► SIXTY ’ SEASON FOURTH

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VLADIMIR GOLSCHMANN, Conductor

January 15-16, 1944

TENTH SYMPHONY CONCERTS

1943-1944 KIEL AUDITORIUM SAINT LOUIS SYMPHONY ORCHESTRA PERSONNEL SEASON 1943-1944

VLADIMIR GOLSCHMANN, Conductor

Harry Farbman, Assistant Conductor

FIRST VIOLINS BASS CLARINET Harry Farbman, Carlos E. Camacho Concertmaster Max Tartasky BASSOONS Irvin Rosen Emil Hebert, Joseph Bakalor Principal Arthur Baron Henry Cunnington Rex Clark John E. Ferrell ★Norman Herzberg Marcella Conforto Gizella Ehrenwerth CONTRA BASSOON Isadore Grossman Jacob Levine John E. Ferrell Laszlo Nagy HORNS David J. Rizzo Edward Murphy, David Salomon Principal Meyer Schumitzky Joseph Vegna ★Jacob Krachmalnick Robert L. Gustat Pellegrino Lecce DOUBLE BASSES SECOND VIOLINS ★John Dolan Vincent Grimaldi, ★Herman Dorfman Louis Druzinsky, Principal ★Vincent Rap ini Principal Michael Siegel Paul Schreiber Karl P. Auer TRUMPETS Louis Etzkow Salvatore Campione Samuel G. Krauss, Sol Kranzberg Earl Hyna Principal Meyer Lipsitz June Rotenberg Joseph Gustat Rudolph Magin ★David Koch Frank Miller Carl Nagel ★John B. Rose John Hartl Joseph F. Oswald, Jr. Simon Poles HARP TROMBONES Jerome D. Rosen Graziella Pampari ★Eugene Campione Louis Palladino, ★Irwin Eisenberg Principal FLUTES Edward C. Oventrop VIOLAS Laurent Torno, Clifford W. Kirsch Principal Herbert Van Den Burg, John F. Kiburz, Jr. TUBA Principal Emil J. Niosi John Bambridge Alvin Dinkin Stellario Giacobbe PICCOLO TYMPANI John Hartl Emil J. Niosi William Ehrlich Victor Hugo Paul Powell OBOES PERCUSSION Walter Riediger Erich Silberstein Lois Wann, Elmer Gesner Principal David J. Rizzo Joseph Antonucci VIOLONCELLOS Alfred H. Hicks PIANO AND CELESTA Max Steindel, ENGLISH HORN Joseph F. Oswald, Jr. Principal Pasquale De Conto Alfred H. Hicks LIBRARIANS Aaron Bodenhorn Igor Geffen CLARINETS Elmer Gesner Antonio La Marchina Rocco M. Zottarelle, Clarence L. Gesner Carl Rossow Principal Domenick Sottile Clarence L. Gesner PERSONNEL MANAGER Carl Steppi Carlos E. Camacho Max Steindel ★In the service of the United States — 227 — SAINT LOUIS SYMPHONY SOCIETY Sixty-fourth Season, 1943-1944 PRESIDENT ★Oscar Johnson HONORARY VICE-PRESIDENTS L. Warrington Baldwin Mrs. John T. Davis, Jr. Alex T. Primm, Jr. Hon. Aloys P. Kaufmann Mrs. Irene W. Johnson Joseph Pulitzer Adolphus Busch, III J. D. Wooster Lambert E. Lansing Ray Mrs. Theron E. Catlin Mrs. E. T. Mallinckrodt, Jr. Charles Wiggins Dr. Malvern B. Clopton George D. Markham Mrs. F. E. Woodruff ACTIVE VICE-PRESIDENTS Leicester B. Faust Mrs. Charles M. Rice George Spearl Morton J. May Oliver F. Richards Charles H. Stix TREASURER Edwin J. Spiegel DIRECTORS Mrs. Clifford W. Gaylord, Chairman Mrs. William Dee Becker Dr. F. A. Goetsch Dr. William McClellan Mrs. Adolphus Busch, III Mrs. M. A. Goldstein Mrs. John P. Meyer Clark M. Clifford W. L. Hemingway William S. Milius Russell L. Dearmont Mrs. James Lee Johnson Thomas C. Noel Joseph Desloge Leigh M. Kagy Mrs. T. M. Sayman Leo C. Fuller Archie Lee *Mrs. Robert W. Otto *Ex Officio BOARD OF CONTROL Mrs. Louis P. Aloe Philip J. Hickey Henry V. Putzel ★Howard F. Baer Marvin J. Holderness Mrs. T. Edward Rassieur Mrs. J. Eugene Baker Howard V. E. Hunter Wallace Renard Mrs. Willard Bartlett Charles M. Huttig Adolph Rosenberg Mrs. James C. Bassford Albert M. Keller William T. Rossell Mrs. Paul Brown Mrs. J. F. Schlafly Mrs. Henry Bry Mrs. Charles Lamy Mrs. Alfred L. Shapleigh Mrs. E. G. Burkham Miss Martha Love Miss Eunice Smith David R. Calhoun, Jr. Mrs. Frank M. Mayfield Mrs. J. Sheppard Smith Warren T. Chandler ★Milton C. Mendie Mrs. David R. Sparks Mrs. S. D. Conant Mrs. Louis T. Meyer Mrs. Sadie Stix Mrs. Henry M. Cook Juan Monasterio John B. Strauch Mrs. B. B. Culver Charles H. Morrill John C. Tobin ★Vietor Davis Mrs. James Nelson, Jr. Mrs. Mahlon B. Wallace, Jr. Irving Edison ★Isaac C. Orr Mrs. Henry Whittemore Mrs. Leicester Faust Raymond W. Peters David P. Wohl Mrs. Russell E. Gardner, Jr. S. Towner Phelan Mrs. Arthur E. Wright Archbishop John J. Glennon Mrs. Edward G. Platt Howard I. Young K. Myron Hickey ★Joseph Pulitzer, Jr. EXECUTIVE SECRETARY William Zalken EXECUTIVE COMMITTEE Mrs. Clifford W. Gaylord, Leo Fuller Dr. William McClellan Chairman Mrs. M. A. Goldstein Edwin J. Spiegel Clark Clifford FINANCE COMMITTEE Dr. William McClellan, W. L. Hemingway Edwin J. Spiegel, Chairman Thomas C. Noel Ex Officio PUBLIC RELATIONS COMMITTEE Leo C. Fuller, Chairman Mrs. T. M. Sayman George Spearl MUSIC COMMITTEE Mrs. M. A. Goldstein, Archie Lee Thomas B. Sherman, Chairman Mrs. John P. Meyer Ex Officio MAINTENANCE FUND COMMITTEE Clark Clifford, Chairman Joseph Desloge Mrs. James Lee Johnson ★In the service of the United States — 229 —

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♦

ALL RACHMANINOFF PROGRAM Soloist —ARTUR RUBINSTEIN —Pianist

RACHMANINOFF "Die Toteninsel" ("The Island of the Dead"), Symphonic Poem; after the Picture of Arnold Bocklin, Op. 29

RACHMANINOFF Rapsodie on a Theme of Paganini, for Piano and Orchestra, Opus 43

ARTUR RUBINSTEIN, Pianist

INTERMISSION

RACHMANINOFF Concerto No. 2 in C Minor for Piano and Orchestra, Opus 18 MODERATO ADAGIO SOSTENUTO ALLEGRO SCHERZANDO

ARTUR RUBINSTEIN, Pianist Mr. Rubinstein Plays the Steinway ♦

IMPORTANT MESSAGE TO LADIES! You are urged to remove your hats as a courtesy to those sitting behind you. Your cooperation will be greatly appreciated.

NEXT WEEK — Thursday night, Jan. 20, a glorious "Pop" Concert. See Page 247 for details. Saturday night, Jan. 22, Sunday afternoon, Jan. 23, another pair of sensational subscription concerts. Popular ANDRE KOSTELANETZ will appear as guest conductor and RAYA GRABOUSOVA, world's greatest woman 'cellist, will be soloist. See Page 245.

— 231 — THE SYMPHONY SCORE By BATEMAN EDWARDS

SERGEI VASSILIEVITCH RACHMANINOFF (Born at Oneg in Novgorod, April 1, 1873; died at Beverly Hills, California, March 28,1943)

It is appropriate that, before a year has elapsed since Rachmaninoff’s death, some of his major works should be given a sort of commemorative performance in this country where he had made his home for the last quarter of a century. With certain famous exceptions, however, the United States knows him less as the belated romantic composer than as the indisputably great pianist whose yearly appearances were triumphal occasions.

As a composer, Rachmaninoff’s relatively limited output shows a truly re­ markable homogeneity of inspiration, impression, and harmonic and melodic invention. Unlike the majority of musicians, the peculiar qualities of his style seem to have been fixed at the outset, and his vision of the world apparently underwent no development or modification during the Biblical span of his life. That this is so is probably due to one event in his life: his early association with Tschaikowsky and his unwavering admiration for him. When, as a boy of twelve, Rachmaninoff entered the Moscow Conservatory, he lived at the home of his teacher, Nikolai Svereff, with whom Tschaikowsky was on intimate terms.

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— 233 — Tschaikowsky died in 1893, but Rachmaninoff had been so thoroughly impregnated, during his formative years, by the Muscovite admiration for the great man, that he remained faithful to that adoration all his life.

Everything, besides, in Moscow conspired to influence an easily-led youngster who, unlike his fellow pupil, Scriabin, lacked the force of will to drive on to a more completely personal expression. The Moscow Conservatory, under the direction of the conservative Nikolai Rubinstein, was definitely backward com­ pared to the cosmopolitan St. Petersburg, where the greater genius of Moussorg- sky and Rimsky-Korsakoff held sway. Disregarding or scorning the progress of music in the rest of Europe, reactionary Moscow clung tenaciously to the ideals of Tschaikowsky.

But even before the death of Tschaikowsky, Rachmaninoff, at the age of nineteen, had achieved a fame, shortly to become world-wide, with the publication of his Opus 3, five pieces for piano, the second of which was the Prelude , in C-sharp Minor. I am afraid satiety has dealt unfairly with the celebrated Prelude, and the composer’s own later reluctance to play it has helped to justify the scorn it is now fashionable to heap on this unfortunate composition. Basically, however, the piece is not inferior to' Rachmaninoff’s later works, nor is it any less character­ istic, to consider only his choice of a minor key, of the temperament of an author all of whose major works are likewise in the minor. At any rate, the Prelude kessle^

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ALEX F. KESSLER, Furrier, 1008 Locust Street, 1 — 235 — brought to Rachmaninoff the occasion for an engagement in England in 1898, to appear as pianist with the London Philharmonic, and the concert, which of course included the famous piece, was a tremendous success.

On his return to Moscow, Rachmaninoff’s health took a turn for the worse. His Second Symphony, composed in 1895, had been a dismal failure, and this lack of success, although elegantly offset by the London triumph, seems to have affected his mind. So we have the unnatural and somewhat ridiculous spectacle of a young man, still in his twenties, affected by a sort of lethargy, avoiding human companionship, and passing most of his time stretched out in a somnolent indolence. The Dr. Dahl, into whose hands he fell after two years of this life, may not have been a charlatan, although his method of curing his patient would seem to be surrounded by a rich aura of quackery. Nevertheless, whatever his treatment was, — faith-healing, auto-suggestion, hypnotism, — Rachmaninoff re­ sumed in 1901 the more normal life of a composer, and dedicated the first-fruits, the Second Piano Concerto, Opus 18, to his Hippocrates. In this work gloom is made the excuse for a brilliant technical display, and the emphatic or melancholic spirit of Tschaikowsky is discernible in every measure.

After this recrudescence of activity, Rachmaninoff’s life runs along in the banalities of ordinary existence: 1902, his marriage to his cousin., Natalie Satin; 1906, removal to Dresden; 1907, the Second Symphony, indistinguishable in mood

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— 240 — and even, in melodic line from the Second Concerto ; in the same year, The Island of the Dead, a static interpretation of the formerly celebrated painting of Arnold Bocklin, generally depressing in tone, and using the Dies Irae as thematic material; 1908, return to Russia; 1909, the first concert tour in the United States; 1913, The Bells, a choral setting of the poem of Edgar Allan Poe.

Rachmaninoff took no part in the war, since he occupied at Moscow a position which exempted him from military service. He was, however, completely an­ tagonistic to the Revolution, as would be normal in one whose ancestors had be­ longed to the wealthy landed class. Although the frontiers were barred, a stroke of luck made his flight from Russia possible. He had been offered a concert tour in the Scandinavian countries, and, for some reason, after the usual official diffi­ culties, he and his wife and his two daughters obtained visas for travel. As he left Moscow, shooting was still going on in the dark and deserted streets. He was never to return, and in 1931 the Leningrad Conservatory condemned his music as expressing “the decadent ideas of a bourgeois.”

Less than a year after his departure from Russia, one day before the Armis­ tice was signed, Rachmaninoff and his family landed in Hoboken. Thenceforth, his career as pianist, in this country and abroad, gave him little opportunity for composition, and, from 1917 to his death, only five major works are recorded. Of these, one is to be heard in these concerts. The Rapsodie on a Theme of

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— 241 — Paganini was written in 1934 at an estate on Lake Lucerne, which Rachmaninoff had acquired three years before. The theme is the familiar and genial one which Brahms exploited so delightfully in his twin series of studies. Rachmaninoff has contrived twenty-four variations in his customary brilliant style, and introduced, in somewhat disconcerting fashion, the Dies Irae, which had earlier been more tastefully and appropriately used in the Island of the Dead.

Estimates of Rachmaninoff’s importance have been made during his life. Indeed, even as early as 1927, Leonid Sabanyeff permitted himself to discuss his creative work as a whole that is finished. It is a fact that subsequent compositions have done little more than re-affirm the characteristics discoverable in his early productions. Rachmaninoff himself has. given us a most acute self-analysis in his reported conversations with Dr. Oskar von Riesemann, published in 1934:

“I have never been able to make up my mind as to which was my true calling—that of a composer, pianist, or conductor. These doubts assail me to this day. There are times when I believe myself capable only of playing the piano. Today, when the greater part of my life is over, I am constantly troubled by the misgiving that, in venturing into too many fields, I may have failed to make the best use of my life. In the old Russian phrase, I have ‘hunted three hares.’ Can I be sure that I have killed one of them?”

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Before the Concert------At the Intermission------After the Concert----- Enjoy Your Refreshments in the Refectory, Located Back of Ticket Offices, Lobby, This Building FINOT CONCESSION COMPANY

— 243 — JOHN F. KIBURZ FLORENCE BURT ETTINGER Former Solo Flutist of the Saint Louis Symphony Orchestra TEACHER OF SINGING Concerts • Instruction • Flute Quartette 31? Saum Studio Building Woodwind Ensemble. Franklin at Grand Boulevard 1106 BELLERIVE BLVD. PLateau 9245 JEfferson 0783—Phones—FOrest 9280

CARL I. MADLINGER Delmar Loop Bldg. T eacher Residence: 6651 Enright Ave. of 307 S. Warson Rd. PArkview 7557 Piano WYdown 1116

MAX STEINDEL VIOLONCELLIST . . . CONDUCTOR Personnel Manager, Saint Louis Symphony Orchestra Resident Conductor, St. Louis Little Symphony- Available for concerts, recitals and musicales STUDIO, 3810 WESTMINSTER PLACE — FRankl in 2579

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— 244 — NEXT SYMPHONY CONCERTS Saturday Evening, January 22, at 8:30 Sunday Afternoon, January 23, at 3:30 ANDRE KOSTELANETZ — Guest Conductor Soloist — RAYA GARBOUSOVA — Violoncellist KABALEVSKY Overture to "Colas Breugnon" (First Saint Louis Performances) STRAVINSKY Suite from the Ballet "The Firebird" INTRODUCTION; THE FIREBIRD AND HER DANCE DANCE OF THE PRINCESSES INFERNAL DANCE OF KASTCHEI BERCEUSE FINALE SAINT-SAËNS Concerto for Violoncello in A Minor, Opus 33 ALLEGRO NON TROPPO ALLEGRETTO CON MOTO . ALLEGRO NON TROPPO INTERMISSION FRANCK Symphony in D Minor LENTO; ALLEGRO NON TROPPO ALLEGRETTO ALLEGRO NON TROPPO

The name of ANDRE KOSTELANETZ is known to every radio listener. His Sunday afternoon coast-to-coast program on CBS has each year won top honors. His brilliant career has been varied and colorful. Born in St. Petersburg, Russia, where he received a thorough and strict musical education, he came to this country in 1927. His rise in the musical world was phenomenal. Whenever he makes guest appearances with major symphony orchestras, sell-out houses are the rule. MR. KOSTELANETZ demonstrated this last year when he conducted the Saint Louis Symphony Orchestra at a special concert.

RAYA GARBOUSOVA is a Russian, bom in Tiflis, where her father was and still is a professor at the conservatory. She was admitted to the Tiflis Conservatory at the age of nine and was graduated at fourteen. She was then sent to Moscow as the most promising musical student of the State of Georgia. Later she studied with Pablo Casals. While still in the con­ servatory—in fact when only twelve—she was giving recitals and appearing as guest artist with symphony orchestras throughout Europe. She was only 24 when in December, 1935, she made her first appearance in this country. Her New York debut took both critics and public by storm, and she was placed high on the musical pedestal beside the great Casals, whose equal many of the foremost musical savants have declared her to be.

— 245 — ST. LOUIS SYMPHONY ORCHESTRA THIRD "POP" CONCERT

THURSDAY, JANUARY 20 . . . 8:30 P. M.

ROSSINI Overture to "William Tell"

SCHUBERT Symphony No. 8, "Unfinished," in B Minor ALLEGRO MODERATO ANDANTE CON MOTO

STRAUSS Waltzes, "Tales From the Vienna Woods"

GRAINGER "Irish Time From County Derry"

LISZT Symphonic Poem No. 3, "Les Preludes" after "Lamartine"

JOIN NOW! Women's Association of the St. Louis Symphony Society And Have the Pleasure of Meeting ANDRE KOSTELANETZ at Tea, January 21 Call Mrs. Russell Gardner, ROsedale 4626, for complete information.

DO YOU KNOW WHAT IS DONE WITH YOUR ANNUAL $2 MEMBERSHIP DUES? ]—Buys 2 season tickets, which are given to High School students. 2— Sends a talented boy to the summer camp at Interlochen. (7 of these have had positions in major orchestras.) 3— Subscribed $700 to the Maintenance Fund, this year. 4— Contributed to the Pension Fund. 5— Entertains the members at 2 social and musical teas, annually. 6— Arranged and financed a concert for competing young artists. 7— Sends 2 delegates to the national conference, biennially. 8— Secures time on the radio for music appreciation talks. 9—Sponsors 5 orchestral student concerts. MRS. ROBERT W. OTTO, Pres., Women's Association FUTURE CONCERTS

SAINT LOUIS SYMPHONY ORCHESTRA

SATURDAY EVENINGS AT 8:30 SUNDAY AFTERNOONS AT 3:30

January 15-16 . . . February 12-13 .. . ARTUR RUBINSTEIN, Pianist ORCHESTRA PROGRAM January 22-23 . . . February 19-20 . . . RAYA GARBOUSOVA, Cellist; PAUL WITTGENSTEIN, Pianist ANDRE KOSTELANETZ, Guest February 26-27 . . . Conductor ORCHESTRA PROGRAM January 29-30 . . . March 4-5 . . . ISAAC STERN, Violinist PATRICIA TRAVERS, Violinist February 5-6 . . . March 11-12 . . . JOHN KIRKPATRICK, Pianist ORCHESTRA PROGRAM

. S.EA,TS N0W SELL,NG for ony of the future concerts at the Box Office in the Kiel Auditorium Lobby (CHestnut 8590), and Aeolian Box Office, 1004 Olive St (CHestnut 8828). MAIL ORDERS FILLED ON RECEIPT. Send remittance and stamped, addressed envelope for ticket return. Single concert admission prices (including Federal tax) for all individual concerts during the season, regardless of the artist or special attraction, are as follows: ORCHESTRA—$2.75, $2.20; LOWER BALCONY—$2.20, $1.65- UPPER BAL R85C/\BOXEL(Seatin9 Four)~$15.40; BOX SEATS—$3.85; MEZZA­ NINE (Rear of Boxes)—$3.30.

None will be seated during the performance of a work. Patrons having to leave before the end of a concert will kindly do so between numbers. Ladies are requested to remove hats during the concert.

The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. IN EVENT OF EMERGENCY please do not run — WALK to that exit.

— 248 —