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FIFTY—NINTH SEASON, 1939-194o

CONCERT BULLETIN OF THE Boston Symphony

SERGE KOUSSEVITZKY, Conductor

RICHARD BURGIN, Assistant Conductor

with historical and descriptive notes by

JOHN N. BURK

COPYRIGHT, 1939, BY BOSTON SYMPHONY ORCHESTRA, Inc.

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[ 290]

,1 FIFTY-NINTH SEASON - NINETEEN HUNDRED THIRTY-NINE AND FORTY

Seventh Programme

FRIDAY AFTERNOON, December i, at 2:30 o'clock

SATURDAY EVENING, December 2, at 8:15 o'clock

IGOR STRAVINSKY Conducting

Stravinsky "Jeu de Cartes" (Card Game, Ballet in Three Deals) (First performances at these concerts)

Stravinsky Capriccio for Orchestra with Solo

I. Presto II. Andante rapsodico III. Allegro capriccioso, ma tempo giusto (Played without pause)

Stravinsky Suite from the Ballet "Petrouchka" The Juggler — Russian Dance — Petrouchka — Grand Carnival — Nurses' Dance — The Bear and the Peasant playing a Hand Organ — The Merchant and the Gypsies — The Dance of the Coachmen and Grooms — The Masqueraders INTERMISSION

Stravinsky "Symphonie de Psaumes," for Orchestra with Chorus

I. Psalm XXXVIII (Verses 13 and 14) II. Psalm XXXIX (Verses 2, 3 and 4) III. Psalm CL (Entire) CECILIA SOCIETY CHORUS, Arthur Fiedler, Conductor

SOLOIST JESUS MARIA SANROMA STEINWAY piano

This programme will end about 4:30 on Friday Afternoon, 10:15 o'clock on Saturday Evening

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[ 292]

The life of Stravinsky has been told in book form by Boris Schloezer (1929), and by Andre Schaeffner (1931). These careful records, amplified by a discussion of the composer's works and style, were evidently written in close touch with their subject. Stravinsky's autobiography, published in French in 1935, and in English translation in 1936, substantiates the earlier books and benefits by the more direct revelation of Stravinsky's personality. Where the writings of his friends attempted to analyze and classify, the composer himself has spoken freely of his particular aims, his opinions, and his artistic beliefs. The following sketch draws upon these books, but mostly upon the autobiography.

Stravinsky was born at Oranienbaum, a small coast resort near St. Petersburg, and opposite Kronstadt, on the 17th of June, 1882. This was June 5 by the Russian calendar, whereby the composer was given his name from his patron saint, Igor. He was the third child of Feodor Stravinsky, who was the principal bass singer of the Imperial in St. Petersburg. There was a Polish strain in the family on the father's side, a Ukrainian strain on the mother's. Feodor was an out- standing Mephistopheles in the of Gounod and of Boi'to, and customarily took the bass parts in "Russian and Ludmilla," "Boris

Godounov," or "Prince Igor." He was a cultured and well-read artist, possessing a large library. The son, until his adolescent years, did not benefit by the experience of his father's activities. When at length

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[293 ]

, he was taken to hear "Russian" and "A Life for the Tsar," he was immensely impressed. He had studied piano from the age of nine, and had already seized upon Glinka's scores in the father's library. A per- formance of Tchaikovsky's "Pathetic" Symphony shortly after the composer's death (the young man had had a passing glimpse of the composer in the lobby at the Opera) made an indelible impression upon his imagination. Stravinsky's adoration of Tchaikovsky's music has been lifelong, and always withstood his early training under the aegis of the nationalist "five." Stravinsky dutifully went through school and prepared, according to the wish of his father, for a career in jurisprudence. He did not take part in the school life, nor did he later at the law college find his real interests and his real development. He was avid for the ex- perience of concert and opera which St. Petersburg afforded, and in his most impressionable years was drawn to the musical efforts and discussions of a group of intellectuals and quasi-"liberals" who talked of the "rights of man," opposition to governmental tyranny, and a scientific materialism. Musically speaking, this postulated "realistic expression" and cultivated "popular and nationalistic tendencies and admiration for folk-lore." The works of Moussorgsky met the ideal of this circle, and it is interesting to note that when Stravinsky had

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[ 294] I t has come to my attention that there are many patrons of our Concerts who do not realize that contributions of as little as $5 and $10 are welcomed by the Society of Friends of the Orchestra. We have today about 400 contributors in each of these groups. We would like to have several thousand more for it would not only be an encouraging evidence of the wide range of the Orchestra's well-wishers but also a wel- come assurance to our larger contributors that their generosity is greatly valued and appre- ciated.

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[295] submitted to and survived the doctrines of the nationalist cult at the St. Petersburg Conservatory, Moussorgsky long remained for him the one composer among them whose aims had been congenial to his own. Meeting as a fellow student at Heidelberg the son of Rimsky- Korsakov, he obtained an interview with the famous head of the Petersburg Conservatory in the hope of encouragement toward a mu- sical career. The mildly austere professor was unexcited by his early attempts at composition, but advised him to develop his musical talents. He wisely warned him to do this by individual instruction, rather than by subjection to the doctrinaire routine of the Conserva- tory classes. (The amateur Stravinsky had studied the textbooks of harmony with impatience and rejection, the accepted rules of counter- point with exceeding interest and absorption.) At the Conservatory, Stravinsky learned to admire the uncanny skill of Glazounov in the handling of the symphonic form. The orchestral color of Wagner from which Rimsky-Korsakov had so largely derived was also a model. Rimsky-Korsakov took the young man in hand for instruction in in- strumentation. Stravinsky, the incipient musical adventurer, probed a field in which his teachers and leaders were almost entirely ignorant, and which they waved aside as inconsiderable — the recent achieve-

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1 296] ments of composers in France. The music of Chabrier and of Debussy fascinated him, and in lesser degree that of Cesar Franck, d'Indy, Faure and Dukas. Stravinsky's writings soon showed the influence of Debussy, "with his extraordinary freedom and freshness of technique." Rimsky-Korsakov shook his head rather dubiously over the innovation.

Stravinsky finished his university course in the spring of 1905, and in 1906 was married. He produced for the inspection of Rimsky- Korsakov his little suite for voice and orchestra, "Faune et Bergere" and a symphony, an excursion into the full sonata form made in youthful deference to constituted classicism, and not repeated in the course of many stylistic adventures to come. Developing an increasing independence, Stravinsky composed his then bold orchestral tour de force, "Fireworks," in the year 1908, for the wedding of the daughter of Rimsky-Korsakov, and hastened to send the score to his master's summer residence. The package was returned with the information that the addressee had died. Rimsky-Korsakov was destined not to know "L'Oiseau de Feu" or "Petrouchka" not even the "

Fantastique" or the first act of "Le Rossignol," although Stravinsky had sketched the latter two scores before the master's death. The ballets would probably have puzzled and disturbed him. Stravinsky composed a "Chant Funebre" in memory of Rimsky-Korsakov, a score which unfortunately has disappeared in the turmoil of the Revolution.

When, in the winter of 1908, the "" and the "Fireworks" were performed at the Siloti concerts in St. Petersburg, an interested listener, Serge Diaghilev, singled out the composer for his own purposes. This extraordinary enrepreneur of the arts, ten years the senior of Stravinsky, had attained prominence in the promo- tion in turn of painting, of journalism, and of musical performance. The ballet was his present concern, and he engaged Stravinsky forth- with to orchestrate a Nocturne and a Waltz of Chopin, for the coming Paris season. A significant friendship then began which was to last until the death of Diaghilev twenty years later. The association was

remarkable in that it deflected the creative course of a composer of such indomitable and clearly defined purpose as Stravinsky into a

field which might not otherwise have drawn him. It was remarkable no less that two artists of such definite and unyielding views should have been able to work together intermittently for so long a period while keeping their differences of opinion from growing into a barrier between them.

Stravinsky returned in the summer of 1909 to the score of his In si opera, "," of which he had written only the intro- ductory first act, but Diaghilev tempted him with a definite offer for a ballet of his own on the Russian fairy tale, "," for the

[297] season of 1910 in Paris. The ballet form, which had long been looked down upon by serious musicians in Russia, had been more or less legitimatized by the contributions of such composers as Glinka and Tchaikovsky. Diaghilev had gathered together a group of artists of brilliant abilities, and could tempt the principal composers of his day with prospects of flawless and inspiring production, as well as finan- cial profit. Stravinsky accordingly laid his opera aside to compose music for dancing drawn from a subject Rimsky-Korsakov had treated. The result, though more than touched by the French manner, shone forth as the first unmistakable manifestation of a new and important composer in Russia. While working upon the last pages of the "Fire- bird," Stravinsky was seized with the idea of a pre-historic ballet, a young girl in the center of a circle of elders, dancing herself to death in propitiation to the God of Spring. But he laid the idea temporarily aside to write a ballet depicting a country fair with the puppet

"Petrouchka" as its central figure. "Petrouchka" was accordingly completed and mounted in the following summer. The obscure com- poser, whom Diaghilev had given his opportunity, in turn raised Diaghilev and his troupe to world fame with two ballets of such pro- vocative and scintillating qualities that they commanded the atten- tion of the musical world. Stravinsky returned to the "Sacre du Prin- temps/' which he completed in the spring of 1913. The controversy FURNITURE AND ACCESSORIES

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[ 299 ] which the piece aroused, and the scandal of its first presentation at the Theatre des Champs-Mysees in Paris on May 28 of that year of course further focused the general attention upon the composer and producer: Stravinsky then returned once more to his Hans Andersen legend, "The Nightingale," and completed his opera, even though he had with his "Rite of Spring" turned his back upon his inherited tradition of bright and fantastic music of fairy tales.

The • completion of these works may be said to have closed the early phase of Stravinsky's style. He had up to that time further en- riched the orchestral palettes of Rimsky-Korsakov and Debussy, treated pictorial subjects with stimulating verve, challenged all exist- ing musical concepts with the revelation of new and sensational rhythmic possibilities. This was the road of assured popular success, a success no more than momentarily impeded by the grumblings of conservatism.

From this point, however, Stravinsky's musical thoughts and efforts turned away from orchestral magnitude and lavish display, concen- trated upon a self-imposed formalism, economy of means, a clarity of definition unadorned, which tended to become ruthless and even austere. At one place in his autobiography, the composer speaks dis- paragingly of 's use of tonal masses; of the harmonic coloration, the opulent "curves" in his music. Stravinsky's habit of musical thought was never this, although he may be said to have inherited something of its semblance through his teacher Rimsky- Korsakov. His successive scores tended, beginning at the coming of the World War, to move with inexorable logic toward complete clarity of voice leading. The charm of fleshly curves, the gratifications of soft upholstery, were entirely dispensed with, for they would have ob- scured his design. The concurrent voices in his scores moved with the freedom and daring which are perhaps the essential characteristics of this musician. He felt impelled toward the formal symmetry and stylism of the classical spirit. In these ways he was the forerunner of the "neo-classicism" which came upon music after the war. He was at first too much in advance of a fashion to come to meet with a gen- eral understanding. His artistic inclination, running counter to the trend of the day, was put down by many as perversity. Year after year, neither his intentions nor his musical realization of them found any degree of public response.

"At the beginning of my career as a composer," writes Stravinsky as conclusion to his book, "I was a good deal spoiled by the public. Even such things as were at first received with hostility were soon afterwards acclaimed, but I have a very distinct feeling that in the course of the last fifteen years, my written work has estranged me

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[3<>» J from the great of my listeners. They expected something differ- ent from me. . . . They can not and will not follow me in the progress of my musical thought. What moves and delights me leaves them indifferent, and what still continues to interest them holds no further attraction for me." Stravinsky shows elsewhere that he expected nothing else than indifference, as when he wrote of his "Symphonies for Wind Instruments": "I did not, and indeed I could not, count upon any immediate success for this work. It is devoid of all the elements which infallibly appeal to the ordinary listener, and to which he is accustomed. It would be futile to look in it for any passionate impulse or dynamic brilliance. It is an austere ritual which is un- folded in terms of short litanies between different groups of homo- geneous instruments." Yet the composer admits in his conclusion that "the artist has an imperative need to make others share the joy which he experiences himself." Sometimes greater than that need is the prompting which shapes his work without heed to popular desires. A composer in Stravinsky's case must console himself with the sym- pathy of the discerning minority, and the hope of a more general understanding in a future generation. "I live neither in the past nor in the future," is his parting remark. "I am in the present. I can not know what tomorrow will bring forth. I can know only what the

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[303I truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity."

Stravinsky's concerted compositions through the period of the war were all written for a small group of instruments, or at most a cham- ber orchestra. "" (composed through the years 1914-23), and "" (begun about the same time and completed in 1916) were miniature pieces on folk subjects, designed for the simplest stage presentation. "L'Histoire d'un Soldat" (1917-18), with music for a few solo instruments and with spoken text and mimes, was designed for a traveling theatre. At the conclusion of the war, Stravinsky found himself an expatriate, without a permanent residence. He had long made his headquarters in Switzerland, travelling to one European city and another as the pro- duction of his works called for his services. He decided to establish himself in France, and has since lived there, although numerous engagements have kept him constantly on tour. Travelling has in- evitably delayed but never prevented the completion of the music he has written with persistent industry. When he wrote his piano concerto (which was completed and first performed in 1924), Serge Koussevitzky persuaded him, according to his own account, to master the piano sufficiently to appear as soloist in the new work. Stravinsky,

who had studied the piano in his youth and who constantly used it as an aid to composition, worked upon the instrument with charac- teristic eagerness until he had entirely controlled such matters as memorizing and smoothness of execution. Stravinsky had conducted his music from time to time. He also made a renewed and thorough study of the art of conducting, so that he might obtain from an or- chestra precisely the results he should wish. While "Les Noces" was in process of composition, Stravinsky wrote his ballet "" (1919-20) for Diaghilev, for small orchestra, based upon the music and style of Pergolesi. He wrote "" an opera-bouffe in one act, after Pushkin, in 1921-22, dedicating his score to Pushkin, Glinka and Tchaikovsky, having used Russian folk themes in the operatic manner of the two composers. In 1923, he finished his "Octuor" for eight wind instruments, and in 1924 his Piano Concerto. It is interesting to observe in the scores of these years a tendency to write for homogeneous groups, and to assign each part to a single instrument, a scheme favorable to contrapuntal clarity. "Mavra," for example, relies upon a small wind orchestra with strings to reinforce the bass, while the accompaniment to the piano concerto is similarly constituted. In "Les Noces" he uses simply four and percussive instruments in combination with the chorus and solo voices.

[304] Stravinsky made his first visit to America in the season of 1924-25, when he played with this orchestra and others in his then new piano concerto. On his return to Europe, he composed his opera oratorio "," to a text of Jean Cocteau, in the Latin language. The composer had been preoccupied with the possibilities of the piano as a solo instrument, and had accordingly made a renewed study of the piano sonatas of Beethoven. He stresses in his book the fact that Beethoven wrote music inherently of the piano, while others have superimposed upon it their musical concepts. Stravinsky iden- tifies his aims with Beethoven's to the extent that that composer lived in a world of tones and made structures of tone to which a chance

title or text is quite external. This differentiates Beethoven from Wagner who, before all composers, built from the verbal idea. Stravinsky, turning from his purely instrumental domain to a text, once more remained consistent to his creed in that he was composing music "to a language of convention, almost of ritual. One no longer feels dominated by the phrase, the literal meaning of the words." The two works in larger form which follow were both ballets, "Apollon

Musagetes," which again turned for its subject to the ancient Greek, and "Le Baiser de la Fee" based upon a fairy tale of Andersen, and using themes of Tchaikovsky. The ballet of "," of 1927, is

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[ 3^5 1 striking in that the composer here abandoned the wind instruments which had so long occupied him, and confined himself to a small string orchestra. "The Fairy's Kiss," like "Oedipus Rex/' uses once more the balanced orchestra of normal proportions. In 1929, Stravinsky wrote his "Capriccio," another work for piano solo with orchestral accompaniment. In the "," which he completed in 1930, he again turned to a Latin text and relied upon the combination of wind orchestra with string basses. The con- certo was completed in 1931, and in the same year the Duo Con- certante for Violin and Piano. In 1933, Stravinsky resumed a living language in his setting for orchestra and chorus with narrator, of "Persephone," to a French text by the neo-classical Andre Gide. The most recent works of Stravinsky are a concerto for two pianofortes, without accompaniment (1936), and his "Card Game," a "Ballet in Three Deals," of 1937. A concerto for small orchestra, without solo part, was completed in the spring of 1938, and first performed near Washington, D.C., at a private hearing. The first public performance took place in Paris, in June.

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[ 3°7 1 STRAVINSKY'S MUSIC AT THE BOSTON SYMPHONY CONCERTS he following compositions have been played in Boston at concerts T.of the Boston Symphony Orchestra:

1914. December 11, "Fireworks" 1919. October 31, Suite from "L'Oiseau de Feu" 1920. November 26, Suite from "Petrouchka" 1922. December 22, "Pulcinella," Suite (after Pergolesi) (First performance in the United States) 1924. January 25, "Le Sacre du Printemps" April 11 (by request), "Le Sacre du Printemps" December 26, "Le Sacre du Printemps" 1925. January 23, Song of the Volga Bargeman, arranged for Wind Orchestra "Petrouchka," Suite Concerto for Piano and Wind Orchestra (First performance in the United States) Soloist, Igor Stravinsky "L'Oiseau de Feu," Suite October 30, "," Symphonic Poem 1926. April 2, "Le Chant du Rossignol," Symphonic Poem April 30, "Petrouchka," Suite December 10, "L'Oiseau de Feu," Suite December 31, "Le Sacre du Printemps" 1927. October 7, "Petrouchka," Suite 1928. February 24, "Oedipus Rex," Opera-Oratorio (First performance in America) (Arthur Hackett, Margaret Matzenauer, Fraser Gauge, Paul Leyssac, Harvard Glee Club) March 23, "L'Oiseau de Feu," Suite October 12, "Apollon Musagete," Ballet

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[ 3°9 1 1930. April 18, "Apollon Musagete," Ballet December 19, "Capriccio" for Orchestra with Piano Solo (Jesus Maria Sanromd) (First performance in the United States) December 19, "Symphonie de Psaumes" for Orchestra with Chorus (Cecilia Society Chorus) (Composed for the Fiftieth Anniversary of the Boston Symphony Orchestra) (First performance in America) 1931. February 20, "Symphonie de Psaumes" (Cecilia Society Chorus) April 24, "L'Oiseau de Feu," Suite 1932. January 1, "Petrouchka," Suite January 1, Concerto for Violin (Samuel Dushkin) (First performance in the United States) March 11, "Pulcinella," Suite (after Pergolesi) April 15, "Symphonie de Psaumes" (Cecilia Society Chorus) 1933. January 13, "Petrouchka," Suite February 24, "Le Sacre du Printemps" October 20, "Le Sacre du Printemps" 1934. January 26, "Apollon Musagete," Ballet 1935. March 15, "Fireworks" "L'Oiseau de Feu" (Revised Version) "Persephone" (Cecilia Society Chorus) Soloists: Eva Gauthier, Colin O'More (Igor Stravinsky conducted this programme*) 1936. January 3, "Le Sacre du Printemps" April 17, "Symphonie de Psaumes" (Cecilia Society Chorus) October 30, "Le Baiser de la Fee" (Suite) 1939. February 24, "L'Oiseau de Feu" (Suite, first version) March 24, "Le Sacre du Printemps" April 6, "Symphonie de Psaumes" (Cecilia Society Chorus)

* Mr. Stravinsky likewise conducted the following at the concert in Sanders Theatre, Cambridge, March 14: "Fireworks," "Le Baiser de la Fee" (Suite), "Petrouchka" (Suite), "L'Oiseau de Feu" (Suite, revised version).

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[3 1Q ] "JEU DE CARTES, Ballet en trois donnes"

By Igor Stravinsky

Born at Oranienbaum, near St. Petersburg, on June 17, 1882

Stravinsky composed his ballet "The Card Game" between the summer of 1936 and the end of the year. The piece was performed by the American Ballet (for which it was composed) on April 27 of 1937, at the Metropolitan Opera House in New York. was in charge of the choreography. Mr. Stravinsky conducted. The ballet as a concert piece (which uses the score unaltered) was presented by the Philadelphia Orchestra, Eugene Ormandy conducting, January 14, 1938, and by the Los Angeles Philharmonic Orchestra, Otto Klemperer conduct- ing, February 17, 1938.

The orchestration of the suite is as follows: two and piccolo, two and English horn, two , two , four horns, two , three trombones and tuba, , bass , and strings.

T T T'hen Stravinsky was asked by Mr. Warburg for a new piece to V V be presented by the American Ballet, he had already contem- plated a ballet with an interplay of numerical combinations, with "Chiffres dansants" not unlike Schumann's "Lettres dansantes." The action was to be implicit in the music. One of the characters would be a malignant force whose ultimate defeat would impart a moral conclusion to the whole.

The ballet, as it was at last worked out, presented an enormous card table, the cards of the pack represented by individual dancers. The shuffling and dealing made a ceremonial introduction to each of the three deals. According to the mis-en-scene, at the end of each play, giant fingers, which might have been those of invisible croupiers, re- moved the cards.

The following summary is that of the composer: "The characters in this ballet are the cards in a game of poker, dis- puted between several players on the green baize table of a gaming house. At each deal the situation is complicated by the endless guiles of the perfidious Joker, who believes himself invincible because of his ability to become any desired card.

"During the first deal, one of the players is beaten, but the other two remain with even 'straights,' although one of them holds the Joker. "In the second deal, the hand which holds the Joker is victorious, thanks to four Aces who easily beat four Queens. "Now comes the third deal. The action grows more and more acute.

This time it is a struggle between three 'Flushes.' Although at first victorious over one adversary, the Joker, strutting at the head of a

11 [ 3 i sequence of Spades, is beaten by a 'Royal Flush' in Hearts. This puts an end to his malice and knavery. As La Fontaine once said:

'One should ever struggle against wrongdoers. Peace, I grant, is perfect in its way, But what purpose does it serve " With enemies who do not keep faith? '

First Deal Second Deal Introduction Introduction Pas d'action March Dance of the Joker Variations of the four Queens Little Waltz Variation of the Jack of Hearts and Coda March, and Ensemble

Third Deal Introduction Waltz-Minuet Presto (Combat between Spades and Hearts) Final Dance (Triumph of the Hearts)

The music is played without interruption. Lincoln Kirstein, one of the founders of the American Ballet, has interestingly described the working out and production of "Jeu de Cartes" in the article, "Working with Stravinsky," which he con-

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[3 12 1 The Musical Caricatures

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A collection of the musical caricatures of Honore Daumier may be seen in the

First Balcony Gallery together with music, autographs and photographs of the com- posers on these programmes, and the Casa- desus Collection of Old Instruments.

The collection of Daumier caricatures includes all those that are in some way re- lated to music — the set of Croquis Musi- caux and a number of others. They have been lent by the Museum of Fine Arts and

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[313] tributed to the magazine Modern Music (March-April, 1937). "When we decided to ask Stravinsky to write for the American Ballet, there was no question of providing the composer with even the sug- gestion of a subject. As a matter of fact, we were ignorant of his choice for six months after the contract was signed."

"Stravinsky, it seems, expended his utmost care on the skeletal first two choreographic plan and on his music. . . . When he saw the deals of 'Jeu de Cartes/ he expressed an enthusiasm, an interest and a criticism which was as courtly as it was terrifying. The ballet, as with so many Russians, is deep in his blood. It is not only a question of childhood memories of interminable performances at the Maryinsky Theatre, or of the famous works he has himself composed or seen. Stravinsky completely understands the vocabulary of classic dancing. He has more than the capacity to criticize individual choreographic fragments, doubled fouettes here, a series of brises accelerated or re- tarded, or points of style as in the elimination of pirouettes from a ballet which is primarily non-plastic but one-dimensional and card- like. His is the profound stage instinct of an 'amateur' of the dance,

the 'amateur' whose attitude is so professional that it seems merely an

accident that he is himself not a dancer. "The creation of 'Jeu de Cartes' was a complete collaboration.

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[3'5] Stravinsky would appear punctually at rehearsals and stay on for six hours. In the evenings he would take the pianist home with him and work further on the tempi. He always came meticulously apparelled in suede shoes, marvelous checked suits, beautiful ties — the small but perfect dandy, an elegant Parisian version of tailoring. Dur- ing successive run-throughs of the ballet he would slap his knee like a metronome for the dancers, then suddenly interrupt everything, rise and, gesticulating rapidly to emphasize his points, suggest a change. This was never offered tentatively but with the considered authority of complete information.

"Thus at the end of the first deal, where Balanchine had worked out a display of the dancers in a fan-like pattern to simulate cards held in the hand, Stravinsky decided there was too great a prodigality of choreographic invention. Instead of so much variety in the pictures he preferred a repetition of the most effective groupings. "As with the music and dancing, so with the costumes and scenery. Before his arrival we had been attracted by the idea of using a set of medieval playing cards and adapting them in all their subtle color and odd fancy to the stage. Forty costumes and the complete scenery were designed before he arrived in America. Upon seeing the sketches Stravinsky insisted they would place the work in a definite period

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[316] and evoke a decorative quality not present in his music. He called for the banal colors of a deck of ordinary cards, forms and details so simple as to be immediately recognizable. Stravinsky's precise delimi- tation gave Irene Sharaff, the designer, a new orientation, and strangely enough a new freedom for clarity and originality. "Stravinsky has about him the slightly disconcerting concentration of a research professor or a newspaper editor, the serious preoccupa- tion of a man who has so many inter-related activities to keep straight and in smooth running order that he finds it necessary to employ a laconic, if fatherly and final politeness. The effect is all the more odd coming from a man who is at once so small in stature, and who, at least from his photographs, appears not to have changed a bit in twenty-five years. When he speaks it seems to be the paternal mouth- piece of a permanent organization or institution rather than a crea- tive individual.

"Stravinsky is a composer who meets each problem within the tra- dition of the theatre, a tradition which he has helped to create, in which he resides, and onto which he continually builds."

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[317] CAPRICCIO FOR PIANO AND ORCHESTRA By Igor Stravinsky

Born at Oranienbaum, near St. Petersburg, June 17, 1882

Stravinsky began to compose his Capriccio at Christmas of 1928 and completed it by the end of September 1929. The first performance was at a concert of the Orchestre Symphonique de Paris, Ansermet conducting, and the composer playing the piano solo. The first performance in America was at a concert of the Boston

Symphony Orchestra, December 19, 1930, Jesus Maria Sanroma taking the piano part. The same Orchestra and soloist introduced the work to New York, February

7» i93i- The orchestration is as follows: wood winds in threes, four horns, two trumpets, three trombones and tuba, timpani, and strings.

Stravinsky, appearing as piano soloist in various European cities,

O decided that it would be advisable to have another work of his own than the Piano Concerto, which he had performed innumerable times. "That is why I wrote another concerto," he tells us in his auto- biography, "which I called 'Capriccio/ that name seeming to indicate best the character of the music. I had in mind the definition of a capriccio given by Praetorius, the celebrated musical authority of the THE CARRY-ON-SHOP 65 CHARLES STREET UNIQUE CAPITOL 7219 BOSTON FOU RWAY TIES FROM SCOTLAN D

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seventeenth century.* He regarded it as a synonym of the fantasia, which was a free form made up of fugato instrumental passages. This form enabled me to develop my music by the juxtaposition of episodes of various kinds which follow one another and by their very nature give the piece that aspect of caprice from which it takes its name.

"There is little wonder that, while working at my Capriccio, I should find my thoughts dominated by that prince of music, Carl Maria von Weber, whose genius admirably lent itself to this manner. Alas! no one thought of calling him a prince in his lifetime!"

The composer uses the solo string quartet, but merely as a part of the accompanying orchestra. "The name Capriccio," writes the pro- gramme annotater for the B. B. C. Concerts in London, "of course allows a composer a good deal of freedom, but this work has, none the less, a formality of its own, consistently designed. Each movement has its own motive, and they are bound together in a certain unity. The characteristic theme of the Capriccio is the arpeggio of G minor, played marcato but not forte, by the pianoforte with a rhythmic sup- port from timpani, near the beginning of the first movement. It decides the character of the first movement, and gives birth to a num- ber of the succeeding themes, built up somewhat on the plan of an overture. It is preceded by an Introduction interchanging between

.* Not the "eighteenth century," as erroneously quoted in the English translation.

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[320] Presto and Doppio movimento (used here to mean twice as slow, not twice as fast), and the Introduction is brought in again to form the close of the movement. The Presto depends largely for its effect on trills, with rushing scales in the orchestral strings, and the Doppio movimento has a theme for the string quartet. The main body of the movement never slackens speed, from the arpeggio figure with which the soloist begins until the introduction returns at the end. Concise in itself, it makes use for the most part of short themes, several of them clearly akin to that arpeggio motive.

"Rapsodico gives the clue to the second movement, and in it, the idea of a capriccio is most clearly realized. It begins with a dialogue between the soloist and the wood winds, and the texture is slighter than in the first movement: except for one or two short passages, the string quartet has no separate existence apart from the strings as a whole. The pianoforte closes the movement with a cadenza, lightly accompanied in its last three bars. The capricious character of the piece is clearly foreshadowed by the soloist's opening. "The movement leads straight into the last, a moto perpetuo, based largely on an insistent arpeggio of G major, and the two chief sub- jects built up above it have something of the character of the subject and counter-subject of a fugue. And their reappearances, interchanged between soloist and orchestra, may remind the listener of rondo form."

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[ 321 ] SUITE FROM THE BALLET "PETROUCHKA" By Igor Stravinsky

Born at Oranienbaum, near St. Petersburg, on June 17, 1882

The ballet "Petrouchka: Scenes burlesques en 4 Tableaux," scenario by Ig.

Stravinsky and Alexandre Benois, was first produced at the Chatelet, in Paris,

June 13, 1911, by the Ballet Russe of Serge de Diaghilev.

The first performance of the suite at the concerts of this orchestia was given November 26, 1920, under the direction of Pierre Monteux. The most recent per- formance at the Friday and Saturday concerts was January 13, 1933, Richard Burgin conducting. Stravinsky conducted the suite at a concert in Sanders Theatre,

Cambridge, March 14, 1935. The following instruments are required in the ballet: four flutes and two piccolos, four oboes and English horn, four clarinets and bass , four bassoons and contra-, four horns, two trumpets and two cornets-a-piston, three trombones and tuba, timpani, snare drum, tambour de Provence, , , , triangle, glockenspiel, xylophone, tam-tam, celesta, piano-

forte, two harps and strings. The score is dedicated to Alexandre Benois, and was published in 1912.

Stravinsky in 1911, still a recent ''find" of Diaghilev, having brought upon himself the world's attention by the production in the pre- vious spring of his "Oiseau de Feu," soon became absorbed in thoughts of a primitive ballet in which a young girl would dance MILTON HILL HOUSE

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with "menacing blasts. The outcome is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet."

In these words, Stravinsky describes in his autobiography the in- ception of what was to be his second ballet, pushing all thoughts of 'Le Sacre du Printemps" for the time being into the background.

"Having finished this bizarre piece, I struggled for hours while walk- ing beside Lake Geneva to find a title which would express in a word the character of my music and, consequently, the personality of this creature." These were the musical plans which Diaghilev found Stravinsky working upon. "He was much astonished when, instead of sketches of the 'Sacre,' I played him the piece I had just composed and which later became the second scene of 'Petrouchka.' He was so

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[323] much pleased with it that he would not leave it alone and began persuading me to develop the theme of the puppet's sufferings and make it into a whole ballet. While he remained in Switzerland we worked out together the general lines of the subject and the plot in accordance with ideas which I suggested. We settled the scene of

action: the fair, with its crowd, its booths, the little traditional theatre, the character of the magician, with all his tricks; and the coming to life of the dolls — Petrouchka, his rival, and the dancer — and their love tragedy, which ends with Petrouchka's death." Mr. Edwin Evans gives the following description of the ballet:

"The action takes place at St. Petersburg in the Admiralty Square during Carnival week, about 1830. Amid the popular merry-making an old Showman of Oriental mien presents before the public of the fair three animated puppets: Petrouchka, the Ballerina, and the Moor, who perform a lively dance. The Showman's magic has imbued them with human feelings and emotions. Of the three, Petrouchka is the most nearly human, and therefore the most sensitive. He is conscious of his grotesque exterior and bitterly resentful of the showman's cruelty. He is romantically enamoured of the Ballerina, but she is only repelled by his uncouth appearance. Compared with Petrouchka the Moor is brutal and stupid, but he is sumptuously attired and therefore more attractive to the Ballerina, who captivates him. Petrouchka intrudes upon their love scene, but is ignominiously thrown out. Meanwhile, the fun of the fair, which has suffered no interruption, has reached its height. A roistering merchant, accom- panied by two gipsy girls, throws bank-notes to the crowd. There are dances of Coachmen and of Nursemaids. A performing bear traverses the scene with his trainer in attendance. Suddenly there is a commo- tion in the Showman's booth, from which Petrouchka emerges, fleeing for his life, with the Moor in pursuit. He is overtaken and struck down, and he dies in the snow among the merry-makers who, mystified, call upon the police to fetch the Showman. He comes and easily con- vinces every one that Petrouchka is but a puppet, a thing of wood j and saw-dust. The crowd disperses, but the Snowman is terrified to see, above his booth, the ghost of Petrouchka, threatening him and jeering at his dupes. "It will be observed that the Russian Petrouchka, for all his grotesque trappings, remains, like Pierrot, an essentially tragic figun — the more tragic that he is fated to endure his troubles without the solace of sympathy. The discomfiture of Petrouchka in his courtim of the Ballerina does not differ essentially from that of the genth romantic-minded Pierrot at the hands of the realistic, worldly mindec Columbine, who prefers the cynical Harlequin. In fact Petrouchk* adds yet another chapter to the Commedia dell' Arte, that fertile anc glorious tradition which the majority of Englishmen know onl} through its dregs, the seaside Pierrot, and the harlequinade that until recently followed the Christmas pantomime, though in recent years the pathos of Pierrot has been recaptured elsewhere by Charlie Chaplin."

[324] "SYMPHONIE DE PSAUMES/' for Orchestra with Chorus By Igor Stravinsky

Born at Oranienbaum, near St. Petersburg, on June 17, 1882

This setting of excerpts from the Psalms was dedicated to the Boston Symphony

Orchestra on the occasion of its 50th anniversary. The actual first performance took place in , by the Brussels Philharmonic Society, December 13, 1930, conducting. The initial performance by the Boston Symphony

Orchestra was given in the following week, December 19. The "Symphony of

Psalms" was repeated by this orchestra on February 20, on April 15, 1932, on

April 17, 1936, and April 6, 1939. In each case the Cecilia Society Chorus assisted. The following note is given in the score: "The three parts of this symphony are to be played without pause. The text of the Psalms, which is that of the

Vulgate, is to be sung in Latin. The Psalms are: Verses 13 and 14 of XXXVIII for the First Part of the Symphony; verses 2, 3, and 4 of XXXIX for the Second Part; Psalm CL, in its entirety, for the Third Part. The chorus should be of children's voices. Failing these, women's voices (sopranos and altos) may be sub- stituted." [The score contains parts for sopranos, altos, tenors, and basses.] Stravinsky dispenses entirely with the high strings, using the ' and basses for the reinforcement of his tonal foundations. The wood winds contain no clarinets, but four flutes and piccolo, four oboes and English horn, three bassoons and contra-bassoon. There are four horns, five trumpets, including a high trumpet in D, three trombones and tuba, harp, two pianos, timpani, and bass drum.

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[ 3*5 J In "Chroniques de ma vie," Stravinsky tells of the circumstances under which he wrote his "Symphonie de Psaumes": "The idea of composing a symphonic work of considerable propor- tions (envergure) had occupied me for a long time. I therefore will- ingly accepted a proposition which coincided entirely with my incli- nations. I was given full liberty in the form of the piece, as well as the forces which I might require for its performance. My only constriction was in the matter of time. . . . My work upon the 'Symphonie de Psaumes" began in the first part of the year (1930), and was frequently interrupted by a number of concerts in Europe, in which I took part at times as conductor, at times as pianist. My last work, the 'Capriccio,' was having a considerable success in different cities. I had to perform it in Berlin, Leipzig, Bucharest, Prague, Winterthur, and in addition, to conduct concerts at Diisseldorf, Brussels and Amsterdam. At the be- ginning of the summer, I could at last give my whole time to my symphony, of which I had then completed only one part. As for the two others, I wrote them entirely — at first at Nice, then at Charavines, through which I was passing, at the edge of the little Lake Paladru. The 15th of August I put the last touches on the draft of the score and could work at ease upon its orchestration, already begun at Nice." "The juxtaposition of the three Psalms," according to a note in a French programme, "is not fortuitous. The prayer of the sinner for divine pity (Prelude), the recognition of grace received (double fugue), and the hymn of praise and glory are the basis of an evolution- ary plan. The music which embodies these texts follows its develop- ment according to its own symphonic laws. The order of the three movements presupposes a periodic scheme and in this sense realizes a

'symphony.' For a periodic scheme is what distinguishes a 'symphony' from a collection of pieces with no scheme but one of succession, as in a suite." The composer has given himself a text which moves from prayer and entreaty to reassurance of faith; finally to a resounding hymn of jubilation and praise. He numbers the psalms according to the Vul-

gate: the translation is here numbered in the St. James version:

I.

Psalmus XXXVIII, Verses 13 and 14

Exaudi orationem meam, Domine, et deprecationem meam: auribus percipe lacrymas meas.

Ne sileas, quoniam advena ego sum apud te, et peregrinus, sicut omnes patres mei. Remitte mihi, ut refrigerer priusquam abeam, et amplius non ero.

Psalm 39 (King James Version) Hear my prayer, O Lord, and give ear unto my cry, Hold not thy peace at my tears:

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[3 2 7 ] For I am a stranger with thee, And a sojourner, as all my fathers were. O spare me, that I may recover strength: Before I go hence, and be no more.

II.

Psalmus XXXIX, Verses 1, 2, 3, 4 Expectans expectavi Dominum, et intendit mihi. Et exaudivit preces meas; et eduxit me de lacu miseriae, et de luto faecis Et statuit supra petram pedes meos; et direxit gressus meos. Et immisit in os meum canicum novum, carmen Deo nostro. Videbunt multi et timebunt: et sperabunt in Domino.

Psalm XL (King James Version)

I waited patiently for the Lord, And he inclined unto me, and heard my cry. He brought me up also out of an horrible pit, out of the miry clay, And set my feet upon a rock, and established my goings. And he hath put a new song in my mouth, even praise unto our God: Many shall see it, and fear, And shall trust in the Lord.

III. Psalmus CL (Alleluia) Laudate Dominum in Sanctis ejus: Laudate eum in firmamento virtutis ejus. Laudate eum in virtutibus ejus: laudate eum secundum multitudinem magni- tudinis ejus. Laudate eum in sono tubae: laudate eum in psalterio et cithara. Laudate eum in tympano et choro: laudate eum in chordis et organo. Laudate eum in cymbalis bene sonantibus: laudate eum in cymbalis jubilationis: omnis spiritus laudet Dominum.

Psalm CL (King James Version) (Alleluia) Praise ye the Lord. Praise God in his Sanctuary: Praise him in the firmament of his power. Praise him for his mighty acts: Praise him according to his excellent greatness. Praise him with the sound of the Trumpet: Praise him with the Psaltery and Harp. Praise him with the timbrel and dance: Praise him with stringed instruments, and Organs. Praise him upon the loud cymbals: Praise him upon the high sounding cymbals. Let everything that hath breath, praise the Lord. Praise ye the Lord. SYMPHONYMENUHINHALL Sun., Jan. 14, at 3:30 Tickets NOW at Box Office: $1.10, $1.65, $2.20, $2.75

[328] FIFTY-NINTH SEASON - NINETEEN HUNDRED THIRTY-NINE AND FORTY

Eighth Programme

FRIDAY AFTERNOON, December 8, at 2:30 o'clock

SATURDAY EVENING, December 9, at 8:15 o'clock

Mozart Symphony in C major, No. 34 (Koechel No. 338)

I. Allegro vivace

II. Andante di molto III. Finale: Allegro vivace

Mahler Finale, adagio, from the Ninth Symphony

INTERMISSION

Schubert Symphony No. 7 in C major

I. Andante; Allegro ma non troppo II. Andante con moto III. Scherzo IV. Finale

This programme will end about 4:30 on Friday Afternoon, 10:15 o'clock on Saturday Evening

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. A lecture on this programme will be given on Wednesday at 4:45 o'clock, in the Lecture Hall.

[ 329] Boston Symphony Orchestra

[Fifty-ninth Season, 1939-1940]

SERGE KOUSSEVITZKY, Conductor

Personnel

Violins BURGIN, R. ELCUS, G. lauga, N. SAUVLET, H. RESNIKOFF, V. Concert-master GUNDERSEN, R. KASSMAN, N. CHERKASSKY, P. EISLER, D.

THEODOROWICZ, J.

HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R.

LEIBOVICI, J. PINF1ELD, C. LEVEEN, P. KRIPS, A.

KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B.

BRYANT, M. STONESTREET, L. MESSINA, S. DICKSON, H.

MURRAY, J. ERKELENS, H. SEINIGER, S. DUBBS, H.

LEFRANC, J. FOUREL, G. BERNARD, A. GROVER, H.

CAUHAPE, J. ARTIERES, L. VAN WYNBERGEN, C. WERNER, H.

LEHNER, E. KORNSAND, E.

GERHARDT, S. HUMPHREY, G. Violoncellos

BEDETTI, J. LANGENDOEN, J. chardon, y. STOCKBRIDGE, C. fabrizio, e. ZIGHERA, A. TORTELIER, P. droeghmans, h. ZEISE, K. marjollet, l.

zimbler, j. Basses

MOLEUX, G. DUFRESNE, G. greenblrg, h. CIRARD, H. barwicki, j. vondrak, a JUHT, L. frankel, i. PROSE, P. Flutes Oboes Clarinets Bassoons laurent, g. GILLET, F. polatschek, v. ALLARD, R. pappoutsakis, j devergie, j. valerio, m. PANENKA, E. KAPLAN, P. lukatsky, j. cardillo, p. LAUS, A. Piccolo English Horn Contra-Bassoon MADSEN, G. SPEYER, L. mazzeo, R. PILLER, B. Horns Horns Trumpets Trombones valkenier, w. SINGER, J. mager, g. raichman, j. macdonald, w. LANNOYE, m. lafosse, m. hansotte, l.

SINGER, J. SHAPIRO, H. voisin, r. l. lilleback, w. gebhardt, w. KEANEY, P. VOISIN, r. SMITH, V. Tuba Harps Timpani Percussion

ADAM, E. zighera, b. szulc, r. sternburg, s. caughey, e. polster, m. WHITE, L. arcieri, e. Piano Librarian

sanroma, j. rogers, l. j. * On leave.

[33°] AK ^AarorL^ Richmond Concerts

A few tickets still available at the box office KIRSTEN FLAGSTAD MON. EVE., DEC. 11 Symphony Hall {Knabe)

WED. EVE., DEC. 6 Jordan Hall MISCHA LEVITZKI PIANIST {Steinway)

Beethoven, Sonata in A major, Opus 101; Bach. Chromatic Fantasy and Fugue; Schumann, Symphonic Etudes, Opus 13 and Chopin, Impromptu, F-sharp major, Valse Briiliante, A-flat major, Opus 34, No. 1, Fantasy* Impromptu and Scherzo, C-sharp minor.

Tickets available at box office $1.10 to $2.20 CATHERINE CARVER PIANIST {.Stein way)

THURS. EVE., JAN. 4, at 8:30, in Jordan Hall

Tickets 55 cents, $1.10 and $1.65 MARIAN ANDERSON Only Boston Concert {Mason & Hamlin)

SUN. AFT., JAN. 7, at 3:30, in Symphony Hall D MAIL ORDERS NOW ^B™S Bom>N Tickets go on sale at box office, Dec. 11th, at $1.10, $1.65, $2.20, $2.75 PIERRE GENI A LUBOSIItJTZ & NEMENOFF DUO-PIANISTS (Steinways) WEDNESDAY EVENING, JANUARY 10, at 8:30

Tickets now on sale at Jordan Hall box office $1.10, $1.65, $2.20

[33 1 ] IflBtmt Ewntng Srattarripi

takes pleasure in announcing the pub-

lication each Friday and Monday of a

series of living biographies of the

members of the Boston Symphony Or-

chestra. Each Monday and Friday the

Transcript will publish a vivid, human and authoritative sketch, with pictures

of three members of the Boston Sym- phony Orchestra, by Paul D. Secon.

We feel that all Symphony-goers will

want to read and save this interesting

series of biographies.

[320] 1 1

ANITA DAVIS-CHASE Announces Fourth Season, 1940 Three Concerts for Chamber Orchestra (30 Members of the Boston Symphony Orchestra) BERNARDConductedZ1GHERAby

Jordan Hall Mon. Eves., Jan. 0, Feb. 5 9 Mar. 1 SOLOISTS: MYRA HESS, JOSEPH KNITZER Series tickets for the three concerts:- $6.50, $5.00, $3.50 Single lickets: $2.75, $2.20, $1.65, $1.10 Mail orders to Anita Davis-Chase, 234 Boylston Street, Boston

SYMPHONY HALL, BOSTON SECOND CONCERT OF THE MONDAY-TUESDAY SERIES

Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Conductor

MONDAY EVENING, December 4, at 8:15 o'clock

TUESDAY AFTERNOON, December 5, at 3 o'clock

Programme

Arthur Bliss Suite from the Ballet "Checkmate" (Conducted by the Composer)

Rachmaninoff. . . .Concerto for Pianoforte No. 2 in C minor, Op. 18

I. Moderate* II. Adagio sostenuto III. Allegro scherzando INTERMISSION

Schumann Symphony No. 1 in B-flat, Op. 38

I. Andante un poco maestoso; Allegro molto vivace II. Larghetto

III. Scherzo: Molto vivace. Trio I: Molto piu vivace. Trio 1 IV. Allegro animato e grazioso

SOLOIST SIMON BARER Steinway Piano

[333] For the FridayAfternoon Patrons

• A NEW LUNCH ROOM •

Symphony Hall wishes to call the attention

of the Friday afternoon concert-goers to a

new lunch room which has been opened on

the Second Balcony (stage end, left). Light

lunches and refreshments will be served between

1:30 and 2:30, and during the intermission.

MUSICAL INSTRUCTION FELIX FOX PIANIST

Studio: 403 MARLBOROUGH STREET, BOSTON (Tel. Ken. 0716)

In New York on Tuesday (fortnightly). Studio: 5B, 200 W. 57th Street MARY SHAW SWAIN PIANOFORTE TEACHER Former member of Faculty of the Felix Fox School of Pianoforte Playing ACCOMPANIST AND COACH 10 MUSEUM ROAD HIGHLANDS 9419 MALKIN CONSERVATORY OF MUSIC JOSEPH MALKIN, Director Specializing in all fields of music study- Courses leading to the MUS. B. Degree, concentration in Applied Music — Composition and Music Research — School Music 299 Beacon Street, Boston, Mass. Tel. KENmore 4166 Worcester Branch, Office open Tuesdays — Fridays — Saturdays 11.30-1, 2-4.30 Day Building 4 Walnut Street Tel. 4-1386 [334] I MUSICAL INSTRUCTION

I.OWGY OF MUSIC CAMBRIDGE, MASS. GRADUATE DEPARTMENT DIPLOMA COURSE JUNIOR DEPARTMENT Private and Class Lessons Special Evening Courses for Adults 1 Follen Street Trowbridge 0956 Mrs. Charles Adams White TEACHER OF SINGING 105 REVERE ST., BOSTON Tel. Capitol 6745 MARBLEHEAD, Thursdays, 6 Long View Drive Tel. Mar. 40J

JULES WOLFFERS HARRIETTE E. WOLFFERS PIANIST INSTRUCTION VIOLINIST Faculty members of the Malkin Conservatory Residence: HOTEL HEMENWAY Studio: THE RIVIERA Kenmore 4330 MISS MARION FOX PIANOFORTE INSTRUCTION Former member of Faculty of the Felix Fox School of Pianoforte Playing 403 Marlborough Street Tel. Algonquin 3078 GERTRUDE TINGLEY SINGER AND TEACHER OF SINGING Abbot Academy, Andover Rogers Hall, Lowell Studio, °°%* NEWBURY STREET, BOSTON The Stuart School, Boston The Curry School, Boston Telephones: Kenmore 8258, Asvinwall 7190 Erskine School of Boston PROFESSOR HEDDA BALLON PIANIST, HARPSICHORDIST 22 MOUNT PLEASANT STREET, CAMBRIDGE KIR. 1445 MADGE FAIRFAX MEZZO-SOPRANO TEACHER OF SINGING - COACH - ACCOMPANIST (Member of the Faculty of the Boston Conservatory) STUDIO TELEPHONE 56 CLEARWAY STREET Commonwealth 1948 RALPH LAWTON PIANIST Head of piano faculty (1932-36) Mozarteum Academy of Music, Salzburg, Austria CONCERTS - INDIVIDUAL AND CLASS LESSONS - LECTURES Director of the Association for Music and Art on Cape Cod, Inc. Studio: 88 Exeter Street Telephone: Kenmore 2347

[335] MUSICAL INSTRUCTION

Mrs. Mabel Mann Jordan Miss ROSE STEWART Pupil of SILVESTRI, Naples, Italy Teacher of TEACHER OF SINGING MANDOLIN, GUITAR and UKULELE Foreign and American Instruments for sale. Brighton 245 Chestnut Hill Avenue, For lesson appointment at 206 Commonwealth Telephone Stadium 2326 Ave., Boston, write Randolph, Mass., or tele- phone Randolph 0465-M Thursdays.

FRANK E. DOYLE KATE FRISKIN

14 STEINERT HALL PIANIST AND TEACHER Member of Faculty SINGING Abbot Academy Boston Andover, Muss. Wednesday! SOLFEGGIO THEORY EAR TRAINING Classes in DALCROZE EURYTHMICS GASTON DUFRESNE First Medal in Solfeggio from the National GRACE L. ENDERS 4«7 BOYLSTON ST. Conservatory in Paris BROOKLINE Member of the Boston Symphony Longwood 4687 16 QUEENSBERRY STREET Commonwealth 0229 SELMA PELONSKY GERTRUDE EHRHART PIANIST - TEACHER SOPRANO Assistant to Heinrich Gebhard TEACHER OF WOMEN'S VOICES 121 Centre Street, Brookline 11 TETLOW STREET BOSTON Aspinwall 7750 Longwood 4737 RAND SMITH Baritone Available for Appearances in Concert and Oratorio President, Young Artists Association In Charge of Longwood Towers Musicals Studio, 107 QUEENSBERRY STREET Kenmore 2089

[336]