BOSTON SYnpnorsY i ORCnCSTRH INCORPORATED FORTY-FIRST SEASON I92I-I922

PRoGRmnE Established 1833 WEBSTER AND CAPITAL: ATLAS SURPLUS: $1,000,000 $1,000,000 NATIONAL BANK

A Well Managed, and an Old Established National Bank

The well-established position of this bank in the community, the character of its Board of Directors, and its reputation as a solid, conservative institution recommend it as a particularly desirable depository for ACCOUNTS OF TRUSTEES, EXECUTORS AND INDIVIDUALS and for COMMERCIAL ACCOUNTS IT IS KNOWN AS "A STRONG BANK OF DEPENDABLE SERVICE'* DIRECTORS: CHARLES B. BARNES GRANVILLE E. FOSS JOSEPH S. BIGELOW ROBERT H. GARDINER FESSENDEN S. BLANCHARD GEORGE L. GILMORE THEODORE G. BREMER EDWARD W. GREW WILLIAM R. CORDINGLEY OLIVER HALL RAYMOND B. COX ARNOLD W. HUNNEWELL AMORY ELIOT DUDLEY P. ROGERS ROGER ERNST THOMAS W. THACHER JOHN W. FARWELL WALTER TUFTS OFFICERS:

AMORY ELIOT, Chairman of the Board RAYMOND B. COX. President ROBERT E. HILL, Asst. Cashier JOSEPH L. FOSTER, Vice-President FRANK B. BUTTS, Asst. Cashier and Cashier ARTHUR W. LANE. Asst. Cashier EDWARD M. HOWLAND, Vice-President HAROLD A. YEAMES. Asst. Cashier

The most dignified and inviting banking rooms in Boston

CORNER WASHINGTON AND COURT STREETS 199 WASHINGTON ST.— 16 COURT ST. (OPPOSITE OLD STATE HOUSE) SYMPHONY HALL. BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492

Eostoii Symplioey Orclii INCORPORATED

PIERRE MONTEUX, Conductor

FORTY-FIRST SEASON. 1921-1922

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

COPYRIGHT, 1922, BY bOSTCN SYMPHONY ORCHESTRA, INCORPORATED

THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc.

FREDERICK P. CABOT President

GALEN L. STONE Vice-President

ERNEST B. DANE Treasurer

ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN

W. H. BRENNAN. Manager G. E. JUDD. Assistant Manager WA "CHE INSTRUMENT OF THE IMMORTALS

HALF a century ago Anton Rubinstein, like his immortal con- temporaries, Wagner and Liszt, pronounced the Steinway "unrivalled" among pianos. Today Sergei Rachmaninoff, the greatest Russian pianist since Rubinstein, has said: "Only upon a Steinway can the works of the masters be played with full artistic justice." Generation after generation the Steinway stands supreme — the chosen piano of the masters — the immortal instrument of the Immortals of Music.

STEINWAY & SONS, STEINWAY HALL 107 109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE bstoe Symphony Orcliestra Forty-first Season, 1921-1922

PIERRE MONTEUX, Conductor

PERSONNEL

Violins.

Burgin, R. HoEfmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. KraSt, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Berger, H. Kassman, N. Barozzi, S. Leveen, P. Siegl, F.

Thillois, F. Gorodetzky, L. Kurth, R. Murray, J. Riedlinger, H. Goldstein, S. Bryant, M. Knudsen, C.

Stonestreet, L. Deane, C. Erkelens, H. Seiniger, S. Diamond, S. Tapley, R. Del Sordo, R. Messina. S.

Violas Fourel, G. Werner, H. Grover, H. Fiedler, A Arti^res, L. Van Wynbergen, C. Shirley, P. Mullaly, J. Gerhardt, S. Kluge, M. Welti, O. Zahn, F.

Violoncellos.

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

Basses. Kunze, M. Seydel, T. Ludwig, O. KeUey, A. Girard, H. Keller. K. Gerhardt, G. Frankel, I. Demetrides, L.

Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Arcieri, E. Mueller, E. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F.

Piccolo. English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Mimart, P. PiUer, B. Speyer, L.

Horns. Horns. Trumpets. Trombones. Wendler, G. Van Den Berg, C. Mager, G. Hampe, C. Lorbeer, H. Hess, M. Mann, J. Adam, E. Hain, F. Perret, G. Mausebach, A. Gebhardt, W. Kloepfel, L. Kenfield, L.

Tuba. Harps. Timpani. Percussion.

Adam, E. Holy, A. Neumann, S. Rettberg, A. Zahn, Delcourt, L. Kandler, F. Ludwig, C.

Organ. Celesta. Librarian.

Snow, A. Fiedler, A. Rogers, L. J. 1483 —

"RC^SO^hCS

Not because the name is famous — but because of the qual- ities that have made the name famous. That is a reason for choosing a

PIANO

And there is a reason for its great renown enduring now for nearly a Hundred Years:

ITS EXQUISITE TO^E-which De Pachmannn compared to the loveliest of hu'hian voices.

ITS AMAZING DURABILITY—M^r

It IS not a comcidence that m the finest homes you find the Chickering— but because its owner, accustomed to the best, demands the best.

The Chickering is obtainable with the AMPICO —that marvelous instrument which brings to the

piano containing it all the music you love best —ideally played.

RETAIL W A R E R C) O M S 169 TREMONT STREET BOSTON FORTY-FIRST SEASON. NINETEEN HUNDRED

Tweet¥»foiirtli ProEramme

FRIDAY AFTERNOON, APRIL 28, at 2.30 o'clock

SATURDAY EVENING. APRIL 29. at 8.00 o'clock

Gretry-Mottl . Three Dance Numbers from "Cephale et Procris"

I. Tambourin. II. Menuet ("The Nymphs of Diana") III. Gigue.

Chabrier Entr'acte, "Gwendoline"

Schreker . Prelude to a Drama

Rimsky-Korsakov . . Symphonic Suite, "Scheherazade" (after "The Thousand Nights and a Night"), Op. 35 I. The Sea and Sindbad's Ship. II. The Story of the Kalandar-Prince. III. The Young Prince and the Young Princess. IV. Festival at Bagdad. The Sea. The Ship goes to Pieces on a Rock Surmounted by a Bronze Warrior. Conclusion.

MASON & HAMLIN PIANO USED

There will be an Intermission of ten minutes after Schreker 's Prelude

covering of City of Boston, Revised Regulation of August 5, 1898.—Chapter 3, relating to the the head in places of public amusement the head a covering which obstructs Every licensee shall not, in his place of amusement, allow any person to wear upon seat therem provided for spectators. the view of the exhibition or performance in such place of any person seated in any does not obstruct such view may be worn. it being understood that a low head covering without projection, which Attest: J. M. GALVIN, City Clerk.

A. Music Collection The works to be played at these concerts may be seen in the Alien Brown of the Boston Public Library one week before the concert. ^Illllllllllllllllllll!

RoMed the World

Which Cruise Will You Take? January 9 or 16, 1923

Most Interesting Cruises Most Comprehensive Routes In every way, these two phenomenal The routes are the most interesting - Raymond - Whitcomb Round - the ever devised. They include Panama, World Cruises are the most intensely Kilauea, fourteen days Japan, China, interesting ones ever planned. You Philippines, Zamboanga, four days will enjoy every minute, whichever Java, Burma, twenty-one days India, Cruise you take. Sailing from New Cashmere, Ceylon, Egypt, Paris, etc. York, January 9 and 16, 1923.

The Finest Ships, Chartered Most Experienced Company The S.Ss. "Resolute" and "Vol- Raymond-Whitcomb's unparalleled endam" are both — in design, Cruise record since the Great War, equipment and accommodations — together with their longest expe- the finest Ships for Round -the- rience and most up to date contact World Travel. These ships have in Round-the-World Travel insure been exclusively chartered by Ray- the acme of Perfection in these mond-Whitcorab, thereby insuring Cruises. Rates $1,050 up—New York carefully selected membership and to New York. congenial companions. Europe Pacii&c Nortibwest Long and Short Tours. Frequent The "Vacation Lands of the West" departures during the Summer. will again attract thousands of dis- Booklet and complete information criminating travelers this Summer. on request. Scenery rivalled only by the Swiss Alps — incomparable National Parks Nortlh Cape — snow-clad mountains — turquoise North Cape— "Midnight Sun"— lakes — mighty glaciers. Raymond- Norwegian Fjords Cruise. From Whitcomb provide de Luxe trips for New York, June 28. Rates, $675 this Summer under ideal conditions up. Booklet on request. of comfort and enjoyment. The comprehensive features include Great Lakes — National Parks — Mediterranean Colorado — Grand Canyon — Cali- fornia — Pacific Northwest — Cana- Feb. 10, 1923 — S. S. "Rotterdam." dian Rockies—Crater Lake—Alaska Delightful days on the most historic — Yukon River — Klondike, etc. waters of the world and amid fascin- Ask for new booklet. ating lands.

Ask for Booklets &. WHtcomb Co. \ Raymoed 17 Temple Place, Boston

I Telephone, Beach 6964

lllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllHIIIIIIIlllllll^ — — ——

Three Dance Pieces from "Cephalus and Procris," Heroic Ballet: Tambourin; Menuet ("The Nymphs of Diana"); Gigue; Freely Arranged for Concert Performance by Felix Mottl. Andre Erneste Modeste Gretry

(Gretry, born at Liege, February 8, 1741; died at Montmorency, near Paris, September 24, 1813.)

(Mottl, born at Unter St. Veit, near Vienna, August 29, 1856; died at Munich on July 2, 1911.)

Gretry 's "Cephale et Procris," heroic ballet in three acts, words by Jean Frangois Marmontel (1723-99), was performed for the first time at Versailles before Louis XV., December 30, 1773, at the wedding festivities of Charles Philippe of France, Count of Artois, who married the Princess Marie Theresa of Savoy, November 16 of that year.* At Versailles there was only this one performance. The singers were: Larrivee, Cephale; Sophie Arnould, Procris; Mme. Larrivee, I'Aurore;

Mile. Rosalie (afterwards Levasseur), Flore and 1' Amour; Mile. Beau-

Gustave Chouquet, in his "Histoire de la Musique Dramatique en France" (p. 357), says that Cephale et ProcrLs" was performed at Versailles at the end of the series of entertainments in honor of the marriage of the Dauphin and Marie Antoinette. The late conservator of the collection of musical instruments belonging to the Paris Conservatory was an unusually accurate and sound writer, but the marriage of the Dauphin and Marie Antoinette took place on May 16, 1770, over three years before the performance of "Cfiphale et Procris" at Versailles. The marriage of the Comte d'Artois and Marie Theresa was first by procuration at Turin in the palace of the King of Sardinia and Savoy, Marie's father, October 24, 1773. On November 14 of that year she arrived in the environs of Fontainebleau, and was there met by the Iving of France. Castil-Blaze, in his "L'Academie Imperiale de Mu.sique" (Paris, 1855), makes the mistake of Chouquet. No doubt Chouquet followed Castil-Blaze blindly in the matter.

SONGS hy ALMA GOATLEY

"Altogether unusual in the season's output." Musical America

. . . what she has to say in music is "different" Musical Courier

A GARDEN IS A LOVESOME THING (2 keys) 50 Sung by Vera Curtis, Cecil Fanning, Alice Moncrie.T, Olive Nevin, Claude Warford De ighttully .simple, a tenderly expressed slow movement with a big opportunity for fine legato singing —Musical America. NOW THAT APRIL'S THERE (3 keys) 60 Sung by Alice MoncriefT and Mme. Clara Poole A remarkably rhythmic individuality. We can hardly think of a better setting for this poem, full of optimism and joyous, outdoor spirits. Musical America. SONGS OF SAPPHO (2 keys) Each .50 WHAT THE WEST WIND WHISPr^RS A BZNEDICTION THE COUHemingway, Olive Nevin, Gladys Van der Beeck Full of grace and vitality. Musical Courier THE WOOD ANEMONE (2 keys) Sung by Harriet story Macfarlane 50 A bright, dainty song, with catchy melody and charming accompaniment. -Pact.^c Coast Musician^

PIPE OUT, YE SILVER FLUTES (2 keys) . , 60 . Sung by M irie Tiffany and Frank Parker A song of spirited character suggesting the cheer of spring and gaiety of flowers dancing in the breeze and of frolicking brooks. An exceedingly effective song. Pacific Coast Mwician. JUST ISSUED LIFE (2 keys) Sung by Florence Otis 50 FUTILITY (2 keys) 50 THE WHITE BIRCH (2 keys) 50 THE ARTHUR P. SCHMIDT CO., l20 Boylston St. menil, Pales; Mile. Dui)lant, la Jalousie; Mile. La Suze, la Soupgon; Mile. Dubois, Une Nyniphe. The ballets were arranged by Vestris and Gardel. "Cephale et Procris" was produced at the Academie Royale de

Musique, Paris, May 2, 1775, and was performed a dozen times. Lar- rivee, Cephale; Mile. Levasseur, Procris; Mile. Mallet, Flore et 1' Amour; Mile. Beaumenil, Pales; Mile Duplante, la Jalousie; Mile. Chateauneuf, la Soupgon; Mile. Dubois, Une Nymphe. The chief dancers were Mmes. Guimard, Paeslin, Dorival; Messrs. Vestris, d'Auberval, Gardel. There was a revival on May 23, 1777, with twenty-six performances that year. Marmontel based his libretto on the story as told by Ovid in the seventh book of the "Metamorphoses." I-p Marmontel's version, Aurora, in love with Cephalus, disguises herself ks a nymph, and comes down from her celestial home to see him; but Wr brilliance betrays her. Learning from him that he loves Procris, she informs him that Diana has condemned Procris to die by the hand of her lover, but Cephalus runs to his fate. Jealousy and her followers pj;'epare to take vengeance on Aurora, who appears as one of Diana's nymp^is. Procris calls Cephalus. Jealousy advances, and tells her that her' lover has abandoned her for Aurora. Cephalus, wearied by the chase'j falls on

THE ¥OSe GRAND

QUALITY and REPUTATION

enable you to know

in advance that the

¥OSe is a most satisfactory piano. WE CHALLENGE COMPARISON

VOSE & SOMS PIAMO CO. 160 Boylston St., Boston. Mass. L. P. Hollander Co Established 1848

Ladies^ '3ii?cs and Coats for ;;im;i

f I iVi 1 : M :/ 1 l;oTesliirag Designs, Smarlly Tail- s Most Distinctive Fabrics for

ii son REASONABLY PRICED

202 BOYLSTON STREET and PARK SQUARE BOSTON

Unequalled Parking Facilities at Both Entrances

'Master's """ voice' ISPAT.OfF

Here are some charming Victor Records you will like to have in your library:

Mignon, Polonaise .... Galli-Curci 74653 $1.75

Rienzi Overture, Part 1 - Philadelphia Orchestra 74602 1.75

Rienzi Overture, Part 2 - " " 74603 1.75

Cease Thy Singing, Maiden Fair, McCormack-Kreisler 87574 1 .50

Boheme, soave fanciulla - - Melba-Caruso 95200 2.50

1 Hear a Thrush at Eve - - - McCormack 64340 1.25

TREMONT TALICIMG MACHINE COMPANY {Victor Specialists for over Twenty Years) 177 TREMONT STREET— NEXT TO TREMONT THEATRE the ground. Faint and wishing a refreshing breeze, he calls on Aura.* There is a stir in the foliage, and he hurls a dart. Procris comes forward with the dart that she has drawn from her breast. Jealousy rejoices, but Love brings Procrisback to life, and the lovers are joined. Mottl took three of the dance numbers and arranged them for con- cert use. The fifth scene of the first act is entitled "Les Nymphes de Diane." There is a chorus, which is followed by a ballet of Diana's nymphs: Minuet, Contredanse, Pantomime (followed by a repetition

for chorus of the Minuet), Tambourin. The Gigue of Mottl's suite is from the fifth scene of the second act; chorus, ''Mouvement de Loure," Gigue.

I. Tambourin, Presto, ma non troppo (Gretry: presto), D major (original key, C major), 2-2. Mottl scored the music for two. flutes (interchangeable with two piccolos), two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, triangle, tambourine, strings. The chief motive is given to piccolos and oboes, while violas, violoncellos, horns, and tambourine pl'ay rhythmically a pedal with violins pizzicati, and the triangle on the weaker beat. The middle section is in D minor (C minor in the original) with melody for violins,

*A\ira, a light wind. There were two statues called "Aurae" at Rome in the time of Pliny the Elder. The Aurse were represented by the ancients as clothed in long and floating veils of a hght texture.

On "buying "BooL

^ Books, it is true, can be and usually are treated as merchandise. But it costs no more to buy them at a shop where every title is carefully chosen; and where those who sell them take a certain pride in their con- fidence as to the especial merits of certain books and authors. ^Ten minutes from Park Street. DUNSTER HOUSE BOOKSHOP 26 HOLYOKE STREET & MT. AUBURN

(Cambridge, ^JXCass.

ewis Fo PerffY^s Soe^ Co. PAINTING AND D1ECOR.4TING

101 TREMONT STREET ROOM 211. BOSTON TELEPHONE. MAIN 4335 ^ Decorators of Symphony flail Can You Take Back the Dress the

ismaker Makes Especially F©r YoM?

OF COURSE you can't. When you selected the fabric you thought it would look well when made into a dress for you. And the style as it appeared to you in the illustration seemed to be just what you wanted.

But did you accept the completed work with a heart filled with satisfaction? If you had to choose over again would you do just what you did? If you can answer "Yes," you need read no more of this.

The advantage of shopping at Slattery's is that you can try on and try on and try on again until you get exactly the fabric, the color, the style that suits your figure, your complexion, your pocketbook.

And you do not sacrifice that prized element of exclusiveness either. Our policy (with which you are acquainted if you have been reading our advertise- ments) protects you there. If what you want doesn't fit perfectly, our staff of expert fitters insure a cor- rectly fitting dress.

E. T. Slattery Co.

TREMONT STREET, OPPOSITE BOSTON COMMON while the horns sustain a pedal. After the repetition in major there is a coda. The tamboiirin is an old dance poplar on the French stage of the eighteenth century. The melody was gay and lively. At the moment the flutes imitated the "fluitet," or "flaiutet" or "galoubet" of Provence, the bass marked strongly the note of the tambourin, or "tam- boron." This tambourin of Provence should not be confounded with the familiar tambourine. The former is a long drum of small diameter, beaten with a stick in one hand, while the other hand plays the galoubet, a pipe with three holes, which are covered by the thumb, index finger, and the middle one. Prsetorius attributes an English origin to the galoubet. The music for this instrument is written two octaves lower than the real sound, and the instrument has a chromatic scale of at least an octave and four notes. The tambourin, as a rule, has no snare.

Where there is one, it is a single cord stretched across the upper end of the drum. The player (le tambourinaire) bears the drum suspended from his left forearm; he beats with his right, and holds the galoubet in his left. If he plays the galoubet, he is called an "Escoular." To play the two instruments together is called "tutupomponeyer," and Daudet in "Port Tarascon" gives the transport ship the name "Tutu- panpan," a name expressive of the sound of the two instruments.

Drawn from Hat shoivn Hats Chandler & Co Of Style and Beauty

$15 to $55 to $150

The inspiration for every Chandler & Co. Hat is Parisian. Models from the finest of the French Millinery Artists are constantly arriving to aid in the creation of the stunning hats which our millinery geniuses are each day fashioning in our workrooms. Bizet in "L'Arlesienne" gives an imitation of galoubet and tambourin, substituting the piccolo in the place of the former. For a further de- scription of the instruments, their history, literature, and the manner of playing them, see "Lou Tambourin," by F. Vidal (Avignon, s. d.), "Notice sur le Tambourin," by "Un Tambourinaire,"—de Lombardon- Montezan (Marseilles, 1883), and Alphonse Daudet's romance "Numa Roumestan." The Tambourin, the dance, was a stage dance. Folk-dances of Provence were the Olivettes, Lacets, Quenouilles, Soufflets, Joute, Cocos, Cerceaux, Folies Espagnoles, Farandole, and all Branles for which the tambourin, the instrument, was used. As a stage dance, the tambourin was most popular, so that, according to rule, every opera at the Academic Royale de Musique had passepieds in the prologue, musettes in the first act, tambourins in the second, and chaconnes and passepieds in those remaining. Marie Anne Camargo was famous for dancing the tambourin. There is a celebrated tambourin in Rameau's "Pieces for Clavecin"; he introduced it afterwards in his opera-ballet, "Les Fetes d'Hebe" (Paris, 1739). There is another in Berton's "Ahne, Reine de Golconde" (Paris, 1803). A still more celebrated one is in Adam's "Le Sourd" (Paris, 1853) with the couplets beginning:—

Sur le pont d'Avignon, En cadence L'on y danse; Sur le pont d'Avignon L'on y danse Tous en rond.

A tambourin from Gluck's "Iphigenie en Aulide" in a suite ar-

THE MAKANNA SHOP Handmade Specialties, Exclusively

420 Boylston Street (209 Berkeley Building) Boston

We are now showing more than 60 models of HANDMADE LINGERIE DRESSES

In Imported Ginghams, Organdies, Dimities, Voiles, Dotted Swisses

Custom-made, and trimmed with Real Laces

Prices ranged from $25 !

Good-bye

And yet — after all, "parting

is such sweet sorrow!"

Though we say farewell for a

brief time to these Symphony gatherings, we carry with us

through the interval, the mem-

ories of many pleasures and the anticipation of more to come.

Miss Silhouette will meet you

all through the Summer at

Jay's, and greet you from these

pages in the Autumn.

Dresses, Suits, Skirts, Coats Blouses, Scarfs, Sweaters

^ ^Boston, Temple' Place Eleven f\ — ranged by Gevaert has been performed hePre at concerts of the Boston Symphony Orchestra. ^'- II. Menuetto: Moderato, B-flat majorat 3-4 (Gretry: Menuet, it for two flutes, C major, 3-4, without indication of pace) . Mor/tl scored two oboes, two clarinets, two bassoons, two horn^^^^.two trumpets, kettle- drums, and strings. '^ - tres III. Gigue: Allegro non troppo, D major, 6-8 (Gret'^ry: Gigue, smiple legere, A major, 6-8). Mottl changed the melodic contour'^^^f this A^te, two little dance, elaborated the music, and scored it for piccolo',^'^- oboes, two clarinets, two bassoons, two horns, two trumpets,^^- ^ ^^^ *-*^

three kettledrums, triangle, and strings. cL . Gretry says of "Cephale et Procris" in his "Memoires ou Essaop^^ ^^\ la Musique" (Paris, Pluviose, An V., 3 vols.) : "This opera was perfoi.,j.^^^ the year of the marriage of the Comte d'Artois; its success was oV ~7^ ^^ mediocre both at Versailles and at Paris. At the time it was receive, at the Opera, there was no such thing as strict time except for choruses and dances. If certain verses of recitative were expressive, the actor would give it the importance to which a pathetic air is susceptible. If the accompaniments forced him to follow an indicated movement, he

attained it only by running after the orchestra; and the result of this , was a shock, a counterpoint, a perpetual syncope. The effect of this I leave to your imagination. j "One of the rehearsals was interrupted by the following dialogue, from which the state of affairs can be judged:

"The Actress on the stage: 'What is the meaning of this, sir? I think there is a rebellion in your orchestra.' "The Conductor at his post: 'A rebellion? We are aU here in the service of the Iving and we serve him zealously.' "The Actress: 'I too should hke to serve him, but your orchestra puts me out, and prevents me from singing.' "The Conductor: 'But we were keeping the time.' "The Actress: 'In time ? What sort of a beast is that ? FoUow me, sir, and know that your accompaniment is the most humble servant of the actress who repites.'

inl®¥¥ )ir©^OQ iiiiiCoMkA 422 BOYLSTON STREET BOSTON. MASS.

Specialists in HoiuseliioM Linens of all Descriptions TOWELS TABLE DAMASK BLANKETS PILLOW CASES SHEETS BEDSPREADS HANDKERCHIEFS TEA NAPKINS DOILIES CENTER PIECES LACE and EMB'D CLOTHS

JVe alio specialize in the Embroidering of CRESTS and MONOGRAMS

Summer Branch Phone Paris Address Hyannis, Mass. Back Bay 52821 Rue de I'Echiquier After the Ride

TT'NJOY like thousands of others, the playing ^-^ of the world's celebrated pianists, right in your own home—^just as they are heard on the concert stage.

"iThe AMPICO The Most Magnificent Instrument ofAll Time

Reproduces all that is good in music exactly as it is recorded by such masters as Rachmanino£F, Godowsky and a score of others. You are cordially invited to attend the daily demonstrations in our Red Room.

The AMPICO in the KNABE Grands and Uprights Convenient Terms CCHarvey® 144 BOYLSTON ST., BOSTON —

"The Conductor: 'When you recite, I follow you; but you are singing an air with a decidedly marked time.' "The Actress: 'Well, leave all these foUies, and follow me.'"

(The actress, others tell us, was Sophie Arnould; the conductor was Francceur.) "The dance tunes were esteemed by the dancers." "Cephale et Procris" at Versailles ended a long row—several weeks of festivities arranged by Papillon de la Ferte. After the operatic per- formance which provoked yawns, the Dauphin was reported as saying to the Duke de RicheUeu: "At last our divertissements are at an end! Now we can begin to amuse ourselves." Baron Grimm wrote in Jan- uary, 1744: "Of all the operas performed for the court festivities 'Ce- phale' gave the most pleasure, and this is not a high eulogy. The success of the work seems at present below the reputation of the two authors. But it is only at Paris that these important cases are judged in a court of last resort, and we await the supreme judgment. . . . The poem, which, according to custom, has been printed for Versailles, has found very severe judges. The amiabiUty of M. Marmontel in cutting and hacking his verses to make them more suitable for musical expression has not been sufficiently recognized. Mile. Arnould has even been so mahcious as to say that the music of 'Cephale' seemed to her much more French than the words. The word 'aura,' wliich the poet thought he should keep in French, has inspired puns, because it recalled 'ora pro nobis.' But all these jests of the moment do not destroy the interest inspired by a good work." Mile. Lespinasse was not pleased with the opera in Paris. She wrote:

lelk

TAILORMADES and KNOCKABOUTS

for Women and Young Women

^^

THE • SERVICE • STORE- Cold Storage

For FiuirSp IRiigSj Wraps,

fFith Insurance Against Damage By Moths and Fire

SEASON OF 1922

BEST TIME FOR REPAIRS

During the summer months it is possible for us to give more careful attention to any repair work that you wish to have done and we can also do it at lower prices that are possible after the fur season opens.

R. H, STEARMS C ''This music is of a pale color. My friend Gretry should keep to his own style, which is gentle, agreeable, sensitive, witty—it is good enough, and when a man of a small figure is well made, it is dangerous and surely ridiculous for him to mount on stilts; he falls on his nose and the

passers-by laugh. The worst of Gretry's operas , for the Comedie Italienne is better than this one at the Theatre Lyrique." Perhaps Gretry was consoled by the sums given him at Versailles: 2,000 francs for the composition and 3,599 for the "copies."

Overtures by "Gretrie" (sic) —"overture" of Carvane* (sic), and a "grand overture" without title—were performed in Charleston, S.C., December 17, 1793; an overture was played in the same town, March 6, 1794; "overture from La Rosiere"t was played at Norfolk, Va., April 20, 1797; overture to "Peter the Great"| (probably Gretry's) was played in New York, July 16, 1799; a "grand overture" without title was played in Concert Hall, Boston, May 15, 1793, and on May 30, 1793, also in Boston, June 18, 1795. The "grand overture in Rosiere de Salenci" was pla3^ed in Boston in the Assembly Room, September 9, 1794. We are indebted for these facts to Mr. O. G. Sonneck's "Early Concert Life in America," a work that shows uncommon research. It is not

* "La Caravane du Caire" (Op^ra, Paris, October 30, 1783). t"La Rosiere de Salenci" (Aux Italiens, Paris, February 28, 1774). t "Pierre le Grand" (Aux Italiens, Paris, January 13, 1790).

im^^mm=?^:ymr^mn^^^^^^X}iMxb)mrjy-m^-)}^-ji

Effective and Inexpensive

Console sets in antique silver or dull gold finish look well on living- room mantels or hall tables. They serve both the purpose of decoration and that of utility.

We have just received two differ- ent styles of three-piece console sets which we are selling at $3.50 and Crockery $5.50 a set. V/e suggest them for wedding and anni- versary gifts. China We believe we carry the largest line of dinnerware Glassware on this continent. The designs are as attractive as our prices are satisfactory. Gifts Jones, McDuffee & Stratton Established 1810 33 Franklin St., Boston —

LONG DELAYED, BUT HERE AT LAST Staiee^s Eeglisli Inlaid LiinoleMm

IN QUALITY, FINISH AND VARIETY THESE LINOLEUMS EXCEED PRE-WAR STANDARDS

No other house can make such an offering of Staine's English Inlaid Linoleum. This for the double reason that during the war- embargo we maintained fully our century-old relations with London, and for months we have kept reducing our Linoleum stocks to the minimum, so that these new arrivals may have everything to them- selves. Now they'll have it to the limit.

Parquetry effects; tile patterns and marbles in color combinations not seen here for years —blue, gray, white, brown, red and black; carpet designs, granites and planks. Designs for every room in the house, for offices and all public places. Effects never before attempted decidedly unusual.

Much easier under foot than hard-wood floors, very much more attractive and sanitary, more easily cared for. When cemented to floors by our experts, with cement of our own manufacture, they become a permanent part of any structure.

Prices Lowest Since Pre-War Days $1.65 to $2.65 unlikely that ballet airs from Gretry's operas were also played in the United States before 1800. Gretry's ''Richard Coeur de Lion" was per- formed in Boston in English on January 23, 1797, "with all the original music, songs, and choruses," and the orchestra was led by Mr. Trille La Barre, "who appears to have modified Gretry's score to some extent." (See Mr. Sonneck's article "Opera in America from 1783 to 1800," published in the New Music Review, New York, October, 1908.) The libretto of "Sehma and Azore,* a new comic opera, translated into English from the ItaHan by Mrs. Rigaud, the music by the most cele- brated composer, Signor Gretry," was pubUshed in Philadelphia, "prob- ably in 1794, the year of performance" in that city.

* "Z6mire et Azor" (Fontainebleau, November 9, 1771; Aux Italiens, Paris, December 10, 1771).

Jno^oorapks or

647 Boylston Street, Boston;

Boston Conservatory of Music INCORPORATED

AGIDE JACCHIA. Director

250 HUNTINGTON AVENUE. BOSTON 17, MASS. Telephone Back Bay 2042

CATALOG SENT ON REQUEST

STEINWAY PIANOFORTE Prelude to Act II. of "Gwendoline" . . Emmanuel''Chabrier

(Born at Ambert (Puy-de-D6me) France, January 18, 1841; died at Paris, September 13, 1894.)

"Scene et Legende" from the first act of "Gwendoline," opera in two acts, poem by CatuUe Mendes, was performed with Mme. Montalba, soprano, at a Lamoureux concert, Paris, November 9, 1884. The

Prelude to act ii. was performed at a Lamoureux concert in Paris, November 22, 1885. The opera was produced at the Monnaie, Brussels, April 10, 1886, with Mme. Thuringer as Gwendohne, Beradi as Harald, Engel as Armel. It was performed at Carlsruhe (1889), Munich (1890), and at Lyons before it was produced in Paris at the Opera, December 27, 1893, with Miss Berthet, Renaud, and Vaguet, the chief singers. The argument of Mendes's poem is as follows. Long ago on the coast of Britain there hved a petty king whose name was Armel. He had a gentle daughter Gwendoline, a maiden of sixteen years. There was peace in the land. The men fished. The women spun and looked after their homes, and one day, as they were a-gossiping, Gwendoline told a dream: that a Dane had borne hei^ away over the sea. Her companions laughed at her, and as they laughed there was a great cry.

FELLEAS aed MELISANDE Story by Maurice Maeterlinck Music by Claude Debussy

The beautiful story hi Pelleas and Melisande presented by Edith Margaret Smaill with a mUsical accompaniment by the Boston Trio, Louis Besserer, violin, Louis Dalbeck, 'cello and Frederic Tillotson. piano, in such a manner that none of its subtleties or beauty are lost—a musical and dramatic interpretation of most exquisite form—a word and tone picture appealing to all who love literature, drama and music.

This attraction is under the exclusive management of A. H. HANDLEY, 160 Boylston Street, Boston, and is especially designed to meet the requirements of women's clubs, musical societies, etc.

169 NEWBURY STREET Imported and Original Models of DRESSES SUITS COATS The fishermen were seen running madly, pursued by Danes with Harald at their head. The young chief ordered Armel to hand over his treasure, and, as Armel refused, Harald would have slain the old man, had not Gwendoline thrown her body as a buckler before her father. Harald was sorely troubled. Not knowing that hps and braided hair are deadlier than "fire and iron and the wide-mouthed wars," he wished to be alone with Gwendohne. He asked her name; she told him; he proclaimed his own in a tempestuous burst, and then said to her solemnly that once in battle, when he was about to be sum- moned to Walhalla, he saw in the sunlight the Valkyrie with her golden helmet; Gwendoline was also of dazzling beauty, but sweeter and more joyous. Harald helped her to gather flowers; he sat by her spinning- wheel; she hummed a simple ballad; he sang of war, and his voice was as the clash of swords. "Sing my song, Harald," she said, and he was about to sing it when Danes and Saxons entered. Armel consented to his demand for her hand, that there might be peace; but Armel con- sented with treacherous heart, for it was his plan that the Saxons should butcher their foes at the wedding feast. At the marriage ceremony the old man blessed the couple, but gave secretly a knife to the bride^ and said unto her: "If Harald should escape us, you must kill him as he sleeps in your arms." But Gwendoline loved Harald. When they were alone, she warned him of o'erhanging danger, and begged him to leave the coast. Lost in love, he would not hsten. Suddenly there

GOWNS, SUITS ^i^ and ^ HA TS

277 Dartmouth Street, Boston Summer Branch at Magnolia

JACOB THOMA &l SON, Importers VIOLIN MAKERS ^ D^^ AND REPAIRERS y^ RAREo a o t- VIOLINS Boston Syxnphony ^f I^^^^B ^^0 Orehestra BOWS CASES STRINGS , T^^^^^^^^Jf and Specialties 47 WINTER STREET BOSTON. MASS. ^>B^ EstabUshed 1881 New England

Still Keeps Faith

T'HE first Indian-Pilgrim treaty was kept inviolably for over half a century. The same old New England ideals of integrity and honor are the guiding principles of the modern banking services rendered by this Company.

This fact is of special significance to those who contemplate maknig wills. By designating the Old Colony Trust Company as your executor you are assured that your wishes will be carried out with disinterested fidelity. One of our Trust Officers will be glad to outline our services in this capacity, without obligation on your part. Old Colony Trust Company 52 Temple Place V] Court Street 222 BoylstonStreet were shouts and shrieks; the Danes called to Harald for help. Gwendo- Hne put in his hand the knife. One wild embrace, and he left her. The Danes fled in the darkness. Harald, wounded, fought with Armel and his men. GwendoUne, who had escaped from her chamber, snatched the knife from Harald, stabbed herself, and in the burst of sunHght which announced the apparition of the Valkyrie the husband and wife of a night sang exultingly for the last time the ecstatic theme of Walhalla and of the Valkyrie, the divine promiser of the supreme paradise. The Prelude to the second act is dreamy, poetically imaginative music, Andante sostenuto, D-flat major, 4-4, free in form, Hke a prelud- ing improvisation. There are two prominent themes: the first given out at once by bass-clarinet accompanied by the bassoons, then taken up by the oboe; the second given out soon afterwards by the clarinet. The Prelude, which is short, is taken up with the alternate working- out of these two themes, with occasional hints at episodic matter. These instruments are called for: piccolo, two flutes, oboe, EngHsh horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, two harps, and strings. The first performance of the Prelude in Boston was by the Boston Symphony Orchestra, October 13, 1894. There was a second perform- ance on January 29, 1898; a third on February 14, 1919.

Hurwitck Bros. announce their Opening for Spring and Summer

TLe Latest Models and Materials from leading touses of Europe on display

Your inspection is cordially invited 344 BOYLSTON ST.. BOSTON

CHOICE ORCHESTRA STALLS FOR ALL FIRST CLASS THEATRES BURKFS THEATRE TICKET AGENCY ADAMS HOUSE

Beach 935, 942, 2430 Jordan Marsh Company

AwninMS amd Slaades that are ordered now will be ready instead of wished- for when the hot days come!

Think for a minute of the work it entails to make a perfect-iitting, easy- adjusting, even-hanging awning. Now we can send a man to your home to measure and submit an estimate, wholly without cost to you, and promise deliv- ery on awning, shades, bamboo blinds or drop awnings within a short time.

If you wait until the first warmer days come, we'll work just as hard to

please you; but it is just plain common sense that we can't give you as speedy

service. The cost, of course, is the same.

Won't you call Beach 3200, Uphol- stery Section, and have an estimator come out now.^ Prelude to a Drama Franz Schrekbr

(Born at Monaco, March 23, 1878; now living in Berlin.)

''Vorspiel zu einem Drama," composed in 1913, published in 1914, was performed for the first time on February 8, 1914, at a concert of the Vienna Philharmonic Orchestra led by Felix Weingartner. The Prelude is dedicated to that orchestra and Weingartner. For the first performance in Vienna, the composer prepared an elaborate analysis. This analysis would be unintelligible if it were reprinted here without the illustrations in notation. The broad and expressive theme of the Introduction (Langsam) is for violas, violoncellos, and bass clarinet. The main body of the Prelude, Al- legro vivace (con spirito, 12-8), brings in first two transition mo- tives. The first chief theme is for horns, second violins and violas. In the first treatment of this theme is what Schreker describes as "a burlesque episode." The second chief theme is marked "With

brutal passion ; rubato after the Italian manner." There is a "side theme," for first violins which is related to a theme in the Introduc- tion. Schreker, born of Austrian parents, studied music in Vienna with Robert Fuchs. In 1911 he founded and became the conductor of the Vienna Philharmonic chorus. In 1912 he was appointed

m INTROPUCTION LEAPS TO EUERLASTINO FRIENDSHIP

Chocolatgs (TWO GRADES)

OM SALE AT THE BETTER STORES

teacher of composition at the Imperial Academy of Music in Vienna, In 1920 he was appointed Director of the Berlin Conservatory. As a composer he has been hotly discussed. His admirers have been as enthusiastic as his opponents have been bitter. The first performance of this Prelude in America was at a concert of the Boston Symphony Orchestra in Boston on February 17, 1922. A list of Schreker's compositions was published in the Programme Book of that date.

''Scheherazade," Symphonic Suite after "The Thousand Nights

AND A Night," Op. 35 . Nicolas Andrejevitch Rimsky-Korsakov

(Born at Tikhvin, in the government of Novgorod, March 18,* 1844; died June 21, 1908, at Petrograd.)

Mrs. Rosa Newmarch, in her biographical sketch of Rimsky-Korsakov, says that "Scheherazade" was composed in 1888. The first performance of the suite in Boston was at a concert of the Boston Symphony Orchestra led by Mr. Paur on April 17, 1897. The last performance at these concerts was on February 22, 1919.

* This date is given in the catalogue of Belaieff, the late Russian publisher. One Or two music lexicons give May 22. 3ye^^ ARE NOW PRESENTING their initial SHOWING FOR SPRING featuring GOWNS WRAPS MILLINERY To the woman who knows smartness, we urge your inspection

Moderate Prices Prevailing

Special attention given to the requirements of Brides and Bridesmaids 651-653 BOYLSTON STREET, BOSTON x^Ac dontmaUn^ idea r^ behind the ntanufaciure of

is io -make ana niaii/i- iain it as tkc best piano tkat can be builtP

Shx^^alAtompiano CTo. Represented bv The A. M. HUME MUSIC CO. 1 96 Boylston Street, Boston, Mass. —

The suite, dedicated to Vladimir Stassoff, is scored for piccolo, two- flutes, two oboes (one interchangeable with English horn) , two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, snare-drum, bass drum, tambourine, cymbals, triangle^ gong, harp, and strings. The following programme is printed in Russian and French on a fly- leaf of the score : ''The Sultan Schahriar,* persuaded of the falseness and the faithless- ness of women, has sworn to put to death each one of his wives after the first night. But the Sultana Scheherazade f saved her life by inter- esting him in tales which she told him during one thousand and one nights. Pricked by curiosity, the Sultan put off his wife's execution from day to day, and at last gave up entirely his bloody plan. "Many marvels were told Schahriar by the Sultana Scheherazade. For her stories the Sultana borrowed from poets their verses, from folk-songs their words; and she strung together tales and adventures.

Shahrydr (Persian), "City-friend," was according to the opening tale "the King of the Kngs of the Banu SAsdn in the islands of India and China, a lord of armies and guards and servants and depend- ents, in tide of yore and in times long gone before." tShahrazad (Persian), "City-freer," was in the older version Scheherazade, and both names are thought to be derived from Shirzad, "Lion-born." She was the elder daughter of the Chief Wazir of Iving Shahryar and she had "perused the books, annals and legends of preceding Kings, and the stories, examples and instances of by-gone men and things; indeed, it was said that she had collected a thousand books of histories, relating to antique races and departed rulers. She had perused the works of the poets and knew them by heart; she had studied philosophy and the sciences, arts and accomplish- ments; and she was pleasant and polite, wise and witty, well read and well bred." Tired of the slaughter of women, she purposed to put an end to the destruction.

Bonds of the highest grade

Harris, Forbes & Co Incorporated 35 Federal St., Boston — "I. The Sea and Sindbad's Ship. "II. The Story of the Kalandar-Prinee.' 'Til. The Young Prince and the Young Princess. 'TV. Festival at Bagdad. The Sea. The Ship goes to Pieces on a Rock surmounted by a Bronze* Warrior. Conclusion." This programme is dehberately vague. To which one of Sindbad's voyages is reference made? The story of which Kalandar, for there were three that knocked on that fateful night at the gate of the house of the three ladies of Bagdad? "The young Prince and the young Princess,"—but there are so many in the "Thousand Nights and a Night." "The ship goes to pieces on a rock surmounted by a brass warrior." Here is a distinct reference to the third Kalandar's tale, the marvellous adventure of Prince Ajib, son of Khazib; for the mag- netic mountain which shipwrecked Sindbad on his voyage was not sur- mounted by "a dome of yellow laton from Andalusia, vaulted upon ten columns; and on its crown is a horseman who rideth a horse of brass and holdeth in hand a lance of laton; and there hangeth on his bosom a tablet of lead graven with names and talismans." The com- poser did not attempt to interline any specific text with music: he en- deavored to put the mood of the many tales into music, so that W. E. Henley's rhapsody might be the true preface : "They do not go questing for accidents: their hour comes, and the finger of God urges them forth, and thrusts them on in the way of destiny. The air is horrible with the gross and passionate figments of Islamite

* " Bronze " according to Rimsky-Korsakov; but the word should be brass or yellow copper. PIERCE-ARROW COMFORT

The comfort of the Pierce-Arrow Car is something more than physical comfort. It is equally mental comfort—freedom from anxiety, from fear, and from disappointment. It is not merely soft cushions, absence of vibration and the minimum

of noise; it is also the mental rest that comes from the con- viction that all these qualities are permanent and dependable. Pierce-Arrow Motor Cars J. W. MAGUME COMFAMY AGENTS FOR EASTERN MASSACHUSETTS WORCESTER COUNTY AND NEW HAMPSHIRE

741-743-745 BOYLSTON STREET - - - BOSTON TELEPHONE. BACK BAY 2316-23]? mythology. Afrits watch over them or molest them; they are made captive of malignant Ghouls; the Jinns take bodily form and woo them to their embraces. The sea-horse ramps at them from the ocean floor; the great rock darkens earth about them with the shadow of his wings; wise and goodly apes come forth and minister unto them; enchanted camels bear them over evil deserts with the swiftness of the wind, or the magic horse outspreads his sail-broad vannes, and soars with them; or they are borne aloft by some servant of the Spell till the earth is as a bowl beneath them, and they hear the angels quiring at the foot of the Throne. So they fare to strange and dismal places; through cities of brass whose milHons have perished by divine decree; cities guilty of the cult of the Fire and the Light wherein all life has been stricken to stone; or on to the magnetic mountain by whose horrible attraction the bolts are drawn from the ship, and they alone survive the inevitable wreck. And the end comes. Comes the Castle of Burnished Copper, and its gates fly open before them; the forty damsels, each one fairer than the rest, troop out at their approach; they are bathed in odors, clad in glittering apparel, fed with enchanted meats, plunged fathoms deep in the delights of the flesh. There is contrived for them a private paradise of luxury and splendor, a practical Infinite of gold and silver stuffs and jewels and all things gorgeous and rare and costly; and therein do they abide for evermore. You would say of their poets that they contract immensity to the limits of desire ; they exhaust the inexhaustible in their enormous effort; they stoop the universe to the slavery of a talisman, and bind the visible and invisible worlds within the compass of a ring." A characteristic theme, the typical theme of Scheherazade, keeps appearing in the four movements. This theme, that of the Narrator, is a florid melodic phrase in triplets, and it ends generally in a free cadenza. It is played, for the most part, by a solo violin and sometimes by a wood-wind instrument. "The presence in the minor cadence of the characteristic seventh, G, and the major sixth, F-sharp,-—after the manner of the Phrygian mode of the Greeks or the Doric church tone,—might illustrate the familiar beginning of all folk-tales, 'Once " upon a time.'

A Fitting Accompanimeiit

The gentle pleasures of an evening at Symphony Hall cannot but be en- hanced by the enjoyment of a tasteful supper served before the concert in the little low-beamed salon of The Braeswick Shoppe

Matinee Luncheons Afternoon Tea Ices Louis Sherry Candy Brunswick Candy

Moderate Prices

The BRUNSWICK Boylston St. at Clarendon L. C. Prior, President and Managing Director I. The Sea and Sindbad's* Ship.

Largo e maestoso, E minor, 2-2. The chief theme of this movement, announced frequently and in many transformations, has been called by some the Sea motive, by others the Sindbad motive. It is proclaimed immediately and heavily in fortissimo unison and octaves. Soft chords of wind instruments—chords not unlike the first chords of Mendelssohn's "Midsummer Night's Dream" overture in character—lead to the ScHEHEEAZADE motive, Lento, 4-4, played by solo vioHn against chords of the harp. Then follows the main body of the movement, Allegro non troppo, E major, 6-4, which begins with a combination of the chief theme, the Sea motive, with a rising and falling arpeggio figure, the Wave motive. There is a crescendo, and a modulation leads to C major. Wood-wind instruments and violoncellos yizz. introduce a motive that is called the Ship, at first in solo flute, then in the oboe, lastly in the clarinet. A reminiscence of the Sea motive is heard from the horn between the phrases, and a solo violoncello continues the Wave motive, which in one form or another persists almost throughout the whole movement. The Scheherazade motive soon enters (solo viohn). There is a long period that at last re-estabhshes the chief tonaUty, E major, and the Sea motive is sounded by full orchestra. The devel- opment is easy to follow. There is an avoidance of contrapuntal use of thematic material. The style of Rimsky-Korsakov in this suite is

*"The 'Arabian Odyssey' may, like its Greek brother, descend from a noble family, the 'Ship- wrecked Mariner,' a Coptic travel-tale of the twelfth dynasty (b.c. 3500), preserved on a papyrus at St. Petersburg. In its actual condition, 'Sindbad' is a fanciful compilation, like De Foe's 'Captain Singleton,' borrowed from travellers' tales of an immense variety and extracts from Al-Idri si, AI- Kazwini, and Ibn al-WardJ. Here we find the Polyphemus, the Pygmies, and the Cranes of Homer and Herodotus; the escape of Aristomenes; the Plinian monsters, well known in Persia; the magnetic mountains of Saint Brennan (Brandanus); the aeronautics of 'Duke Ernest of Bavaria' and sundry cuttings from Moslem writers, dating between our ninth and fourteenth centuries. 'The 'Shaykh of the Seaboard' appears in the Persian romance of Kdmarupa, translated by Francklin, all the particu- lars absolutely corresponding. The 'Odyssey' is valuable because it shows how far eastward the mediae- val Arab had extended; already, in The Ignorance he had reached China and had formed a centre of trade at Canton. But the higher merit of the cento is to produce one of the most charming books of travel ever written, like 'Robinson Crusoe,' the delight of children and the admiration of all ages" (Sir Richard F. Burton). See also the curious book, "Remarks on the 'Arabian Nights' Entertainments,' in which the origin of Sindbad's Voyages and other Oriental Fictions is particularly considered," by Richard Hole (London, 1797).

KAKASBROS.iNc. MANUFACTURBRS RETAILEmB FURRIERS RELIABLE FURS RELIABLE INFORMATION RELIABLE PRICES NO MISREPRESENTATION COLD STORAGE AS TO VALUES

72 Chauncy St., Boston - - - Tel. Beach 48 homophonous, not polyphonic. He prefers to produce his effects by melodic, harmonic, rhythmic transformations and by most ingenious and highly colored orchestration. The movement ends tranquilly.

II. The Story of the Kalandar*-Prince. The second movement opens with a recitative-like passage, Lento, B minor, 4-4. A solo viohn accompanied by the harp gives out the Scheherazade motive, with a different cadenza. There is a change to a species of scherzo movement, Andantino, 3-8. The bassoon begins the wondrous tale, capriccioso quasi recitando, accompanied by the sustained chords of four double-basses. The beginning of the second part of this theme occurs later and transformed. The accompaniment has the bagpipe drone. The oboe then takes up the melody, then the strings with quickened pace, and at last the wind instruments, un poco piu animato. The chief motive of the first movement is heard in the basses. A trombone sounds a fanfare, which is answered by the trum- pet; the first fundamental theme is heard, and an Allegro molto follows, derived from the preceding fanfare, and leads to an orientally colored intermezzo. "There are curious episodes in which all the strings repeat the same chord over and over again in rapid succession,—very like the responses of a congregation in church,—as an accompaniment to the Scheherazade motive, now in the clarinet, now in the bassoon." The last interruption leads to a return of the Kalandar's tale, con moto, 3-8, which is developed, with a few interruptions from the Scheherazade motive. The whole ends gayly.

III. The Young Prince and the Young Princess. Some think from the similarity of the two themes typical of prince and princess that the composer had in mind the adventures of Kamar al-Zaman (Moon of the age) and the Princess Budur (Full moons). "They were the likest of all folk, each to other, as they were twins or an only brother and sister," and over the question, which was the more beautiful, Maymunah, the Jinniyah, and Dahnash, the Ifrit, disputed violently. This movement is in simple romanza form. It consists in the long but simple development of two themes of folk-song character. The first is sung by the violins, Andantino quasi allegretto, G major, 6-8.

*The Kalandar was in reality a mendicant monk. The three in the tale of "The Porter and the Three Ladies of Bagdad" entered with beards and heads and eyebrows shaven, and all three, by fate, were blind of the left eye. According to d'Herbelot the Kalandar is not generally approved by Mos- lems: "He labors to win free from every form and observance." The adventurous three, however, were sons of kings, who in despair or for safety chose the garb. D'Herbelot quotes Saadi as accusing Kalandars of being addicted to gluttony: "They will not leave the table so long as they can breathe, so long as there is anything on the table. There are two among men who should never _be without, anxiety; a merchant whose vessel is lost, a rich heir who falls into the hands of Kalandars."

Mrs. BLAMCHE DINGLEY- MATHEWS announces that her justly celebrated course for piano teachers will be held in Boston, June 27th to July 15th For further particulars address

Mrs. Dingley-Mathews, Room 1 5, Steinert Building, Boston Phone, Beach 8335 —

There is a constant recurrence of song-like melody between phrases in this movement, of quickly rising and falling scale passages, as a rule in the clarinet, but also in the flute or first violins. The second theme, Pochissimo piu mosso, B-flat major and G minor, 6-8, introduces a sec- tion characterized by highly original and daringly effective orchestra- tion. There are piquant rhythmic effects from a combination of tri- angle, tambourine, snare-drum, and cymbals, while violoncellos (later the bassoon) have a sentimental counter-phrase.

IV. Festival at Bagdad. The Sea. The Ship goes to Pieces AGAINST A Rock surmounted by a Bronze Warrior. Conclusion. "A splendid and glorious life," saj'S Burton, "was that of Bagdad in the days of the mighty Caliph, when the capital had towered to the zenith of grandeur and was already trembhng and tottering to the fall. The centre of human civilization, which was then confined to Greece and Arabia, and the metropolis of an Empire exceeding in extent the widest limits of Rome, it was essentially a city of pleasure, a Paris of the IXth century. . . . The city of palaces and government offices, hotels and pavilions, mosques and colleges, kiosks and squares, bazars and markets, pleasure grounds and orchards, adorned with all the grace- ful charms which Saracenic architecture had borrowed from the Byzan- tines, lay couched upon the banks of the Dijlah-Hiddekel under a sky of marvellous purity and in a climate which makes mere life a 'Kayf the luxury of tranquil enjoyment. It was surrounded by far-extend- ing suburijs, like Rusafah on the Eastern side and villages like Baturan- jah, dear to the votaries of pleasure; and with the roar of a gigantic cap- ital mingled the hum of prayer, the trilUng of birds, the thrilling of harp and lute, the shrilling of pipes, the witching strains of the pro- fessional Almah, and the minstrel's lay."* Allegro molto, E minor, 6-8. The Finale opens with a reminiscence of the Sea motive of the first movement, proclaimed in unisons and octaves. Then follows the Scheherazade motive (solo violin), which leads to the fete in Bagdad, Allegro molto e frenetico, E minor, 6-8. The musical portraiture, somewhat after the fashion of a tarantelle, is based on a version of the Sea motive, and it is soon interrupted by Scheherazade and her violin. In the movement Vivo, E minor, there is a combination of 2-8, 6-16, 3-8 times, and two or three new themes, besides those heard in the preceding—movements, are worked up elabo- rately. The festival is at its height "This is indeed life; O sad that

* For a less enthusiastic description of Bagdad in 1583 see John Eldred's narrative in Hakluyt's Voyages. The curse of the once famous city to-day is a singular eruption that breaks out on all foreign sojourners. SPIRING MILLINERY Hats from the Copley Plaza Fashion Show Hats from the exhibition of the Retail Milliners' Association Hats by the Eminent Styles Lecturer, Mr. Ora Cne Hats beautifully tinted by Mr. Albert A. AUendorff Hats of unusual design by Mile. Caroline Price $6.60 and upward

Mile. CAROLINE .'. 480 BOYLSTON ST.. BOSTON Block of Brunswick Hotel 'tis fleeting!"—when there seems to be a change of festivities, and the jolHfication to be on shipboard. In the midst of the wild hurrah the * ship strikes the magnetic rock.

Or, sailing to the Isles Of Khaledan, I spied one evenfaU A black blotch in the sunset; and it grew

Swiftly. . . and grew. Tearing their beards, The sailors wept and prayed; but the grave ship, Deep laden with spiceries and pearls, went mad, Wrenched the long tiller out of the steerman's hand. And turning broadside on, As the most iron would, was haled and sucked Nearer, and nearer yet; And, aU awash, with horrible lurching leaps Rushed at that Portent, casting a shadow now That swallowed sea and sky; and then Anchors and nails and bolts Flew screaming out of her, and with clang on clang, A noise of fifty stithies, caught at the sides Of the Magnetic Mountain; and she lay, A broken bundle .of firewood, strown piecemeal About the waters; and her crewe Passed shrieking, one by one; and I was left To drown. W. E. Henlei/s Poem, "Arabian Nights' Entertainments" (1893).

* The fable of the magnetic mountain is thought to be based on the currents, which, as off Eastern Africa, will take a ship fifty miles a day out of her course. Some have thought that the tales told by Ptolemy (VII. 2) were perhaps figurative,—"the iron-stealers of Otaheite allegorized in the Bay of Bengal." Aboulfouaris, a Persian Sindbad, is wrecked by a magnetic mountain. Serapion, the Moor (1479), "an author of good esteem and reasonable antiquity, asserts that the mine of this stone [the loadstone] is in the seacoast of India, where when ships approach, there is no iron in them which flies not like a bird unto those mountains; and, therefore, their ships are fastened not with iron but wood, for otherwise they would be torn to pieces." Sir Thomas Browne comments on this passage ("Vulgar Errors," Book II., chapter ii.): "But this assertion, how positive, soever, is contradicted by all navi- gators that pass that way, which are now many, and of our own nation; and might surely have been controlled by Nearchus, the admiral of Alexander, who, not knowing the compass, was fain to coast that shore." Sir John Mandeville mentions (chapter xxvii.) these loadstone rocks: "I myself have seen afar off in that sea as though it had been a great isle full of trees and bush, full of thorns and briars, great plenty. And the shipmen told us that all that was of ships that were drawn thither by the adamants for the iron that was in them." See also Rabelais (Book V., chapter xxxvii.) ; Puttook's "Peter Wilkins"; the "Novus Orbis" of Aloysius Cadamustus, who travelled to India in 1504; and Hole's book already quoted. Burton thinks the myth may have arisen from seeing craft built, as on the East African coast, without nails. Egede, in his Natural History of Greenland, says that Mogens Heinson, a seaman in the reign of Frederic the Second, Idng of Denmark, pretended that his vessel was stopped in his voyage thither by some hidden magnetic rocks, when under full sail. The Berlin correspondent of the Pall Mall Gazette wrote not long ago that Norwegian newspapers were discussing the dangerously magnetic properties of a mountain in the Joedern province on the Norwegian coast. "There can be no question as to the existence oJt the 'mountain,' though its dimensions have been greatly exaggerated. It is, in fact, a great straggling dune, of about 1,000 yards in length. The bulk of the dune is composed of sand, with which, however, is intermingled such a large proportion of loadstone in minute fragments that the compass of a ship conaing within a certain distance of the coast at once becomes wildly deranged, and it happens far from infrequently that the vessel is stranded."

SPRING and SUMiMER

IN LADIES' and MISSES' WEARING APPAREL

Siaais, Gowns, Wraps, Capes Coats, BIoiLii§©s aed Sports Apparel UNUSUAL VALUES 396 BOYLSTON STREET The captain said to Ajib in the story: "As soon as we are under its lea, the ship's sides will open and every nail in plank will fly out and cleave fast to the mountain; for that Almighty Allah hath gifted the loadstone with a mysterious virtue and a love for iron, by reason

• whereof all which is iron travelleth towards it." And Ajib continued: "Then, O my lady, the captain wept with exceeding weeping, and we all made sure of death-doom, and each and every one of us farewelled his friend, and charged him with his last will and testament in case he might be saved." The trombones roar out the Sea motive against the billowy Wave motive in the strings. Allegro non troppo e maestoso, C major, 6-4; and there is a modulation to the tonic, E major, as the tempest rages. The storm dies. Clarinets and trumpets scream one more cry on the march theme of the second movement. There is a quiet ending with development on the Sea and Wave motives. The tales are told. Sche- herazade, the narrator, who hvcd with Shahryar "in all pleasance and solace of life and its delig'hts till there took them the Destroyer of de- lights and the Severer of societies, the Desolator of dwelling-places and Garnerer of graveyards, and they were translated to the ruthof Al- mighty Allah," fades with the vision and the final note of her vioHn. When "Scheherazade," the "choreographic drama" by L. Bakst, dances arranged by Michel Fokinc, was produced at the Paris Opera, May 7, 1910, by a Russian Ballet Company, Mme. Rimsky-Koraskov protested violently against the disarrangement of her husband's music. The ballet was produced by Gertrude Hoffmann and her company at the Shubert Theatre, Boston, on February 19, 1912. The orchestra was conducted by IMr. Max Hoffmann. The ballet was performed at the Boston Opera House by Serge de Diaghileff's Ballet Russe on January 31, 1916. The chief dancers were Mme. Revalles, Zobeide; Miss W^asilewska, the odalisque; Mr. Bolm, the negro favorite; Mr. Cechetti, the chief eunuch; and Messrs. Grigorieff and Jazwinski, the royal brofhers. Ernest Ansermet con- ducted. The ballet was performed by the same company several times in February of that year. It was performed again by the Dia- ghileff Company at the Boston Opera House on November 7, 1916, with Miss Revalles and Mr. Bolm as the chief characters. Mr. Mon- teux conducted. y

tie. CLAFF Custom Corsetiere

Wear my corsets to look better and feel better. Economical on account of their durability

We also specialize in surgical and maternity corsets.

Physicians endorse our corsets.

420 BOYLSTON STREET Rooms 206-8 Berkeley Building WORKS PERFORMED AT THE SYMPHONY CONCERTS DURING THE SEASON OF 1921-1922.

Works marked with a double asterisk were performed for the first time in Boston. Works marked with an asterisk were performed for the first time at these concerts. Works marked with a dagger were performed for the first time anywhere. Artists marked with an asterisk appeared at these concerts for the first time. Artists marked with a double asterisk appeared for the first time in Boston. Artists marked with a dagger are members of the Boston Symphony Orchestra. PAGE Alvarez: Canto del Presidiario* (Emilio de Gogorza), March 24, 1922 1202 Bach: Overture, D major, No. 4,* October 28, 1921 199 Fifth Brandenburg Concerto, D major, for pianoforte, flute, and violin* (Messrs. Siloti, Laurent, and Burgin), April 7, 1922 1326 Concerto, D major, for pianoforte* (Bruce Simonds**), December 9, 1921 484 "Lost is my dear Jesus"* from the cantata of the same name (John McCormack), March 10, 1922 1120 "Take thou for thy very own"* from the cantata "All they from Sheba shall come" (John McCormack), March 10, 1922 1122 Beethoven: Symphony No. 3, E-flat major, "Eroica," Op. 55, October 14, 1921 71 Symphony No. 7, A major, Op. 92, January 27, 1922 ... 783 Overture to "Egmont," February 17, 1922 911 Concerto for pianoforte. No. 5, E-flat major, Op. 73 (Josef Hofmann), February 17, 1922 930 Berlioz: Capulet's Garden and Queen Mab (Scherzo) from the dramatic symphony "Romeo and Juliet," Op. 17, March 10, 1922 1134

Overture, "The Roman Carnival," Op. 9, October 28, 1921 . 226 Brahms: Symphony No. 1, C minor, Op. 68, March 3, 1922 1039 Symphony No. 3, F major, Op. 90, October 21, 1921 ... 135 Tragic Overture, Op. 81, November 25, 1921 391 Variations on a Theme by Haydn, Op. 56a, January 13, 1922. 647 Bruch: Fantasia on Scottish Airs forviohn and orchestra, Op. 46

(Paul Kochanski**), January 13, 1922 . .• 676 Casella: Orchestral Excerpts from "Le Couvent sur I'eau,"** October 21, 1921; January 20, 1922 168,734 Chabrier: Prelude to Act 11. of "Gwendoline," April 28, 1922 1503 Chadwick: Theme, Variations, and Fugue for organ and or- chestra, December 30, 1921 590

Cherubini: Overture to "Anacreon," November 18, 1921 . . 327 Converse: Symphony, E major, April 21, 1922 1423

During the next two months ^" Excellent Line of For- •'IV/lV* \t r%f%»i 9l. there will be a reduction of ^XVOL/tAJI WJLcJ eign Materials is Carried. ^ ^^hich include Scotch, Eng- 20% to 30% in all depart- ^^ "^V ments before closing the J 'ish and Others for the Custom Made Dept. Tailor for Gentlewomee

, , 296 BOYLSTON ST.. BOSTON o r^ r ft .1 . .• Ready-made Dept. Copies of Latest Importations Opposite Arlington St.. One Flight Coats Suits Capes Dresses and Habits — — — -pel Back Bay 2137 Debussy: "Nuages" and "Fetes," from "Nocturnes," October ' 7, 1921 28 "Iberia," February 17, 1922 950 De Falla: Three Dances from "The Three-Cornered Hat,"** December 30, 1921 612 Eichheim: Oriental Impressions for Orchestra, f (conducted by the composer), March 24, 1922 1182 Franck: "Psyche," symphonic poem for orchestra and chorus,

^ March 31, 1922 . . • 1250 Organ Chorale No. 2, B minor, arranged for orchestra and organ by Wallace Goodrich,! October 21, 1921 .... 152 Symphonic Piece from "The Redemption," January 20, 1922 720 Gilbert: Suite from the Pilgrim Tercentenary Pageant,** March 31, 1922 1238 Goldmark: Overture, "In the Spring," March 24, 1922 .... 1204 Gretry: Three Dance Pieces from "Cephale et Procris," ar- ranged by Felix Mottl, April 28, 1922 1487 Handel: Concerto Grosso, D minor, Op. 6, No. 10, February 10, 1922 860 Concerto in F major for strings and two wind orchestras, March 31, 1922 1231 "Where'er you walk"* from "Semele" (Emilio de Gogorza), March 24, 1922 1198 Haydn: Symphony, E-flat major (B. & H. No. 1), November 18, 1921 338

Symphony, D major (B. & H. No. 2), April 14, 1922 . . 1359 Hill: Waltzes for Orchestra, t February 24, 1922 998 Hue: "Titania," Orchestral Suite,** April 7, 1922 1328 Humperdinck: Prelude to "Haensel and Gretel," October 14, 1921 84 dTndy: "Poeme des Rivages"** (conducted by the composer), December 9, 1921 494 "Wallenstein" Trilogy, Op. 12, March 24, 1922 1167 Lalande: Musique pour les soupers du Rov: Chaconne graci-

euse** (conducted by IVI. dTndy), December 9, 1921 . 482 LiADOv: "Kikimora," Op. 63,**Februarv 10, 1922 .870 "The Enchanted Lake," Op. 62,** February 10, 1922 ... 878 "Baba-Yaga," Op. 56, February 10, 1922 880 Liapounov: Rhapsody on Folk-songs of the Ukraine for piano- forte and orchestra** (E. Robert Schmitz), December 30, 1921 581 Liszt: Symphony after Dante's "Divina Commedia," December 23, 1921 540

1 Part III and music for chorus performed for the first time in Boston. MADAME ISIDOEA MAR^ PREPARES FOR ORATORIO, CHURCH, OPERA AND CONCERT TONE EMISSION, DICTION, AND DRAMATIC GESTURE THE COPLEY 18 HUNTINGTON AVENUE Tel. Copley 9158-M "Mazeppa," symphonic poem, No. 6 (after Hugo), November 11, 1921 290 Concerto, A major, No. 2, for pianoforte p,nd orchestra (Erwin Nyiregyhazi**), October 14, 1921 96 Danse Macabre for pianoforte and orchestra (Alexander SiLOTi), April 7, 1922 1306

LoEFFLER : Irish Fantasies for voice and orchestra : The Host of the Airf; The Fiddler of Dooneyf; CaitiHn-ni-Hola- hant (John McCormack), March 10, 1922 1124 Massenet: Overtm^e to "Phedre," December 23, 1921 .... 519 Mendelssohn: Symphony, A major, 'TtaHan," Op. 90, October 7, 1921 7 Mozart: Symphony, D major (K. 504), December 30, 1921 586

"Haffner" Serenade, No. 7 (K. 250), March 10, 1922 . . . 1103 Serenata Notturna, D major, for two string orchestras; one with kettledrmns* (conducted by M. d'lndy), Decem-

ber 9, 1921 _. 480 Moussorgsky: Parasha's Revery and Dance* from "The Fair

of Sorotchinsk" (Nina KosHETZ**), March 3, 1922 . . 1074 Pierne: Overture** and Biscayan Rhapsody* from Incidental Music to "Ramuntcho," January 27, 1921 823 Prokofiev: Song without Words* (Nina Koshetz**), March 3, 1922 1068 Rabaud: Dances from ''Marouf,"** October 14, 1921 .... 106

Rachmaninov : "The Island of the Dead," symphonic poem,

Op. 29 (after Bocldin's picture), November 18, 1921 . . 350 Concerto No. 2, C minor, for pianoforte and orchestra. Op. 18 (William Bachaus), January 27, 1922 808 Ravel: Orchestral Fragments from "Daphnis and Chloe," ballet in one act, November 18, 1921 364 "La Valse," Choregraphic Poem,** January 13, 1922 ... 690

RiMSKY-KoRSAKOV : "Schehcrazade," svmphonic poem (after "The Thousand Nights and a Night"), Op. 35, April 28, 1922 1510 "Sadko," a Tone Picture, Op. 5, October 7, 1922 .... 20 "Night on Mount Triglav,"* Act III. of the Opera-Ballet "Mlada" arranged in concert form, December 23, 1921, 528 •'''La Grande Paque Russe," overture on themes of the Russian Church, Op. 36, February 24, 1922 1010 Martha's Air, "In Novgorod we hved together"** from "The Betrothed of the Tsar" (Nina Koshetz**), March 3, 1922 1060 Rossini: Overture to "LTtaliana in Algeri,"* December 30, 1921 583 Saint-Saens : Adagio from the Symphony in C minor, No. 3, Op. 78, December 23, 1921 517 Saminsky: Two Fragments from the Ballet "Lament of Rachel"**: Lament of Rachel, and the Wedding Feast, March 3, 1922 1052 Schonberg: "Verklarte Nacht," Sextet, Op. 4, arranged for * string orchestra, November 25, 1921 ; January 13, 1922, 400, 645 Schreker: Prelude to a Drama,** February 17, 1922; April 28, 1922 942, 1508

Schubert: Symphony, C major. No. 7, February 24, 1922 . . 975 Incidental music to "Rosamunde": Ballet No. 1; Entr'acte No. IL; Ballet No. 2, October 28, 1921 220 Schumann: Symphony B-flat major, No. 1, Op. 38, February

10, 1922 . 847 Entr'acte, Ranz des Vaches, and Invocation of the Witch of the Alps, from the music to Byron's "Manfred," Op. 115, April 14, 1922 1362 Sibelius: Symphony No. 2, D major, Op. 43, November 11, 1921 263

Symphony No. 5, E-flat major. Op. 82,** April 7, 1922 . . 1295 Smetana: Symphonic Poem, "Wallenstein's Camp," February 10, 1922 886 Smith: A Poem of Youth,t November 11, 1921 268- Strauss: "Don Juan," a Tone Poem (after Lenau), Op. 20, October 7, 1921 42 "Don Quixote" (Introduction, Theme with Variations, and

Finale) : Fantastic Variations on a Theme of Knightly Character, Op. 35, April 14, 1922 '. 1382 Szymanovski: Symphony No. 2, B-flat major. Op. 19,** January 20, 1922 715 Tchaikovsky: Symphony No. 4, F minor, Op. 36, November 25, 1921 404 Concerto, D major, for vioHn and orchestra. Op. 35 (Ferenc Vecsey*), November 11, 1921 274

AMERICA'S FOREMOST FLORIST

ESTABLISH 184.7 LOWERS

BOSTON NEW YORK

1 PARK STREET 561 FIFTH AVENUE AND AT 549 BOYLSTON STREET 46th STREET COPLEY SQUARE Wagner: Siegfried's Funeral Music from "Dusk of the Gods" (inmemoryof Arthur Nikisch), January 27, 1922 ... 781

Overture to "The Flying Dutchman," March 3, 1922 . . . 1080

"Good Friday Spell" from "Parsifal," April 14, 1922 . . . 1370 Introduction and Bacchanale, "Tannhauser," Act I. (Paris version), April 21, 1922 1426 "Waldweben" ("Forest Murmurs") from "Siegfried," April 21, 1922 1454 Siegfried's Passing through the Fire to Briinnhilde's Rock; Morning Dawn; Siegfried's Journey up the Rhine; arranged by Richter, April 21, 1922 1462 Weber: Overture to "Oberon," January 20, 1922 757 "Invitation to the Dance," arranged by F. Weingartner, November 25, 1921 302 YsAYE, T.: Symphony No. 1, F major, Op. 14,** October 28, 1921 236

SUMMARY The following composers were represented at these concerts for the first time: Alvarez, Casella,* De Falla, Eichheim, Hue, Lalande, Pierne,t Prokofiev, Saminsky, Schreker, Smith, Szymanovski, T. Ysaye. Alvarez ORCHESTRAL COMPOSITIONS PERFORMED FOR THE FIRST TIME Converse: Symphony, E major.

EiCHHEiM : Oriental Impressions.

Franck-Goodrich : Organ Chorale No. 2, B minor, arranged for orchestra and organ. Hill: Waltzes for orchestra. Loeffler: Three Irish Fantasies for voice and orchestra (John McCormack).

Smith : A Poem of Youth

WORKS PERFORMED FOR THE FIRST TIME IN AMERICA De Falla: Three Dances from "The Three-Cornered Hat." Hue: "Titania," Orchestral Suite. Saminsky: Two Fragments from the BaUet "Lament of Rachel." Schreker: Prelude to a Drama. SzYMANOVSKi: Symphony No. 2, B-flat major. Op. 19

WORKS PERFORMED FOR THE FIRST TIME IN BOSTON Casella: Orchestral Excerpts from "La Couvent sur I'eau." Franck: Chorus Music ancl Part HI. of "Psyche."

Gilbert : Suite from the Pilgrim Tercentenary Pageant. dTndy: "Poeme des Rivages."

Lalande : Chaconne gracieuse. LiADOv: "Kikimora." "The Enchanted Lake." Pierne: Overture to "Ramuntcho." Rabaud: Dances from "Marouf." Ravel: "La Valse." Saminsky: Two Fragments from "The Lament of Rachel." Sibelius: Symphony No. 5. Szymanovski: Symphony No. 2. YsAYE, T.: Symphony No. 1, F major 14

WORKS PERFORMED FOR THE FIRST TIME AT THESE CONCERTS Alvarez: Canto del Presidiario (Mr. de Gogorza). Bach: Overture, D major, No. 4. Fifth Brandenburg Concerto, D major, for pianoforte, flute, and violin. Concerto, D major, for pianoforte (Mr. Simonds**). "Lost is my dear Jesus" (Mr. McCormack). "Take thou for thy very own" (Mr. McCormack). Handel: "Where'er you Walk" from "Semele" (Mr. de Gogorza). LiAPOUNOv: Rhapsody on Ukraine Folk-songs (Mr. Schmitz). Mozart: Serenata Notturna, D major, for two string orchestras; one with kettledrums. Carried forward 9 Brought forward 9 Moussorgsky: Parasha's Revery and Dance (Mme. KOSHETZ**). Piern:^: Biscayan Rhapsody. Prokofiev: Song without Words (Mme. Koshetz**).

RiMSKY-KoRSAKOv : "Night on Mount Triglav." Air: "In Novgorod we hved together" from "The Betrothed of the Tsar" (Mme. Koshetz**). Rossini: Overture to "LTtaHana in Algeri." Schonberg: "Verklarte Nacht" 16

THE FOLLOWING ARTISTS HAVE APPEARED THIS SEASON PAGE Bachaus, William: January 27, 1922, Rachmaninov's Piano- forte Concerto, C minor, No. 2. Sketch 806

GoGORZA, Emilio de : March 24, 1922, "Where'er you Walk" from Handel's "Semele"*; Alvarez, Canto del Presidi- ario.* Sketch 1196 HoFMANN, Josef: February 17, 1922, Beethoven's Pianoforte Concerto No. 5, E-flat major 909 KocHANSKi,** Paul: January 13, 1922, Bruch's Fantasia on Scottish airs for violin and orchestra. Sketch .... 674 Koshetz,** Nina: March 3, 1922, Rimsky-Korsakov, "In Novgorod we lived together," ** from "The Tsar's Bride"; Prokofiev, Song without Words*; Moussorg- sky, Parasha's Revery and Dance.** Sketch .... 1058 McCoRMACK, John: March 10, 1922, Bach, "Lost is my dear Jesus" * and "Take thou for thy very own" *; Loeffler, Three Irish Fantasies for voice and orchestra, f Sketch, 1118 Nyiregyhazi,** Erwin: October 14, 1921, Liszt's Pianoforte Concerto No. 2, A major. Sketch 96 ScHMiTz, E. Robert: December 30, 1921, Liapounov's Rhap- sody on Ukraine Folk-songs* 581 SiLOTi, Alexander: April 7, 1922, Liszt's Danse Macabre (Siloti's edition); Bach, Fifth Brandenburg Concerto, D major, for pianoforte, flute, and violin (Siloti's edi- tion). Sketch 1302 SiMONDS,** Bruce: December 9, 1921, Bach, Concerto, D major, for pianoforte 453 Vecsey,* Ferenc: November 11, 1921, Tchaikovsky's Violin Concerto. Sketch 272

Soprano: Nina Koshetz** 1 Tenor: John McCormack 1 Baritone: Emilio de Gogorza 1 Violinists: Messrs. Kochanski,** Vecsey* 2 Pianists: Messrs. Bachaus, Kofmann, Nyiregyhazi,** Schmitz, Siloti, Simonds** 6

11

1526 ENTR'ACTES AND EXCURSIONS PAGE Apxjleius: Cupid and Psyche 1266

Daily Telegraph (London) : Dante and Music 596

Gramophone, The : Its Potential Value 1000 Scriabin, Reflections on 812

Dent, E. J. : Bach or Liszt? 604 De Quincey, T.: The Dance 692 Gilbert, H. F.: Pilgrim Tercentenary Pageant at Plymouth 1238

Hale, P. : Bocklin's Island of the Dead 352 Bourree, Gavotte, and Minuet 206 d' Indy 455 Orcagna's Fresco "The Triumph of Death" 1306 Sadko 22 Saraband 162 Serenade and Aubade 1110

Kautz, J. : Bottger and Schumann 854

Krehbiel, H. E. : "Hansel and Gretel" 92

Schumann, R. : Schubert's C major Symphony 980 Walkley, a. B.: Don Juan: The Legend Continued (Bataille and Rostand) 34

Weingartner, F. : Schubert's C major Symphony 986 Weber's "Invitation to the Dance" 396 Williams, R. Vaughan: Ravel 750

INDEX TO SUNDRY REFERENCES AND FOOTNOTES

Biographical (Men): Alerc6n, A. P. de, 614; Alva, Duke of, 916; Anthony, St., 668; Auer, L., 284. Balacqua, 598; Balducci, G., 228; Belaiev, M. P., 810; Benoit, C, 1180; Bernadotte, General, 71; Blau, E., 722; Bocklin. A., 352; Brandenburg, Margraf of, 1326; Bronsart, H. v., 98. Cartellieri, C, A., 936; Casella, P., 596; Cellini, B., 228; Chabanon, M. P. G. de, 1200; Chauvet, A., 1044; Czerny, K., 932. David II., 686; Duparc, H., 1174. Ehrbar, F., 135; Eichheim, M., 1190; Eloy, C, 336. Ferdinand I., 889; Feuerbach, A., 670; Francis Joseph I., 889; Francisco, 164. Garat, P. J., 825; Gawlikosi, 1236. Haffner, S., 1103; Hartvigson, F., 1316; HeUer, R. (see Palmer), 938. Indy, S. A. W. d', 456. Juan of Salamanca, 51. Keiser, R., 1174; Kempelen, W. v., 790; Kotek, J., 274. Lays, F., 336; Lenau, N., 44; Leopold of Anhalt-Cothen, 196; Louis XIV., 482. Malzel, J. N., 786; Marais, M., 1200; Mayseder, J., 934; Mazeppa, 290; Mey, Leo, 1062; Moscheles, F., 9. Niemann, 1444; Nini, A., 798; Noskovski, S., 716. Orcagna, 1306. Pabiier, R. (see Heller), 938; Pasde- loup, J. E., 1176; Pepita, 143S; Petrov, 1074. Quevedo, Torre y, 790. Reber, H., 1385; Salazar, Juan, 51; Salomon, J. P., 346; Sammartini, 1116; Scherz, J. G., 1103; Schneider, J. C. F., 932; Seiffert, M., 868; Sert, M., 690; Siboni, G., 934; Sonnleithner, L. v., 1104; Szymanovski, M., 720. Tenorio, Don Juan, 51; Treitschke, F., 930. Urban, C, 1112. Vestris, A., 338. Westmoreland, Earl of. 522. Zarembski, J. de, 1318. Biographical (Women): Anne of Austria, 482. Branchu, A. C. A., 336; Brandt, C. (see Weber), 394. Candar, Sara, 162; Canzi, C, 758. Douste, J., 86; Duncan, I., 804. Ferdinandi, B. (see Smetana), 893; Ferrara, Duchess of, 1112. Gardel, Mme., 338; Grenville, L., 622. Haffner, E., 1103. d'Indy, Mme. Theodore, 456. KoMr, K. O. (see Smetana), 890; Kotchonbey, Princess, 290. Laurinski' O., 290. • Marcolini, 583; Marguerite of Valois, 206; Meek, N. v., 406; Mehlig, A., 100; Milioukov, A. (see Tchaikovsky), 412. Sakuntala, 1206; Sappho,

HEWINS & HOLLIS MEN'S FURNISHING GOODS 4 HAMILTON PLACE, BOSTON OPPOSITE PARK ST. CHURCH 1207; Sessi, A. M., 934; Sessi, C, 934; Sessi, I., 934; Sessi, M., 934; Sessi, M. T., 934; Smetana's wives, 890, 893; Smithson, H. C, 1144; Sobieschanskaya, 426; Storace, Anna, 588; Szymanovski, M., 720. Taglioni, M., 338; Tchaikov- sky, A., 412. Tedesco, F, 1446. Weber, Caroline, 394; Wenzel, J. (see Zaremb- ski), 1318. Zarembski, J., 1318. Musical Forms: Aubade, 1110. Badinage and Badinerie, 204. Cassation and cassazione, 1112; Chorale, 660; concertino and concerto, 864; continuo, 1122. Divertimento, 1114. Gallant style, 1106. Notturno, 1114. Orchester Partien, 200; ouverture, 200, 340, Rossini's, 584. Parties and Partheyen, 200; Parthien, 1112. Quodlibet, 1112. Rejouissance, 204. Serenade, 1110; Sicihana, 650; suite, 200; symphony, 340; symphony movement separated by arias, 1359. Dances: Arrin-arrin, 825; Asieraco zortzico, 824. Basque dances, 825; Bourree, 206; Branle, 1494. Carrica, 825; Cerceaux, 1494; Chaconne, 1494; Cocos, 1494. Dances fit for ladies, IS; Danza real, 825; De Quincy's description of the dance, 692. Ezpata dantza, 826. Farandole, 1494; Folies Espagnoles, 1494; Forlane, 16, 1494. Gavotte, 208; Gorrai dantza, 826. Hopak, 1079. Jig, 16; jota, 618; Joute, 1494. Lacet, 1494; Lance, 825. Minuet, 215; musette, 1494. Nach- Tanz, 16, 232. Passepied, 1494; pordon dantza, 825, 826. Ouenouille, 1494. Saltarello. 162 et seq., 232; Saraband, 162; Sicihenne, 16, 650, 1236; SoufHet, 1494. Tambourin, 1494; Tarantella, 18. Vito, 618; Vor-Tantz, 16. Zortico, 825. Instruments: Alphorn, 1044, 1050. Chinese wooden block, 1188; crotal, crotales, crotalum, 690. Deagan marimbas, etc., 1186; drum, 18, 366, 829; drum, Chinese, 1184 (see fish-head). Ekeh, 1186. Fish-head, 1188; flaiutet and fluitet, 1492; flute, 18, 829. Galoubet, 1492. Koto, 1188. Marimba and marimbaphone, 1186; metronome, 788. Nabimba, 1186. Oboe di caccia, 1122; Orchestra, Philharmonic, of London, and Mendelssohn, 8; orchestras of London in Haydn's time, 348; orchestras of Prague and Vienna, 588. Pandean pipe, 368. San- hsien, 1192; silbato, 825. Tabor, 18; tambourin, 1492; tam-tam, fluctuating, 1192; teneroon, 1044; trumpet, 18.

Songs, Hymns, etc. : Anacreon in Heaven, 332; An Kleine Maedchen, 718; Auf dem See, 658; Auld Robin Morris, 686. Bestimmung, 718; Bylinen, 22. Campbells are comin', 689; Celebre querriac, 826; Christkindlein's Wiegenhed, 718. Dies Irae, 1316. Einseidel, Der, 718; Erllioenig, 1106. Fileuse Basque, 825; Freud- voU und LeidvoU, 918. God preserve the Emperor Francis, 346; God Save the King, 792. Hancha ikhazketako, 824; Hey now the Day dawis, 686; Hey tuttie taitie, 686. Ich hoer' ein Voeglein locken, 856; In exitu Israel, 599; In the fields there stood, 418. Jock, the Laird's Brither, 686. Kraenze, Die, 658. Last Rose of Summer, 689; Leidende, Der, 226; Lewie Gordon, 688. Magnificat, 546, 648; Miserere, 602; My mother bids me, 348. Nere Andrea, 825; Nik badut maidenobat, 825; Nora Creina, 783. Quando quell' non quell' unico, 798. Rule, Britannia, 652. Sad and luckless was the season, 689; St. Patrick's Day in the Morning, 689; Salve Regina, 602; Scots wha hae, 686; Star-spangled Banner, 332; Sterne, Die, 975. Tarry Woo, 688; Te Deum, 602; Te lucis ante, 602; There was a lad, 686; Trommel geruehret, Die, 920. Vom Himmel hoch, 7. Who'fl buy my Caller Herrin', 686; Wiegenlied, 90; Winterabend, Der, 975. Yankee Doodle, 689.

Legends, etc.: Aboulfouaris, 1518; Anthony, St., 668. Baba-Yaga, 880. Juan, Don, 34, 51. Kikamora, 870. Pan, 368; Penthesilea, 1206; Phaeton, 978; Polyphe- mus, 1515; Prometheus, 1206; Pygmies, 1515; Sadko, 22; Sakimtala, 1206; Schahryar,'1512; Semele, 1198; Shalirazad, 1512. Sidhe, the, 1126; Sindbad, 26; Stroemkarl, 1442; Syrinx, 368.

Candied Grape Frimit 1 FOR YOUR AFTERNOON TEA Fresh Candied Orange and Grape Fruit Strips — 25c a sealed quarter-pound package sent postage paid. Fine for guests or your own nibbling. 3 WARE STREET .... DORCHESTER. MASS. Tel. Dorchester 4893.W

Theatre and Opera House:— A. Abencerrages, Les, 330; Acis and Galatea, 1119; Adelasia ed Aleramo, 936; Alfonso u. Estrella, 222; Aline, 934, 1494; Almira, 166; Amor Brujo, El, 622; Amor e Psiche, 1272; Amor u. Psyche, 1272; Amore e Psiche, 1272; Amour et Psyche, 1272; Anacr6on, 327; Anacreon chez Polycrate, 332; Anacreon en lonie, 332; Anacreonte tiranno, 332; Apres-midi d'un Faune, L', 371; Arabian Nights, 110; Ariane, 522; Aricie, 524; Arlesienne, L', 1494; Ascanio, 230; Atalanta, 1120; Attendez-moi sous i'Orme, 458; Ateista Fulminado, 51; Auberge rouge, 622. B. Ballet de la Jeunesse, 482; Barbiere di Siviglia, 78, 584, 758, 1112, 1119, 1446; Bastien et Bastienne, 78, 86; Belle au Bois dormant, 1338; Benvenuto Cellini, 226; Betrothed of the Tsar, 1016, 1017, 1060; Birthday of the Infanta, The, 948; Boheme, La, 1119; Boris Godounov, 1062; Briseis, 1274; Burlador de Sevilla, 46, 53. C. Capuletti ed Montecchi, 1145; Caravane du Caire, 1500; Carmen, 272; Cathleen Ni Houlihan, 1130; Cavalleria Rusticana, 1119; Cephale et Procris, 1487; Charles VI., 78; Chevalier Jean, 722; Chout, 1670; Cid, Le, 524, 722; Cleopatre, 534; Coq d'Or, 1017; Coeur bris^e, 1336; Corregidor y la Molinera, 617; Corsaro, II, 798; Coupe du Roi de Thule, 722; Cricket on the Hearth, 1204; Cristina di Suezia, 798; Cupido e Psiche, 1271. D. Dance in Place Congo, 1248; Dans I'Ombre de la Cathedrale, 1336; Dante, 722; Daphnis et Chloe, 364; Debora e Sisera, 936; Derniere nuit de Don Juan, 36; Deserted Islands, The, 1068; Deux Journees, Les, 327, 330; Dido, 1302; Don Cesar de Bazan, 526; Don Giovanni, 49, 590, 980, 1119; Don Juan, 381. E. Egmondo, 918; Egmont, 911, 917, 918; Elements, Les, 482; Erinnys, Les, 524. Ernani, 1446; Esclarmonde, 524; Esther, 650, 1234; Etranger, L', 462; Eugen Oniegin, 432. F. Fair of Sorotchinsk, 1074; Faniska, 330; Faust, 39, 948; Feast, The, 1068; Fedra, 522, 524; Fedra incoronata, 522; Feramors, 238; Feme Klang, Der, 946; Fervaal, 462; Fetes d'Hebe, 1494; Fideho, 662, 930; Fille du Regiment, La, 1119; Flying Dutchman, The, 1082; Fortunio, 622. G. Gambler, The, 1070; Geburtstag d. Infanten, 948; Geizige Ritter, Der, 87; Geschoepfe d. Prometheus, 82; Gezeichneten, Die, 948; Giant, The, 1068;

^ An Attractive Style in PILLOW CASES I COTTON SHEETS AND K Made on Our Own Looms in Ireland

Exceptional Quality

Sheets:

72x108 Ins. 90x108 ins. COOK*S THE FAR EAST

pXPERIENCE IS a school from which you never gradu' ^ ate. Enter it often through the door of travel The world IS calling you Beyond the horizon lie strange and beautiful places. Our Escorted Tours to HONOLULU- JAPAN— KOREA—MANCHURIA— NORTH CHINA— MIDDLE CHINA— SOUTH CHINA- PHILIPPINES, etc., offer a real opportunity to see in all comfort the large cities of Chma—to spend Sprmgtime in Japan—to know the Phihppme Islands. Departures from Pacific Coast on Feb 7th'2ist, March 4th'25th. Full information and literature on request.

Other current programs present the best itmeraries for travel to EUROPE—South of France—Italy—Passion Play in Oberammergau, etc.—CALIFORNIA—by land or sea (via Panama Canal) — BERMUDA—WEST INDIES—A choice of routes— large variety of itineraries ROUND THE WORLD, etc

Programs are suitable for individuals, families or larger groups. THOS. COOK y SON

Boston Office: 167Tremont St., Boston llMass.

Ne\A^ York Chicago Philadelphia San Francisco Los Angeles Montreal Toronto Vancouver

150 Offices Throughout the World TRAVEL SERVICE Goetz V. Berlichingen, 1206; Gold Bird, The, 1062; Goetterdaemmerung, 1462; Griselidis, 526; Gwendoline, 1503. H. Haensel u. Gretel, 84; Hagith, 716; Haman and Mordecai, 1234; Hamlet, 391; Heimchen am Herd, 1204; Heirat wider Willen, 90; Henry IV., 268; Hero- diade, 526; Hippolyte et Aricie, 522; Homme a la Rose, L', 36. I. Ida della Torre, 798; Inganno feUce, 584, 758; Iphigenie en Aulide, 212, 1198, 1494; Ippolito, 524; Ippolito ed Aricie, 524; Irrelohe, 948; Italiana in Algeri, L', 583. J. Jacquerie, La, 722; Jeanne d'Ar<;, 1424; Julian the Apostate, 1056. K. Koenig Christian II., 1298; Koenigin v. Saba, 1204; Koenigskinder, 90, 92; Kriegsgefangene, Die, 1204. L. Lament of Rachel, 1052; Laura, 622; Legende de Joseph, 690; Legende de Saint Christophe, 464; Leila and Adelai, 876; Lodoiska, 330; Lohengrin, 458; Love for Three Oranges, The, 1060, 1070; Lucia di Lammermoor, 340, 798, 1119, 1360. M. Madama Butterfly, 1119; Maddelena, 1068; Magic Flute, 590; Maid of Pskov, 1062; Manfred, 98 (opera), 1362 (play); Marcella, 622; Marescialla d'Ancre, 798; Margherita di York, 798; Marie MagdeJene, 526; Marouf, 106; Medea, 330, 464; Mehcerte, 484; Merchant of Venice, 117 (Shylock), 208; Merlin, 1204; Merry Death, The, 1056; Merrymount, 272; Midsummer Night's Dream, 1330; Miracle, Le, 1336; Mlada, 528, 1017; Mohonara, La, 1274. N. Natoma, 622; Nimba, 1336; Nitteti, 1274; Norma, 1446; Nozze de Psiche con Amore, 1272. O. Oberon, 757; Odalisca, 798; Othello, 404. P. Panstaenzen, 948; Pantins, Les, 1336; Panurge, 212; Parsifal, 94, 1370; Pelleas et Mehsande, 468, 470; Petite Poucette, La, 208; Petits Riens, Les, 214; Phedre, 519; Pierre le Grand, 1500; Prince Igor, 536; Prisoner of War, The, 1204; Psiche, 1271; Psyche, 1271; Psyche—Les Amours de Cupidon, 1274; Psyche Debauched, 1271; Psyche et 1' Amour, 1272. Q. Quo Vadis, 622. R. Ramuntcho, 823, 826; Retablo de Maese Pedro, 624; Richard CcEur de Lion, 1502; Riders to the Sea, 1248; Rienzi, 1082, 1176; Rinaldo, 166; Ring d. Nibel- ungen, 458; Ritorno de Teseo, 522; Robert le Diable, 78; Roi de Lahore, 526, 1198; Roi de Paris, 1336; Roi d'Ys, 722; Romanesques, Les, 1338; Rosamunde, 220; Rosiere de Salency, 218, 1500; Rote Tod, Der, 948; Roussalka, 1174; Russian and Ludmilla, 1054. S. Sacre de Printemps, 734; Sadko, 28; SafTo, 1446; Schatzgraeber, Der, 948; Scheherazade, 1018, 1510; Semele, 1198, 1200; Semiramide, 1274; Shylock, 117; Sian-Sin, 1336; Siegfried, 1454; Sombrero de Tres Picos, El, 612; Sourd, Le, 1494; Spielwerk u. die Prinzessen, 948; Sylvia, 426, 734; Sylla, 168. T. Tancredi, 584, 1274; Tannhaeuser, 144, 1426; Three-Cornered Hat, The, 612; Titania, 1328; Traviata, La, 1119; Tristan u. Isolde, 304, 754; Troilus and Cressida, 1046. U. Undina, 1068.

e p Mr. Frank L. MacDoeaM (Violin)

Mr. Karl W. Zeise, (Ceiio) Mr. Frederic E. Tillotson (Ass't to Heinrich Gebhard) FOLK HANDICRAFTS GUILD The application of arm weight and relaxation to the Pianoforte. Progressive Series. Denison House. 93 Tyler Street. Boston

You will find Mr. E, AMricli-D©lbsoini Modern French School of Flute Playing. racial characteristics Harmony and related subjects. Solfeggio preserved in unusual linens, waists, and children's dresses ADDRESS which are the work of The Boston Composers' and foreign-born women in Boston and Lowell Instrumentalists' Society Your interest E. ALDRICH-DOBSON. Director

enables us to assist Notlingham Chambers : : : Boston in the problem of unemployment Telephone. Hyde Park 672-M T. D. Whitney Company A Linen House Since 1796

New Importation of Cluny Pieces

In a Spring Sale

Italian, French and Maltese Cluny, combined with fine pure linens with embroidery and cut work as well as plain

CLUNY is adaptable to any type Read the prices and with our rep- of home and is the most durable of utation as a Specialty House you all decorative laces without losing will not need to be urged to buy as many effectiveness. as you can of these excellent values. V. Vascello Fantasma, II, 1085; Vida Breve, La, 622; Vierjaehrige Posten, 222; Virginia, 798. W. Werther, 722; William Ratcliff, 1062; William Tell, 911, 1044; Wind, Der, 948; Wintermaerchen, Ein, 1206; Winter's Tale, 1206. Z. Zaire, 722; Zampa, 144; Zauberharfe, 222, 798. Critical and Literary:— A. Adlington, W., trans. Apuleius, 1263, 1266; Afanassiev, A., Baba-Yaga, 880. Alarc6n, Three-Cornered Hat, 614. Alberti, Beethoven, Sym. No. 7, 800. Allen, G., Maelzel in U.S., 790. Allgemein. Mus. Zeitung, Beethoven's Concerto No. 5, 932. AUgeyer, J., Feuerbach, 670. Annales Dramatiques, Semele, 1200. Apthorp, W. F., Brahms, Sym. No. 1, 1048; Brahms, Sym. No. 3, 142 el seq.; Brahms, Variations, 664; Liszt, Concerto, No. 2, 100; Schubert, Sym. in C, 992; Scotch songs, use of, 688. Apuleius, Cupid and Psyche, 1263, 1266. ' Asia, Portrait of Geisha girl, 1184. Athena}us, music defined, 150, 1116. Aubry, J, V. d'Indy, 455. Auer, L., Tchaikovsky's Violin Concerto, 284. B. Badminton Book on Dancing, Saltarello, 16. Baker's Mus. Die, Sibelius, Sym. No. 5, 1295. Barbey d'Aurevilly, Dandyisme, 47. Barbier, A., Berlioz, Romeo and Juliet, 1146. Barthel, Don Juan, 53. Bartolini, Beethoven, Sym. No. 3, 74. Bataille, H., L'Homme a la Rose, 36. Bayle, P., Anacreon, 334. Beethoven, on his Egmont Ov., 924; Maelzel, 786; metronome, 788; Meyer- beer, 792; Sym. No. 7, 784. Berl. Tagehlatt, Schreker, 948. Berhoz on his Romeo and Juliet, 1135. Bezsonov, ed. of Bylinen, 26; Bihrle, H., Brahms, Hung. Dances, 658. Bischoff, H., Lenau, 44. Boettger, A., Schumann, Sym. No. 1, 852. Bordes, C, Basque music, 829. Borgex, V. d'Indy, 455. Borowski, F., Brahms, Sym. No. 3, 140. Boschot, A., Berhoz, Benvenuto Cellini, 228; Romeo and Juhet, 1144. Boutarel, Debussy's Iberia, 951. Brahms, at Wies- baden, 135; Feuerbach, 670; Sym. No. 1, 1040. Brewster, D., Autom. Chess Player, 792. Bronsard, Saltarello, 16. Browne, Sir T., magnetic mountain, quincuxes, 599; Bruch, M., Scottish Fantasy for V., 678. Bruneau, A., Belaiev, 810; Ravel's Daphnis and Chloe, 369. Buelow, H. v., Brahms, Sym. No. 1, 1046; Variations, 666; Liszt, .Dante Sym., 556; Liszt and Siloti, 1304, and Danse Macabre, 1316. Bunge, R., Bach's orchestration, 199. Burgin, R., Sibelius, Sym. No. 5, 1295. Burney, C, Casella's Ballatella, 599. Burns, R., Hey tuttie taitie, 686. Burton, R. F., Bagdad, 1517; marimba, 1186; tr. Thousand Nights and a Night, 26, 1519. Byron, Manfred, 1364; Mazeppa, 294. C. Cadamastus, magnetic mountain, 1518. Casella, A., his "Convent on the Water," 170; Ravel's "The Waltz," 691. Castighone, dances and instruments for women, 18. Castil-Blaze, "Anacreon," 328; Cephalis et Procris, 1487; Don Juan, 53, The Tenorio Family, 51. Celler, L., Bourree, 206, Gavotte, 210. Chadwick, G. W., his Theme and Var. for organ, 592. Chouquet, Cephalis et Procris, 1487. Chretien de Troics, Parsifal, 1376. Churchill, J., tr. Wallen- stein, 886, 1168. ChurchiU, O. and J., marimba, 1186. Clapp, W. W. Tedesco,

BL4CS HAT3 AND GOWNS

An attractive Black Hat or Gown is a necessity to the well-dressed woman. While we specialize in Mourning Goods, we also show Black Hats and Gowns for all other occasions.

PENNELL. GIBBS & QUIRING CO. DECORATORS AND PAINTERS 203-205 CLARENDON ST.. BOSTON New Songs of Interesting Quality BY Cliiarles Foeteye Maeiney Composer of "Consecration"

DARK EYES TENDER ... .60 High, in G; Medium, in E-flat

IN YOUR LITTLE GARDEN . .50 High, in E-flat; Medium in C HEART OF GOLD 50 High, in A-flat; Medium, in F THEN FINISH THE LAST SONG .60 High; Medium THY HAND, BELOVED ... .GO High, in A flat; Medium in F OLIVER DITSON COMPANY 178-179 TREMONT STREET BOSTON 10 Order of your Local Dealer

IMPORTERS OF Toilet Articles AND PLRFUMLRY The largest and most complete line in New England CONFLCTIONE.RY Selected for its Superior Quality from the best specialty manufacturers in each line.

PRICE LIST SLNT ON APPLICATION

5. 5. PIERCE CO. BOSTON AND BROOKLINE 1446. Coleridge, A., tr. Schubert's Life, 222. Collier, J., Anacreon, 334. Congreve, Semele, 1198. Czerny, Beethoven, Sym. No. 3, 74, 76; Egmont Ov., 911. Czerwinski, Gavotte, 214. Czumikov, W., Russian Fairy Tales, 870. D. Daily Post (London), Handel's concertos, 860. Daily Telegraph (London), Sibelius, Sym. No. 5, 1295; Siloti, 1302; Three-Cornered Hat, 618. Dante, 542 et seq. Daudet, A., Port Tarascon, 1492. Dauriac, L., Rossini's overtures, 584. De Foe, Robinson Crusoe, 1515. Dehemel, R., Verklaerte Nacht, 400. Deiters, Brahms,Tragic Ov., 392. Delveau, A., bourree, 208. De Quincey, Glory of the Dance, 692; the Malay, 1208. Derepas, Franck's Psyche, 1250, 1263. Deschamps, E., Berlioz, Queen Mab, 1138. Desrat, Gavotte, 212, minuet, 218, Saltarello, 18. Destranges, E., Franck's Redemption, 732. Diderot, Saint Lam- bert's Seasons, 1208. Duerenberg, Beethoven, Sym. No. 7, 800. Duncan, W. E., Schubert, Sym. C, 990, 994. Dwight, J. S., Beethoven, Egmont Ov., 912; Berhoz, Benvcnuto CelUni, 228. E. Egede, Magnetic Mountain, 1518; Eldred, Bagdad, 1517. EUis, W., tr. Wagner, 1428, 1442. Elson, L. C, Star-spangled Banner, 334. Esther, Book of, II. (2-4), 1064. Evening Post (N.Y.), Tannhaeuser, 1450. F. Fertiault, gavotte, 212. Flaubert, Temptation of St. Anthony, 666. Ford R., Basque Dances, 825; Hebre, 954. Forsyth, C, Wm. Tell Ov., 1044. Fran- cisque-Michel, Basque music, 829. Frankel, A., Lenau, 46. FreisaufT, R., Mozart's Don Giovanni, 53. Fuller, T., Duke of Alva, 916. G. Gardey, Canon, Franck and Ste. Clotilde organ, 156. Gardiner, W., Salomon, 346. Gasperini, Tannhaeuser, 1440. Gatti, G. M., CaseUa's Convent on the Water, 174, 740. General Adv. (London), Semele, '1198. Glen, J., Scottish Mus. Inst., 686. Gloeggl, Beethoven, Sym. No. 7, 794. Goepp, P. H., Baba- Yaga, 882. Goethe, Egmont, 920. Good Companion Chess Problem Club, MaeJzel, 792. Goodrich, W., Franck's chorales, 154. Grammond, saraband, 164. Grand Biographic Dram., Eloy, 336. Gr6try, CephaHs et Procris, 1496. Grimm, Cephalis et Procris, 1498. Groth, Brahms, Variations, 656. Grove, L., Basque dancing, 825. H. Hadley, A., Sibelius, 1298. Hahn, A., Strauss's Don Quixote, 1384. HansHck, Brahms, Sym. No. 1, 1046, Sym. No. 3, 140; Goldmark's In Spring, 1210; Schubert, operas, 222, Sym. C, 976. Harris, Massenet, Phedre, 520; d'Indy, WaUenstein, 1180; Strauss, Don Quixote, 1388. Hawkins, Sir J., saraband, 164. Haydn, concerts in London, 340, 1360; minuets in London, 216. Hayem A., Don Juanisme, 47. Hearn, L., Story of the Bell, 1190. Hefernan, W., Caitihn-ni-Holahan, 1130. Heilbron, K. v., Schubert, 222. Heller, S., Berhoz, Romeo and JuHet, 1149. Henderson, W. J., Haensel and Gretel, 88. Henley, W.E., Napoleon, 76; Thousand Nights and a Night, 1513,1518. Herbelot, d', Kalandars, 1516. Hesselberg, E., Liszt, Danse Macabre, 1318. Heuberger, R., Schubert, Sym. C, 976. Hill, E. B., his Waltzes, 998. Hilliard, G. S., History of Automatic Chess Player, 790. Hole, R., Thousand Nights and a Night, 26, DOLI. & RICHARDS Special, Exhibition OP Italian Painters OF THE XIV, XV ABTD XVI CENTURIES 71 NEWBUBY ST. BO!

^""^'^^ ^^"^^ TAXICAB! LIMOUSINES

INCORPORATED BACK BAY 5300 Steinway

Steinert 1515; Hopkins, A. A., Heller the magician, 938. Homer, Odyssey, 1515. Huckel, O., tr. Parsifal, 1372. Hugo, Mazeppa, 292. I. Iken, Beethoven, Sym. No. 7, 800. Imbert, H., d'Indy, 455, 1168. d'Indy Beethoven, Sym. No. 3, 74; Franck, chorales, 152, Psyche, 1250, 1260, Redemp- tion, 724; d'Indy, his Ufe, 462, music, 471, writings, 462; "mihtarisme" in Beet- hoven's Sym. No. 3, 80. J. Jackson, J. P., tr. of Lenau, 44. Jahn, O., Don Juan, 53. Joachim, Brahms, Sym. No. 3, 142. Joyce, the Sidhe, 1126. K. Kalbeck, M., Brahms, Sym. No. 1, 1039 et seq., Sym. No. 3, 142, Tragic Ov., 391, Variations, 654, 666. Kamarupa, Persian Romance, 1518. Kastner, G., Dance of Death, 1320. Kastner, J. G., Serenade, 1112. Kautz, J., Schumann and Boettger, 854. Koerner, T., Beethoven, Concerto No. 5, 934. Krehbiel, H. E., Dehmel's Verklaerte Nacht, 400; Haensel and Gretel, 88, 92; Pace of minuets, 218. Kretzschmar, H., d'Indy and Reiser, 1174. L. Lacroix, H., ballets and masquerades, 1274. Lafond, P., Basque dances, 826, Garat, 825. Laforgue, Pan and Syrinx, 368. Lampe, F. A., crotalum, 690. Lydgate, Macabre, 1306. Le Fevre, Respit de la Mort, 1306. Lenau, N., Don Juan, 44. Leroy, Niemann, 1448. Lespinasse, Mile. Cephalis and Pro- cris, 1498. Litzmann, Clara Schumann's letters, 848. Liszt, Danse Macabre, 1312 et seq.; Dante Sym., 550 et seq.; Mazeppa, 298; music and painting, 1910; Siloti, 1304; Schumann's Manfred, 1364. Longfellow, tr. Dante, 542 et seq. M. Magnabal, Don Juan, 53. Mahillon, V. C, marimba, 1186. Mahon, M. P., the Sidhe, 1126. Makower, S., tr. of d'Imbert, 1168. Mandeville, J., magnetic mountain, 1518. Mardus, J. C, tr. of "The Thousand Nights and a Night," 106. Mariana, Father, Saraband, 162. Mark, Gospel of, the Resur- rection, 1014. Marnold, J., Debussy's Nocturnes, 32. Martine, Gretry's Anacreon, 334. Marx, Beethoven, Sym. No. 3, 80; Sym. No. 7, 800. Mason, W., Schumann, Sym. No. 1, 858. Mattheson, Bourree, 206, gavotte, 208, serenade, 1114. Mauclair, C., Franck's music, 156. Mauke, W., Strauss, Don Juan, 47. Mendelssohn, Roman Carnival, 14; Italian Sym., 7 et seq.; Schubert, Sym. C, 996. Menil, F. de, Hopak, 1079. Merolla, marimba, 1186. Metronome de Maelzel, 790. Metternich, P., memoirs, 1432. Molina, Tirso de, Don Juan, 51. Montagu-Nathan, Raclimaninov, Island of the Dead, 350. Monthly Mus. Record, Oberon revised, 759. Mount Edgcumbe, M. Sessi, 934. Mozart, Haffner family, 1103; minuet in Italv, 218; orchestras in Vienna, 588. Mueller-Reuter, T., Bruch's Scottish Fantasy, 676. N. Napoleon and Cherubini, 327. Nat. Geog. Mag., Emerald Buddhist Temple, 1184. Newmarch, R., tr. of d'Indy's Franck, 152. New English Dictionary, chorale, 660, macabre, 1306. Niemtschek, F., Mozart at Prague, 586. Nohl, Beethoven, Sym. No. 7, 800. Nork, St. Anthony, 668. Noverre, Psyche et I'Amour, 1277. O. OUivier, E., Niemann, 1444. Ortigue, J. d', Beethoven, Sym. No. 7, 800. Oubihchev, Beethoven, Sym. No. 7, 800. Ovid, Cephalus and Procris, 1488.

''^m fans** PATISSERIE ET CONFISERIE FRANCAISE K. CONSTANTIN CO. FRENCH PASTRY CATERERS FRENCH ICE CREAM Telephone. Back Bay 2566 407 BOYLSTON STREET BOSTON. MASS. TEA ROOM WESTLAND AVEMUE GARAGE INCORPORATED 41-43 WESTLAND AVENUE AND 32-34 ASTOR STREET One minute from Symphony Hall While attending concert store your car at our new and most up-to-date garage. Guard against theft. Telephones. Back Bay 8862. 8863

1538 — )

WEDDING INVITATIONS CALLING CARDS STATIONERY EXHIBITION and SALE

April 24th to May 6th

(Hours 9 to 5 Saturdays 9 to 1

Special Orders Executed

at the studio of Poulson M'xBs Atttplta HJmr lallimm INTERIOR. DECOKATOK HARPER W POULSON 71 RIVER STREET SOCtAL AND COMMERCIAL STATIONER BOSTON 284 BoYLSTON Street Boston (Off Beacon Street, at the Public Garden)

CAFE MIMElRVi 216 HUNTINGTON AVENUE

Back Ba}) 's most popular restaurant

0pp. Christian Science Gardens Tel. Back Bay

Excellent Food and Service jirtistic Surroundings Music Special noonday luncheon (except Sundays) 60c.

Also THE SAVOY CAFE 461 COLUMBUS AVENUE HARRY C. DEMETER. Proprietor

MAKE THE TEAPOT TEST (We will win your favour by the results.) Into a warm crockery teapot put a level teaspoonful of the genuine "SALADA" TEA

for every cup requ. red. Pour on freshly boiling water but be sure it is bubbling boiling—and infuse for five min- utes—you will have the most delicious cup of tea you ever tasted. We will send you the tea to make this 'SALADA' test, also our booklet "A story of the Tea Plant," if you will mail us a postal card. Salada Tea Co., Stuart and Berkeley Sts., Boston. Mass. p. Palatine Princess, Louis XIV., glutton, 482. Pall Mall Gazette, magnetic mountain, 1518. Paris, G., macabre, 1306. Parke, W. T., M. Sessi, 934. Parry, C. H. H., Bach, concertos, 486, 1327. Payne, J., Eastern women and maceration, 1064. Peignot, G., macabre, 1306. Petite Biographie Dram., Lays and Eloy, 336. Petrarch, Triumph of Death, 1310. Philharmonic of London, Letter to Mendelssohn, 8. Phny, Hebre, 954. Poe, E. A., Maelzel's Chess Player, and Von Kempelen, 792. Pohl, C. F., Haydn in London, 340. Pohl, R., Liszt, Danse Macabre, 1320. Dante Sym., 560. Pontecoulant, Maelzel, 788. Pougin, A., Tannhaeuser in Paris, 1448. Prod'homme, Beet- hoven, Sym. No. 7, 784, 804. Proksch, Smetana's Wallenstein. Prunieres, H., Ballets de Cour, 1274; L'Opera Italien en France, 1274; Richelieu and the ballet, 162. Psalm LXVIIL, 1014. Puttock, magnetic mountain, 1518. R. Rabelais, magnetic mountain, 1518. Raboux and MuUer, parodies (Phedre), 524. Racine, quotation from Phedre, 519. Ralston, Songs of Russian People, 872. Ramann, Schumann's Manfred, 1364. Rauber, A., Don Juan, 53. Reade, W. W., marimba, 1186. Referee, Haydn's Divertimento, 662. Reimann, Brahms, Tragic Ov., 391; Strauss, Don Juan, 49. Reinholdt, A., Russian litera- ture, 22. Riemann, Brahms, Sym. No. 3, 144. Ries, Beethoven, Sym. No. 3, 72. Rimsky-Korsakov, text for Russian Easter, 1012. Risbeck, orchestras in Vienna, 588. Rockstro, W. S., Handel, Concertos, 647, 1231. Rolland, R., Handel, concertos, 864; d'Indy, 455. Rosenfeld, P., Sibelius, Sym. No. 2, 266. Rostand, E., Derniere Nuit de Don Juan, 40. Rousseau, Serenade, 1112. Rowbotham, J. F., dancing under Nero, 1428; Pan and Syrinx, 368. S. Saint-Foix, Mozart, Hal?ner Serenade, 1103. Saint Lambert, Les Saisons, 1208. Saint-Saens, Liszt, Mazeppa, 304. Saint-Simon, Louis XIV., glutton, 482. Salaberry, J. D. J., Basque Folk-songs, 829. Saminsky, L., Szymanovsky, Sym., 715. Sancta Clara, A. a, St. Anthony, 668. Sasse, M., Tannhaeuser, 1432. Sayler, O. M., Saminsky, 1056. Schiller, Wallenstein, 886, 1170. Schindler, Beethoven, Sym. No. 3, 71. Schoelcher, V., Handel, concertos, 648, 1232. Schultz, D., Mozart, youthful symphonies, 216. Schumann, C, Brahms, Sym. No. 1, 1042; Brahms, Sym. No. 3, 142; Schumann, Sym. No. 1, 848. Schumann, R., Beethoven, Sym. No. 7, 800; Brahms, Sym. No. 1, 1039; Byron, 1362; Schubert, Sym. C, 980; Schumann, Sym. No. 1, 847. Schwab, R., Ravel, the waltz, 691. Schweitzer, A., Bach, concertos, 490. Senac de Meilhan, minuet, 215. Serapion, magnetic mountain 1518. Sere, Franck, Psyche, 1250. Servieres, G., Franck, Psyche, 1250, Tannhaeuser, 1432. Shakespeare, Othello quoted, 144; Troilus and Cressida quoted, 1046. Shaw, G. B., Don Juan, 47; Dusk of the Gods, 1462. Shelton, T., tr. Don Quixote, 1388. Shipwrecked Mariner, 26. Sibehus, account of himself, 1300. Siegfried, 1454. Signale, Russian svm. concerts, 874. Siloti, A., Beethoven, Sym. No. 7, 804; Memories of Liszt, 1304. Smith, D. S., his Poem of Youth, 268. Smith, S., Maelzel, Burning of Moscow, 790. Sonneck, O. G., Gretry's music in America, 1500; Star-spangled Banner, 334. Spitta, Bach, concertos, 486, 492. Spohr, Beet- hoven, Sym. No. 7, 794. Steinitzer, M., Strauss, Don Quixote, 1386. Sten- house, W., Scot, poetry and music, 686. Strauss, R., Don Quixote, 1384. T. Tabourot, J., Gavotte, 214. Taneiev, Tchaikovsky, Sym. No. 4, 420. Tchai- kovsky, M., Peter's Viohn Cone, 284. Tchaikovsky, P., views on ballet music»

STATE STREET TRUST CO. Boston, Mass.

MAIN OFFICE 33 STATE STREET MASSACHUSETTS AVENUE BRANCH Corner Massachusetts Avenue and Boylston Street

COPLEY SQUARE BRANCH . 581 Boylston Street

INTEREST ALLOWED ON CHECKING ACCOUNTS OF $300 AND OVER SAFE DEPOSIT VAULTS AT ALL THREE OFFICES MEMBER FEDERAL RESERVE SYSTEM THOMAS WS-ETNEY SU.RETTE Announces the Eighth Year of his Summer School of Music In Concord, Massachusetts, June 26 to July 21 inclusive, 1922

A School for Teachers of Music, for Students and for others who wish to increase their understanding of Music. Complete course in School Music from Kindergarten to College including the teaching of History and Appreciation. Practical demonstrations of the teaching of children by Augustus D. Zanzig, formerly of the Ethical Culture School, New York City. Lectures on teaching of Harmony and on Choral training and Conducting by Archibald T. Davison, Professor of Music at Harvard University and Leader of the Harvard Glee Club. Lectures on Education, on Literature. Chamber music concerts. Ensemble playing and singing. Circular on application. Mason & Hamlin Pianos used.

Massachusetts Trust Company (MEMBER FEDERAL RESERVE SYSTEM) UPTOWN OFFICE SITUATED DIAGONALLY ACROSS FROM SYMPHONY HALL

Cordially offers you every facility consistent with sound banking. Commodious Safe Deposit Boxes. Storage Space for Valuables. Largest Electrified Burglar Proof Safe in the World Ample Parking Space. DOWNTOWN BANK Massachusetts Trust Building Corner Federal and Franklin Streets

_3pBCI^L. ^ I J m THE SOCIETY OF Uraft^ ifji finistiito

Individual Wedding Gifts

at all prices

9 PARK ST., BOSTON 422; Sym. No. 4, 410; Violin Cone, 274. Thalia, Beethoven, Concerto No. 5, 934. Thayer, Beethoven, Sym. No. 3, 72, No. 7, 783, Concerto No. 5, 934. Thomson, W., Scottish miisic, 686. Thousand Nights and a Night, 24, 104, 106, 113, 1064, 1264, 1512. Titon du Tillet, Lalande, 484. Tribune (N.Y.) Haensel and Grete), 88. Turina, J., Three- Cornered Hat, 617. U. United States Gazette, Maelzel, 790. V. Valerius Maximus, Anacreon, 34. Vanity Fair (N.Y.), Saraband, 166. Van Vechten, C, De Falla, 620. Vidal, Lou, tambourin, 1494. Volkmann, H., R. Volkmann's serenades, 1116. Voragine, J. de, St. Anthony, 668. W. Wagner, R., Bacchanale in Tannhaeuser, 1434; Beethoven, Sym. No. 7, 800; Flying Dutchman, 1082; Liszt's Mazeppa, 304. Walkley, A. B., new plays on Don Juan, 24. Walther, J. G., Nach-Tanz, 16, Saltarello, 16, Sicihana, 1236, Vor-Tanz, 16. Wasielewski, Schumann and Manfred, 1362. Weber, Caroline, Invitation to the Dance, 394. Weingartner, Schubert, Sym. C, 986. Weber's Invitation to the Dance, 396. Wette, A., Haensel and Gretel, 88. WTiite, R. G., German commentators, 1040, F. Tedesco, 1446. Wllhng, C, Beethoven and chess, 792. Wittgenstein, Princess, Dante Sym., 560. Wolf, H., Brahms Sym. No. 3, 148. Wolfram v. Eschenbach, Parsifal, 1376. World (N.Y.), d'Indy's Poeme des Rivages, 494. Wotton, T., Crotales, 690. Wyzewa, Mozart, Haffner Serenade, 1103. Y. Yeats, W. B., Fiddler of Dooney, 1128; Host of the Air, 1124; the Sidhe, 1126. Comments on Composers: See—

Bach : Parry, Schweitzer, Spitta. Beethoven: Alberti, All. Mus. Zeitung, Bartohni, Beethoven, Czerny, Dueren- berg, Dwight, Gloeggl, Good Companion Chess Problem Club, Iken, d'Indy, Keener, Marx, Nohl, d'Ortigue, Ouhbichev, Prod'homme, Ries, Schindler, Schmnann, Seyfried, Siloti, Spohr, Stadler, Thalia, Thayer, Wagner, Willing. Berlioz: Barbier, BerUoz, Boschot, Deschamps, Dwight, Heller. Brahms: Apthorp, Bihrle, Borowski, Brahms, Deiters, Groth, Hanshck, Joachim, Kalbeck, May, Richter, Riemann, Clara Schumann, Robert Schumann, WoH. Franck: Derepas, Destranges, Gardey, Goodrich, d'Indy, Mauclair, S6r6, Servieres. Gr^try: Castil-Blaze, Chouquet, Gr^try, Grimm, Lespinasse, Marmontel. Handel: Gen. Adv., Rockstro, RoUand, Schoelcher. Haydn: Gardner, Haydn, Pohl (C. F.), Referee. d'Indy: Borgex, Imbert, d'Indy, Kretzschmar, Rolland, World (N.Y.). Liszt: Buelow, Hesselberg, Heuberger, Liszt, Pohl (R.), Rossini, Saint-Saens, Wagner, Wittgenstein. Mozart: Freisauff, Mozart, Niemtschek, Saint-FoLx, Schultz, Wyzewa. Rossini: Dauriac, Forsyth. Schubert: Apthorp, Duncan, Hanslick, Heilbron, Heuberger, Mendelssohn, Schumann, Weingartner. Schumann: Boettger, Kautz, Liszt, Liztmann, Mason, Schumann (Clara and Robert). Sibelius: Burgin, Hadley, Rosenfeld, Sibelius. Strauss: Hahn, Harris, Mauke, Steinitzer, Strauss. Wagner: Chretien de Troies, Ellis, Gasperini, Huckel, Pougin, Sasse, Shaw, Wag- ner, Wolfram von Eschenbach.

What is more pleasant than to break the working day by having a palatable luncheon, where you can enjoy your favorite dishes, both Mandarin and Ameri- can style, "cooked as you like them." amid the pleas- ant surroundings of hospi- tality, only to be found in the Santung Restaurant, where courteous, prompt and efficient service pre- .24J -243 HGNTINGTON AV Your mid-day NEAR MASSACHUSETTS dominates. AVE patronage solicited and BOSTON, MASS. appreciated. Open from II A.M. to 12 P.M. ST. JAMES BUILDING MUSIC NEAR SYMPHONY HALL — Miscellaneous References

A. Alcinous, Garden of, 1264; Aura, 1490. B. Badinerie, 204; Bagdad, 1517; Ballet music, Tchaikovsky's opinion of, 422; Boecklin's Island of the Dead, 352. C. Chess-playing machines, 790; Chorale, spelhng of, 660. D. Dance of Death, 1306 et seq.; Don Juanisme, 47. E. Ebro, River, 954; Emerald Buddhist Temple, 1184; Escoulor, 1492. G. Gap and Casts, 210; Gluttony of Louis XIV., 484. H. Handel's house in London, 862; Haydn's house in London, 344, orchestra in London, 348; Hebre, river, 95; Holbein's Dance of Death, 1320. I. Iberia, 957; Island of the Dead, Boeckhn's, 352. K. Kalandar, 1516. M. Macabre, the word, 1306; Maceration of Oriental women, 1064; Maelzel's Conflagration of Moscow, 790; Magnetic mountain, 1518; Marie Antoinette's wedding, 1487; Metronome, 788; Militarisme in Beethoven's "Eroica" Sj-m., 80. 0. Orcagna's Triumph of Death, 1306; Orchestras—Haydn's in London, 348, Prague and Vienna, 588. P. Pelote, 825; Pictures inspiring music, 354, 1310; Playing the plate, 802; Presidiario, 1202. R. Ranz des Vaches, 1044, 1366; Richmond Hill Theatre (N.Y.), 583; Rossini and Dante Sym., 558; Russian sym. concerts, 874. T. Tutupomponeyer, 1492. Z. Zofin, 886. * * * Extra Symphony Concerts Five extra Symphony concerts, Mr. Monteux conductor, were given in Symphony Hall on Monday evenings:

1. November 28, 1921: Franck, Symphony, D minor; Beethoven, The Creatures of Prometheus (Overture, Ballet No. 5, Adagio—flute, G. Laurent; clarinet, A. Sand; bassoon, A. Laus; harp, A. Holy; violoncello, J. Bedetti); Liszt, Fantasia on Hungarian Folk Tunes for pianoforte and orchestra (John Powell, pianist); Rimsky-Korsakov, Caprice on Spanish Themes. II. January 16, 1922: Beethoven, Symphony No. 5; Svendsen, "The Carnival at Paris"; Saint-Saens, "O beaux reves evanouis" from "Etienne Marcel" (Estelle Liebling); Mozart, "Non so piii" from "La Nozze di Figaro" (Miss Liebling); Debussy, Prelude to "The Afternoon of a Faun"; Wagner, Overture to "Tann- haeuser." III. February 13, 1922: Schubert, "Unfinished" Symphony; Rubinstein, Piano- forte Concerto, D minor, No. 4 (Alfred Mirovitch, pianist); Wagner, Prelude and Love-Death from "Tristan and Isolde"; Dukas, "The Sorcerer's Appren- tice "; Liszt, Symphonic Poem, "The Preludes." IV. March 13, 1922: Dvorak, Symphony, "From the New World"; Samt-Saens,

BEACH 7660

( 22BOYLSTON St. Boston Mass. | Sjanphonic Poem, "Omphale's Spinning-Wheel"; Lalo, Concerto for violoncello (Jean Bedetti); Beethoven, Overture to "Leonore" No. 3. V. April 10, 1922: Goldmark, Overture to "Sakuntala"; Mendelssohn, Concerto for violin (Richard Bijrgin); Strauss, "Till Eulenspiegel's Merry Pranks"; Saint-Saens, Symphony (with organ) No. 3 (Albert Snow, organist).

* * Pension Fund Concerts

I. November 20, 1921: Tchaikovsky, "Pathetic" Symphony; Strauss, "Death and Transfiguration," "Don Juan," "Till Eulenspiegel's Merry Pranks." II. March 26, 1922: Wagner Programme: Overture to "The Flying Dutch- man"; Procession to the Cathedral, and Introduction to Act III. of "Lohengrin"; "The Ride of the Valkyrie" from "The Valkyrie"; "Forest Murmurs" from "Siegfried"; Funeral Music from "The Dusk of the Gods"; Introduction, Scene 1, and Closing Scene of "Rhinegold" (singers: Laura Littlefield, Esther Ferrabini-Jacchia, Gertrude Tingley, Charles H. Bennett, Ra\-mond Simonds). * * * Young People's Concerts January 23, 25, 1922: Saint-Saens, Heroic March; Beethoven, Larghetto from

Symphony No. 2; Bizet, Suite No. 1, "L'Arlesienne" ; Dvorak, Two Slavonic Dances; Wagner, Overture to "Rienzi." April 3, 5, 1922: Mozart, Overture to "Le Nozze di Figaro"; Haydn, Minuet and Finale from Symphony in G major (B. & H. No. 13); Debussy, In a Boat and Procession from the Little Suite; Delibes, Slavic Theme with Variations from

"CoppeUa" ; Tchaikovsky, Dance of the Sugar Fairy, Chinese Dance, and Trepak from "The Nutcracker"; Wagner, Introduction to Act III. of "Lohengrin." * * * Sundry Notes Mme. Louise Homer was prevented by sickness from singing at the concerts of December 30, 31, 1921. Mr. E. Robert Schmitz, pianist, was substituted as soloist. Mme. Laura Littlefield, soprano, sang the music for a voice in Casella's "Couvent sur I'eau" on October 21, 22, 1921, and January 20, 21, 1922; also the soprano solo in Franck's "Psyche" on March 31, April 1, 1922. Mr. Richard Burgin was the solo violinist in Mozart's "Haffner" Serenade on March 10, 11, 1922. The solo players on April 7, 8, 1922, in Bach's Fifth Brandenburg Concerto for flute, vioUn, piano, and strings were Mr. Laurent, flute; Mr. Burgin, violin, and Mr. Siloti, piano. Mr. Wallace Goodrich was the organist when his transcription for organ and orchestra of Franck's Organ Chorale in B minor was performed on October 21, 22, 1921.

The Goodwin Shop DO YOU KNOW That right here in Boston for seven years we have been proving what the GARDNER THERAPEUTIC and REDUCING MACHINE does? THE GLAD WAY The Scientific treatment, by mechanical means, of obesity and its resulting diseases. The American Medical Association has pronounced the Gardner Machine to be ethical, thereby recognizing it as a true and eflficient thera- peutic agent in accordance with the highest standards of the medical profession. Because we believe that our work for reducing weight and measure- ments is SAFER, SANER and SURER than any other, we invite you to investigate it. THE GARDNER THERAPEUTIC and REDUCING MACHINE CO. Suite 224-5-6 Berkeley Building ... 420 Boylston Street Telephone, Back Bay 2332

Miss Farmer's School of Cookery DADDY & JACK'S Established 1902 Home of the Boston Cooking School Cook Book JOKE SHOP 30 Huntington Avenue. Boston Masks. Puzzles, Balloons, Serpentine, Conletti, Practise Classes constantly forming in Place Cards, Noise Makers. Dribble Glass, Boston Cookery and Household Technique Joker. Snake Jam Jar. Select Paper Hats, also Demonstration Lectures other clever Joker Novelties, Dance, Dinner and Party Favors. Wednesdays. 10 A.M. and 7.45 P.M.

Miss Alice Bradley. Principal 22 BROMFIEID STREET. BOSTON (9), Mass.

mi Ran

VIOLAS and 'CELLOS

of exquisite tone and splendid condition

ITALIAN VIOLIN STRINGS MUSICIANS SUPPLY COMPANY 218 Tremont Street and 60 LaGrange Street, Boston, Mass. Telephone, Beach 1882 il!e.Alary&Co. Hill, Smith & Co. Wholesale and Retail Berkeley Building. 420 Boylston St. STATIONERS Hair Dresser Engraving, Die Stamping MANICURE SHAMPOOER and Fine Printing HAIR WORK A SPECIALTY FACIAL, SCALP and NECK Blank Book Manufacturers MASSAGE Modern Loose-leaf Devices ONDULATION MARCEL and Supplies

Perfumery Shell Ornaments 8 MILK STREET Old South Building Telephone, Back Bay 2320 Telephone. Main 1590

Mr. Rolaedl Hayes is singing our new song just off the press

with great success both in London and Paris SALARIED POSITIONS FOR NOONTIDE SONG TeacLers of Music

in Educational Institutions throughout U. S. and MONTAGUE RING Canada. Address HENRY C. LAHEE 218 Tremont St.. Boston

C. W. Thompson & Co. 2-B PARK ST.. BOSTON. MASS

Telephone Haymarket 1 1 50

ELIAS HOWE CO. 8 BOSWORTH STREET

OLD )U E^, S VIOLAS, DOUBLE BASSES MORE THAN 600 IN STOCK

Leather Cases. Fine Bows. Italian Strings. Gold and Silver G Strings. 2,000 NEW VIOLINS IN STOCK ELIAS HOWE CO., 8 Bosworth Street Boston Cherubini's Overture to "Anacreon" and Haydn's Symphony in E-flat major (B. & H. No. 1) were played at the concerts of November 18, 19, 1921, in com- memoration of the birthday of the late Henry L. Higginson (November 18, 1834). The Funeral Music from Wagner's "Dusk of the Gods" was played on January 27, 28, 1922, in memory of Arthur Nikisch, who died on January 23, 1922. Vincent d'Indy conducted the concerts of December 9, 10, 1921. Mr. Henry Eichheim conducted his "Oriental Impressions" on March 24, 25, 1922. Mr. Alfred De Voto was the pianist when a score called for a pianoforte. Mr. Albert Snow was the organist on December 23, 24, 1921 (Adagio from Saint- Saens Symphony No. 3), and December 30, 31, 1921 (Chadwick's Theme and Varia- tions) . * * * Errata

Programme Book of October 7, 8, 1921, page 42, hne 3 from the top. Richard Strauss was then Uving in Vienna. Programme Book of October 28, 29, 1921, page 238, line 3 from top. Mr. LoefBer was not present at this concert. The preceding statement taken from the Pro- gramme Book of the Cincinnati Symphony Orchestra with reference to Theophile Ysaye's symphony. Op. 14, and Mr. Loeffler was incorrect. Programme Book of December 9, 10, 1921, page 462, 11th Une from the bottom. For "Queste de Dieu" read "Legendede Saint-Christophe," as on page 464 (8th line from the bottom). Programme Book of February 17, 18, 1922, article "Schreker's Prelude to a Drama." Spell the composer's name "Schreker" throughout, as on the title page. Programme Book of March 10, 11, 1922, page 1142, 2i Une from the top. For "juene" read "jeune." Programme Book of March 24, 25, 1922, page 1202, 1st hne. "Presidiario" as in the footnote; not "Presidiaro." Programme Book of April 21, 22, 1922, page 1462, 3d hne in title. Strike out the word "Prologue."

THE HE FINEST CUISINE" Lamping-Molae Shop Courteous, Efficient and Prompt Service MARINELLO SYSTEM MUSIC EVERY EVENING 462 BOYLSTON ST. We are beginning our New Season with better prospects than ever. New rooms The Far East Co. added and New Equipment. Every de- CHINESE AND AMERICAN partment in full operation. Our Electric and Swedish baths need no introduction. RESTAURANT Headquarters for the new Lon- don Hair Dye "Inecto Rapid" Permanent Waving. 1088 BOYLSTON STREET Latest in Hair Goods. Frederick & Nestle Systems. Ten Expert BOSTON, MASS. Marcel Wavers in constant attendance. Fan Dress and Fan Puff, and Beauty Telephone Connection Culture in every detail.

SEVENTY YEARS' REPUTATION BROWN'S BRONCHIAL TROCHES An old and reliable remedy for throat troubles caused by cold or use of the voice. Free from opiates in any form. Sold only in boxes— never in bulk. Prices. 15c., 35c.. 75c.. $1.25. at druggists or by mail. CAMPHORATED BROWN'S SAPONACEOUS DENTIFRICE 3(lc 1 keep the teeth and gums in healthy condition. Price. at druggists or by JOHN I. BROWN & SON. BOSTON. MASS. A SIGN OF SAVING

Americas Greatest CLEANSERS DYERS LAUNDERERS

BOSTON SHOPS 284 BOYLSTON STREET 17 TEMPLE PLACE 248 HUNTINGTON AVENUE 79 SUMMER STREET

Branch Telephone Exchange 3900 Back Bay connects above shops BROOKLINE SHOP CAMBRIDGE SHOP WATERTOWN SHOP 1310 Beacon Street 1274 Massachusetts Av 1 Galen Street Coolidge Corner Harvard Shop at Works

Also MALDEN SALEM LYNN WALTHAM FITCHBURG FALL RIVER MANCHESTER LOWELL PROVIDENCE NEW BEDFORD WORCESTER SPRINGFIELD BRIDGEPORT NEWPORT NEW HAVEN WATERBURY Al.BANr LAWRENCE NASHUA PHILADELPHIA HAVERHILL MANCHESTER. N.H. AND 10 WEST 48th STREET NEW YORK

Packages called for and delivered 6i; our own trucks ESTABLISHED 1829 YOU CAN RELY ON LEWANDOS .

SYMPHONY HALL 42nd Season 1922-1923

24 FRIDAY AFTERNOON CONCERTS 24 SATURDAY EVENING CONCERTS

BEGINNING OCTOBER 13-14, 1922

BY THE Boston Symphony Orchestra

PIERRE MONTEUX, Conductor

WITH DISTINGUISHED SOLOISTS

SUBSCRIPTION INFORMATION

This year's subscribers for the series of 24 Friday after- noon and 24 Saturday evening concerts have an option until May 1 to retain their seats for the following season of 1922-23.

Applications from new subscribers are now being received and their names placed on the waiting list. These applica- tions will be filled in order of receipt and seats allotted as near the desired location as possible shortly after May 1 Season Tickets for 24 concerts, $65, $53. $40, $27, $18. No tax.

Address all communications to

W. H. BRENNAN, Manager

Symphony Hall, Boston STEINERT H :2^S6=f?SS£=

ELIX FOX SCHOOL OF PIANOFORTE PLAYING

(Formerlv Fox-Buonamici School)

FELIX FOX, Director PIANOFORTE INSTRUCTION FROM ELEMENTARY TO ADVANCED GRADES

Season 1 922-23 opens September 1 8

Registration begins September I 3

403 MARLBOROUGH STREET BOSTON, MASSACHUSETTS

Telephone, Back Bay 973

MASON & HAMLIN PIANO

S^gliiiliWlilllllllilll IlllillHHIHHII ' SYMPHONY HALL

SUNDAY AFTERNOON, APRIL 30, at 3.30 o'clock

An Afternoon of Russian Folk Songs and Ballads in Costume by NINA TARASOVA

... Jprogrammr ...

1. Moscow 2. The Lot of the Poor Man 3. Lullaby 4. Come With Me My Dear IL Russian Folk Songs used by Great Composers in their Compositions L The City of Kazan (From Op. Boris Godunow) Moussorgsky 2. The Red Sarafan "Souvenir de Moscow" Wieniawski 3. "Poor Vania" "Quartette Op. IF' Tschaikowsky 4. The Birch in the Meadow "Symphony No. 4" Tschaikowsky

^^^' L The Night 2. Marriage of the Wolf and the Lamb 3. Down on Peters

MR. LAZAR S. WEINER at the piano MASON & HAMLIN PIANO USED

Exclusive Management, S. HUROK, Aeolian Hall, New York

Reserved Seats, $2.00, $1.50, $1.00, 75c War Tax 10 per cent additional NOW ON SALE AT THE BOX OFFICE

Mnie. Tarasova is a remarkable Temperament she has in plenty, and artist — a Russian Yvette Guilbert, and her range of expression not only in- shehasbeenable to give the folksongs of eludes the dramatic and the pathetic her native country with a vigor and a but the humorous and whimsical, variety of mood such as no singer has shown. New York American New York Tribune

She has the rare gift of complete If she doesn't become the toast of sympathy in mood, voice and person- next season I'm no prophet. The voice ality, and the supreme naturalness of is there, the talent is there, the brains her spirit would be intelligible in any are there. language. New York Evening World Neiv York Evening Mail SEASON 1923

Three Subscription Concerts BY THE ¥inM7A\:\Vr rXJARl^ET ADOLFO BETTl First Violin ALFRED POCHON, Second Violin LOUIS BAILLY. Viola IWAN d'ARCHAMBEAU, Violoncello AT JORDAN HALL, BOSTON JANUARY 18 FEBRUARY 15 MARCH 8 THURSDAY EVENINGS

SUBSCRIPTION PRICES (Including Tax) Floor (e-^tire) $4.45 Balcony (rows A, B, entire, and C, D, centre) ..... 3. 30 Balcony (remainder) 2.24

RENEWAL SUBSCRIPTIONS being filled until MAY I. Applications from new subscribers NOW BEING RECEIVED, will be filled after May 1.

Manager, WENDELL H. LUCE, 492 Boylston St., Mason & Hamlin Bldg., BOSTON

SYMPHONY HALL

Next Sunday, April 30, 1922, 7.30 P. M. HANDEL'S MESSIAH By The People's Choral Union of Boston GEORGE SAWYER DUNHAM, Conductor SOLOISTS JEANETTE VREELAND, Soprano JEANNE LAVAL, Mezzo-Soprano RULON ROBISON, Tenor WILLARD FLINT, Baritone

Members of Boston Symphony Orchestra

Seats 50c, 75c, $L00, $L50 and $2.00 {NO WAR TAX) SYMPHONY HALL

Orchestra of Symphony Players AGIDE JACCHIA, Conductor

Opening Night, Monday, May 1 PROGRAMME PROCESSION OF BACCHUS Delibes

OVERTURE to "The Marriage of Figaro" . . . Mozart SPANISH DANCE, "Panaderos" Glazounov FANTASIA, "Aida" Verdi

"HYMN TO THE SUN" from "Iris" .... Mascagni DANZA DELLE ONDINE ("Dance of the Waves") from "Loreley" Catalani HINDU SONG Rimsky-Korsakov OVERTURE to "Tannhauser" Wagner

SELECTION, "La Boutique Fantasque" . . . Rossini-Respighi WALTZ, "Roses from the South" Strauss MARCHE SLAVE Tchaikovsky

TICKETS NOW ostoe Symplioiiy Ensemble "A Miniature Symphony Orchestra"

AUGUSTO VANNINI. Conductor

Maintaining the high standards of its parent organization,

the Boston Symphony Orchestra

APPLICATIONS FOR BOOKINGS, 1922-23 NOW BEING RECEIVED

Exclusive Direction: AARON RICHMOND. 404 Pierce Bldg.. Telephone B. B. 7119

The HARVARD Dramatic Club PRRSFNTS ^^ SACHA cc:n I,' I ) A ^M r' 1/ O

TRANSLATED BY HOWARD "PHILLIPS. '23 FOR THE FIRST TIME IN AMERICA

Brattle Hall, Cambridge, May 8 and 11, at 8.15

Copley Theatre, Matinee May 10, at 2.15

Tickets on sale at HERRICK'S, COPLEY THEATRE. HARVARD CO-OPERATIVE, LEAVITT & PEIRCE. or by application to HARVARD DRAMATIC CLUB, CAMBRIDGE. MASS.

BOUND COPIES of the SoBton g'ympliattu (0rrl)?atra a PROGRAMME BOOKS

Containing Mr. Philip Hale's analytical and descriptive notes on all works performed during the season ("musically speaking, the greatest

art annual of to-day."—W. J. Henderson, New York Sun), may be obtained by addressing

PRICE $5.00 SYMPHONY HALL S0U7U cofmivoa

i 11 MUSICAL INSTRUCTION 5 MES, DUDLEY FITTS TEACHER OF SINGING ACCOMPANIST 214 Huntington Avenue COACH Telephone Boston Back Bay 6350 INGEES An octave added to the voice in three months. The great Bug-bear of Breath eliminated. The voice treated as a stringed instrument. MARY TRACY Teacher of the Barbereux System.

Studio work presented on Saturdays from 4.30 to 5.30 p.m. until January 1st. Thereafter every second Saturday of each month. All interested in the most advanced thought in Voice Production will be welcome. STUDIO: 325 HUNTINGTON CHAMBERS, 30 Huntington Ave. Telephone, B. B. 6075

VOICE PLACING AND TECHNIQUE A SPECIALTY (Fljp

. MARGARET A. AGMEW Aft of S^ttigiUQ VOCAL COACH and ACCOMPANIST

146 Massachusetts Avenue

Telephone Back Bay 3040

SUMMER STUDY Mr. Richard Piatt, Pianist and Teacher, will keep open his studio, 16 Lime Street Beacon Hill, Boston, during the vacation season, to afford opportunity for summer study Regular or special lines of work may be followed. Teachers reinforced for the coming season. Programs arranged. Accompanists trained.

Miss Nora Maynard Green, Voice Specialist, will continue to receive pupils in singing on Tuesdays and Fridays. Diaphragmatic breathing, correct posture, poise, voice development, tone placing, diction, interpretation ayid tradition. Repertoire. ARTHUR WILSON VOICE AND INTERPRETATION

At Merriewold Park, New York 905 BOYLSTON STREET BOSTON with professional pupils and assistants from July 1 to October 1

Mr. FRANK E, MORSE , Joseph Emile Dandelin

LESSONS IN SINGING ,,,^. ,^ , FQQONq A Normal Course for Teachers ^ \OUN LESSONS STUDIOS STEINERT HALL BOSTON

1557 MUSICAL INSTRUCTION EMMA HOSFORD VOICE Studio, 615 Huntington Chambers

PIANIST and TEACHER Miss MARY INGRAHAM Lang Studios

6 NEWBURY STREET

The Vocal Studios of Teacher of Singing in ail its branches Mr. ARTHUR J.HUBBARD and of Dramatic Action as And his Assistants applied to Singing VINCENT V. HUBBARD. Mrs. CAROLINE ARTHUR J. HUBBARD HOOKER and Miss EDITH BULLARD 246 Huntington Avenue

VIOLIN SOLOIST AND TEACHER

Studio, Lang Studios, 6 Newbury Street

MARIE MICHOLS Home Address, 448 Audubon Road

Telephone, Copley 8259-J.

Violoncello Soloist and Teacher

A Special Course for Pianists

CARL WEBSTER Sonata Playing and the Art of Accompanying

STUDIO. 218 TREMONT STREET

G. ROBERTS LUNGER BARITONE SINGER AND TEACHER OF SINGING. Soloist at the Old South Church STUDIO. 246 HUNTINGTON AVENUE. Telephone. Copley 5566-M

F. MORSE WEMPLE

BARITONE SOLOIST AND TEACHER OF SINGING ' Member of Faculty N. E. C. of Music BOSTON STUDIO IN NEW YORK SATURDAYS PIERCE BUILDING 125 EAST 37th STREET

VIOLIN INSTRUCTION and F. WILLIAM KRAFFT ENSEMBLE PLAYING Member Boston Symphony Orchestra ADDRESS SYMPHONY HALL Telephone, Brighton 12I2-M. HERBERT WELLINGTON SMITH BARITONE SOLOIST CONCERT ORATORIO RECITAL

Studi • : 1089 Boylston Street, Boston Address all communications to Tel. Copley 9067-W Anita Davis-Chase, 120 Boylston St., Boston .

"TTTrSmrL I N s T R u c t i o n

"Bainbridge Crist ... is entitled by a great BAINBRIDGE CRIST pedagogical talent to give singing instruction." INSTRUCTOR IN THE ART OF SINGING —Franz Emerich, Berlin. Boston Studio, 30 Steinert Hall "Mr. Crist ... is in my opinion capable of Interview by appointment only giving valuable instruction on the lines of my Address, South Yarmouth, Mass. own teaching."—William Shakespeare. London.

SPECIALIZING ON THE PLACING OF THE VOICE AND CORRECTING OF EMILY P. HEMMANN DEFECTIVE VOICES VOCAL TEACHER 615 Huntington Chambers 30 HUNTINGTON AVENUE CLIFTON WOOD BARITONE. SINGER—TEACHER Available for Concert and Oratorio For Appointment, Write or Telephone 10 Devon Rd., Leominster. Telephone, 1170 BOSTON STUDIO: 24 STEINERT HALL, Tuesday and Friday

"Willard Flint as Mephistopheles was excellent. Throughout he was the polite gentleman of the times, yet ever shining BASSO through the polish was the glint of the true character of his satanic majesty." Voice Specialist and Coach

— did, . Boston Her January ^ 1921 STUDIO: 246 HUNTINGTON AVENUE

Sherwood studied Jolm Hall Sherwood "Mr. John Hall has with me in Paris, and is a gifted musician TEACHER OF PIANO and successful teacher of large experience

Appointment by telephone whose work I can endorse and recom- Cambridge 5935-W mend." (Signed) HAROLD BAUER COMMUNITY DRAMATIC SCHOOL Summer term in connection with FLAYHOUSE-ON-THE-MOORS. GLOUCESTER, MASS. Acting Dalcroze Eurythmics Public Speakmg Send for booklet to BOSTON SCHOOL OF PUBLIC SPEAKING 815 BOYLSTON STREET ALICE HUTCHINS BAKER PIANIST INSTRUCTION The principles of Leschetizky presented in a definite and comprehensive manner STUDIO, HOTEL HEMENWAY. BOSTON Telephone. Back Bay 3180

FRANCES DEMAREST 57 Strathmore Road VOICE Brookline STAGE TRAINING Tel. Brookline 1II2.R iVlUol^^AL llNOlI\^J^^llWiN

liss HELEN GOODRICH Irs. Louise Wood Forrest TEACHER OF SINGING TEACHER OF SINGING ACCOMPANIST. COACH HOTEL HEMENWAY STUDIO Tuesdays Fridays at Lasell Seminary 246 HUNTINGTON AVENUE BOSTON

PMSCILLA WHITE The A rt of Singing TEACHER OF SINGING EDITH E. TORREY 610 PIERCE BUILDING at her Studio 164 COPLEY SQUARE . BOSTON HUNTINGTON AVENUE Telephone, Copley 8172-W

Mrs. Mabel Mane Jordan Mr. HARRIS S. SHAW Pupil of SILVESTRI, Naples. Italy TEACHER OF PIANO, ORGAN. HARMONY and MANDOLIN. GUITAR. BANJO AND UKULELE Foreign and American Instruments For Sale INTERPRETATION 248 NEWBURY STREET. BOSTON 18 Huntington Avenue . . Boston, Mass. leiephone, Copley 2279-M. Telephone. 3414-R Back Bay

Miss ROSE STEWART BLANCHE TOWLE VOICE SPECIALIST and TEACHER OF SINGING TEACHER OF ARTISTIC SINGING Qualified to develop male and female voice 250 HUNTINGTON AVENUE References: Miss ROSE STEWART. PHILIP HALE 175 Hemenway St.. Boston Tel., Copley 1 1 13-M Opposite Symphony Hall SEND FOR CIRCULAR

Mr. JOSEPHINE KNIGHT JOHN LANE SOPRANO SOLOIST TEACHER OF SINGING TEACHER OF SINGING 4 Haviland Street .... Boston STE INERT HALL B. B. 1047 In Worcester, Tuesdays, Wednesdays and Friday 102 BOYLSTON STREET BOSTON Afternoons, 317 Day Building

Madame Alexaoder-Marms ROSALIE THORNTON (officier de I'lnstruction publique) TEACHER OF PIANO Vocal Instruction, Breathing, Tone Production. 282 DARTMOUTH STREET Phonetics, French Diction, Interpretation of Telephone. Copley 5958-J Mondays and Thursdays, The Winsor School French Songs Tuesdays and Fridays. Milton Academy FENSMERE, 206 MASSACHUSETTS AVE. Mason & Hamlin Piano used

SUZA DOANE Anne Wasgatt Whittredge PIANIST and TEACHER TEACHER OF SINGING Class in analysis and appreciation of opera 25 ST. STEPHEN STREET 17 STEINERT HALL ^'''^'''"j'^J:lt°tkvif Telephone. Copley 1463.R. BOSTON HELEN TRUE CHARLES REPPER SOPRANO SOLOIST Composer — Pianist PIANO of INSTRUCTION: TEACHER SINGING Harmony and related subjects Trinity Court Boston — B B 4030 6 NEWBURY STREET Lang Studios — MUSICAL INSTRUCTION ALICE FOSTER PEIRCE ROSABELLE TEMPLE PIANOFORTE INSTRUCTION TEACHER OF SINGING Classes in Two Piano Playing, four and eight hands B speciality. Interpretative talks on the Great MUSICAL LECTURES followed. Composers. Symphonv Programmes Author of "Young Singers, What They Should Know Studio. 146 MASSACHUSETTS AVE.. Near Boylston Street Telephone. Back Bay 3040 10 NEWBURY STREET Henry Jackson Warren Miss MARY A. STOWELL BARITONE TEACHER of PIANO and HARMONY ORATORIO—CONCERT—RECITAL has removed to TEACHER OF SINGING 117 REVERE STREET between Charles St. and the Esplanade 17 Wendell St„ Cambridge Univ. 3827.M Tel Bowdoin 3162-R GERTRUDE FOGLER ARTHUR GERS SCHOOL OF LANGUAGES PIANOFORTE INSTRUCTION Formerly pupil Royal Conservatory of Brussels, Bel- 543 BOYLSTON STREET gium (1897-1901). Also Organist and Accompanist BOSTON HUNTINGTON CHAMBERS, BOSTON Tel. Copley 9096.M BERNARD FIEDLER GERTRUDE BELCHER VIOLINIST and TEACHER TEACHER OF PIANO member Boston Symphony Orchestra THE COPLEY, 18 HUNTINGTON AVE. STUDIO: 61 WESTLAND AVENUE Tel. Back Bay 58290 Telephone. Back Bay 2808-M EDITH BULLARD ETHEL DAMON CLARK SOPRANO SOLOIST PIANIST TEACHER OF SINGING "Miss Clark wakes up and develops the musical mind" Annie Payxon Call. STUDIO . - 609 PIERCE BUILDING BOSTON Telephone. Back Bay 5145-R NEW YORK 23Steinert Hall Vanderbilt Studios, 1 23 East 37th St. WILUAM BURBANK JANE RUSSELL COLPITT TEACHER of PIANOFORTE Studios: PIANIST AND TEACHER 2 Adams Hall. Trinity Court 127 Appleton St., Cambridge 405 PIERCE BLDG.. COPLEY SQUARE Telephone. University 8761-W Telephone University 7679-R ALICE BATES RICE FREDERICK JOHNSON SOPRANO SOLOIST PIANO ORGAN HARMONY TEACHER of SINGING 609 PIERCE BUILDING

Lang Studios . , 6 Newbury Street Saturdays ALENA G. EMERSON CORINNE HARMON TEACHER OF SINGING PIANIST AND TEACHER WHITNEY SCHOOL FOR VOCALISTS 15 NORWAY STREET Telephone 1126 BOYLSTON STREET, BOSTON B.B. 836 LANG STUDIOS - - 6 NEWBURY STREET JO STUDIO at NEEDHAM. 180 Nehoiden Street Monday and Thursday Afternoons

Children learn, when they work and play J. ANGUS WINTER Sjorland's Model Dock Yard way ACCOMPANIST ALEX H. SJORLAND PIANO VOCAL COACHING Sjorland's Model Dock Yard 729 21-1 HUNTINGTON AVENUE - - BOST Boylston Street Telephone. Back Bay 6350 Teacher, children and adults. All kinds of model Providence. R.l Mondays. 41 Conrad Building boat building MOISEIWITSCH

After a Notable European Concert Season will return for a Third American Tournee Season of 1922-23

Mason & Hamliiv Co.

Gentlemen: — I am convinced tliat the tonal pra- dations >vhtch the Mason & Hamlin Pianos place at one'z command, from a virile bravura to-a deli- cate pianissimo, ever singing and warm, n9t only render them incomparable among instruments o^ their kind, but also enhance the scone of mu- as an Art. (Signed) BEN NO MOISEIWITSCH.

Warerqoms, 492-191 Boylston Street, Boston