TWELFTH CONCERT FRIDAY, JANUARY 23, 1942

CYRUS NORTHROP MEMORIAL AUDITORIUM

UNIVERSITY OF MINNESOTA

THIRTY-NINTH S t ? k' i ' , „ „ University of Minnesota Walter C. Coffey, President William T. Middlebrook, Comptroller BOARD OF REGENTS James F. Bell George W. Lawson A. J. Olson Dr. F. J. Rogstad Daniel C. Gainey Albert J. Lobb Albert Pfaender Fred B. Richard L. Griggs Snyder Dr. E. E. Novak Ray J. Quinlivan Sheldon V. Wood The Orchestral Association of Minneapolis, Inc. S’,™, MSumner T. McKnight, Treasurer V'ce-^es^ent William E. Bast, Assistant Treasurer C. O. Kalman, Vzee-Prestdent Arthur J. Gaines, Secretary BOARD OF DIRECTORS George H. Adams Franklin M. Crosby John S. Pillsbury Dr. Edward Dyer Anderson Thomas L. Daniels DeWalt Ankeny Philip W. Pillsbury Edward C. Gale Miss Elizabeth Quinlan Dr. Donald C. Balfour Frank T. Heffelfinger Russell H. Bennett Carroll R. Reed C. Palmer Jaffray Walter S. Rosenberry, Jr. George B. Bickelhaupt Carl W. Jones Carlyle Scott Frederick R. Bigelow C. Oscar Kalman Dr. L. W. Boe Augustus L. Searle George B. Leonard Fred B. Snyder Charles C. Bovey George F. Lindsay Loring M. Staples Elbert L. Carpenter William MacPhail Nathaniel Stevens Lawrence W. Carpenter Sumner T. McKnight Charles B. Sweatt Leonard G. Carpenter Edgar V. Nash Harold H. Tearse Mrs. George Chase Christian Miss Alice O’Brien John Thompson Folwell W. Coan John G. Ordway Frederick B. Wells J. C. Cornelius Richardson Phelps John Cowles Edwin White Alfred F. Pillsbury Benjamin S. Woodworth Dr. Donald J. Cowling Edgar F. Zelle THE WOMEN’S COMMITTEE Mrs. F. Peavey Heffelfinger, Chairman Altman, Mrs. Harry Haney, Mrs. Phil Perry, Mrs. Ralph St. J. Baxter, Mrs. John T., Jr. Hartwell, Mrs. Arthur Peterson, Mrs. J. Rudolph Bell, Mrs. Earl Hawks, Mrs. Stanley Pflaum, Mrs. Leo Bennett, Mrs. Russell H. Hill, Mrs. Clarence E. Phillips, Mrs. Nick B. Benson, Mrs. John C. Hill, Mrs. Louis W. Pillsbury, Miss Jane Bowman, Mrs. Frank W. Humphrey, Mrs. Karl Brackett. Mrs. Thomas S. Pillsbury, Mrs. John S. Hunnewell, Mrs. Marian C. Pillsbury, Mrs. John S., Jr. Bros, Mrs. Raymond J. Janda, Mrs. Fred Pillsbury, Mrs. Philip W. Cain, Miss Myndall Jenkins, Miss Louise Callahan, Mrs. E. J. Pyke, Miss Emily Johnson, Mrs. Marj. Weikert Quinlan. Miss Elizabeth C. Carpenter, Mrs. L. W. Jones, Mrs. Carl W. Rand, Mrs. R. R. Carpenter, Mrs. Leonard G. Kalman, Mrs. C. 0. Case. Mrs. Benton J. Ricker, Mrs. Donald H. Kalman, Miss Cecelia Rogers, Mrs. Alice Best Christian, Mrs. George Chase Karalis, Mrs. D. N. Rosenberry, Mrs. W. S.. Jr. Coan, Mrs. Folwell W. Kingman, Mrs. J. R., Jr. Cooper, Mrs. W. S. Sanford. Mrs. Edward R. Krawczyk. Mrs. M. Seybold, Mrs. J. L. Cowles, Mrs. John Lampert, Mrs. Leonard, Jr. Shevlin. Mrs. E. L. Crosby, Mrs. Albert H. Langdon, Mrs. Cavour S. Smith, Mrs. Arthur Edward Crosby, Mrs. Franklin M. LaVake. Mrs. R. T. Smith. Mrs. Justin V. Crosby, Mrs. Thomas M. Legeros, Mrs. Christ Sokolowski, Mrs. John J. Daniels, Mrs. Thomas L. Lindley. Mrs. Alfred D. Spencer, Mrs. DeF. Dalrymple, Mrs. John S. Little, Mrs. Philip. Jr. Sprague. Mrs. Lucian C. Dayton, Mrs. George D. II Mayhew, Mrs. O. K. Staples, Mrs. Loring M. Denney, Mrs. Charles E. McCarthy, Mrs. C. H. Stevens, Mrs. Nathaniel Dillman, Mrs. W. A. McHugh, Mrs. C. Russell Strachauer, Mrs. G. H. Donnelly, Mrs. Charles McKnight. Mrs. Sumner T. Sweatt, Mrs. Charles B. Fansler, Mrs. W. A. McNally, Mrs. Miles Tearse, Mrs. H. H. Fleming, Miss Kathryn McNally, Mrs. William Fogg, Mrs. F. W. Thorpe. Mrs. Andrus McNutt. Mrs. John G. Tighe, Mrs. Richard L. Franke. Miss Cleo Moore, Mrs. Tom Frazer. Miss Irene Walter, Mrs. Robert Morrison, Mrs. A. W. Warner. Mrs. Leon C.. Jr. Fullerton. Mrs. James G., Jr. Morse, Mrs. Russell W. Wells. Mrs. Stuart, Jr. Gamble, Mrs. Bertin C. Nordland. Mrs. Edward H. Weyerhauser. Mrs. C. A. Gerrish. Mrs. H. E. Nyquist, Mrs. C. W. White, Mrs. Edwin Godfrey, Mrs. H. S. O’Brien. Miss Alice Gratzek. Mrs. F. R. Wichman. Mrs. Florence Earle Olberding, Miss Louise Williams. Mrs. George Griggs. Mrs. Theodore W. Ordway, Mrs. John G. Winton. Mrs. Charles J., Jr. Gudgeon, Mrs. Frank Overstreet, Miss Kathryn Zelle, Mrs. Edgar F. Paul. Mrs. W. V.

Arthur J. Gaines, Manager Suite 110, Northrop Auditorium, University of Minnesota

311 MINNEAPOLIS SYMPHONY ORCHESTRA SUBSCRIBERS TO THE GUARANTY FUND The annual expense of a symphony orchestra exceeds its income. These concerts are made possible only by the generosity of the public in subscribing funds to meet the operating deficit. There is still a great need and others are invited to join in sustaining the orchestra. A list of those who have contributed $100 or more for this season: INDIVIDUAL SUBSCRIBERS Allen, E. F. Comings, Charles L. Hawley, Mrs. John B., Jr. Ames, Chas. Lesley Cooper, Mrs. D. M. Hayden, Mrs. Caroline D. Anderson, Dr. and Mrs. E. D. Cooper, Mr. and Mrs. W. S. Hayden, Miss Helen L. Andrews, Sewall D. Cote, Mrs. R. F. B. Heffelfinger, Frank T. Ankeny, Mr. and Mrs. Cowles, Mr. and Mrs. John Heffelfinger, Mr. and Mrs. De Walt H. Crawford, R. E. F. Peavey Archer, Shreve M. Crocker, Mrs. Wm. G. Helm, W. C. Arnold, 0. J. Crosby, Mr. and Mrs. Albert F Hewitt, Mrs. M. F. Arthur, Hugh Crosby, Miss Caroline M. Hill, Mrs. George G. Asmussen, Henry F. Crosby, Mr. and Mrs. F. M. Hill, H. M. Atkinson, Mrs. F. G. Crosby, Geo. C. Hill, Jerome Baird, Julian B. Crosby, Mr. and Mrs. John Hill, Mr. and Mrs. Louis W., Jr Balfour, Dr. and Mrs. D. C. Crosby, Mr. and Mrs. Thomas Hill, Mrs. Louis W. Bell, Mr. and Mrs. Chas. H. Culver, Mr. and Mrs. Donald S. Hogan, Mrs. Beecher Bell, Mrs. James Ford Dalrymple, Mr. and Mrs. Hord, Lorin Bell, Mr. and Mrs. James F., Ji John S. Hudson, Mr. and Mrs. Bennett, James G. Daniels, Mr. and Mrs. Walter G. Bennett, Russell H. Thomas L. Hunt, Mrs. Harold 0. Bennett, Mrs. Russell M. Davis, Mr. and Mrs. Donald D. Ireys, Mr. and Mrs. Chas. G. Benson, John C. Dayton, Mr. and Mrs. Irvine, Mrs. H. H. George D., II. Best, James I. Jaffray, Mr. and Mrs. C. Dayton, Mr. and Mrs. G. Nelson Bickelhaupt, George B. Palmer Deinard, Amos S. Bigelow, Miss Eileen Jaffray, C. T. Deinard, Benedict Bigelow, Mr. and Mrs. F. R. Janney, Frances W. DeLaittre, Mr. and Mrs. Karl Jones, Mr. and Mrs. Carl W. Blum, Mr. and Mrs. Bernard Denney, Mrs. Charles Bovey, Mr. and Mrs. C. C. Junell, John Dobson, Mr. and Mrs. E. W. Kalman, C. 0. Bovey, Mr. and Mrs. Wm. H. Dobson, Mr. and Mrs. J. V. Bowman, Mr. and Mrs. King, Mr. and Mrs. Lyndon M. Frank W. Douglas, Mrs. George P. King, Mrs. Preston Brin, Mr. and Mrs. Arthur Drennen, Michael R. Kingman, Mr. and Mrs. Brooks, Mr. and Mrs. Edward Driscoll, Mrs. Walter B. Joseph R. Eames, Mr. and Mrs. Paul V. Krogness, Mr. and Mrs. Brooks, Mrs. P. A. M. A. R. Bros, Mr. and Mrs. Raymond J. Faegre, Mr. and Mrs. J. B. Flanagan, Robert J. Lampert, Mr. and Mrs. Bulkley, Mrs. Mary Saunders Leonard. Jr. Ford, Shirley S. Bullis, Mr. and Mrs. Harry A. Langdon. Mr. and Mrs. Bunn, Miss Helen Foreman, Mr. and Mrs. W. R. Cavour S. Butters, Fred K. Fowler, C. R. Larson, Mr. and Mrs. C. J. Cargill, A. S. Fullerton, J. G.. Jr. La Vake. Dr. and Mrs. R. T. Carpenter, Mr. and Mrs. Gaines, Mr. and Mrs. Arthur J. Lee, W. H. Elbert L. Gale, Mr. and Mrs. E. C. Leigh, C. E. Carpenter, Mrs. Eugene J. Gale, Richard P. Leland, Dr. and Mrs. Harold R. Carpenter, Mr. and Mrs. Gale. Mr. and Mrs. Samuel C. Leonard, George B. Leonard G. GeLatt, C. D. Lindley, Mr. and Mrs. A. D. Carpenter, L. W. Genter, H. C. Lindley, Mrs. Clarkson Case, Mr. and Mrs. Benton J. Goodridge, Mrs. Irving R. Little, Mr. and Mrs. Philip, Jr. Case, Mr. and Mrs. C. M. Griffin, John H. Lucker, Laurence H. Chamberlain, Mrs. F. A. Griggs, Mrs. T. W. Lyman, Mr. S. M. Chapman, Joseph Harper. Stanley J. MacFarlane, Mrs. W. C. Christian, Mrs. George Chase Harrington, Clara N. MacGregor, R. E. Clarke. Mrs. Hovey C. Harris, Mr. and Mrs. W. S. MacMillan, Mr. and Mrs. Clifford, F. W. Harsh, George W. Cargill Clifford. Mr. and Mrs. George B. Hartwell, Mr. and Mrs. MacMillan, Mr. and Mrs. J. H. Clifford, Mrs. J. E. Arthur M. MacMillan, Mrs. J. H., Jr. Coan, Mr. and Mrs. Folwell W. Hauschild, John H. Martin, Mrs. C. J. Coffey, Mr. and Mrs. Walter C. Hawks, Mr. and Mrs. Stanley Maslon, Samuel H.

3’2 SUBSCRIBERS TO THE GUARANTY FUND—Continued Massie, C. C. Robinson, Mr. and Mrs. Thorpe, Andrus McClure, Mr. and Mrs. Silas Harry L. Thorpe, James R. McKnight, Mr. and Mrs. Rogers, Charles Bolles Turner, Mr. and Mrs. S. E. Sumner T. Rogers, Mr. and Mrs. George I Vaughan, *Mr. and Mrs. McKnight, W. L. Ropes, Mr. and Mrs. Horace James A. McMillan, P. D. Rosenberry, Mr. and Mrs. Velie, Mrs. Charles D. McNally, W. J. Walter, Jr. Voris, Dr. Harold C. Mitropoulos, Dimitri Rothschild. Miss Teresa Waite, H. B. Ruben, E. R. Morgan, Mr. and Mrs. Geo. W. Walker, Mrs. Gilbert M. Morrison, Dr. and Mrs. Russell, W. J. Wallace, Thomas F. Angus W. Sager, Mr. and Mrs. Carl E. Ward, H. W. Morse, Mrs. Adeline R. Savage, Mrs. Arthur H. *Washburn, Mrs. John Myers, Mrs. Paul N. Schermerhorn, Mrs. J. B. Webber, Mr. and Mrs. C. C. Northup, Mr. and Mrs. Schlampp, Mr. and Mrs. W. G., Jr. Edward A. Weesner, H. R. Oberhoffer, Mrs. Emil Wells, Mr. and Mrs. Searle, Mr. and *Mrs. A. L. Frederick B. O’Brien, Alice M. Shepard, D. C. Wells, Marguerite M. O’Brien, James E. Shepard, R. B. Onan, D. W. Wells, Stuart W. Shepard, Samuel M. Weyerhaeuser, Mrs. Charles A. Ordway, Mr. and Mrs. J. G. Siems, Mrs. Claude H. Weyerhaeuser, Mr. and Mrs. Osborne, Mr. and Mrs. Skinner, Mrs. James H. F. K. Edward N. Smith, Dr. and Mrs. Arthur Weyerhaeuser, Mrs. R. M. Pack, Mr. and Mrs. R. F. Edward Wheeler, Mr. and Mrs. F. P. Partridge, Mr. and Mrs. Earl Smith, Mr. and Mrs. E. H. White, Mr. and Mrs. Edwin Peet, Mrs. Slade Snyder, Mr. and Mrs. Fred B. White, Dr. S. Marx Per Lee, Mr. and Mrs. J. A. Sprague, Mr. and Mrs. L. C. Whitney, Wheelock Pflaum, Mr. and Mrs. Leo R. Staples, Mr. and Mrs. Loring M. Williams, Mr. and Mrs. C. R. Pillsbury, Mr. and Mrs. Stevens, Mr. and Mrs. Williams, Mrs. Wadsworth A. Alfred F. Nathaniel Pillsbury, Mrs. Charles S. Winston, Mrs. W. O. Stott, Mrs. C. W. Winton, Mrs. Chas. J. Pillsbury, Mr. and Mrs. John S. Strachauer, Dr. A. C. Pillsbury, Mr. and Mrs. Wold, Theodore Philip W. Sweatt, Mr. and Mrs. Charles B. Wright, Mrs. Vernon A. Pinkerton, S. W. Sweatt, Mr. and Mrs. Harold W. Wurtele, Mr. and Mrs. V. Plant, W. J. Sweatt, Mrs. W. R. Wyman, Mrs. 0. C. Pomeroy, J. S. Tearse, Mr. and Mrs. Harold H. Yerxa, Mr. and Mrs. Dwight K. *Prince, F. M. Thomas, Guy A. Zelle, Mr. and Mrs. Edgar F. Queal, Mrs. John H. Thompson, Mr. and Mrs. John Richards, Mr. and Mrs. Thomson, Mr. and Mrs. G. V. Bergmann Thomson, J. Cameron * Deceased

FIRMS, CORPORATIONS, ASSOCIATIONS AND SCHOOLS Bell Investment Co., David C. KSTP, Inc. Peat, Marwick, Mitchell Co. Benson, Optical Co., N. P. Leader, Inc., The Peavey & Co., F. H. Boutell, Bros., Inc. Leonard, Street and Deinard Plymouth Furs, Inc. Burma Vita Co. Leslie Paper Co., John Powers Dry Goods Co., Inc. Central Lumber Co. Lund Press, Inc., The St. Paul Dispatch-Pioneer Citizens Aid Society MacPhail School of Music Press Company Coca-Cola Bottling Co. and Dramatic Art, Inc. Schmidt Brewing Co., Jacob Crane Company of Minnesota Marsh & McLennan, Inc. Schmitt Music Co., Paul A. Curtis Hotel, The McGill Lithograph Co. Shevlin, Carpenter & Clarke Dayton Company, The Minneapolis Brewing Co. Co. Office Employees Donaldson Co., L. S. Minneapolis College Women’s Stinchfield, Mackall, Crounse, Durkee-Atwood Co. Club McNally & Moore Faegre, Benson & Krause Minneapolis General Thomas & Co., John W. Franklin Co-operative Electric Co. Tribune Printing Co. Creamery Association Minneapolis Musicians Ass’n. University Ushers Gluek Brewing Co. Minneapolis Star Journal WCCO-Columbia Broadcasting Hamm Brewing Company Minneapolis Street Railway Co. System, Inc. Harold’s, Incorp. Minneapolis Tribune Waldorf Paper Products Co. Hotel Radisson Munsingwear, Inc. Wells College Club of Investors Syndicate Nelson Manufacturing Co., Minnesota Jacobs Company, S. The B. F. Wells Dickey Company Joel Foundation, The Nicollet Hotel, Inc. White & Odell Agency Junior League of Northland Milk & Ice Cream Co Woman’s Club of Minneapolis Minneapolis, Inc. Northrop Collegiate School WTCN—Minnesota Broad­ Kingman, Cross, Morley, Northwestern Bell casting Corp. Cant, and Taylor Telephone Co. Young-Quinlan Co.

313 For Pleasure Tonight:

RUBINSTEIN’S PIECE DE RESISTANCE!

Tchaikowsky’s Piano Concerto in B Flat Minor, feature of tonight’s Symphony Program, is Arturo Rubinstein’s piece de resistance. This con­ certo is also notable for lovers of fine music in its most effective use of the oboe in the second movement. FOB SAFETY TOMORROW If you are planning a trip, remember to get your Travellers Checks at the “Northwestern”. Their cost of only a few pennies is more than repaid in convenience and safety from loss or theft.

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314 THIRTY-NINTH SE ASON, 1941-1942

TWELFTH PROGRAM

Friday Evening, January 23, 1942, at 8:30

DIMITRI MITROPOULOS, Conductor

Guest Artist: ARTUR RUBINSTEIN, Pianist

"THE STAR SPANGLED BANNER”

PRELUDE AND FINAL AIR FROM "DIDO AND AENEAS” Purcell (Arranged for String Orchestra by Dimitri Mitropoulos)

SYMPHONY NO. 4, IN G MAJOR, OPUS 88...... Dvorak I. Allegro con brio II. Adagio III. Allegretto grazioso — molto vivace IV. Allegro ma non troppo

Intermission

CONCERTO FOR PIANO AND ORCHESTRA, NO. 1, IN B-FLAT MINOR, OPUS 23...... Tschaikowsky I. Allegro ma non troppo e maestoso — Allegretto con spirito II. Andante semplice III. Finale: Allegro con fuoco

Mr. Rubinstein uses the Steinway Piano.

The Stein-way is the Official Piano of the Minneapolis Symphony Orchestra.

The Minneapolis Symphony Orchestra, Dimitri Mitropoulos, Conductor, records exclusively on COLUMBIA MASTERWORKS RECORDS. VICTOR RED SEAL RECORDS by the Orchestra under Ormandy are also available.

SMOKING. As a courtesy to those attending functions, and out of respect for the character of the building, let it be resolved by the Board of Regents that there be printed in the programs of all functions held in the Cyrus Northrop Memorial Auditorium a request that smoking be confined to the outer lobby on the main floor, gallery lobbies, and to the lounge rooms. The University Gallery is open during Intermission and after the concert. 315 PROGRAM NOTES By DONALD FERGUSON

PRELUDE AND FINAL AIR FROM "DIDO AND AENEAS” — Henry Purcell Born 1658, at London; Died 1695, at London In the first half of the fifteenth century, one composer, John Dunstable, caused English music to be admired and imitated all over Europe. In the six­ teenth century, dozens of English composers could vie with the best of the Italians in the form of the Madrigal. After these were gone, however (around 1625), English music found but one supreme master —Henry Purcell. And not again until the end of the nineteenth century, with Sir Edward Elgar, could any English composer of serious music challenge comparison with the greater continental writers, whether of Germany, France or Italy. Never, during those two centuries, did the interest of the people wane, or their enthusiasm abate; but the fertility that had been constant, if fluctuant, since the incredible thirteenth century canon, Sumer is icumen in, was no longer in evidence. It was natural that so great a genius as Handel should dwarf his English contemporaries; that the latter half of the eighteenth century should produce no English competitor for the honors carried off by the galan I composers of the continent; and it was possibly because the battle of democracy had long since been won in England that the theme of liberty stirred no English composer as it did that of Beethoven. When the romantic movement, which is the artistic aftermath of the Revolution, arose, English song no longer sought to be uttered in tones. It embodied itself in the polyphony of English versification. There seemed little desirability for music in association with the verbal melody of Keats and Shelley and Tennyson. The decadence of music had set in with the death of the Madrigalists and was hastened by the Puritans; and Purcell, who was an Elizabethan by temperament, found himself subtly frustrated at every turn by the need for stylistic conformity to ideals that were not of his making. That he was as great a genius for musical drama as any who has ever lived may be plausibly argued from the few fragments of sustained dramatic writing that the arid conventions of his day permitted him to produce. That he was a musician of all but incomparable talent is evidenced by his instrumental, as well as by his dramatic pieces. But that there was no market for the whole produce of his imagination is clear from the fact that from 1680 to 1695 he wrote inci­ dental music (in such meager volume as the conditions demanded) for some fifty-seven plays, of which but three — “Dioclesian,” “King Arthur” (in cooperation with Dryden), and “The Fairy Queen” (an adaptation of “A Midsummer Night’s Dream”) — gave opportunity for more than a few incidental songs or dances, and only one — “Dido and Aeneas” — is in any proper sense an opera. Neither was that one opera produced at court, or in any pretentious theatre. It was written for, and apparently produced at, a select boarding

317 school kept by one Josias Priest at Chelsea, sometime between 1688 and 1690. It consisted of three acts and four tableaux, with an opening French Overture and a Prologue. The music of the latter has been lost. Some of the music shows complete command of the learned polyphonic art of the churchmen; some, on the other hand, displays remarkable sensitiveness to the contour of simple melody. There is a famous “Witches' Scene,” in which echo-effects enhance the eerieness of mocking laughter. But the crowning moment of the drama is that of Dido’s death: “When I am laid in earth may my wrongs create no trouble in thy breast. Remember me, but ah! forget my fate!” (Continental conventions would not have allowed her to die; Cupid would have descended rosily in a basket to announce a recon­ ciliation of the lovers, at least in heaven.) The form of this aria is that of varied melody added to a continuously reiterated, chromatically descending bass melody, five bars long. This form - that of the Passacaglia or the Cha­ conne—was a favorite with Purcell, and with many others after him. Something like the same bass was used by Handel in the opening chorus of “Susanna,” and by Bach in the incredible harmonizations of the Cnicifixus in the B minor Mass. Purcell’s harmonic ingenuity, however, is by no means dwarfed, even in this trying comparison.

SYMPHONY NO. 4, IN G MAJOR, OP. SS - Antonin Dvorak Born 1S41, at Nelahozeves (Muhlhausen), Bohemia; Died 1904, ar Prague It is not wholly our national vanity which has caused us to limit our acquaintance with Dvorak’s music chiefly to that which he composed in this country, or under the influence of his experiences here. These are indeed among his most mature works; they represent his own artistic personality at its most effective pitch; but they also obscure, to the extent to which they reflect what to him was foreign influence, the genial character himself: at home, in his own environment, momentarily bitter or elated over those trifles of existence that rise above the surface of daily monotony to plague or delight him. This is not to imply that Dvorak was a provincial. He was a man of deep, instinctive culture; but he was wise enough to know that cul­ ture cannot be bought or borrowed merely, but must be assimilated. Cultural opportunity did not often come his way, during his early years. He was the eldest of the eight children of an inn-keeper who was also the village butcher, and who was fortunately sympathetic with the disposition to music which his boy revealed. Antonin sang in the church choir, fiddled at various celebrations, and got the rudiments of musical learning from the village schoolmaster. A brief period of study (chiefly of the German lan­ guage) in a neighboring town was ended by financial difficulties at home; but when he was sixteen he managed to get to Prague where he studied organ, theory and singing at the Organ school. Here he was thoroughly grounded in the works of the old masters, but at the same time absorbed much of the contemporary thought of Schumann and Wagner. For more than ten years he supported himself meagerly by playing the viola in a theatre-orchestra; but this was by no means barren experience, since to­ ward the end of the period the orchestra was conducted by Smetana. The 319 enthusiasm of this great composer for the music of his native land was soon shared by the young admirer of Wagner and Schumann; and while he did not cease to admire these artists, he was no longer a slave to their influence. He was slow in coming to any sure confidence in his own powers as a com­ poser. He wrote assiduously, but no one knew of his efforts. It was not until 1873 that he won any conspicuous success in this field, though smaller works had been performed in Prague during the last two years of his association with the National Theatre. This was a hymn to the fatherland, set to a part of a patriotic poem by Vit. Halek, “The Heirs of the White Mountain.” His first success abroad was won by a collection of Moravian Duets for piano, four hands. These, as it happened, were examined by Brahms who, in 1877 had been appointed one of a committee to award grants of money to needy and worthy young composers. “I took much pleasure in the works of Dvorak of Prague,” he wrote to Simrock, his publisher. “I have recom­ mended him to send you his Moravian Duets. . . . Decidedly he is a very talented man. Besides, he is poor. Please take this into consideration.” Sim­ rock published the duets, and commissioned more of the same sort, which appeared as “Slavonic Dances,” and were afterward orchestrated brilliantly by the composer. The popularity of these pieces rivalled that of Brahms’s own Hungarian Dances. The two composers (whose musical ideals were similar) become sincere friends. These dance-tunes now frequently were introduced as scherzi or other movements into chamber compositions and symphonies, which were com-

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321 posed in profusion. His Stabat Mater was produced in 1883 at London, with such success that the composer was invited in the following year to con­ duct his works in that city. For the Leeds Festival of 1886 he wrote the oratorio, St. Ludmilla, which after the festival was repeated three times in London. “I am still in the greatest excitement,” he wrote, after one of the repetitions at Albert Hall, “the result of the wonderful performance on the part of the orchestra, chorus and soloists of the first rank (Albani, Patti, Lloyd, Santley), and the splendid ovation on the part of the public. Was this truly English enthusiasm, the like of which I have not enjoyed for a long while? At the close of the work, after tempestuous applause and re­ peated recalls, I had to bow my thanks again and again.” Applause, however, did not turn his head. He could probably have pros­ pered in England (as Handel, Haydn and Mendelssohn had'done); but expatriation was unthinkable. He returned to Bohemia, bought himself a little house in a country town, and began to compose with a calmer mind than he had ever enjoyed before. The Symphony in G (1889) is one of the many fruits of this period. Honors multiplied:'an honorary Doctorate of Philosophy (Prague); the order of the Iron Crown (Vienna); a professor­ ship of composition at the Prague Conservatory; concert tours in Russia, Germany and England. At last, in 1892, he accepted at New York the directorship of a National Conservatory of Music, founded by a Mrs. Thurber. He left America in 1895, after having composed the “New World” symphony, the concerto for violoncello, two string quartets, and many

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322 other pieces. He returned to his post at Prague, and was made Director of the Conservatory in 1901. He continued to compose prolific-ally until his sudden death, May 1, 1904. The first movement (Allegro con brio, G major, 4-4 time) begins with the announcement of the principal theme in the ’cell! against a simple ac­ companiment. This theme is at first in G minor, but it presently brightens, and a continuing phrase in the flute, quietly gay against a sustained triad of G major in the violins, establishes the major tonality. This contrast of major and minor remains characteristic of much of the movement. The second subject offers agreeable contrast. Its appearance is unmistakable, and the rest of the design — development and recapitulation — is so naturally cast in the conventional form that comment on details would be superfluous. The Adagio (Ej> major, 2-4 time) begins with a theme of quiet contour that would be entirely serene save for the great dynamic contrasts which the composer prescribes, and for the darkening of the harmony (suggestive of the minor opening of the first movement) as the theme proceeds. The contrasting theme is placid and smiling. These two themes constitute the substance of the movement, the form involving hardly more than their alternate repetition with different scoring. Instead of being a Scherzo, the third movement follows a frequent habit of Brahms and expresses a quiet grace (Allegretto grazioso, G minor, 3-8 time.) The tone of the first theme is darkened by the long descent of the theme from its beginning to its close. The contrasting theme is more gay RECORDS by VICTOR — to "round out" your library. They're "musts"! •TSCHAIKOWSKY PIANO CONCERTO NO. I in Bh minor — Rubinstein and London Sym. (DM180—$4.75) •CESAR FRANCK, SONATA IN A — Rubinstein with Heifetz — violin. (DM449—$3.70) SMILIN' THROUGH—6 selections by Jeanette McDonald — Drink To Me Only With Thine Eyes, Land of Hope and Glory, Smilin' Through, etc. (M 847—$3.70) ROUMANIAN RHAPSODY — ENESCO — in four parts; Ormandy and Mpls. Symphony. (1701-1702—ea. $.80) MUSIC OF JOHANN STRAUSS — Blue Danube, Tales from the Vienna Woods, Acceleration, DUMBO — 6 songs from the Disney picture, Die Fledermaus, Gypsy Baron — Ormandy and ta'"en from 'he sound track of the film, Mpls. Symphony. (DM262—$5.80) with story. 3 10" records. (PI0I—$2.10)

Recordi ngs b y Artur Rubinstein, NEW ENGLAND this evening's Symphony Artist.

■ EIGHTH STREET AND MARQUETTE AVENUE 323 and tripping, and this theme, at the end, is transformed into duple time, taking on the character of a polka. The Finale (Allegro mi non troppo, G major, 2-4 time) is begun with a trumpet fanfare, and continues in a vigorous dance-rhythm, brilliantly or­ chestrated, and racy of the Bohemian soil.

CONCERTO FOR PIANO AND ORCHESTRA NO. 1, IN B FLAT MINOR, OP. 23 — Peter Iljitch Tschaikowsky Born 1840, at Wotkinsk; Died 1893, at St. Petersburg What does the descent of “classical” melody into the region of popular music imply? Is it an indication that popular idioms are gradually approach­ ing the character of the learned language? Or is it merely a kind of acknowl­ edgment of poverty in melodic invention among the untutored? Can the two idioms be assimilated? If they can, what will be the general direction of the resultant movement — upward or downward? These awkward questions are acutely suggested by the currently popu­ lar transformation of the opening theme of the Tschaikowsky Piano Con­ certo. The inevitable alteration of the sweeping triple measure of the origi­ nal into the pedestrian duple time in which alone the jazz-players and their hearers seem able to think seems, to us, the most deplorable feature of the popular arrangement. (We forget, perhaps, that for two whole centuries — the twelfth and thirteenth — the learned musicians themselves were able to

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324 contrive harmonic music only in triple rhythm.) As we leave the ground to soar dizzily with Tschaikowsky’s exuberant strain, we have only to remem­ ber the flat-tired, broken-springed jolting of the jazz-version to realize the immeasurable superiority of the original. But we forget that the man in the street has seldom entered our air-borne conveyance; that for him the jolting is part of the fun; that the elevation we enjoy may be, for one who loves the ground, merely an occasion for alarm over the loss of familiar orientations. It appears, at least, that the assimilation of “popular” and “classical” idioms will be possible only with the crossing of a great gulf of imagination. (The mere attempt to define these two words in the sense implied by the quota­ tion marks will indicate the breadth of this gulf.) The early history of the concerto, however, hardly reassures our com­ placency. The learned themselves were — or for a reason appeared to be — baffled. The work was written in November and December, 1874. Tschai- kowsky had hopes that Nicholas Rubinstein (brother of the world-famous pianist, Anton, but himself an artist of high attainment) would give the concerto its first performance. On Christmas Eve, 1874, the composer played the piece for Nicholas Rubinstein and another friend. As at the first reading of Brahms’s Fourth symphony, the performance was received with silence. Only when the whole work had been played did Rubinstein offer any comment; and that took the form of a violent tirade. The concerto was vulgar, trivial, unpianistic, indeed utterly worthless. Some of the solo pas­ sages were not original. (The composer had complained, during its compo-

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325 WEDNESDAY—JANUARY 28 AT 8:30—NORTHROP AUDITORIUM The luiumHy Rrtists Course Presents Bidu SAYAO BRAZILIAN SOPRANO

She is called "the glamor girl of the Opera House." She is hailed as Brazil's greatest treasure and Pan-America's most persuasive ambassador of good-will. Her singing "glitters like the diamonds which sparkle from her ears, wrists and fingers," her art is "as delectable as her personality."

"Bidu Sayao makes life brighter wherever her voice is heard. She is the most alluring of the coloraturas. Like the late Marcella Sembrich, she is an artist as well as an expert craftsman in the field of vocal fioriture and filagree. She has the most exciting trill and the most bewildering and glittering chromatic scale imprisoned in any human throat." —GLENN DILLARD GUNN, Washington Times-Herald. "A South American ambassadress of culture with whom it would be no hardship to be on good-neighborly terms. Hailed by an audience of hair-trigger enthusiasm." —EDWIN T. SCHLOSS, Philadelphia Record.

PROGRAM I. Revenez, revenez, amours (from Thesee—1675) .... Jean-Baptiste Lully My Mother bids me bind my Hair...... Josef Haydn Aria: Batti, batti, bel Masetto, from "Don Giovanni" . Wolfgang Amadeus Mozart Aria: Caro nome, from "Rigoletto"...... Giuseppe Verdi II. A des Oiseaux ...... Georges-Adolphe Hue La Fontaine de Caraouet ...... Letorey Mazurka ...... Frederic Chopin Villanella ...... Eva dell' Acqua III. Aria of Rosina, from "The Barber of Seville" . Gioacchino Rossini INTERMISSION IV. La mi sola Laureola...... Fernando Obradors Corazon porque pasais...... Fernando Obradors Dos Cantares Populares...... Fernando Obradors Coplas de curro dulce...... Fernando Obradors V. The Early M orning...... Graham Peel Sylvelin...... Christian Sinding Down in the Glen...... Elinor Emick Warren Rapunzel...... John Sacco

Tickets $3.30 to $1.10—On sale at 109 Northrop and at Downtown Ticket Office and at Field-Schlick's.

326 sition, of the difficulty of inventing fresh pianistic figures; but the charge of plagiarism never has been sustained.) Rubinstein later went to the com­ poser’s room and spoke, apparently less heatedly, to the same effect; but said that if Tschaikowsky would alter the music acceptably, he would’play it. “I shall not alter a single note,” the composer replied. “I shall publish the work exactly as it stands.” And this he did. He struck out the original dedication to Rubinstein, and put in the name of Hans von Biilow, who was greatly pleased, and who took the music with him on a tour to America which was already projected. Thus the first per­ formance of the concerto took place in Boston, on October 25, 1875. (Rubin­ stein was later converted from his earlier opinion, and played the concerto with fine discrimination both in Russia and abroad.) The long introduction, with its electrical melody, is to both connoisseur and jazz-player the most memorable part of the concerto. It does, indeed, throw a heavy burden on the composer; for to equal the excitement which is created at the outset proves all but impossible. Indeed, to have made any­ thing listenable after this beginning was proof — if any were needed — of Tschaikowsky’s genius. The introduction is mostly in the key of D flat, but the concerto proper begins in B flat minor, and is effectively constructed around that key-center. The principal subject is given out by the solo, with simple chords in the strings for accompaniment. The second subject, in A flat, is first sounded by the winds and horns, and later by the piano. A con­ siderable part of the development is given to the orchestra; and a stunning

The Philadelphia BRAHMS FESTIVAL CHORAL^SYMPHONIC* LIEDER • CHAMBER MUSIC FEBRUARY 27 to MARCH 7,1942 • The Philadelphia Orchestra, Eugene Ormandy, The Festival Chorus, James Allan Dash, The Pennsylvania Sym­ phony, Guglielmo Sabatini, Efrem Zimbalist, Alexander Kipnis, The Budapest String Quartet, Rose Bampton, Igor Gorin, The University of Pennsylvania Choral Groups, The Perole String Quartet• and others. Information — 1617 Spruce St., Philadelphia

327 effect is produced when a swift figure of four descending notes is taken over by the solo in octaves. Neither here nor in later solo and cadenza passages is the composer’s confessed difficulty in pianistic invention apparent. The second movement (Andantino semplice, DJ, major, 6-8 time) opens with a gracious and somewhat languid melody in the flute against a pizzicato accompaniment. Both this and its more sprightly continuation are of course elaborated by the solo. In the middle of the movement there is a scherzo-like interlude (Prestissimo, F major) which, after frisking about for a time settles into a lilting waltz-tune. (This, like the principal subject of the first move­ ment, is apparently not wholly original, the melody from the opening move­ ment being of Russian, and this of French, origin.) After a charming cadenza the first part of the movement is repeated. The third movement (Allegro con fuoco, Bfr minor, 3-4 time) is distinct­ ively Russian in character — at any rate to our ears. Stamping feet and active limbs are vividly suggested. After a vigorous episode in the orchestra the second subject is played by the violins with syncopated chords in the horns for background. The solo, after elaboration of this, returns to the main theme. A new subject, on a dotted rhythm, is now brought forward and developed by solo and tutti. The recapitulation is at length reached. The second subject in this section is much broadened, and constitutes the emo­ tional climax of the movement. There is of course a brilliant coda (Allegro vivo).

Minneapolis Symphony Orchestra Dimitri Mitropoulos, Conductor ANNUAL MID-WINTER TOUR THIRTY-NINTH SEASON, 1941-1942

FEB. I CHICAGO, ILL. FEB. 20 NEW ORLEANS, LA. FEB. 3 ANN ARBOR, MICH. FEB. 21 NEW ORLEANS, LA. FEB. 4 FORT WAYNE, IND. FEB. 23 BATON ROUGE, LA. FEB. 5 TOLEDO, O. FEB. 24 GALVESTON, TEX. FEB. 6 TOLEDO, O. FEB. 25 HOUSTON, TEX. FEB. 7 FINDLAY, O. FEB. 26 DENTON, TEX. FEB. 8 CLEVELAND, O. FEB. 27 WICHITA, KAS. FEB. 9 ERIE, PENN. MAR. I WINFIELD, KAS. FEB. 10 BUFFALO, N. Y. MAR. 2 DES MOINES, IA. FEB. 11 TORONTO, ONT. MAR. 3 CEDAR RAPIDS, IA. FEB. 12 HAMILTON, ONT. MAR. 4 BLOOMINGTON, ILL. MAR. 5 MILWAUKEE, WIS. FEB. 13 PITTSBURGH, PA. MAR. 6 MANITOWOC, WIS. FEB. 14 COLUMBUS, O. MAR. 7 MADISON, WIS. FEB. 16 LOUISVILLE, KY. FEB. 17 NASHVILLE, TENN. MAR. 23 WINNIPEG, MAN. FEB. 18 COLUMBUS, MISS. MAR. 24 MOORHEAD, MINN. FEB. 19 MOBILE, ALA. APR. 12 AMES, IA. UNDER THE PERSONAL DIRECTION OF ARTHUR J. GAINES, MANAGER

329 FOURTH TWILIGHT CONCERT

Sunday, January 25, 1942, at 4:30 P. M.

DIMITRI MITROPOULOS, Conductor

Guest Artist: MARIA MONTANA, Soprano

1. Overture to “The School for Scandal”...... Samuel Barber

2. Symphony No. 3, in F major, Op. 90...... Brahms I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro

3. Two Arias with Orchestra: (a) “Dove sono,” from “The Marriage of Figaro” .... Mozart (b) Micaela’s Aria from “Carmen”...... Bizet

4. Scherzo, “The Sorcerer’s Apprentice”...... Dukas

TICKET PRICES (Tax Included): Main floor, 30c and 55c. Balcony, 30c, 55c and 85c. ALL SEATS RESERVED. Tickets on sale in advance to Employees of business firms and social centers. General Public Sale opens Monday, Jan. 19, at Downtown Ticket Office, 187 Northwestern Bank Building, 106 Northrop Auditorium, University of Minnesota, and Field-Schlick’s Ticket Office, (St. Paul)

MARIA MONTANA, Soprano

Maria Montana, an American soprano of international fame, identi­ fies her native state by her professional name. With a voice of excep­ tional beauty, and encouraged by her American teachers, she went to Italy where, after years of study, she spent further years of successful prolonged engagements in the opera houses of Rome, Milan, Naples, Genoa and Florence. Returning to this country her engagements in­ cluded appearances with the New York Philharmonic, the symphony orchestras of Chicago, Cleveland, Saint Louis, San Francisco and Seattle; a formidable list of oratorio engagements in music festivals with Ann Arbor heading the list, and no less than six trans-continental recital tours. Minneapolis made her acquaintance last sea­ son when she sang in the performance of Brahms’ “Requiem” with our Symphony Orchestra, and in recital at Northrop Auditorium under auspices of the University School of Music. This season, in addition to being heard at the above Twilight Concert she will also be heard at the final Young People’s Concert in March. 331 MINNEAPOLIS SYMPHONY ORCHESTRA Season 1941-42

FIRST VIOLINS OBOES Harold Ayres Rhadames Angelucci Concertmaster Ferdinand Prior Heimann Weinstine Carl E. Berglund Karl Scheurer Alexander Koltun ENGLISH HORN Jacob Heiderich Carl E. Berglund Clarence Schubring William Nowinski CLARINETS Robert Konrad Walter Thalin Paul Garfinkle Sigurd Bockman Theodore Ptashne Earl A. Handion Charles Sindelar Henry Kramer BASS CLARINET Albert Rudd Earl A. Handion Max Schellner Clifford Recko w BASSOONS Harry Brader William Santucci Clarence E. Booth VIOLONCELLOS Syd Cunnington SECOND VIOLINS Nikolai Graudan Otto M. Frohn Principal CONTRA BASSOON Principal Claus Adam Syd Cunnington Frank J. Bruzek James Messeas Frank Obermann Tom Seddon HORNS Henry C. Schutte Sam Reiner Waldemar C. Linder Merle S. Adams Oscar Koch William Muelbe Nicolo Bonelli Alfred Kuehle Sami Isuf Roger Britt Lyle H. Perry John Barrows Deno Geankoplis Carlo Fischer Alvin Johnson Mischa Bregman Maurice W. Nash James Fitzgerald TRUMPETS Joseph Bregman BASSES James Stamp Paul Reichenbach Ray W. Fitch Daryl J. Gibson Harry D. Maddy Principal James B. Greco Irving L. Winslow Jesse Meltzer James Remfrey Gus S. Janossy Herman Boessenroth VIOLAS Frederick Hughart Vincent Mauricci Lester E. Booth TROMBONES Principal Wm. J. Janossy John MacKay Peter Filerman Carl Nyberg Mathias Mollers George A. Kurz Kenneth Davenport Fred Molzahn A. Russell Barton Jaroslav Patek HARPS TUBA Burton Fisch Abraham Rosen Glenn R. Cooke Frederick Ruhoff Henry J. Williams Lester E. Booth Walter W. West George J. Serulnic FLUTES TYMPANI Paul Lau Emil B. Opava Henry Denecke, Jr. Carl Woempner Robert Bladet PERCUSSION PIANO-CELESTA Carl Rudolf Frederick Ruhoff PICCOLO Samuel W. Segal Robert Bladet Carl Nyberg LIBRARIANS Herman Boessenroth PERSONNEL MANAGER STAGE MANAGER Mischa Bregman Glenn R. Cooke Sam Grodnick

332 NEXT PROGRAM Friday Evening, January 30, 1942, at 8:30 Assisting Artist: HAROLD AYRES, Violinist

1 Overture to “Rienzi”...... Wagner 2 Concerto for Violin, No. 2, in D minor, Op. 22 . . Wieniawski I. Allegro moderato II. Romanza: Andante non troppo III. Finale: Allegro — a la Zingara

INTERMISSION 3 Symphony No. 5, Op. 47...... Shostakowitsch I. Moderato — Allegro non troppo II. Allegretto III. Largo IV. Allegro non troppo

TICKET PRICES (Tax Included) : Main Floor $2.75, $2.20, $1.65. Balcony $2.75, $2.20, $1.65, $1.10. A few seats at $3.30, Main Floor, Center. TICKETS ON SALE at Symphony Ticket Office, 106 Northrop Auditorium, Downtown Ticket Office, 187 Northwestern Bank Building (Minneapolis), and Field-Schlick’s Ticket Office (St. Paul).

HAROLD AYRES, Violinist Harold Ayres, born in Ottumwa, Iowa, in 1901, as a boy of five was far more interested in a violin than he was in kindergarten and during the next sev­ eral years he was not only the star pupil but an exceptional pupil of local teach­ ers. Graduating from High School he entered the Chicago Musical College as a pupil of Leon Sametini, distinguished concert artist and teacher. He carried off a full scholarship each year, graduating with the highest honors at the age of seventeen. The year before, he was invited to play for Leopold Auer who pronounced him the finest American pupil he had heard. Ayres, after his gradu­ ation, continued his studies with Auer, Sevcik and Kneisel, making his debut with the Chicago Symphony Orchestra and winning the unanimous praise of the Chicago critics. Following a period of concertizing he accepted a position with the Minneapolis Symphony in 1924, where the alert ear of Henri Verbrug- ghen, himself a fine violinist, was quick to recognize Ayres’ exceptional ability with the result that by the end of his fourth season he was made concertmaster which position he has now filled with distinction the past fourteen years. During his frequent appearances with the Orchestra as soloist his perform­ ances have included Lalo’s “Symphonie Espagnol,” Saint-Saëns’ concerto No. 3, the Mendelssohn “E minor,” the Bach concerto for two violins, and the Brahms’ “Double” Concerto.

333 Phonograph Recordings MINNEAPOLIS SYMPHONY ORCHESTRA

COLUMBIA MASTERWORKS RECORDS Conducted by Dimitri Mitropoulos Bach-Weiner...... Toccata No. 1, in C major Beethoven...... Symphony No. 6, "Pastoral,” in F mdjor Beethoven...... Overture to "Coriolanus,” Op. 62 Beethoven...... Overture to Leonore, Op. 72, No. 3 Dvorak...... Slavonic Dances, Nos. 1 and 3 Franck...... Symphony in D minor Liszt-Busoni...... Spanish Rhapsody, with Egon Petri, Pianist Lully...... "Menuetto,” from "The Temple of Peace” Mahler...... Symphony No. 1, in D major Mendelssohn . . Capriccio Brilliante, Op. 22, with Joanna Graudan, Pianist Mendelssohn...... Scherzo from Octette, Op. 20 Mozart...... Two entr’actes from "Thamos, King of Egypt” Prokofieff...... Symphonie Classique, in D major, Op. 25 Tschaikowsky...... Symphony No. 4, in F minor, Op. 36

VICTOR RED SEAL RECORDS Conducted by Eugene Ormandy Beethoven...... Symphony No. 4, in B flat major, Op. 60 Brahms-Dvorak...... Hungarian Dances Nos. 18, 19, 20, 21 Bruckner...... Symphony No. 7, in E major Carpenter, John Alden...... Suite "Adventures in a Perambulator” Delibes...... Valse and Entr’acte from "Coppelia” Delibes-Jungnickel .... Ballet Suite "Sylvia,” Ballet Suite "La Source” Drigo-Auer...... Valse Bluette Dvorak...... Scherzo Capriccioso, Op. 66 Enesco...... Roumanian Rhapsody, No. 1 in A major Gounod...... Funeral March of a Marionette Grainger...... "Country Gardens,” "Londonderry Air,” "Molly on the Shore,” "Irish Reel,” "Shepherd’s Hey” Griffes...... "The Pleasure Dome of Kubla Khan” Harris, Roy . . Overture, "When Johnny Comes Marching Home” Honegger .... Concertino, with Eunice Norton, Pianist Kodaly...... Suite "Hary Janos” Kreisler, Fritz . "Kreisleriana” Mahler...... Symphony No. 2, in C minor (Soloist and Chorus) Mozart...... Overture to "The Marriage of Figaro” Mozart...... Serenade, "Eine kleine Nachtmusik” Mozart...... Eight German Dances Paganini ...... Moto. Perpetuo Rachmaninoff . Symphony No. 2, in E minor, Op. 27 Ravel...... Alborada del Gracioso Schönberg . Verklärte Nacht Schumann . Symphony No. 4, in D minor, Träumerei Sibelius...... Symphony..No. 1, in E minor, Op. 39 Smetana-Riesenfeld . . "Bartered Bride” Comedian’s Dance, Furiant, Polka Sowerby .... The Irish Washerwoman Stix, Carl .... . Spielerei, Op. 140 Strauss, Joh. and Jos. . . Waltzes: "Blue ______Danube, _ _ ,” 'Fledermaus,” "Vienna Woods,” "Acceleration,” "Gypsy RamnBaron, ” "Aquarellen,” Pizzicato Polka Strauss, Richard ..... Waltzes from "Der Rosenkavalier” Tschaikowsky ...... Andante Cantabile (String Qt. No. 1, Op. 11) Weinberger...... Polka and Fugue from "Schwanda” Wolf-Ferrari...... "Jewels of the Madonna,” Two Intermezzi Zador...... ______Hungarian. Caprice Zemachson...... Chorale and Fugue in D minor, Op. 4

334 MINNEAPOLIS SYMPHONY ORCHESTRA DIMITRI MITROPOULOS, Conductor Northrop Memorial Auditorium — University of Minnesota CONCERT CALENDAR: 39th SEASON, 1941-1942

UNIVERSITY SUBSCRIPTION SERIES Eighteen Evening Concerts Friday, Oct. 24 GALA OPENING CONCERT Saturday, Nov. 1 GLADYS SWARTHOUT, Mezzo-Soprano Friday, Nov. 7 Orchestral Program Friday, Nov. 14 SALVATORE BACCALONI, Basso f HAROLD AYRES, Violinist Friday, Nov. 21 1 NIKOLAI GRAUDAN, Violoncellist Friday, Nov. 28 MARIAN ANDERSON, Contralto Friday, Dec. 5 EDWARD KILENYI, Pianist Friday, Dec. 12 GREGOR PIATIGORSKY, Violoncellist Friday, Dec. 19 VLADIMIR GOLSCHMANN, Guest Conductor Friday, Jan. 2 BRUNO WALTER, Guest Conductor Friday, Jan. 16 YEHUDI MENUHIN, Violinist Friday, Jan. 23 ARTUR RUBINSTEIN, Pianist Friday, Jan. 30 Orchestral Program (Mid-winter Tour Interval — Five Weeks) Friday, Mar. 13 VLADIMIR HOROWITZ, Pianist Friday, Mar. 20 Orchestral Program Friday, Mar. 27 JOSEF SZIGETI, Violinist f CHARLES KULLMAN, Tenor Thursday, Apr. 2 ) LILIAN KNOWLES, Contralto Friday, Apr. 10 LAWRENCE TIBBETT, Baritone TICKET PRICES (Tax Included) : $3.30, $2.75, $2.20, $1.65, $1.10

FIVE SPECIAL FEATURE CONCERTS Saturday, Nov. 29 MARIAN ANDERSON, Contralto Friday, Jan. 91 BALLET RUSSE de MONTE CARLO Saturday, Jan. 10 ¡-Leonide Massine, Artistic Director Sunday (Aft.), Jan. 11 J Efrem Kurtz, Conductor Friday, Apr. 17 OSCAR LEVANT, Pianist (Pension Fund Concert) TICKET PRICES (Tax Included): $2.75, $2.20, $1.65, $1.10

SEVEN TWILIGHT CONCERTS — SUNDAYS AT 4:30 P.M. Nov. 9-23, Dec. 28, Jan. 25, Mar. 8-22, Apr. 5 TICKET PRICES (Tax Included): 85c, 55c, 30c. Sale opens Monday preceding concert

THREE CONCERTS FOR YOUNG PEOPLE — THURSDAYS AT 2:30 P.M. November 6 — December 4 — March 12

Tickets for any of the above concerts may be reserved in advance of the public sale through Mail Orders addressed, Symphony Ticket Office, 106 Northrop Auditorium. En­ close remittance payable to University of Minnesota and self-addressed stamped return en- velope. Tickets will be mailed one week before concert. Tickets also available one week in advance at Symphony Ticket Office, 106 Northrop Auditorium; Downtown Ticket Office, 187 Northwestern Bank Building (Minneapolis); and at Field-Schlick’s Ticket Office (St. Paul).