—first time in New York) and Bloch's Concerto Grosso (Mary Lackland, solo violin; Jerome Rappaport, solo piano). The programme of Mr. Josten's Concerto Sacro is as follows:
(a) The Annunciation Mary's Dream—Dialogue Between Mary and the Angel—O Sanctis- sima—The Passion—An Angel Prophesies Life's Triumph Over Death—Mary's Ecstasy—Disappearance of the Apparition. (b) The Mikacle Mary's Terror—Comforting Angelic Voice—The Manger and the Shepherds—Preparation and Consummation of the Miracle.
RECENT PERFORMANCES of WORKS BY BOSTON COMPOSERS
SONGS The Nightingale Has a Lyre of Gold MRS. H. H. A. BEACH, Fairy Lullaby Eva Emmet Wycoff Margaret Lester O Swallow, Swallow, Flying South Marion L. Hurd Ah Love, but a Day ! Louise Barili, Oliver Stewart MARGARET RUTHVEN LANG, An The Year's at the Spring Irish Love Song Helen Downey, Caroline Bracey Eleanor Patterson I Send my Heart up to thee Pianoforte Anna Burmeister ERNEST HARRY ADAMS, The Wind in G. W. CHADWICK, The Danza the Willows Walter Leary, Jeuel Prosser Gertrude Lemke, Ruth Ellsworth When the Leaves Turn Red Thou art so like a flower Mary Elizabeth Johndroe Otto Ploetz Before the Dawn EDWARD BALLANTINE, Variations on Margaret Lester "Mary Had a Little Lamb" in the Allah Styles of Ten Composers Holt Eleanor Patterson Memorie Gray CHARLES DENNEE, Concert Study Into the LELAND CLARKE, Sunshine Travis Thure Hulten Elizabeth Moonlight Deep and Tender FELIX FOX, Impromptu-Serenade Yvonne des Rosiers Fantasie lyrique James Gray Over the World to you Thure Hulten F. ADDISON PORTER, Meditation Grace Cronin MABEL W. DANIELS, Cherry Flowers Blanche Winslow Porter D. SEQUEIRA, E! Bufon Daybreak Elizabeth Travis Elsie Bird Winsor c\ mi j| pst r 3 I Cannot Bide MRS H. H. A. BEACH, Gaelic Symphony Joseph Lautner Women's Symphony Orchestra, Chicago ARTHUR FOOTE, An Irish Folk-Song ARTHUR FOOTE, Suite in E for Strings Maria Kurenko Boston Symphony Orchestra
THE ARTHUR P. SCHMIDT CO., 120 Boylston Street
1875 (c) Lament (d) Sepulchke and Transfiguration (Instrumental Motet). Mr. Josten writes to us: "The mysterious dark triptych painted for the Isenheim altar at Colmar by Grtinewald* gave me the idea for this piece.'' Mr. Josten studied composition with Dr. Rudolf Siegal,t a master pupil of Humperdinck. Before coming to this country, Mr. Josten was assistant conductor at the Munich Opera House. Since 1923 he is the teacher of fugue and composition at Smith College, North- ampton, Mass. Four years ago he became interested in the revival of ancient operas. At Northampton he has given the first perform- ance in the United States of "L'Incoronazione di Poppea" (1926) and "II combattimento di Tancredi e Clorinda" (1928) by Claudio Monteverdi, and of "Julius Caesar" (1927) and "Xerxes" (1928) by Handel. The list of his compositions includes: "Crucifixion" (W. v. d. Vogelweide) eight-part chorus for mixed voices and bass solo (a cappella), performed by the Oratorio Society, New York, in 1923 (composed in 1916). * Matthias Grimewald was the chief Rhenish painter at the beginning of the sixteenth century. His entombment, (predella) in the old Abbey Church at Colmar is "his best authenticated work." t Rudolf Siegal, composer and conductor, born at Berlin on April 12, 1878, studied law (he has the degree Dr. Jur). His teachers in music were Thiel, Humperdinck, and Thuille of Munich. In that city (1910-11) he conducted a choral society and per- formances at the Prinz Regenten Opera House. Making Berlin his home, he conducted
1914-17 at Konigsberg ; 1918-19 he was "Operndramaturg" at Mannheim. Since 1919 he was City Music Director and conductor of the Concert Society at Krefeld (General Music Director in 1922). Among his compositions are an opera "Herr Dandolo"
(Essen, 1914) ; a "Heroic Tone Poem" (Essen, 190G) ; "Apostaten" March (G. Keller), for male chorus and orchestra; twelve German Folk-Songs for piano (three hands). BOSTON CONSERVATORY OF MUSIC AGIDE JACCHIA, Director
CATALOG SENT ON REQUEST
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1876 St is lUassuAimq to KYiour- that fuAS on+njuL&ted to • tiolla/ndm itfill be • • • aealou.&lA( quoJuisd a/nd skiUfaU^M ju.- beautified* • *ThodcAm -fan Sto^ac^e 2)% Seccnnd flocy*
tibtunhEi 202-216 Boylston St. BOSTON C The influence of a splendid dia- mond on the hand is never lost. - aloof and uncommon as a star. BIGELOWKENNARPsQ© ^11 WASHINGTON ST BOSTON 1.H77 "La Musique" (Baudelaire), for tenor voice and orchestra (1918). "Indian Serenade" (Shelley), for tenor voice and orchestra (1921). "Hyninus to the of (anonymous, a.d. 1300 i for Qnene Paradys" , women's chorus, alto solo, strings, and organ (1922). This Hyninus has been performed by several choral societies. "Ode for St. Cecilia's Day" (Dryden), for soli, mixed chorus, Orchestra, and organ (1924), to be given at the Worcester Festival, 1929. "Concerto Sacro" for string orchestra and piano (1925). Fragments for the Brome play, "Abraham and Isaac," for soli, chorus, and orchestra (1926). "Jungle," symphonic movement for full orchestra (1928). Forty published songs (1914-22.) Mr. Jean Bedetti was born at Lyons, France, on December 18, 1883. At the Lyons Conservatory of Music he took violoncello les- sons of his father, and made his first appearance in public at a theater in Lyons when he was eleven years old, playing Davidov's concerto. He studied at the Paris Conservatory, where he was awarded a second prize in 1901; a first prize in 1902, when a first prize was awarded also to Mile. Clement. Mr. Bedetti's teacher was "If a man does not provide for his children, if he does not provide for all those dependent upon him, and if he has not that vision of condi- tions to come, and that care for the days that have not yet dawned, which we sum up in the whole idea of thrift and saving, then he has not opened his eyes to any adequate conception of human life." — lVoodrow Wilson of Boston. Massachusetts 1878 — to hosiery* The ENSEMBLE is the costume you plan COMPLETE—from hat Molyneux and other designers give PRINTS a new importance. With 'an entirely new feeling for color, gaiety, and youth, each famous Paris house pre- sents its conception of what the new prints should be daring in novelty yet consist- ently in good taste. Slattery presents individual replicas of famous models. Sketched; copy of a Molyneux ensemble, with a sleeveless jacket. Mademoiselle, 95.00. Registered 63&atteiy€o. BROOKLINE Opposite Boston Common WELLESLEY At SLATTERY'S—every item will combine in an ENSEMBLE* 1879 : Jules Loeb.* Mile. Clement, a pupil of Cros Sainte-Ange, was named first. This action on the part of the jury was severely censured by leading critics. Having played in concerts of chamber clubs, Mr. Bedetti became the first violoncellist of the Opera-Comique Orchestra in 1904. In 1908 he was appointed first violoncellist of the Colonne Orchestra, playing in turn under Colonne, Pierne, and Monteux. He gave recitals in French cities, also in England, Belgium, Spain, and Switzerland. Called to the colors in the French mobilization of August 2, 1914, he served actively at the front for eighteen months. He joined the Boston Symphony Orchestra as first violoncellist in the fall of 1919. He is a member of the Burgin String Quartet and of the Fox-Burgin-Bedetti Trio, and has played in many concerts and recitals in ensemble and as soloist. His appearances as soloist with the Boston Symphony Orchestra have been as follows 1920. January 30, Schumann's Concerto; March 6, 1920, Saint- Saens, Concerto, No. 1. 1921. March 11, Haydn's Concerto, D major. 1923. April 13, Bloch's "Schelomo" (first time in Boston). Jules Leopold Loeb, was born at Strasbourg on May 13, 1852, took a first prize at the Paris Conservatory in 1872. He became a member of the Op6ra Orchestra in 1872 and was afterwards the solo violoncellist at the Opera and at the Conservatory concerts. He was a member of the Marsick Quartet and of Philipp's Society of Wind Instruments and strings. In 1900 he was appointed professor at the Paris Conservatory. Bonds of the highest grade Harris, Forbes & Co Incorporated Harris Forbes Building 24 Federal St., Boston 1880 Now Let's Talk About You! We've told you how we avoid the common- place like the plague —how careful we are to have our clothes finished with hand touches—how we pre- fer to place a moderate price on everything because it is a sensible thing to do. But we would rather talk about you—the sort of clothes you like, what you have found be- coming. Come in to see us this week? 1881 1924. January 8, Brahms Concerto, A minor, for violin (Mr. Burgin), and violoncello; December 5, Faure's filegie. 1925. March 20, Caplet's "£piphanie" (first time in the United States). 1927. April 1, Lalo's Concerto, D minor. Elegie for Violoncello and Orchestra . Gabriel Urbain Faure (Bore at Partners (Ari6ge), France, on May 13, 1845; died at Passy, on November 4, 1924) This Elegie was written for violoncello and pianoforte. It was published in 1883. Faure afterwards orchestrated the pianoforte accompaniment. The Elegie was played by Mr. Bedetti at a concert of the Boston Symphony Orchestra, in memory of Faure, on December 5, 1924. Faure's transcription for violin and piano was first played in Bos- ton by Hugh Codman and Miss N. A. Stowell on December 16, 1897. These works by Faure have been performed in Boston at concerts of the Boston Symphony Orchestra. 1904. December 17, Pelleas et Melisande" Suite. Mr. Gericke, conductor. 1905. December 2, "Pelleas et Melisande" Suite. Vincent d'Indy, guest conductor. Regarding the Deficit of the BOSTON SYMPHONY ORCHESTRA Last week one of the patrons of the Symphony Concerts, when changing some of the provisions of his trust, included a bequest of $10,000. to the Endowment Fund, to be paid at his death. Peculiarly enough, as I was relating the incident to a man whom I had just insured, he turned to me and said, "I believe I will do the same thing, only in another way. You may issue an' additional $10,000. life insurance policy to be payable to the Endowment Fund." These two incidents are indicative of the way that some of the patrons feel toward our wonderful organization. If you could consider a like action, I would be happy to show you the best method of arranging it. EARL G. MANNING, General Agent Estate Engineering JOHN HANCOCK MUTUAL LIFE INSURANCE COMPANY Telephone. Liberty 4424 ONE FEDERAL STREET, BOSTON 1882 To PRAY'S come the finest of ORIENTAL RUGS The first step to insure beautiful Oriental Rugs on your floor is skillful choosing by your rug dealer at the sources of supply. Pray, as the Oldest Rug House in America has buying connections thatare priceless. That is why Pray stocks always include many Orientals of the types now difficult to obtain through ordinary channels; why our stock of room size Orientals is always the largest in New England; why despite superior quality, Pray prices are never higher and usually lower than elsewhere. At present, one may choose from our great- est stock, including many beautiful rugs personally selected in Constantinople by our foreign buyer. John H. Pray & Sons Co. 646 Washington Street, Boston 1883 1911. March 18, "Pelleas et Melisande" Suite. Mr. Fiedler, conductor. 1919. February 14, Suite from the Music to Haraucourt's "Shy- lock" (after Shakespeare). Mr. Rabaud, conductor; Arthur Hackett, tenor. March 28, Prelude to the opera "Penelope." 1923. November 23, "Pelleas et Melisande" Suite. Mr. Monteux, conductor. 1924. December 5, 1924, Overture to "Penelope"; Elegie for vio- loncello and orchestra. Mr. Koussevitzky, conductor. "La Bonne Chanson" ...... Charles Martin Loeffler (Born at Miihlhausen-i-R. Alsace, January 30, 1861; now living at Medfield, Mass.) "La Bonne Chanson," composed Avith "Villanelle du Diable" at Dover, Mass., in the summer of 1901, was first performed with the "Villanelle" at a concert of the Boston Symphony Orchestra, April 12, 1902, Mr. Gericke, conductor. It was then entitled: "Poem for " orchestra : 'Avant que tu ne t'en ailles.' There was another per- formance on January 3, 1903. The revised poem, entitled, "La Bonne Chanson," was performed on November 1 3 1918, Mr. Monteux con- S.S.PIERCE CO. S.S.PIERCE CO Maple Flavored Biscuits La Touraine Maple Wafers . . . delicate, thin, crisp wafer rolls, flavored with maple . . charming little sweet biscuits for the afternoon tea. Small tin 35c. At the S. S. Pierce stores are to or formal dinner. Leisurely be found delicacies from every inspection of the various arti- corner of the world . . . the cles is invited. A catalog will unusual and the interesting to be sent on request. Mail or- add charm to the tea, luncheon ders are promptly filled. S. S. PIERCE CO. Staple everyday foods, and delicacies from all the world over Scores at: Tremont and Beacon Copley Sq. Coolidge Cor. 133 Brookline Ave. 1884 evmimni transforms the tailored blouse <-A,ND u is a welcome transformation, for the separate blouse plays an important fashion role in this season of ensembles. The new idea of "soft tailoring" introduces such details as tiny bows, triple knots, jabots, Bertha collars, dainty cuff treatments. You'll see interesting examples of this vogue in our fourth floor blouse section. R. H. STEARNS CO 188.5 — —; —— —! — ductor. There was a performance led by Mr. Monteux on March 25, 1921. The composition is a musical paraphrase of the fifth poem in Paul Verlaine's "Bonne Chanson." Avant que tu ne t'en ailles, Pale etoile du matin, —Mille cailles Chantent, chantent dans le thyni. Tourne devers le poete, Dont les yeux sont pleins d'amour, —L'alouette Monte au ciel avec le jour. Tourne ton regard que noie L'aurore dans son azur —Quelle joie Parmi les champs de ble mfir ! Puis fais luire ma pensee La-bas,—bien loin, oh, bien loin —La rosee Gaiment brille sur le foin. Dans le doux reve ou s'agite Ma mie endormie encor . . . —Vite, vite, Car voici le soleil d'or. Before you fade and disappear, pale morning star—a thousand quails call in the thyme Just issued for Violinists And lovers of the truly beautiful in music For Violin and Piano Edited and Arranged by KARL RISSLAND Vol. I, Bach to Haydn Vol. II, Lotti to Vivaldi This unique anthology is the outcome of long research. A gathering together of the most exquisite numbers available. The arrangements are new and not obtainable elsewhere. Price, $2.00 each. OLIVER DITSON COMPANY 179 Tremont St., Boston Founded 1783 Established 1835 Incorporated 1889 1886 No. 23 A Partnership in Public Health "The Hospital Without Walls" The Community Health Association is endeavoring constantly to improve the quality of its nursing service— an under- taking which requires continual study and experimentation, and the adaption of our service to the changing needs of those we serve. Our work is a partnership, in which we must rely upon you for the financial assistance necessary for our continued service. WON'T YOU HELP? Send Checks to COMMUNITY HEALTH ASSOCIATION 502 Park Square Building District Nursing Association Malcolm Donald, President Baby Hygiene Association Richard C. Paine, Treasurer 1S87 — —— : Turn toward the poet, whose eyes brim with love—the lark mounts skyward with the day Turn your face drowned by the dawn in its blue—O the joy among ripe wheatfields ! Make my thought shine yonder—far off, O so far ! —the dew glistens on the hay In the sweet dream wherein my love, still sleeping, stirs—hasten, hasten for, lo, the golden sun. After the performances in 1902 and 1903, Mr. Loeffler revised his score and entirely re-orchestrated it. There have been no thematic or structural changes. As the poem of Verlaine is a theme with interruptions, so the musical paraphrase may be described as vari- ants of a theme, with corresponding interruptions. The first verse is treated as a prelude. There are suggestions of the fading star. An allegro follows the announcement of the chief theme. With "Quelle joie" there is a return to the idyllic mood. As the longing of the poet is more impatient, so the theme becomes more and more agitated, and in the painting of the daily miracle the full orchestra is employed. The score is for these instruments: three flutes (one interchange- able with piccolo), two oboes, English hor^two clarinets, bass clari- net, three bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, cymbals, Glockenspiel, celesta, harp, and the customary strings. * on NEW YORK and BOSTON 9fa? Plaza 5IH AVENUE 1! CENTRAL PARK. NEW YORK 9iic Savoy-Plaza Filth l«ENUE-S8lh'iN0 591b Sis .-NEW TORI TJic Copley-Plaza i i ; i ; ; i ii i i ii i ii ; i ;i ii i;i ;i i i ii i i i ii i i 'i iiii ; 7i; iiir niiiii:i[;i iir ; ii) ii;iiii i;]Li u i;; ii iiiii;ui) iiiiiiJiiiiii;iiiii;u ii i]j 1888 . ^ ^ FAX/ , The Great Spaniard Manuel de Falla has been rightly acclaimed "one of the torch- bearers of musical progress in the world". In his El Amor Brujo (Love, the Magician) he has given incomparable evidence of artistic endowments unique and unprecedented. This master work of modern composition is now issued in Columbia Masterworks* COLUMBIA MASTERWORKS SET NO. 108 De Falla : El Amor Brujo (Love, the Magician). Suite for Orchestra By Pedro Morales and Symphony Orchestra. 4n Six Parts, on Three 12-Inch Records. Schumann's Fourth Symphony: Smetana's Beautiful Elegy: superbly characteristic production of the Trio in G Minor, Op. 15, is re- the great romanticist, is interpreted corded with the utmost in expression by Bruno Walter. and effectiveness by the Malkin Trio. COLUMBIA MASTERWORKS SET COLUMBIA MASTERWORKS SET NO. 106 NO. 107 ScHUMANN:SymphonyNo.4,inDMinor, Smetana: Trio in G Minor, Op. 15, for Op. 120. By Bruno Walter and Mozart Violin, Violoncello and Piano. By Festival Orchestra (Paris). In Eight Malkin Trio. In Seven Parts, on Four Parts, on Four 12-Inch Records. 12-Inch Records. Ask for Columbia Masterworks Catalogue and Supplements COLUMBIA PHONOGRAPH COMPANY 1000 Washington Street, Boston, Mass. 'Magic \WW 1889 Veiiaine valued "La Bonne Chanson" as perhaps the most "natural" of his works. In his "Confessions" he spoke of it as "so sincere, so amiably, sweetly, purely thought, so simply written." He composed the verses at Paris and at Arras while he was in love with Mathilde Maute, whom he married in 1870. She was sixteen years old. The marriage was an unhappy one, and the two parted. The decree of separation was granted while Yerlaine was in prison at Mons after shooting Arthur Rimbaud in the arm while they were in a drunken dispute at Brussels in 1873. Paul Verlaine (1844-96) often referred tenderly to his "Bonne Chanson." Thus in his lecture delivered at London, Oxford Uni- versity, and Manchester in 1893, he said, after a reference to "Fetes Galantes": "A quite other music is heard in 'La Bonne Chanson/ really a wedding present, literally speaking, for the tiny volume appeared on the occasion of a marriage which was going to take place, and took place in 1870. The author values it as perhaps the most natural of his works. Indeed, it was Art, violent or deli- cate, which had affected to reign almost exclusively, in his former works, and it was only from then that it was possible to trace in him tone and simple views concerning nature, physical and moral. . . . Life had its way, and distress soon came, not without his own fault, to the household of the poet, who suddenly threw up everything and went wandering in search of unsatisfying distrac- tions." (Translation by Arthur Symons, The Savoy, London, April, 1896.) All the Colors of a Refined Palette Apricot crepe, beige taffeta, currant kasha, cornflower chiffon, yellow alpaca—textures, tints and tones to glorify nature. These and many others are to be seen in the pleasant parade of new apparel in the Hickson Drawing-Rooms. You and your friends are invited to spend an hour of delight with us—any time. 667-669 BOYLSTON STREET BOSTON New York Buffalo Washington, D. G. Paris 1890 =il In and Out in a jiffy That's the advantage of storing your furs at Jordan's new plant conveniently located on Memorial Drive, Cambridge . . . You can take your coat there directly, and if you call, you receive it while you wait, on the first cold day of winter. Charges are 3% of the valuation. Jordan Marsh Company 1891 : — Verlaine has described his sweetheart Mathilde, the half-sister of Charles de Sivry, a conductor and composer, who died in 1900* "Small, slight, but with a promise and a fear of embonpoint ; a pretty, deli- cate face ; simple in her dress and yet with a touch, only a little touch, of coquetry. A gentle face, rather pale, plump but long, a nose a la Roxelane— I mean by this of average size with the end prettily tipped. The mouth smiled, rose-hued rather than red—and yet I like red in everything except, naturally, in a woman's complexion and the political opinions of men ignorant men. I see her always, a picture of gray and green, a soft green and a sombre gray on account of her vague hair, which was now dark, now of clear chestnut ; nor could one tell the color or divine the instinct of her eyes. Perhaps she was kindly, but she was probably vindictive and capable of incurable grudges. She spoke little, and how adorable her silence which allowed one to sympathize with her quick breathing, a symptom of her frail, dear health, but pleasure enlarged this breathing ; and there was an almost imperceptible palpitation of bluish veins beneath the eyes and violet veins near the temples. Her teeth, disclosed by a smile of innocence, were of alabaster or rather of opal, which a strangely exquisite transparence assured. And sometimes she would talk most freely, with the suspicion of a lisp. Her hands were little, as was her forehead, which the lips would kiss quickly to pass elsewhere. A woman like the sea, stormy, and also gentle and cradling." She came to the little room in the Rue Mcolet to see her brother. As she was about to leave, Sivry said: "Stop a minute! This is a poet, Verlaine. You know him well." "Oh, I am very fond of * Sivry conducted at the Delassements-Coniiques and later at the Folies-Marigny in Paris. He wrote operettas in one act: "Le Rhinoceros et son enfant" (1874) ; "De Chrysocale" (1874) ; "Jolicoeur" (1877) ; "Tous gentilshommes" (1877) ; "Aveugle par Amour" ; also a sort of symphonic poem "La Legende d'Hiram," performed at the Trocadero, Paris, October 24, 1878, at a Masonic Festival. He contributed to a little musical paper, Le Progres Artistique. INC. Interior Decorators 123 Newbury Street, Boston Telephone, Kenmore 1992 1892 Diffused Theatre Lighting ILLUMINATION, without bright, dazzling lights, or extreme contrasts, tends to rest the eye and promote relaxation. For this reason, diffused lighting, or lighting that spreads evenly without glare, has become the ac- cepted mode for modern theatres. One of the most pleasing forms of diffused lighting is the decorated glass panel ordinarily used beneath the balcony. Through this panel, colored lights in varied tones bathe the audience in a soft glow, not unlike the effect of sunlight transmitted through the colored awnings used by the Greeks and Romans more than one thousand years ago. No. 1 6 of a series depiQing the development of theatre lighting THE EDISON ELECTRIC ILLUMINATING COMPANY OF BOSTON 1893 poets. My brother has often spoken to me about you and has read some of your verses, which are, perhaps, too hard for me, but they please me, nevertheless." In love with Mathilde, Verlaine wrote, at Paris and at Arras, ifLa Bonne Chanson." The volume was published in 1870. The war had broken out. Victor Hugo compared the volume to "a flower in a shell." Verlaine has told the story of his betrothal, marriage, divorce in his charmingly naive "Confessions" (Chapters IV-XVI). It is a singular tale of affection in which he alternately blames and justifies himself. Let us state the facts as told by several, among them Charles Donos in "Verlaine Intime." The contract was signed before the declaration of war. The decree of August, 1870, which called to arms the unmarried of 1844, 1845, hastened the ceremony. Louise Michel, who had taught Mathilde, was at the church service. Verlaine did not take advan- tage of his marriage; he enlisted in the National Guard, and soon began to indulge in his besetting sin—drunkenness. There were bitter words and reconciliations. Once, when he suffered military imprisonment, Mathilde rushed to see him with a meat pie made !" by her. On his return she asked him how he liked it. "Delicious "Yes," she answered, "I have always heard that a rat was really most excellent eating." In those days horse flesh was a luxury. Again there were cruel quarrels. Verlaine himself wrote : "The Investments Financial Service *>* ESTABROOK & CO. 15 State Street tJtCembtrs 24 Broad Street New YorJ^ Boston New TorJ^ and 'Buton Sxcbangts 1894 DOUBLED IN VALUE! Here's a true story that appeared in the Music-Trade papers. The ST^JiVW^il^ Piano to-day is better than ever in its history, and may now be bought with an initial payment of 10%. This insures immediate delivery Exclusive Representatives for Massachusetts, Rhode Island and Northern New England M. STEINERT & SONS Steinert Hall 162 Boylsl on Street 1895 1 Commune, when it was supremely horrible, drew me for too short a time from this infernal existence." For Verlaine, through friend- ship, joined the Communists. He was made director of the Press Bureau. To his honor, he prevented a scheme for the destruction of Notre Dame. In the fall of 1871 husband and wife were again in Paris after a summer spent in the country. Mathilde was furiously jealous, especially of Arthur Eimbaud, the extraordinary poet, then sixteen years old, "with the perfectly oval face of an angel in exile." We need not read too closely this chapter. Verlaine himself declares that his wife was brutally unjust. They that wish to study the problem may consult Paterae Berrichon's "La Vie de Jean Arthur Eimbaud" (Paris, 1898). The two poets were in Brussels in July, 1873. Verlaine, drunk with absinthe, disputed with Eimbaud in the street. In the course of his argument he shot him in the arm. Verlaine was sentenced to prison for two years at Mons. He has described his life there in "Mes Prisons." He had so much spare time that he read in English all of Shakespeare. One day the superintendent of the jail brought him the news that the Tribunal of the Seine had granted a separation between him and his wife. Verlaine immediately sent for the chaplain, and turned toward repentance. Thereafter his life was one of strange antithesis. His verses were the passionate out- pourings of a devout soul, mystical in adoration, heartrending in mourning over sins ; again they were earthly, sensual, occasionally pornographic. He was again in prison; he went from hospital to hospital. By Mathilde he had a son, Georges, to whom he addressed the final poem in "Amour." The poet mourns that fact that he is The Enid of a Perfect Day veJt The leading mineral water%k, SERVED IN CAFETERIA AND AT TABLES i nr>v_ 1896 HTie Stieff £>ouis X V~ Versailles " Grand TIEFF Versailles Model Louis XV All trie daintiness 01 a Du Barry, trie charm 01 a Nlaintenon, the grace 01 a Pompadour, has been transported irom tne Courts 01 French Romance into tne Ver- sailles Model. To own this instru- ment is to possess tne -atmosphere oi tne French Courts. (Slas. OH. eflieff, Snc. 114 Boylston Street 1897 not allowed to see this son, who is far away; and he then sends him, as from his death-bed, these words: "Fear God, hate no one, bear well your name." Yet Verlaine complained bitterly that he had not been able to bring up Georges as a waiter in a cafe, where he would have acquired a knowledge of the world and grown rich. ENTR' ACTE VAGABONDS OF THE BALKANS By SVETOZAR TONJOROFF (In the Christian Science Monitor) Sofia.—During several months in the Balkans, the gypsy has ap- pealed to me as one of the most interesting, as well as most pathetic, human phenomena of Europe. Accounted shiftless, untrustworthy, the acme of mendacity and of mendicancy, the gypsy—even the average gypsy—is musical to his finger tips. The gypsy violinist is a tradition of the spacious days in Hungary before the war. It was the tradition of the festive landowners to reward the gypsy player with impulsive, princely generosity. The chances were that if a sheet of music were placed before the swarthy player—almost invariably endowed with piercing dark eyes—he would gaze at it in bewilderment, as if a Sanskrit text were displayed before him. But Soon SummerWill Be Here Piques, lawns, dimities, ginghams, organdies, eponges and crepe de chine are among the materials used in our summer dresses. The models include those suitable for active sports, spectator sports, afternoon and street wear. Made to your measure, they range from $25 up. Made for immediate wear, they begin at $15. 7Jhe TJrousseau jfcouse of Boston 416 Boylston Street 1898 1 HE royal prerogative of genius has produced strange eccentrici- ties in certain composers . . . Not possessing money enough to buy a pistol, Schumann attempted sui- cide by jumping into the Rhine. Pulled out . . . two years later he died in an asylum. +§ ^§ <+§ Berlioz seemed to have an un- healthy penchant for falling off [No. 19 of a series] the cliffs of the Riviera. But the yarn about Tchaikovsky seems the most incredible of all. Under the spell of a mood he stood up to his neck in an icy Russian river, hoping to contract pneu- monia that he might die an apparently natural death. Luckily, the only result of his immersion was the discomfiture of wet clothing. +5 ^§ *§ The great composers lived on an average but about 60 years. Of the long lived, Handel passed away at 74; Haydn at 77; Wagner died at 70; while Bach lived to be 65 and Verdi 87 ... Of those who died in comparative youth were Schubert, who lived 31 years; Mozart 34; Weber 40; and Scriabin 44; Bizet also died com- paratively young. *>§ *>§ *>§ When appointing an individual as executor or trustee, the possibility that his services may be cut short at any time should not be discounted. By naming a corporate fiduciary, you are assured of its continuous existence — a feature most important and worth considering. Old Colony Trust Company "Now Over 196 Millions in Trusts" 17 Court St. • 32 Temple PL • 222 Boylston St. 83 Massachusetts Ave. 167 Summer St. • North Station 1899 take away the sheet of music and ask him for a lay from the race memory oil his people, and he would transport you to the land of far away and long ago. Mendicancy is another marked characteristic of the mysterious race which some ascribe to an Indian and others to an Egyptian origin. The belief that gypsies came from Egypt is crystallized in the Bulgarian name for them, "Gipti," used in Macedonia. Another European designation, "Zingari," used in Spain and Portugal, also suggests Egypt as the place of gypsy origin. "Zingari" is epony- mous in its application. Tradition has it that Zingari was the name of an Egyptian chief who revolted against the Turks in the sixteenth century. Defeated by the invader, Zingari's people vanished into Europe, a nomadic folk. But they took the name of the chief under whom they had bidden defiance to the Turkish wave. (The present Turkish designation of the gypsy, Tchengene, is probably a corruption of the word Zingari.) They began their nomadic life, according to this tradition, in the sixteenth century, and in the third decade of the twentieth a great part of the race still live under tents, moving in small groups from place to place with their horses and mules, and tin smithies. The mention of the word "horse" brings up another phase of gypsy character. They are horse dealers by instinct. In their skill in selling, swapping or palming off horses, they out- Harum David Harum. The non-gypsy who succeeds in outwitting a gypsy in a horse deal has probably never yet been born. His ad- vent will be an event in ethnology. STATE STREET COPLEY SQUARE MASSACHUSETTS AVENUE affords its depositors the advantage of three banking offices in excellent locations, each equipped with modern safe deposit vaults MAIN OFFICE: Corner State and Congress Streets COPLEY SQUARE OFFICE: 581 Boylston Street MASSACHUSETTS AVE. OFFICE Corner of Massachusetts Avenue and Boylston Street Boston, Mass. Savings Department ZKCemher Federal Reserve System 1900 g hiif V^ H Three Weeks from Today H . w .. ^ u h^ In the morning mail are many invitations for weddings three ^ Li weeks from today as well as announcements of weddings ^j W! which have just taken place. They stand out from the rest W W W ^ of the mail because of the texture and quality of the paper. \^ The engraving is beautifully done. The phrasing is exactly W J™j W, in accord with the social standards of the day. W v ... y Many of the invitations and announcements carry our Ijl^fj ^ name under the flaps of the envelopes, for we carry the best ™l J*j Sr styles of wedding stationery. Our engravers are skilled men \J lJjI and do the finest work. If you desire, we will take all the \^J ^*j responsibility for the addressing and mailing of the invita- ^ W tions or announcements on the proper date. ^1 Q Shreve, Crump and Low Co. V W FOUNDED IN 1800 \^ ^ • i > Watches • Fine Clocks • Stationery Traveling requisites l~^ 147 Tremont Street Boston, Massachusetts v> M W W W tyfl| 1901 Many gyspy women and girls are almost unbelievably beautiful even in their rags with their accompanying dishevelment. Almost invariably they wear trousers, very often made of gay calico. In the streets of Belgrade, Bucharest and Sofia one meets this reminder of the Turkish domination and Turkish custom. All other races of women have discarded the trousers long ago as a symbol of Oriental- ism. The gypsy woman sticks to the trousers. And it must be ad- mitted that she does not wear them without grace. Like the chameleon, the gypsy race is readily responsive to the surrounding coloring. The question is often asked: "What is the religion of the gypsy ?" Without going into a discussion of historic developments, it may be said that the wandering gypsy is largely of the religion held by the settled population that surrounds him. In Turkey he is apt to be a Muhammadan, in the other Balkan states he is likely to be an Orthodox—at least outwardly, whatever hidden conviction of beliefs he may cherish. Nobody bothers with the reli- gious status of the gypsy. In the eyes of even the most intolerant state church he is just a gypsy. And that view of his status disposes of him. The adaptability of the gypsy to his immediate surroundings was brought vividly to my attention on a recent visit to Belgrade. I had made arrangements with a visiting American with a notable war record, to dine in the sidewalk restaurant of the Hotel London, where I had often listened to a gypsy string orchestra. In making advance arrangements I had committed the error of informing the gypsy "king" who directed the orchestra, and was its first violinist, WOMEN'S REPUBLICAN CLUB 46 BEACON STREET Telephone, Haymarket 6400 JXCusic l^oom . '. French T^joom Available for Concerts and Lectures H. T. P. says of the Music Room: "For what are called 'intimate recitals,' Boston holds no such fit and alluring place." 1902 WALTER GIESEKING says of the Baldwin Piano "It is truly marvelous with what suppleness the Baldwin is prepared to respond to every intention of the artist and to permit him to realize every effect, dynamic or technical, every nuance of expression even the most delicate." A. M. HUME COMPANY New England Representatives 196 Boylston Street BOSTON 1903 — that the next evening I would bring a distinguished American with me. I urged the non-music-reading virtuoso to do his best. What was my disappointment the following evening when the orchestra began with American jazz music and continued with the same kind of musical composition ! The "king" had conceived it a gracious compliment to make an American's evening an American evening musically. This ready adaptability reminded me of my previous experience with the gypsy orchestra in the popular restaurant in Budapest. When I had applauded several gypsy selections vigorously, and had fortified my signs of approval with a small handful of kronen, the "king" evidently decided to pay me a compliment. Before the first note was struck the swarthy musician bowed to me with ceremony and indicated with shrugs and grimaces that a treat was forthcom- ing. The first measure revealed the nature of the treat. It was a series of selections from "Carmen." And it was played only as musicians who could not read a note would play it. So, on the sidewalk in front of the Hotel London in Belgrade, my American visitor was so keenly disappointed by the jazz program that I stepped over to the conductor and said to him : "You play gypsy music superbly, but my friend says your jazz is terrible. You can't gypsify jazz, my friend, and besides, my friend has had all the jazz he can stand in America." And the "king" plainly showed by his crestfallen expression that he realized that he had scored a failure when he had been confident of a triumph. DUNNING SYSTEM OF IMPROVED MUSIC STUDY Carrie Louise Dunning, Originator t West 40th St., New York City 834 South Plymouth Boulevard, Los Angeles, Calif. The Greatest Musical Event in New York City in the past several decades was the playing of a ten-year old Dunning pupil with the New York Philharmonic Orchestra. March 20th, 1926. The child had only studied one year and eight months. She played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long—she memorized it in three weeks. If you have any plan for teaching, that can bring such results in that length of time, then you do not need the Dunning System. If you have not, then you do. FACULTY OF NORMAL TEACHERS. Classes held in these cities: Katharine M- Arnold, 93 Madison St., Tiffin, Ohio. Harriet Bacon MacDonald. 13434 Detroit Ave., Cleve- Allie E. Barcus, 4619 Broadway, Chicago, 111. land, Ohio. Elizette R. Barlow. Box 1244. St. Petersburg. Fla. Kate Dell Marden, 61 No. 16th St.. Portland, Oregon. Catherine G. Bird. Collingwood Ave.. Detroit, 658 Mrs. W. P. Mason. 10250 S. Wood St.. Chicago. 111. Mich. Laud G - Phippen. "15 Grant St.. Denver. Colo. Grace A. Bryant. 201 1 0th Ave.. N. Twin Falls. Idaho. Mrs. Jean Warren Carrick. 160 E. 68th St.. Portland. Ellie 1.^ Prince. 4106 Forest Hill Ave.. Richmond. Va. Virginia Ryan. 1070 Madison Ave.. New York City. a /-l iac s>v . * it ^Dora A. Chase, 345 Clinton Ave., Brooklyn,d mvN.Y. Stella Seymour. So. St. Mary's St.. Adda C. Eddy. 2643 Highland Ave., Cincinnati. Ohio. H. 1419 San Antonio. Texas. Beatrice S. Eikel. Kidd-Key College. Sherman. Texas. Gertrude Thompson. 508 W. Coal St., Albuquerque. Ida Gardner. 17 E. 6th St.. Tulsa. Oklahoma. New Mexico. Gladys M. Glenn. 1217 Bowie St.. Amarilla. Texas. Isobel Tone 626 Catalina St.. Los Angeles. Calif. Florence E. Grasle. Michigan State Institute of Music. M - « Lansing. Michigan. Mrs. H. R. Watkins. 124 E. 1 1th St.. Okla. City. Okla. Members of these prominent families have had the benefit of the Dunning system: Astors—Vanderbilt J. Innesley Blair—George F. Baker—Duchess of Torlonia—Bradley Martin—Sir Edgar Guest—J. Pierpont Morgan—Roland Harriman—Gloria Caruso—F. W. Woolworth. 1904 There is a significant gift awarded every pur- chaser of a vose It is that exquisite detail finish and wealth of qual- ity which represents a value not included in the price asked for the piano. We challenge comparison. Vose & Sons Piano Co. 160 Boylston Street Boston, Mass. 1905 THE "PERFECT" ORCHESTRA : IS IT A MARK OF DECADENCE? (H. E. Woetham in the London Daily Telegraph of January 5, 1929) Really this outcry about the necessity of a "permanent" orchestra —though the one thing that never seems to change in London are the faces that one sees rising round the rostrum at the Queen's Hall—is all very confusing. What is it they want who demand that London shall have the "best ever" orchestra? Unanimity, ensemble, balance, discipline, smoothness, finish? Do they require the eighty or a hundred players who make up the modern orchestra to owe entire submission to their conductor? Are these to hang upon the least flicker of his eyelid, to draw some musical significance from his every movement—even to the flapping of his coat tails? Are the brass, those sturdy and outspoken sons of men, to have no will of their own? The double-basses, are they to surrender that splendid iu dependence which at times comes near to isolation? And are the violins to own no allegiance to their leader, whose historic functions the conductor has usurped? In a word are the individuals who compose the orchestra to become automatons, or are they to remain musicians with ideas, predilections, tastes, free to undertake work outside their orchestral duties. One asks these questions because the protagonists for a super- orchestra do not appear to know what their ultimate objective is. tfftftcdjz^- FABRICS for INTERIOR DECORATION Ultramodern or Antique Whether you are interested in antique modes or in the latest development in the modernistic trend of decorative art, you will find some of the choicest examples of famous European looms at exceptionally low prices at Courtright House. A visit will give you many helpful suggestions for the tasteful arrangement of your home and the services of our experts will be available to you without obligation. VISITORS WELCOME NINE CHARLES ST.* BEACON. BOSTON MASS s^^s 1906 fWhat is meant by "A STRONG BANK" ONE frequently hears the remark, "It's a strong bank!" . . We be- lieve that ordinarily this remark is in- Offices 10 Post Square tended to mean that a bank is not only Office 88 Summer Street strong financially, but strong in service, 41 Bedford Street strong in its directorate, strong in its offi- 114 Dudley Street cers, and strong in its personnel. 238 Huntington Avenue 98 Canal Street The Atlantic National Bank is a strong 1 199 Washington Street Milk Street bank ... It renders every facility known 95 to modern banking. More than ninety The Investment Subsidiary thousand names are on its books. A com- Atlantic- petent and outstanding board of directors Merrill Oldham guides its policies. An efficient staff of Corporation bank officials is always ready to serve and New York Office advise. Eight offices at strategic points 44 Wall Street throughout the city provide adequate banking convenience. It has resources of over one hundred and forty million dollars ... it is a strong bank. ATLANTIC NATIONAL BANK OF BOSTON The Oldest Commercial 'Bank in 'Boston.* 1907 ! Mr. Ernest Newman, for instance, who was converted to the Ameri- can ideal during his visits to the United States, stands amongst the leaders of the movement. Yet when the Berlin Orchestra comes to London he finds fault Avith that organization for reasons which spring directly from the fact that it is a very highly drilled body of players. Mr. Newman praises "its discipline and mutual under- standing"—he could do no less—as he admits that Debussy's Fetes "from the technical point of view," was "instructive and enjoyable." But when he comes to the Seventh Symphony he complains that the music was under-vitalized between the climaxes, "so that after a little while one even tires somewhat of the beautiful technical finish of the playing, because it means little or nothing beyond itself." What an ingenuous confession from our most eminent writer on music, whose judgment is usually so acute True, he puts the blame on Furtwangler, whose fault it was that the symphony "looked smaller than it really is." But then he gives his case for super-orchestra away in the very next paragraph, where he treats of the Halle concert at the Queen's Hall. Here again we have the "permanent," highly drilled orchestra, not "a fortuitous concurrence of orchestral atoms as is the London method." Its technique, Mr. Newman avers, is quite equal to that of the Berliners, and it enabled Londoners once again to appreciate the "many ad- vantages of having a regular orchestra." So far, so good. But one reads on, only to find Mr. Newman again pointing out the defects inherent in an orchestra which has shrunk to be nothing more than a channel for its conductor's will—even when this will is a Service that can be rendered efficiently only by a Furrier Lamson & Hubbard has been New England's leading Furrier for half a century Need more be said? Lamson & Hubbard BOYLSTON AT ARLINGTON STREET STORAGE 'PHONE KENmore 5350 1908 T. D. WHITNEY COMPANY GREAT OAKS In Freiwaldau, nestled in the moun- tains of Austrian Silesia, is the House of Regenhart and Raymann. In 1 799, Josef Raymann, the wax chandler, undertook as a side issue a small trade in linen yarns. His trips eventually took him to Vienna, where he met Jacob Regenhart, a retail linen merchant. They soon formed a partnership, with Raymann weaving and Regenhart selling the goods throughout old Austria-Hun- gary. So started the House now known as Ar and Ar, with Linens distributed over the world through fifty-four agencies. ~ Purveyors to the Imperial and Royal Court of Austria-Hungary from 1859 to 1918, this magnificent firm is today purveyor to the uncrowned royalty of American homes. Our recommendation of Ar and Ar Linens is confirmed by literally thou- sands of our patrons. T. D. WHITNEY COMPANY Temple Place and West Street 1909 The annual expenses of the Boston Symphony Orchira by the generosity of the public in subscribing funds to b for the season 1928-29 follows: Abbott, Gordon Bigelow, Miss Eleanor Codman, Mrs. Russell S. ; Adams, Miss Clara A. Bird, Mrs. Frances A. M. Coffin, Winthrop Adams, Mrs. E. C. Blake, Mrs. Arther W. Coleman, Miss E. L. Adams, Mrs. Karl Blake, Miss M. L. Colt, Mr. and Mrs. James Agassiz, Mrs. George R. Bliss, Henry W. Conant, Mrs. William C. Ahlberg, S. Laura Bowden, Herbert Luna B. Miss Mrs. L. Converse, Miss f Alford, Mrs. O. H. Bowditch, Dr. Vincent Y. Woodstock, Vt. Allen, Mrs. Thomas Boyden, Charles Coolidge, Mrs. Algernon Ames, Mrs. Hobart Bradford, Mary G. Coolidge, Miss Ellen W. Ames, Dr. and Mrs. John L. Bradlee, Mr. and Mrs. Thomas S. Coolidge, Miss Elsie W. Ames, Mrs. John S. Bradley, Mr. and Mrs. J.Gardner Coolidge, Mr. and Mrs. Ames, J. W. Bradley, Mabel C. Harold J. Ames, Mrs. William H. Bramhall, Miss Eleanor C. Coolidge, Mrs. J. G. Ames, William T. Brandegee, Mrs. E. D. Coolidge, Julian L. Anderson, Mrs. C. S. Brewer, F. R. Coonley, Mr. and Mrs. H 1910 Ottia exceed its income. These concerts are made possible only 1 1 the operating deficit. A list of those who have subscribed Dodge, Mrs. Edwin S. Frothingham, Mrs. Louis A. Hayden, Mrs. Harold B. Donald, Mrs. Malcolm Frye, Robie G. Hayden, Sherman S. Driver, William R. Fuller, Mrs. Alvan T. Hayward, Miss Emily H. DuBois, Mrs. L. G. Hazard, Willis Hatfield Duff, John Gardner, Roy R. Heilman, William C. Duncan, Mrs. Garritt, Mrs. Walter G. Herman, Mrs. Joseph M. Dunne, F. L. & Co. Gaston, Mrs. W. A. Hicks. Mrs. John Jay Gay, E. Howard Higginson, Charles Eager. Miss Mabel T. Gebhard, Heinrich Higginson, Mrs. Henry L. Earnshaw, Charles Gibson, Mrs. K. H. Higginson, F. L. Eaton, Miss L. FT. Gilbert, Miss Helen C. Higginson, Mrs. F. L. Edwards, The Misses Gilchrist, Olive B. Hill, Mrs. John F. Edwards, Miss Hannah M. Giles, Miss Louise Hill, Arthur D. Edwards,. Mrs. Levi F. GUI, Miss Ellen A. Hiltz, Amea Ehrlich, Mrs. Henry Mr;, Gilmore, Mrs. G. L. Hobart, Richard B. ' Eisemann, Julius * Edwin Holmes, Alice Marion Eisemann, Mr and M« Ludwig J Holmes, Chester D, . Ellery, Mr. and Mrs. William Goldman, J. Lesser Holmes, Mr. and Mrs. E. Elliot, Mr. and Mrs. John M. J. Goodwin, Miss Frances Holmes, Miss Ida E. Ely, Miss Elizabeth B. Goodwin, Mr. and Mrs. Homans, Miss Katharine A. Emerson, Mrs. Raymond Frederic S. Homans, Miss Marian Emery, Miss Georgia H. J. Goulston, Leopold Morse Hopkins, Mrs. A. L. Emery, Mr. and Mrs. Gray, Mrs. John Chipman » Hopkins, Mr. and Mrs. Frederick L. Gray, Morris Roland G. Endicott, S. C. Greene, Edwin Farnham Hopkinson, Miss Leslie W. Ernst, Mrs. Harold C. Greene, Mrs. Edwin Farnham Hornblower, Henry Evans, Mrs. David J. Greene, Mrs. Kathleen T. Hornblower, Mrs. Henry Farlow, Dr. and Mrs. John W. Greenslet, Ferris Houghton, Mrs. Clement S. Farnsworth, William Greenough, H. V. Houghton, Miss Elizabeth G. Farrington, G. E. Greenough, Mrs. Henry V. Houser, Mrs. H. M. Fay, A. D. Greenough, Mrs. James J. Howe, M. A. DeWolfe Fay, Mrs. D. B. Griffith, Miss Josephine Howe, Miss Katharine McPher- Fay, Mrs. Henry H. Gross, Mrs. Robert E. son L. Fenollosa, William S. Grover, Mrs. Frances Howe, Henry S. Fernald, M. L. Grozier, Mrs. E. A. Howe, Mrs. Henry S. Howe, Mrs. Murray Ferris, Miss Ida J. J. Field, Edward B. Hall, Gordon Rexford Hoyt, Mrs. Charles C. Fisher, Miss Edith S. Hall, Mrs. Frederick G. Hubbard, Mr. and Mrs. Eliot D. Fisher, Frances B. Hall, Mrs. H. S. Hunneman, Miss Ida Fitch, Miss Carrie T. Hallowell, Mr. and Mrs. N. Hunnewell, Mrs. Henry S. ; B Fitz, Mrs. W. Scott Penrose Hunt, Miss Abby W. Foote, Arthur Hamilton, Miss Charlotte D. Hunt, Mr. and Mrs. Albert W. Foote, George L. Hamilton, Miss Margaret E. Hunt, Frederick V. Forbes, Allyn B. Hamilton, Miss Ruth W. Hutchins, Mr. and Mrs. Forbes, Edward W. Hamlin, Miss Jenny L. Edward W. Forbes, Mrs. Waldo E. Hannauer, George Hyde, Mrs. J. McE. Fox, Felix Harding, Emor H. Hyde, Miss Louvan W. Fox, Mrs. Frank B. Harmon, Miss Lilian Fox, Walter S., Jr. Harrington, Mrs. Francis B. Ivers, Miss Ella F. Frankenstein, Miss Lina H. Harris, Miss Frances K. Mrs. H. Fredericks, Mrs. B. W. Harwood. John Jack, Dr. Edwin E. A. French, Miss Katharine G. Hartwell, Miss Mary Jack, Dr. Frederick L. Elbert A. Frost, Mr. and Mrs. Donald Harvey, Mrs. Jackson, Miss Annie H. McKay Hatfield, Mrs. H. K. Jackson, Delbert L. Frost, Horace W. Haughton, Miss Alison Jackson, Dr. Henry Frothingham, Dr. and Mrs. Haughton, Mr. and Mrs. M. G. Langdon Hawley, Mr. and Mrs. George (Continued on following page) 1911 Jackson, Mrs. James Lothrop, Mrs. Thornton K. Parkman, Mrs. Henry Jackson, Miss Margaret Lothrop, Mrs. W. S. H. Patton, James E. Jackson, Miss Marian C. Lowell, Miss Lucy Peabody, Mrs. Endicott Jackson, Robert A. Lucas, Mrs. William Henry Peabody, Mrs. W. Rodman Jacobs, Miss May Luce, Stephen B. Pearce, Miss Eleanor E. Jamieson, Mrs. J. B., Jr. Lyman, Arthur Perera, G. L. Jaques, Miss H. L. Lyon, Mrs. George Armstrong Pfaelzer, Mrs. Franklin T. Jewett, Harriett L. Lyons, John A. Pickman, Dudley L. and Howard C. Lyon, Mrs. William H. Pickman, Edward M. Johnson, Arthur S. Pierce, Mrs. Edgar Johnson, Mrs. E. J. Macomber, Mrs. George B. H. Pierce, Miss Louise Q. Johnson, Miss Edith Morse Manning, Earl G. Pierce, Mrs. M. V. Johnson, Miss Harriet E. Manning, Miss Margaret, Pitman, Mrs. Harold Johnson, Mrs. Otis S. Manchester, N. H. Porter, Charles H. Jones, Miss Kathrine Mason, Miss E. F. Post, Mrs. John R. Jones, Miss Margaret H. Mason, Miss Fanny P. Potter, Mrs. Murray A. Kaffenburgh, Mr. and Mrs. McClintock, Theodore Prendergast, Miss Julia C. Albert W. McCreary, Mrs. Lewis S. Proctor, Mrs. Charles A. Kaufman, M. B. McGinley, Mrs. Holden Putnam, Mrs. George Kaufmann, Mrs. Carl F. McKee, Mrs. William L. Putnam, Mrs. James J. Keeler, Mrs. L. M. McKibbin, Miss Emily W. Putnam, Miss Louisa H. Keith, Mrs. J. L. McMichael, Mrs. L. G. Putnam, Miss Marian C. Kent, Mrs. Edward L. Merrill, Mr. and Mrs. C. H. S. Putnam, Mrs. William Lowell Kershaw, Mr. and Mrs. F. S. Metcalf, Mrs. Jesse H. Kibrick, I. S., Brockton Miller, Miss Mildred A. King, Mrs. Henry P. Milliken, Arthur N. Rackliffe, Mrs. John B. King, The Misses Mirick, Mrs. Geo. A. Rand, Mr. and xMrs. E. K. Kinsley, James D. Moir, Mrs. John Rand, Mr. and Mrs. Kittredge, Edward H. Moore, Mrs. Edward C. Harry Seaton Knowlton, Mr. and Mrs. Moors, Mr. and Mrs. Arthur W Ranney, Miss Helen M. Howard S. (In memory of Morey, Mrs. Edwin Rantoul, The Misses Mrs. Annabel Ober Conant) Morison, Samuel Eliot Rantoul, Mrs. Neal Koshland, Mr. and Mrs. Morrill, Miss Helen Ratshesky, Mr. and Mrs. A. C. Abraham Morse, Henry Lee Ratshesky, Miss Hetty L. Koshland, Mr. and Mrs. Jesse Morse, Miss J. G. Raymond, Mr. and Mrs. Morse, Miss Leonice S. Franklin F. Lamb, Miss F. Chase Morse, Robert G. Reed, Mrs. Chester A. Lane, Chester T. Morse, J. Torrey Renfrew, Mr. and Mrs. L. B. Lang, Miss Margaret Ruthven Morse, Miss Velma M. Reynolds, Mrs. Edward Lapham, Mrs. Henry G. Morss, Mrs. Charles A. Rice, Miss Ellen P. Lasell, Miss Elizabeth Moseley, Mrs. F. S. Richards, Mrs. J. L. Latimer, Mr. and Mrs. Motley, Mrs. E. Preble Richardson, Mrs. Charles F. D. George Mower, Penfield Richardson, Mrs. F. L. W. Laughlin, Mrs. Henry A. Mumford, Mrs. George S. Richardson, Mrs. John Lauriat, Mrs. C. E. Munro, Mrs. Willis Richardson, Nicholas Lawrence, Mrs. John Murdock, Mrs. Harold Richardson, W. K. Lawrence, Miss M. B. Murfitt, Mrs. S. C. Richmond, W. D. Lee, Miss Bertha Richmond, Donald, Brockton Nash, F. H. Lee, Mr. and Mrs. George C. Riley, Miss Mabel Louise Neilson, Mrs. W. LaCoste Lee, Mrs. James S. Ripley, Hubert G., Nichols, Mrs. Henry G. Jr. Lee, Joseph Robb, Mrs. Russell Nickerson, Mrs. W. G. Leeds, Mrs. Adolph Roberts, Mrs. Coolidge S. Nickerson, W. E. Leland, Mrs. Lester Robinson, Miss Gertrude Nourse, Miss Annie Endicott Leman, Howard Robinson, Miss Katherine J. Nutter, George R. Lewis, Mrs. George Rogers, Miss Bertha F. Lewis, Mr. and Mrs. George, Jr, Rogers, Mr. and Mrs. Henry M. Oakes, Mrs. Francis J Lewis, Mr. and Rogers, Mr. and Mrs. Howard L. Osgood, Miss Emily L. Mrs. Leo Rich Ropkins, Mrs. Kate C, Lefavour, William A. Page, Mrs. Walter H. Hartford, Ct. Lillie, C. W. Paine, Rev. George L. Rothwell, Bernard J. Little, Mrs. David M. Paine, R. T., 2d Rosenthal, Mrs. Louis Littell, Miss Lucy Paine, W. D. Rosenan, M. J. Livermore, Harris Palmer, Mrs. L. C. Rousmaniere, Mrs. E. S. Loeffler, Mrs. C. M. Parker, Haven Rubenstein, Philip Longfellow, Miss Alice M. Parker, Mrs. Walter M., Russell, H. B. Lord, Mrs. W. H. Manchester, N. H. Russell, Mrs. Richard S. 1912 Sachs, Prof. Paul J. Starkweather, Mr. and Mrs. Vaillant, Mrs. George W. Sampson, Charles E. William G. Vaughan, Miss Bertha H. Sampson, Mrs. Robert deW. Stearns, Miss Elsie R. Vaughan, Mrs. W. W. Sampson, Mrs. W. R. Steedman, Mrs. C. J., Vorenberg, Felix Sanger, Mrs. Charles R. Providence, R. I. Sanger, Mrs. George P. Steinert, Mr. and Mrs. Wadsworth, Mrs. A. F. Sargent, Porter E. Alexander Wadsworth, Eliot Saville, Mrs. William Stevens, Moses T. Ward, Miss Anita S. Sawyer, Mr. and Mrs. Henry B. Stevenson, Mrs. Robert H. Ward, Miss M. DeC. Sayles, Robert W. Stone, Mrs. Galen L. Ward, Mr. and Mrs. Robert DeC. Schneider, Miss Elizabeth Stone, Miss Katharine H. Ware, Henry Schaff, Miss Mary L. Streeter, Mrs. E. C. Ware, Miss Mary Lee Schenck, Miss Martha McL. Strong, Miss Julia H. Waring, Mrs. Guy Schmidt, Mrs. Arthur P. Sturgis, John H. Warren, Bentley W. Scott, Miss Laura Sturgis, The Misses Warren, Mrs. George Copp Scott, Mrs. Arnold Sumner, Mrs. Charles P. Warren, Mrs. George E. Scranton, Mrs. Gilmore G. Swain, Mrs. Howard T. Wallace, Charles F. Sears, Miss Annie L. Swift, Miss Lucy W. Walter, Mrs. Mabel S. Sears, Mr. and Mrs. Henry F. Watson, Mrs. Thomas R. Sears, Mrs. Montgomery Watters, W. F. Sears, Richard D. Taft, Edward A. Webster, Mr. and Mrs. Edv/in S. Sears, Miss Susan D. Taintor, Mrs. Charles W. Weld, Mrs. Charles G. Selfridge, Mrs. G. S. Tapley, Miss Alice P. Weld, Mrs. C. Minot Shattuck, Lillian Tapley, Henry F. Weeks, Mr. and Mrs. Robert S. Shurtleff, Miss Gertrude H. Tappan, Mrs. Frederick H. Weidhorn, Leo Sigourney, Miss Edith Tappan, Miss Mary A. Weisberg, Edward L. Silsbee, Mrs. George S. Taussig, F. W. Welch, Mr. and Mrs. E. Sohier Slattery, Mrs. Charles Lewis Thaw, Mrs. Edward Wellington, Mr. and Mrs. A. W. Slocum, Mrs. Winfield S. Thayer, Mrs. John E. Wells, Mrs. Webster Smith, Miss Elizabeth H. Thayer, Mrs. W. H. Wendell, Mrs. Barrett Smith, Mr. and Mrs. Frederic S. Thomas, Mrs. Giles W.* Weston, Charles H. Smith, Louis C. Thomas, Mrs. W. B. Wetherbee, Martha Smith, Mr. and Mrs. Thompson, Mrs. Augustus P. Wheatland, Richard F. Morton Thoron, Mr. and Mrs. Ward Wheelwright, A. W. Smith, Mrs. S. Abbot Thorndike, Albert Wheelwright, Miss Mary C. Sonnabend, A. M. Thorndike, Dr. and Mrs. White, Miss Gertrude R. Sortwell, Mrs. A. F. Augustus Whitin, Mrs. G. Marston Spalding, Mrs. Philip L. Thorndike, Mrs. John L. Whitney, Mrs. Margaret F. G. Spalding, Mr. and Mrs. Thorndike, Miss Mary D. Williams, Moses Walter R. Thorp, Miss Alice A. Willson, Donald B. Spaulding, Miss Emma F. Thorp, Mr. and Mrs. J. G. Wilder, Mrs. Edward F. Sprague, Phineas W. Thurber, Miss Elizabeth Wilson, Miss A. E. Sprague, Mrs. Charles Tower, Miss Florence E. Winslow, Arthur Sperry, Marcy L. Townsend, Miss Elizabeth Winsor, Mrs. Alfred Spring, Mrs. Romney Tozzer, Mr. and Mrs. Alfred M Winsor, Mrs. Frederick Squibb, Dr. Edward H. Tuckerman, Mrs. L. S. Winsor, Mrs. Kennard Stackpole, Miss Alice Tufts, Miss Ida H. Wolcott, Mrs. Roger Stackpole, Mrs. Frederick D. Turner, Miss Nellie B. Wood, Miss Charlotte Stackpole, Mr. and Mrs. Wood, Dr. Nathaniel K. Pierpont L. Woolley, Mrs. Edith Christiana Stanton, Miss Katharine Underwood, Miss Sophia A. Wrenn, Philip W. Subscribers to the Endowment Fund for the season 1928-1929 From the estate of Edith Duncan Lamb .... $5,000.00 "Because she was much interested in and greatly enjoyed the concerts" Bancroft, Mrs. Hugh Gray, Mrs. Horace Lowell, Mrs. Guy Bowden, Mrs. H. L. Holbrook, Miss Mary S. Spalding, Mrs. Philip L. Dane, Ernest B. Howland, Miss Bertha M. Estimated deficit for the season 1928-1929 $135,000.00 Subscriptions to date 91,952.67 Balance required to meet estimate 43,047.33 1913 Endowment Fund . $294,294.97 Endowment Fund, in memory of Henry L. Higginson 70,310.18 Endowment Fund, in memory of Richard G. and Ellen Sturgis Dixey 5,000.00 Endowment Fund, The Adele Wentworth Jones Trust Income dedicated to purposes other than running expenses 10,000.00 Subscriptions are applicable to deductions from the Federal Income Tax Subscriptions to annual deficit and to the Endowment Fund should be sent to E. B. Dane, Treasurer, 6 Beacon Street, Boston, Mass. FORM FOR BEQUEST I give and bequeath to the Boston Symphony Orchestra, Inc. the sum of $ , to be added to the Endowment Fund. The Orchestra can be carried on only by the generosity of those who believe it important in the life of Boston and are willing to help it financially. All such are invited to join in sustaining the Orchestra. Ik y Founders of the Middle Ages i By Edward Kexxard Raxd "Wit, wisdom, and scholarship are blended so craftily in these rj notable contribu- Lowell lectures that they constitute at once a pj tion to that invaluable series of mediaeval studies emanating K from Harvard and a pleasant introduction for the general reader » to the study of mediaeval thought and expression. . . . The lover \A of literature, mediaevalist or not, will value not less the easy, y lucid prose, the vivid illustration, the sympathetic imagination, H the deft byplay of caustic irony and genial wisdom which are in fj the best tradition of that humanism their author illustrates and serves."— Saturday Resie^v. $4.00 a copy HARVARD UNIVERSITY- PRESS | 3 • RANDALL • HALL • CAMBRIDGE • MASSACHLSETTS | \ \ 1914 B U S I N E HABMGNY is usually maintained when there are no "red ink profits" on the books at the end of the year. Our business is composing and execut- ing direct-mail advertising which tones pleasantly and profitably with your other sales and advertising plans. Geo. H. Ellis Co. Incorporated 272 CONGRESS ST., BOSTON LIBerty 7800 I'M") ; belongs to Sir Hamilton Harty. For that technique "sometimes led to the same results—a tendency to exhibit virtuosity for virtuosity's sake and to insist on interesting details at the expense of the ." whole. . . And that is what comes of worshipping the fetish of the super-drilled orchestra and the folly, the injurious folly to music, of striving after the "perfect" performance. It leads to the exaltation of the virtuoso conductor, to the emasculation of the orchestra, to the devitalization of the art. The phenomenon, of course, is not peculiar to music. It shows itself also in the theatre, where the producer has been gradually establishing a despotism, and where a play like "Broadway" ad- mittedly owed its vogue to the extreme slickness of its production one can observe it at any musical comedy, where of the legs of the chorus beauties there are, in Wordsworthian phrase, forty kicking like one. This mechanization in music ultimately defeats its own end. It does not bring us nearer to the heart of the classics, but by substituting the whimsies of one man anxious to impress his own personality upon an audience for the collective sanity of a hundred musicians who at any rate have no desire for personal glory, it covers their text with glosses that, far from being interest- ing, soon become irritating in the highest degree. There is more to it than this. For when connoisseurs are busy criticizing various interpretations of the classics, comparing this conductor with that and one orchestra with another, emphasizing always that their epicureanism can be satisfied only by performances as polished as the corner-stone of King Solomon's temple, the doubt MODERN MUSIC ON IMPORTED RECORDS From Every Corner of the Earth HONEGGER- No. 668 r PRELUDE AND BLUES Played by a Quartet of Chromatic Harps. Side two con- 12"-$1.75 1 l tains a Scherzo by Jaczues Larmianjat. POULENC-Francis 15094- fLES BICHES—Rondeau 12" $1.90 JLES BICHES—Adagietto 13053 jMOUVEMENTS PERPETUELS 10"-$1.30 \ Nos. 1. 2, and 3. Piano by the Composer. DEFALLA- G. S. Album f NIGHTS IN THE GARDENS OF SPAIN C *n ** ve arts by the Gramophone Symphony Or- 12"- P » Played — price complete chestra. Side six contains, ANDALUZA Piano played $6.75 Dy Mme. Van Barentzen. AURIC and MILHAUD- 5339-10" f "ADIEU NEW YORK"— (Auric) $1.50 ("NOTHING DOING BAR BALLET" Tango (Milhaud) Call or write for our catalogues of over 1,000 great works, recorded in their entirety, from before Bach and Beethoven to the works of such contemporary composers as Bela-Bartok, Hindemith, Ravel, Pfitzner, Skrjabin and others too numerous to mention. THE GRAMOPHONE SHOP specialists^imported 47 East 47th Street, New York City. Telephone-Murray Hill 1318 1916 TOWN TOWN AXI AXI LOWEST RATE OF FARE IN BOSTON w%r% Latas AT AFTER ALL CONCERTS Notify the usher or taxi agent at entrance LOURING CARS LIMOUSINES Low Rates Quality Service INCORPORATED LOWEST RATE OF FARE IN BOSTON OWN TOWN TAXI AXI 1917 suggests itself whether such niceness is distinguishable from de- cadence. Decadent, because it sets up, or rather is the product of, a false standard of values ; decadent, because in directing excessive attention to the executant side of music it deflects interest from the creative side. No one need belittle the inheritance of the past in asserting that the really important thing for any generation is not to live upon the masterpieces of its predecessors, but to produce its own. Indeed, unless this is done, music will become a dead art, and even Bach and Mozart in the end will cease to live within us. But how are we to expect contemporary composers to hand on the lighted torch when the sympathy of those who are moved by the con- course of sweet sounds does so little to help feed the flame ? Instead of wondering why Vaughan-Williams, for instance, does not write a fellow to the Pastoral and London Symphonies, instead of feel- ing a sense of frustration that the works of so many musicians which reflect more or less sensitively the spiritual tendencies of our own time are left unplayed, instead of regarding the classics with the respect wholesomely qualified by our reverence for the present, we direct our aspirations to the establishment of an orchestra whose main function will be to produce more finished, more galvanic, more dynamic, more epithetic readings of things which we all know in greater or less degree by heart. For therein, I submit, lies the whole raison d'etre of the super- orchestra. If three-quarters of our programmes consisted of music composed within the past thirty years, interest would be focused too keenly on the thing said to cause people to concentrate over ex- A TEMPO You can always count on our men's and boys' clothing being right on time with the latest styles. Rogers Peet Company formerly Macullar Parker Company Tremont Street at Bromfield Date Main selection played Also Impression In the party were Feeling that a collection of the Rogers Peet cartoons might make an interesting record of concerts heard, we shall be glad to provide a little album for these clippings. Write to, or call " at our "Convenient Corner. 1918 .. . (^VUR complete stocks of imported neckwear are an incentive to women, who prefer to purchase at a men's store, men's gifts, that have distinction as well as worth. //FW/NS & /jOLL/S Nearly Opposite 24 PROVINCE STREET Bosworth Street Steps BOSTON STORNELLATA MARINARA Pietro Cimara 50 DEL MIO AMATO BEN Stefano Donaudy 50 VAGHISSIMA SEMBIANZA Stefano Donaudy 50 ZOMPA LLARI LLIRA! Vittorio Giannini 50 LUISE Vittorio Giannini. .50 CARO. CARO EL MIO BAMBIN Antonio Guarnieri. .50 NANA Francisco Mignone .50 E UNO. E DUE, E TRE Mario Pieraccini. . .50 BELLA BELLINA Giulia Recli .50 LA MAMMA E COME IL PANE CALDO Ottorino Respighi 50 G. RICORDI & CO., Inc., 14 East 43rd Street, New York City Thoroughly Dependable! Petrol*^ RESIDENCE OIL BURNER^^^gTg,,, <^4 product of PETROLEUM HEAT AND POWER COMPANY (^Makers ofoil burners since 1903) Sales and Display Room : 834 COMMONWEALTH AVENUE, Boston Petro Equipment Heats Symphony Hall 1919 " quisitely on the manner of saying it. It is not an accident that the European capital in which music in our time has shown the most vigorous life is Paris, where French good sense tells them that in orchestral playing—as in other things—le mieux est Tennemi du bien. Symphony in E-flat major, No. 3, "Rhenish," Op. 97 Robert Alexander Schumann (Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856) This symphony was sketched and orchestrated at Dtisseldorf be- tween November 2 and December 9, 1850. The autograph score 50," bears these dates: "I. 23, 11, 18 (50) ; II. 29, 11, 50; III. 1, 12, and at the end of the symphony "9 Dezbr., Dtisseldorf." Clara Schumann wrote in her diary, November 16, 1850 : "Robert is now at work on something, I do not know what ; for he has said nothing to me about it." It was on December 9 that he surprised her with the symphony. Sir George Grove, for some reason or other, thought Schumann began to work on it before he left Dresden to accept the position of City Conductor at Dtisseldorf ; that he wished to compose an important work for production at the Lower Rhine Festival. BK/M ENSEMBLES - FOR SMARTNESS WF, rriHE coat to this ensemble is of n A soft, imported tweed with tiny semi-circular tucks giving the His smart "dressmaker" touch. The color theme of the weave is carried out in the lining of the coat and the dress of heavy flat crepe. The dress features the new Worth tri- color tie. It is one piece with long sleeves and a box pleated skirt. Choice of deep rose and tan. THE CORA CHANDLER SHOP CHANDLER'S CORSET STORE 50 Temple Place 1920 "Simplicity and Smartness" typify our carefully assembled selection of beautiful creations for early spring and southern wear flururitchBros. 20 NEWBURY STREET CORSETRY AND UNDERWEAR LATEST MODELS FITTED TO INDIVIDUAL REQUIREMENTS 420 BOYLSTON ST. ™$®8Zblb price EDWARD K. PERRY IY 'Painting and 'Decorative Finishes 774 COMMONWEALTH AVENUE Tel. Aspinwall 1 1 64 The Personal Touch is the keynote of our success. Large or small orders receive the same treatment FLOWERS AND PLANTS Flowers Flowers and telegraphed to all parts of the Decorations world for all Cable address occasions Symflo A Good Reputation is better than 240 HUNTINGTON AVENUE a Written Guarantee Diagonally across from Telephones, Kenmore 2076, 2077 Symphony Hall 1921 — The first performance of this symphony was in Geisler Hall, Dtisseldorf, at the sixth concert of Der Allgemeine Mnsikverein, February 6, 1851. Schumann conducted from manuscript. The reception was cold. Mme. Schumann wrote after the performance that the "creative power of Eobert was again ever new in melody, harmony, and form. ... I cannot say which one of the five move- ments is my favorite. The fourth is the one that at present is the least clear to me ; that it is most artistically made—that I hear but I cannot follow it so well, while there is scarcely a measure in the other movements that remains unclear to me ; and indeed to the layman is this symphony, especially in its second and third move- ments, easily intelligible." The programme of the first performance gave these heads to the movements: "Allegro vivace. Scherzo. Intermezzo. Im Charakter der Begleitung einer feierlichen Zeremonie (In the character of an accompaniment to a solemn ceremony). Finale." The symphony was performed at Cologne, February 25, 1851, in Casino Hall, when Schumann conducted; at Dtisseldorf, "repeated by request/' March 13, 1851, Schumann conductor; at Leipsic, De- cember 8, 1851, in the Gewandhaus, for the benefit of the orchestra's pension fund, Julius Reitz conductor. POISE One's feet are always natural and comfortable in the Cantilever Shoe, which makes it easy to carry one's self gracefully. We illustrate a model, to wear with your tailored costumes, that is excellent for walk- ing. In brown or black kidskin and in patent leather, harmonizing trim. CANTILEVER SHOE SHOPS Cora Chandler Shop Newbury St. Cor. Clarendon 50 Temple Place (Just Below Copley Square) INC. BOOKS PRINTS IMPORTATIONS 151 NEWBURY STREET BOSTON 1922 CARRY- ON SHOP 65 CHARLES STREET BOSTON TELEPHONE HAYMARKET 6290 WE HAVE RECEIVED OUR SPRING MODELS VERY EARLY THIS YEAR. THERE ARE CHINESE DAMASK DRESSES WITH COATS, KNITTED SPORT DRESSES WHICH HAVE BELTS AND BAGS TO MATCH. PRINTED SILK AND COTTON DRESSES MADE TO MEASURE. BOSTON MOTORLUXE MOTOR ROBES MOTORLUXE COATS RODIER MOTOR ROBES TO OUR SYMPHONY SUBSCRIBERS It is suggested that subscribers who for any reason find themselves unable to attend the Symphony Concerts, and whose tickets would not otherwise be used, send them in to be sold for the benefit of the Boston Symphony Orchestra, Inc. Endowment Fund. Last season the Endowment Fund received over $7,000.00 from this source. Kindly send tickets as early each week as convenient to the Boston Symphony Orchestra, Inc., Symphony Hall, Boston. (If it is too late to mail the tickets, kindly telephone their location to Symphony Hall, Back Bay 1492.) E. C. SCHIRMER MUSIC CO 221 COLUMBUS AVENUE, BOSTON, MASS. Telephene 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 & 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 Gout, Rheumatism, Explanatory Pamphlet mailed on request All Uric Acid Disordern On Sale at your Druggist Ownhhr-i L*b©r.torf... Pa*fc CHATELAIN, 153 Waverly Place. N Y.C 1923 ; The first performance in England was at a concert given by Luigi Arditi in London, December 4, 1865. The first performance in Boston was at a concert of the Harvard Musical Association, February 4, 1869. The Philharmonic Society of New York produced the symphony February 2, 1861. The symphony was published in October, 1851. Schumann wrote (March 19, 1851) to the publisher, Simrock, at Bonn : "I should have been glad to see a greater work published here on the Rhine, and I mean this symphony, which perhaps mirrors here and there something of Rhenish life." It is known that the solemn fourth movement was inspired by the recollection of the ceremony at Cologne Cathedral at the installation of the Archbishop of Geissel as Cardinal, at which Schumann was present (November 12, 1856). Wasielewski quotes the composer as saying that his intention was to portray in the symphony as a whole the joyful folk-life along the Rhine, "and I think," said Schumann, "I have succeeded." Yet he refrained from writing even explanatory mottoes for the movements. The fourth movement originally bore the inscription, "In the char- acter of the accompaniment of a solemn ceremony"; but Schumann struck this out, and said : "One should not show his heart to people for a general impression of an art work is more effective ; the hearers fine diamond jewelry CARL H. SKINNER lac 3QO BOYLSTON STJREETj PENNELL, GIBBS & QUIRING CO. DECORATORS AND PAINTERS DRAPERIES, FURNITURE AND WALL PAPER 203-05 CLARENDON STREET - BOSTON 1924 Interior Decorator Draperies Furniture Wall Papers 1 , 1 03 St. James Ave., Boston Reardon Buildings 7795 T I U V 5 1 elephones. N.enmore 1 7796 JOHN R. PERRY HOWARD R. PERRY 248 BOYLSTON STREET, BOSTON Telephone: Ken. 4550 Decorators of Symphony Hall CTsr; £*y0j*F%. •v ** .;*/.. T la A New Pattern of Glazed Chintz Flowers spaced in an interesting man- ner, choice of putty, Georgian green, tobacco brown or delicate peach back- ground. Decorative and restful. 36" wide. Price $2.55 a yard. siinction FLORA MacDONALDJnc Eleanor Frazer C A.*>L ri«CHEKL 1925 then, at least, do not institute any absurd comparison." The sym- phony was very dear to him. He wrote (July 1, 1851) to Carl Eeinecke, who made a four-handed arrangement at Schumann's wish and to his satisfaction: "It is always important that a work which cost so much time and labor should be reproduced in the best possible manner." The first movement, Lebhaft (lively, animated), E-flat major, 3-4, begins immediately with a strong theme, announced by full orches- tra. The basses take the theme, and violins play a contrasting theme, which is of importance in the development. The complete statement is repeated ; and the second theme, which is of an elegiac nature, is introduced by oboe and clarinet, and answered by violins and woodwind. The key is Gr minor, with a subsequent modulation to B-flat. The fresh rhythm of the first theme returns. The second portion of the movement begins with the second theme in the basses, and the two chief themes are developed with more impartiality than in the first section, where Schumann is loath to lose sight of the first and more heroic motive. After he introduces towards the end of the development the first theme in the prevailing tonality, so that the hearer anticipates the beginning of the reprise, he makes unex- pected modulations, and finally the horns break out with the first theme in augmentation in E-flat major. Impressive passages in syncopation follow, and trumpets answer, until in an ascending chromatic climax the orchestra with full force rushes to the first theme. There is a short coda. Announces the Fifteenth Year of his In Concord, Massachusetts, June 24 to July 19 inclusive, 1929 A School for Teachers of Music, for Students and for others who wish to increase their understanding of Music. Complete course in School Music from Kindergarten to College including the teaching of History and Appreciation. Con- ferences on College Music. Lectures on Education, on Literature and on Art. Three Chamber Music Concerts. Choral works by Bach, Brahms, Hoist, Vaughan Williams and other modern composers. 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William Foster Apthorp found the theme to be "a modified version of the so-called 'Kheinweinlied,' " and this a theme of a rather ponderous joviality" well expresses "the drinkers' 'Uns ist ganz cannibalisch wohl, als wie funf hundert Sauen!' (As 'twere five hundred hogs, we feel so cannibalic jolly!) in the scene in Auerbach's cellar in Goethe's 'Faust.' " This theme is given out by the violoncellos, and is followed by a livelier contrapuntal counter-theme, which is developed elaborately. In the trio horns and other wind instruments sing a cantilena in A minor over a long organ-point on C. There is a pompous repetition of the first and jovial theme in A major; and then the other two themes are used in combination in their original form. Horns are answered by strings and wood-wind, but the ending is quiet. The third movement, Mcht schnell (not fast), in A-flat major, 4-4, is really the slow movement of the symphony, the first theme, clari- nets and bassoons over a viola accompaniment, reminding some of 1' Mendelssohn ; others of "Tu che a Dio spiegasti ali," in "Lucia di Lammermoor." The second theme is a tender melody, not unlike a refrain heard now and then. On these themes the romanza is con- structed. The fourth movement, Feierlich, E-flat minor, 4-4, is often de- scribed as the "Cathedral scene." Three trombones are added. The chief motive is a short figure rather than a theme, which is an- nounced by trombones and horns. This appears augmented, di- "/ can reduce fat surely, healthfully, even pleasurably without the discomforts and dangers of exercise, diet or drugs." Anna Walker Wakefield made this announcement two years ago, after a eery careful investigation of the whole field of reducing methods and equipment and after a thorough and successful trial of this method on herself. 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The music is, as a rule, the free development of thematic material of the same unvaried character. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two valve horns, two plain horns, two trumpets, three trombones, kettledrums, and strings. REMEMBERED MUSIC Back of the symphony, book or canvas which per- sists in a people's affection—is Imagination. It will not let us forget the thing it touches. One of the rewards of our art is that, after sixty years of portraiture, friends—meanwhile grown famous—remember to return. 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HUBbard 1740 ooiriesic.& races 1931 — This symphony was performed in Boston at a Symphony concert on October 8, 1910, in commemoration of the one hundredth anni- versary of Schumann's birth (June 8, 1810). Mr. Fiedler conducted. This symphony, revised and rescored in the summer of 1921 by Frederick Stock, conductor of the Chicago Symphony Orchestra, was played for the first time in Chicago on December 9, 1921. A second performance was on January 26, 1923. Mr. Stock contributed to the Programme Book of the Chicago Symphony Orchestra this expla- nation : "It happened in the earlier part of December, 1903, that Theodore Thomas conducted at one of the concerts of that season—the thir- teenth in the history of our orchestra—Robert Schumann's third, or ^Rhenish,' symphony. After the presentation of the symphony the writer of these lines found Thomas in most dejected spirits in the greenroom behind the stage of the Auditorium, which in BEFORE AND AFTER THE CONCERT DINE AT fERVA 216 HUNTINGTON AVENUE One block from Symphony Hall Famous for good food and service at moderate prices The best of the kind. Under management of the HARRY C. DEMETER Established 1905 Phone Kenmore 6380 THE "HALL-MARK" OF THIS SHOP a yy EACH GOWN WE TURN OUT IS CORRECT IN LINE, IN DETAIL, IN FASHION AND ALWAYS IN GOOD TASTE PRICES S22 TO $245 THEODORE, Inc. Oppositk Coplbt-Plaza 557 Botlstok Sthbet, Boston Publishers of gditionWbod. cAnd the Largest Catalog of Easy Educational Music in the World, To be had through your Local Dealer 88 ST. STEPHEN STREET BOSTON, V7 1932 Beneficiaries It makes a world of difference whether one is a beneficiary or a victim of his portraits. In photography it all depends upon the artist-operator and the ideals of the studio. A real photographer has much to offer besides mere prints. To photographs, P U R D Y adds prestige. The more one knows of portrait- ure the more he appreciates PURDY photographs. Nqw ^ 16Q Tremont Street SPRING SUGGESTIONS FROM The Farm and Garden Shop N. E. Farm and Garden Association, Inc., 39 Newbury St, FRESH EGGS for putting down in water glass. NEW VERMONT MAPLE PRODUCTS, Soft Sugar, Syrup, Candies. BULB TROWELS, WEEDERS, PLANT STAKES, HEAVENLY BLUE MORNING GLORY SEEDS Telephone Kenmore 0042 J011IG nun ...downs... 247 NEWBURY STREET Guard Against Theft and Damage to Your Auto One minute from Symphony Hall STORE AT WESTLAND AVENUE GARAGE INC. 41 WESTLAND AVENUE 1933 those days housed the orchestra for its regular season of sym- phony concerts. " 'Oh, if Schumann had only known how to handle the orchestra/ Thomas said to me, rather angrily, 'How effectively his music could be made to sound! Such fine, noble themes, good workmanship, and yet such abominably poor orchestration. All of Schumann's four symphonies should be rescored, but especially this one. Anton Dvorak promised me that he would take them in hand; but of course he is so busy all the time composing his own music that I doubt if he ever will get to it. I shall do it myself as soon as time permits/ "The time never came for Thomas to do as he intended, for just about thirteen months later he left this world. His remarks con- cerning Schumann's symphonies have ever lingered in my memory, and to-day's first performance of his 'Rhenish' symphony in an entirely new orchestral garment is an attempt to bring to new life a work for which I have always felt the most affectionate regard. The new score represents a great amount of arduous, conscientious labor on my part, and I have taken pains to conserve that spirit of romance with which all of Schumann's works are imbued. "Comparing the original score with the new orchestration, one will find that about a dozen new instruments have been added, not only for the sake of sonority, but especially to obtain a larger Til IE A LONG NADRATIVE^POBA^bY MAI?/ LHGrfTON] The only way to achieve the slim DAMnnm&ve in thepardeg/ silhouette is by proper corseting. en the dea$kss"tove — My new evening corselette accom- stoi/y of the huni family. an J .1 plishes this and meets every re- y , nn iii ' A work of beautjUJhroijighofrV' says quirement of the present fashion, I JoljglpLAiR MinotW the Kofton Her* W#»v*. "A fascinating, original, and nptewotohy piece/of work," says Pro- fessor SafeeiE C/HART/of Wellesley 308 BOYLSTON STREET CoHege . *vv. hnk THE FIRST jut roup SfAs^cbkpANY in Educational Institutions / BOSTON ^s/ Also for CHURCH MUSICIANS. Guidance Counselling 470 \ STUART STREET Address. HENRY C. LAHEE A^fHs tif^fahea?5a*a$og : Conrad iUken, Lord DunS&nyTLeon C ordow>M oxim CorlcyvQlga Pet- Boston Musical and Educational Bureau rova, Gertrude Capen Whitney. Writefor a copy Si J Pierce Building, Copley Square, Boston. Mas*. 1934 variety of color effects. The first and last movements have been intentionally scored with utmost brilliancy, while the scherzo has been treated with lightness of touch and a somewhat deft humor. The romanza, or third movement, retains much of Schumann's tone color, which is quite soft and shadowy. The cathedral scene, which precedes the finale, is changed completely as regards orches- tral design; I believe that Schumann intended to picture the great Cologne Cathedral as its massive forms rise boldly against the dull sky of a gray autumn day, when heavy mists rise from the Rhine, as it majestically passes in close vicinity to the cathedral. Here again I have tried to preserve the romantic mysticism so charac- teristic of the original." Upon the score of the new version of Schumann's symphony the (Btawll lr0«|w STATIONERY CALLING CARDS WEDDING INVITATIONS THE DIFFERENT KIND Pottery of Classic Form Glazed in Poulson Tones of Antique Bronze. The Society of HARPER W POULSON A RTS and CRAF' s SOCIAL AND COMMERCIAL STATIONER 284 Boylston Street Boston 9 Park Street . . Boston INTERIOR DECORATION TRAVEL COURSE BOUND COPIES of the Scenic Trip through Belgium, The Rhineland, and Switzerland SoHtntt 0gmpl|0ttg WtttytBtvuB Historic Period Interior Decoration and PROGRAMME BOOKS Furnishings of Italy, France and Eng- land studied in their original architec- Containing Mr. Philip Hale's analytical and de- tural settings. Director, Professor I. T. •criptive notes on all works performed during the Frary, Cleveland Museum of Art. season ("musically speaking, the greatest art an- Sailing from New York, June 15. nual of to-day."— W. J. Henderson, New York Business management : Temple Tours. Sun), may be obtained by addressing Summer Session at the Boston Studios, July i PRICE. $6.00 SYMPHONY HALL Boston School of Interior Decoration and Architectural Design 234 Clarendon Street, Boston, Massachusetts EEMAN, BEAL k HOLr ilk i 'iWtesl . ^Q|B^^ . . IMPORTERS . . -- A Violins, Fittings and Repairs 564 Washington Street, Rooms 527-528 Telephone Connection BOSTON 1935 322 MISS HARLOW Study Foreign Languages MISS HOWLAND For your cultural well-being, for a greater enjoyment of literature, art . . Interior Decorators . . and music, you should know sev- 20 Newbury Street eral foreign languages. The easy way to learn is the Berlitz Conver- Imported Wall Papers and sational Method. Chintzes PRIVATE OR CLASS LESSONS Lamps and Lamp Shades SUCCESSFUL 50 YEARS Rare Old Maps, American and Foreign Large Collection Old Dutch SCHOOL, o: Tiles Painting—Wall Paper Hanging LAN Q UAGE5 Boylston Upholstery and Curtain Work 132 Street tel. liberty 1224 Telephone Kenmore 7200 WEDDING enn STATIONERY y STEEL DIE ENGRAVED Q)ay and &vtn\ng S ELIAS HOWE CO. 120 BOYLSTON STREET OLD VIOLINS, VIOLAS, 'CELLOS ARTISTIC REPAIRING 2,000 VIOLINS IN STOCK LEATHER CASES. FINE BOWS, ITALIAN STRINGS, SILVER G STRINGS HAKKERT STRINGS best In the world VIOLIN — VIOLA — 'CELLO — HARP USED BY THE BEST ARTISTS AND MUSICIANS IN EUROPE 1936 transcriber wrote below his name: "May the Lord and Schumann bestow mercy upon him!" Mr. Borowski, the editor of the readable and instructive Pro- gramme Book of the Chicago Symphony Orchestra says of Mr. Stock's revision : "In certain places, in order to give greater clarity to the thought, the transcriber has found it necessary to add a measure here or there—as, for instance, an extra measure at the beginning of the fourth movement, so that the enunciation of the theme of the movement, somewhat clouded in Schumann's version, may be made more apparent to the ear. In order, too, that the work be given a more effective ending, Mr. Stock has replaced the coda of Schumann's invention by another, in which, however, he has employed the master's material. It is worth mentioning, also, that the transcriber has not omitted to avail himself of such oppor- tunities as arise from contrapuntal embellishment in the various orchestral voices, these, however, growing out of the material which Schumann originated in the first place." Mr. Stock's score calls for three flutes (the third interchangeable with a piccolo), three oboes (one interchangeable with an English horn, three clarinets, three bassoons, four horns, four trumpets, three trombones, bass tuba, kettledrums, triangle, cymbals, bass drum, side-drum, tambourine, and strings. Reminiscences of a Musician By Clayton Johns Personal recollections of Brahms, Liszt, Joachim, Gericke, Gounod, Paderewski, John Singer Sargent, Lady Radnor, Mrs. Gardner, Henry Lee Higginson, Mary Anderson, Melba, Emma Eames, and many other great folk in the world of music,—all told with the charming spontaneity that bespeaks the well-stored memory. There are thirteen illustrations, each as delightfully intimate as the text itself. $2.50 a copy at all bookshops Washburn & Thomas P. O. Box 131 Cambridge 38, Massachusetts 1937 — 1829 1929 The Most Wonderful Da¥©Iopmeet to the Dry Cleameg ledbsiry Now installed and operating at After Many Years of Chemical Research there has been perfected a process of CONTINUOUS STERILE FILTRATION giving results hitherto impossible in dry cleaning The process of filtration is so perfect that even micro-organisms cannot pass through the filter Nothing like this Continuous Sterile Filtration has ever been known up to this time Cloths and Fabrics look different feel different —they are different—through this new process For 100 years the leading Cleansers and Dyers in this Country Executive Offices and Works . , | MIDdlesex 5700 Tlelepnones| 1 Galen Street, Watertown BACkBav3900 1938 : e UK? The results are here announced of the vote made by the audi- ences of the Friday Afternoon and Saturday Evening Series for the programme of the closing pair of Boston Symphony concerts next week. The ballot listed the music played this season, each voter signifying his choice of one in each of three classifications. The programme, thus determined, will be as follows— (Friday Afternoon, April 26, at 2.30, Saturday Evening, April 27, at 8.15) Wagner. .. .Prelude to "The Mastersingers of Nuremberg" Debussy Prelude to "The Afternoon of a Faun" Ravel "La Valse," Ghoregraphic Poem Tchaikovsky Symphony No. 5 in E minor, Op. 64 The final count shows the following results Symphonies Votes Tchaikovsky Symphony No. 5 in E minor 440 Franck Symphony in D minor 302 Brahms Symphony No. 2 in D major 116 Schubert Symphony in B minor ("Unfinished") 91 Sibelius Symphony No. 3 76 Beethoven Symphony No. 6 ("Pastorale") 75 Beethoven Symphony No. 3 ("Eroica") 66 Prokofieff "Classical Symphony" 52 Bloch "America," An Epic Rhapsody 51 Bruckner Symphony No. 8 in C minor 45 Mozart Symphony in C major, "Jupiter" 39 Schumann Symphony No. 1 in B-flat 39 Schubert Symphony No. 7 in C major 37 Mahler Symphony, "Das Lied von der Erde" 29 Beethoven Symphony No. 1 in C major 28 Haydn Symphony in G major, "Surprise" 20 Hanson Nordic Symphony 10 Schubert Symphony No. 4, "Tragic" 9 Dukelsky Symphony in F major 6 Hill Symphony in B-flat 6 Frederick the Great Symphony No. 3 Schubert Symphony No. 5 in B-flat, Halffter Sinfonietta MlASKOVSKY Symphony No. 8 1939 Tone Poems Ravel "La Valse," Choregraphic Poem 349 Strauss "Also Sprach Zarathustra" 285 Debussy Prelude to "The Afternoon of a Faun" 210 Scriabin "Poem of Ecstasy" 1*61 Carpenter "Skyscrapers" 116 Strauss "Tod und Verklarung" 82 Debussy "Iberia" 60 goldmark "A Negro Rhapsody" 51 Debussy "Nocturnes" 49 Schelling "Morocco" 20 honegger "Horace Victorieux" 14 TURINA "La Procession del Rocio" 8 Ravel "Alborada del Grazioso" 5 Martinu "La Symphonie" 4 Ibert "Feeriques" 1 Music in Other Forms Wagner Prelude to "The Mastersingers of Nuremberg" 312 Sibelius Concerto for Violin and Orchestra 157 Beethoven Overture to "Leonore" No. 3 129 Tchaikovsky Overture-Fantasia, "Romeo and Juliet" 129 Moussorgsky-Ravel Pictures at an Exhibition 103 Stravinsky "Apollon Musagete" 82 Bach Brandenburg Concerto No. 4 80 Strauss Salome's Dance from "Salome" 65 Handel Concerto Grosso No. 12 53 Foote Suite in E minor for String Orchestra 50 Bach, C. P. E. Concerto for Orchestra 48 Toch Concerto for Piano and Orchestra 37 Berlioz Overture, "Le Carnaval Romain" 36 Kodaly Suite "Hary Janos" 27 honegger "Pacific 2-3-1" 25 Albeniz Suite, "Iberia" 23 De Falla Dances from "The Three-Cornered Hat" 11 GOOSENS Rhythmic Dance 6 HONEGGER "Rugby" 6 HlNDEMITH Concerto for Orchestra 4 Jacobi Indian Dances 4 Copland Two Pieces - for Orchestra 3 honegger "Pastorale d'fite" 2 Janin "Symphonie Spirituelle" 2 Honegger "Chant de Nigamon" 1 1940