Symphony Hall, Boston Huntington and Massachusetts Avenues

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

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

JlcL

INC.

SERGE KOUSSEVITZKY, Conductor

FORTY-FOURTH SEASON, 1924-1925

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

THE OFFICERS AND TRUSTEES OF THE

BOSTON SYMPHONY ORCHESTRA. Inc.

FREDERICK P. CABOT . President

GALEN L. STONE ... . Vice-President B. ERNEST DANE .... . Treasurer

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

W. H. BRENNAN, Manager G E. JUDD Ass.stant Manage

1681 —

THE INSTRUMENT OF THE IMMORTALS

IT IS true that Rachmaninov, Pader- Each embodies all the Steinway ewski, Hofmann—to name but a tew principles and ideals. And each waits of a long list of eminent pianists only your touch upon the ivory keys have chosen the Steinway as the one to loose its matchless singing tone, perfect instrument. It is true that in to answer in glorious voice your the homes of literally thousands of quickening commands, to echo in singers, directors and musicai celebri- lingering beauty or rushing splendor ties, the Steinway is an integral part the genius of the great composers. of the household. And it is equally true that the Steinway, superlatively fine as it is, comes well within the There is a Steinway dealer in your range of the moderate income and community or near you through isihom meets all the icquirements of the you may purchase a new Steinway modest home. piano "with a small cash deposit, and This instrument of the masters has the balance will be extended over a been brought to pertection b> four period of two years. * Used pianos generations of the Steinway family. accepted in partial exchange. But they have done more than this. They have consistently sold it at the Prices: $875 and up lowest possible price. And they have Plus transportation given it to the public upon terms so convenient that the Steinway is well Steinway & Sons, Steinway Hall within your reach. Numerous styles 109 East Fourteenth St., New York and sizes are made to suit your home.

1682 Forty -fourth Season. 1924-1925 SERGE KOUSSEVITZKY, Conductor

Violins.

Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Siegl, F. Kassman, N. Cherkassky, P. Leveen, P. Mariotti, V.

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

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

Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A.

Artieres, L. Van Wynbergen, C. Shirley, P. Mullaly J. Gerhardt, S. Kluge, M. Deane, C. Zahn, F.

Violoncellos.

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

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

Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. fc Bladet, G. Lenom, C. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F.

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

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

Tuba. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Zahn, F. Savitzkaya, L. Polster, M. Sternburg, S.

Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L.J.

1GS3 Where Music Lovers Come YOU may pass our door almost daily. We are convenient to shops, theatres and hotels, so that most of busy Boston knows where we are. Many music lovers do not go by, but come in to see us from time to time. Perhaps they are planning to buy a new piano. It is a purchase to be considered carefully. They wish to be thoroughly familiar with all the good points of our pianos — tone, finish, workmanship, style and price. They buy, knowing that the pleasure of a good piano will be theirs for years to come. Perhaps they wish to know the latest Ampico recordings. They add to their Ampico library the marvelous interpretations of the famous pianists as they are made—-exclusively for the Ampico. \^e invite you to come in as you pass by. We will play for you or let you try the different instruments yourself. We are here to serve the music lovers by showing them pianos enduring of tone, built of the finest materials by skilled workmen. You can afford a good piano. We offer you a wide range of prices, an allowance on your old piano and make satisfactory terms for payment of the balance.

icktrxna tSTAILISHEDtSTAtLISHED ^ IB2J) ^an^P * 163 ri rs JJ

169-Tremont Street, Boston PIANOS OF ALL PRICES—EACH PRE-EMINENT IN ITS CLASS

1684 FORTY-FOURTH SEASON NINETEEN HUNDRED TWENTY-FOUR & TWENTY-FIVE

Tweety-ifest Programme

FRIDAY AFTERNOON, APRIL 3, at 2.30 o'clock

SATURDAY EVENING, APRIL 4, at 8.15 o'clock

Foote .... Suite in E major for String Orchestra, Op. 63 I. Prelude. II. Pizzicato and Adagietto. III. Fugue.

Eichheim A Chinese Legend (About 600 A.D.) (Conducted by the Composer)

(First performance with enlarged orchestra)

Schumann . . . . . Concerto in A minor for Pianoforte and Orchestra, Op. 54 I. Allegro affettuoso. II. Intermezzo: Andantino grazioso. III. Allegro vivace.

Tailleferre Concerto for Piano and Orchestra

(First time in Boston)

I. Allegro. II. Adagio. III. Allegro non troppo.

Ravel "La Valse," Choregraphic Poem

SOLOIST ALFRED CORTOT

STEINWAY PIANO USED

There will be an intermission of ten minutes after the concerto of Schumann

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

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

1685

— —

Suite, E major, Op. 63, for String Orchestra. . Arthur Foote

(Born at Salem, Mass., on March 5, 1853; now living in Brookline, Mass.)

When this Suite was performed for the first time at the concerts of the Boston Symphony Orchestra in Boston on April 16, 17, 1909, Mr. Foote kindly furnished the following sketch of the composition: "The Suite was finished in 1907, but with a different second movement; the second movement played to-day was written in 1908. "The Prelude, E major, 2-2, is brief, and is based throughout on the

first phrase of eight notes ; it is of flowing melodic character, with much imitation among the several voices. "The Pizzicato, A minor, 6-8, is continuously so; it is interrupted by an Adagietto, F major, 3-4, which is played with the bow (arco), the instruments being muted. "The Fugue is in E minor, 4-4, and is pretty thoroughly planned out, with a long pedal point just at the last return of the theme; there are no inversions or augmentations, etc. The first four notes of the theme are heard often by themselves, and, if those notes are observed by the listener at their first entrances, the fugue will be very clear at first hearing." The Suite, dedicated to Max Fiedler, was published in 1909. * * * The following compositions of Mr. Foote have been played at the subscription concerts of the Boston Symphony Orchestra in Boston: 1887, February 5, overture "In the Mountains," Op. 14 (first time). 1888, April 14, overture "In the Mountains."

FOR ORCHESTRA CHAMBER MUSIC

Op. 38. Quintet in A minor (Piano Op. 24. Symphonie-Prologue, "Fran- & Strings) .... 7.50 5.00 cesca da Rimini" Score 3.00 Op. 70. Quartet in D (For Strings) Op. 32. Tema con Variazioni (for strings) .... 2.50 Op. 25. Serenade in E for Strings Op. 23. Quartet in C (Piano & Strings) 4.00 Score 1.25 Op. 65. Trio in B-flat (Piano and

Strings) . . . • 3.00 Op. 36. Suite in D minor Score 6.00 VIOLIN AND PIANOFORTE Op. 63. Suite in E for Strings Score 1.50 Op

Op. 48. Four Character Pieces after

the Rubaiyat of Omar Khayyam Score 3.00

(Also published for Piano Solo) 1889, November 23, Suite for strings, D major, No. 2, Op. 21 (first time). 1891, January 24, Symphonic Prologue to "Francesca da Rimini," Op. 24 (first time). 1893, February 4, "The Skeleton in Armor," Ballad for chorus, quartet, and orchestra, Op. 28. Singers: Mrs. Marie Barnard Smith, Miss Lillian Carlsmith, George J. Parker, Clarence E. Hay (first time in Boston). 1895, March 2, Prologue to "Francesca da Rimini." 1896, March 7, Suite, D minor, Op. 36 (first time). 1898, February 26, Songs with piano: Elaine's song, "Sweet is true love"; Irish Folk-song. Mrs. Henschel, soprano. The composer played the pianoforte accompaniments. 1903, March 28/ Suite, D minor, Op. 36. 1909, April 17, Suite, E major, Op. 63, for string orchestra (first time). 1912, April 20, Four Character Pieces, Op. 48 (first time in Boston); April 11, 1918. 1921, April 8, Suite, E major, Op. 63, for string orchestra. 1923, April 13, "A Night Piece" for flute (Georges Laurent) and string orchestra (first time at these concerts). Mr. Foote's Suite for strings, Op. 12, was played in Boston at a "Popular Concert" of the Boston Symphony Orchestra, May 15, 1886. It has been performed in other cities of the United States; also in London under Sir Henry Wood's direction in August, 1910.

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10S9 A Chinese Legend (about 600 a.d.) . . . Henry Eichheim

(Born at Chicago, 111., on January 3, 1870; now living at Santa Barbara, California)

This music was originally for a ballet "The Rivals: Ancient Chinese Legend/' produced at entertainments of the Adolph Bolm Ballet Intime at the Eighth Street Theatre, Chicago, on January 1 and 4, 1925. The performances were under the auspices of the Chicago Allied Arts, Inc. Mr. Bolm adapted and staged the ballet; the scenery was by Nicolas Remisoff. The cast was "as follows: General Yu, Mark Turbyfill; General Houang, Adolph Bolm; General Yu's wife, Ruth Page; Property Men, Charles Millholland and Earl La Mar. Mr. Eichheim conducted. The programme of Part I was as follows: Arthur Bliss, Rout; Juon, Chamber Symphony (First Movement); Songs, Stravinsky: "Pri- baoutki" (sung by Mina Hager); Sibelius, Valse Triste; dTndy, Sere- nade and Waltz. The orchestra was Eric De Lamarter's Solo Orchestra. Part II. Manuel de Falla's ballet pantomime, "Love The Magician" (Candelas, Maria Montero; Carmelo, Mr. Bolm; Lucia, Amata Grassi; The Spectre, Caird Leslie); orchestral pieces: Eichheim's Japanese Nocturne and Javanese Sketch; Ballet, "The Rivals." Part III.

Spanish Dances by Vives and Granados (Miss Montero) ; "Bal Masque," music by Liszt (Messrs. Bolm and Leslie, Miss Page); Little Circus (burlesque), music by Offenbach; Fuleihan, Arabian Danc6 (Miss Preble); Font, Farruca Torera (Miss Montero); Dances from "Prince Igor."

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1090 —

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1691 :

The programme gave this argument for Mr. Eichheim's "Chinese Legendigend":

"Scene 1 —There were two Generals fighting. One was the most beautiful and handsome man known in all the history of China, and the other was equally well known as the ugliest man in the whole Kingdom. The fighting was fierce, and ended by the ugly General being killed by the handsome General. Almost the same moment that he fell to the earth dead, the wife of the ugly General appeared, and seeing her husband slain she took his spear and commanded the handsome General to fight with her. Now she was also very beautiful, in fact the most exquisite and popular woman in the Kingdom. They began their combat with fierce seriousness, but it was obvious almost at once that some unseen force was between them. Their eyes met for an instant and there was an instant's lull in the fighting; and as they fought these arresting moments occurred oftener and were longer. Finally, their strength waning and the struggle being without result, they agreed to part and resume the battle after they had both recovered from the complete exhaustion to which they had succumbed. "Scene 2—She is approaching a shrine, with the stealthy, catlike movements that come from a sense of great guilt. She prostrates herself and asks the god's pardon because she has not brought the head of the beautiful General, her enemy, to lay upon the shrine. She prays for courage and determination to kill the General in spite of the nameless spell which has cast itself between them. "Scene 3—The General and the widow of the slain General are again fighting, with renewed vigor and courage, but their eyes again meet and for a long time they are as though hypnotized. It comes to them both at once that their struggle against this unseen thing is in vain, and, with their eyes held by each other's, they approach very closely together, there is a long look into each other's face, and simultaneously she reaches for his spear and he eatches her sword. She pushes his spear through her breast and he cuts his throat with her sword, and they die together in an ecstatic embrace."

We are indebted to Mr. Eichheim for the following description of the music

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1693 The music of this drama begins with Chinese ceremonial music written by a Chinese Emperor about the year 700 a.d. in memory of a slain and beloved general. An allegro follows. The fighters enter quickly and two accentuated motives which synchronize with the spear thrusts are followed by two more motives upon which the entire work is founded. The thrust which kills the older general is the first climax which diminishes quickly into an echo of the ceremonial music, as the young wife prays beside her slain husband's body, a solo violin voicing her agony. As she rises and challenges the murderer, the first allegro plunges them into their fight. This ends abruptly, and the love motive transfixes them—they gaze into each other's eyes. She dashes him away and the fighting is begun more furiously, only to be interrupted by the love motive—this time proclaimed more ardently. The fight again begins furiously, but soon exhaustion seizes them both and a truce is declared until next day. They leave the stage, and the ceremonial music in memory of the dead general is heard. The stage is now being set as a shrine with a Buddha. This is done in the manner of the Chinese theatre, in view of the audience. As the ceremonial music ends, the lady enters. She kneels, then touches her forehead at the feet of Buddha, praying for strength to overcome her love and avenge her husband. Temple bells, many pairs of small cymbals, gongs, and other bells used in the Buddhistic service, are now heard and this merges into a Buddhistic service for the dead. Her prayer finished—the soldier appears—and they resume the futile fight which is now interrupted by the love music, now in full fervor, a measure longer, and recognized by both as inevitable. They cannot escape. Sud- denly she grasps his spear and plunges it into her heart—he tears her husband's sword from her stricken hands and draws it across his throat. They die in each other's arms, the love motive in the orchestral coda proclaiming the triumph of their great passion.

The piece was composed in 1924. The score is for piccolo, two flutes, G flute, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, bass tuba,

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1094 Mothers may see their Daughters becomingly resse*

Mothers know that at Jays they can find clothes as suit-

ed to their daughters as if dressmaker- made to their

own specifications. This is because we buy mostly single pieces. They know too, that their dollars are well invested, for they buy best quality, finest workmanship, newest fashion.

Hats, Coats, Dresses, Shirts, Ensembles, Suits, Scarfs, Blouses, Sweaters, Knit Things, Riding Togs, and choice little Accesso- ries that Girls like.

BOSTON TEMPLE PLACE ELEVEN 'Jfttft*i(-»xtf4S kettledrums, bass drum, six pairs of cymbals, the Chinese instruments named above, pianoforte, two harps, and the usual strings.

Mr. Eichheim's father, Meinhard Eichheim, a violoncellist of reputation, was a member of Theodore Thomas's Orchestra for many years. The son studied the violin with Carl Becker, Simon E. Jacob- sohn, and Leopold Lichtenberg. He was a member of Theodore Thomas's Orchestra in New York for a year, but in 1890-91 he joined the Boston Symphony Orchestra as one of the first violins. He left this orchestra at the end of the season 1911-12, to devote himself to composition, concert work here and in many other cities, teaching, and photography. For four years he was conductor of the Winchester (Mass.) Symphony Orchestra. In 1915 he visited Japan and other Eastern countries for the first time. In 1919 he again journeyed to Japan. Remaining there for over a year, with excursions to other countries of the East, he made a careful study of Oriental music, and gave concerts in Eastern cities. He has made later journeys to the Orient. The list of his compositions includes a symphonic poem for orchestra, "The Story of the Bell" (suggested by a story of Lafcadio Hearn); "Oriental Impressions" for orchestra (played in Boston by the Boston Symphony Orchestra and conducted by the composer on March 24, 1922); "Malay Mosaic," for small orchestra (1925; first performances in New York on March 1, 1925, Mr. Stokowski conductor, and March 3, 1925, at Santa Barbara, the composer conducting members of the Los Angeles Philharmonic Orchestra). "A Chinese Legend" and the

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1697 "Malay Mosaic" are announced for performance by the Cleveland Orchestra at Cleveland, April 17, 18, of. this year; a sextet for strings, a string quartet, a violin and pianoforte sonata, a violoncello sonata, about forty songs, studies for the violin, and piano pieces.

Mr. Alfred Denis Cortot was born of French parents at Nyon r Switzerland, on September 26, 1877. Going at an early age with his family to Paris, he received his first pianoforte lessons from his sisters. He entered the Paris Conservatory, where he was in turn the pupil of Decombes* and Diemer. As a pupil of the latter he was awarded the first prize for pianoforte playing in 1896. He took part in the Lamoureux and Colonne concerts, and afterwards become known throughout Europe. He has played in England, Italy, The Netherlands, Russia, Spain, Switzerland. Having been a repetiteur at Bayreuth, he staged in Paris "Dusk of the Gods." In 1904 he founded the concert society that bears his name and with it has given performances of important choral works by Beethoven, Brahms, Liszt, and others, also a concert performance of "Parsifal." In 1904 he was chosen conductor of the

*Emile Decombes, born at Nimes in 1829, was awarded the first prize for pianoforte-playing at the Pans Conservatory m 1846. It is said that he was one of Chopin's last pupils. From 1875 to 1899 Decombes was an instructor of preparatory classes in pianoforte playing at the Paris Conservatory. He wrote a "Mfthode," exercises and transcriptions for the pianoforte. Louis Diemer (1843- / $jj a pupil of Marmontel, Benoist, Bazin, and Thomas at the Paris Conservatory, was a distinguished, virtuoso. He took the first prize for pianoforte-playing when he was thirteen years old; in 1888 he succeeded Marmontel as teacher at the Conservatory. Among his compositions are a pianoforte concerto (Op. 32), a Concertstiick for pianoforte (Op. 31), a Concertstiick for violin (Op. 33), chamber music, and piano pieces. He edited a collection of French clavecin pieces. zmm:^m^m^^msmz^^3^&mmMi££&&>M$

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1698 READY

In days gone by we used to send to our

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1699 Societe Nationale; in 1907 he took charge of an advanced pianoforte class at the Paris Conservatory. Chief of the Service d'fitudes Artis- tiques du Ministere de l'lnstruction Publique et des Beaux-Arts, he was named a Chevalier of the Legion of Honor in 1914. Coming to the United States with the Societe des Concerts du Con- servatoire, Andre Messager, conductor, in the fall of 1918, he played in Boston at a concert of that orchestra on October 30, 1918 (Saint- Saens's Concerto, C minor, No. 4). He has played at concerts of the Boston Symphony Orchestra in Boston: January 24, 1919 (Franck's Symphonic Variations and d'Indy's Symphony on a French Mountain Song); April 16, 1920 (Debussy's Fantasy for pianoforte and orchestra —first time in America); February 23, 1923 (Saint-Saens's Concerto for pianoforte, C minor, No. 4). He has played chamber music in Boston with Jacques Thibaud, violinist.

Concerto in A minor for Pianoforte with Orchestral

Accompaniment, Op. 54 . . Robert Alexander Schumann

(Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856)

After Schumann heard for the first time Mendelssohn play his own Concerto in G minor, he wrote that he would never dream of compos- ing a concerto in three movements, each one complete in itself. It

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) FOE SPECIAL RELIEF From time to time eases are discovered which require immediate relief. If Hospital or other funds are available they are used. Sometimes, hoAvever, the only source of supply is the Committee's Special Belief Fund and the variety of uses to which it is applied is interesting. Rent, emergency case. Special nurse for ward patient, a child. Eye glasses. Loan for burial of an infant. Convalescent care. Artificial teeth. Occasional lunches for out-patients de- tained late in the clinics. Special home diet. Splint. Street car tickets. Artificial thumb. Milk, temporarily, for family of undernour- ished children. Board for a child (mother left home). Layette. Shoes and garments to enable patients to leave Hospital. Shaves.

COMMITTEE Mrs. George H. Monks, Chairman

Mrs. Henry Andrews Mrs. I. A. Ratshesky Mrs. Edward H. Bradford Mrs. Wm. H. Robey, Jr. Mrs. C. A. Coolidoe Mrs. John Rock Mrs. Thomas M. Devlin Mrs. Milton J. Rosenau Mrs. Henry Ehrlich Mrs. Geo. L. Tobey, Jr. Mrs. Reid Hunt Mrs. Ernest B. Yocnq Mrs. Edward M. Pickman Mr. William C. Endicott, Treasurer 71 Ames Building, Boston is said that he began to write a pianoforte concerto when he was only seventeen and ignorant of musical form; that in 1836 he sketched a concerto in F major when he was living at Heidelberg. In January, 1839, he wrote from Vienna to Clara Wieck, his betrothed: "My concerto is a compromise between a symphony, a concerto, and a huge sonata. I see I cannot write a concerto for the virtuosos: I must plan something else." The key was not mentioned.* The first movement of the Concerto in A minor was written at Leipsic in the summer of 1841—it was begun in May. It was then called "Phantasie in A minor," and was not intended for the movement of a concerto. It was played for the first time by Clara Schumann, on August 13, 1841, at a private rehearsal in the Gewandhaus, Leipsic. This rehearsal was for the changes made in Schumann's first symphony. Schumann wished in 1843 or 1844 to publish the work as an ' 'Allegro affettuoso," also as "Concert Allegro," for pianoforte with orchestral accompaniment, "Op. 48," but he could not find a publisher. The Intermezzo and Finale were composed at Dresden, May-July, 1845. Clara wrote in her diary on July 31, 1845: "Robert has finished his concerto and given it to the copyists." The whole concerto was played for the first time by Clara Schumann at her concert, December 4, 1845, in the Hall of the Hotel de Saxe, Dresden, from manuscript. Ferdinand Hiller conducted, and Schu-

*In a letter dated Leipsic, February 8, 1838, to Simonin de Sire (1800-1872), a landowner of Dinant, Belgium, one of Schumann's earliest admirers outside of Germany, he drew the attention of his friend to "the Concert sans orchestre."

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1703 maim was present. At this concert the second version of Schumann's ''Overture, Scherzo, and Finale" was played for the first time. The movements of the concerto were thus indicated: "Allegro affettuoso, Andantino, and Rondo." The second performance was at Leipsic, January 1, 1846, when Clara Schumann was the pianist and Mendelssohn conducted. Verhulst attended a rehearsal, and said that the performance was rather poor; the passage in the Finale with the puzzling rhythms "did not go at all." The indications of the movements, "Allegro Affettuoso, Intermezzo; and Rondo Vivace," were printed on the programme of the third performance,—Vienna, January 1, 1847,—when Clara Schumann was the pianist and her husband conducted. The orchestral parts were published in July, 1846; the score, in September, 1862. The orchestral part is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums and strings. The score is dedicated to Ferdinand Hiller. * # Otto Dresel played the concerto in Boston at one of his chamber concerts, December 10, 1864, when a second pianoforte was substituted for the orchestra. S. B. Mills played the first movement with orchestra at a Parepa concert, September 25, 1866, and the two remaining movements at a conceit a night or two later. The first performance in Bos- ton of the whole concerto with orchestral accompaniment was by Otto Dresel at a concert of the Harvard Musical Association, November 23, 1866. IITNEY SURETTiii

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1705 Mr. Mills played the concerto at a concert of the Philharmonic So- ciety of New York as early as March 26, 1859. The concerto has been played in Boston at concerts of the Boston Symphony Orchestra by Carl Baermann (November 26, 1887), Anna Steiniger-Clark (January 11, 1890), Raphael Joseffy (April 17, 1897), Adele aus der Ohe (February 16, 1901), Fanny Bloomneld-Zeisler (February 14, 1903), Ernest Schelling (February 25, 1905), Harold Bauer (February 3, 1906, and November 25, 1911), Norman Wilks (March 29, 1913), Josef Hofmann (December 13, 1914), Ignace J. Pad- erewski (December 22, 1916), Benno Moiseiwitsch (February 25, 1921). It was played by Mr. Paderewski at a concert for the benefit of members of the Symphony Orchestra, March 2, 1892.

The first performance of this concerto in England was at the concert of the New Philharmonic Society, London, May 14, 1856. Clara Schumann, who then was making her first visit to England, was the pianist. She gave a recital on June 30, 1856, and the Musical World said gallantly: "The reception accorded to this accomplished lady on her first coming to England will no doubt encourage her to repeat her visit. Need we say, to make use of a homely phrase, that she will be 'welcome as the flowers in May'?" Far different was the spirit of the Athenceum: "That this lady is among the greatest female players who have ever been heard has been universally admitted. That she is past her prime may be now added without discourtesy, when we take leave

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1707 of her, nor do we fancy that she would do wisely to adventure a second visit to England." It was in the course of this visit that she attended a performance of her husband's "Paradise and the Peri" (June 23, 1856), the first performance in England. Her presence was not advantageous to the suc- cess of the work. We now quote from the Rev. John E. Cox's "Musical Recollections of the Last Half-century," vol. ii. pp. 303, 304 (London, 1872). He speaks of the evening as "to all intents and purposes wasted. Mme. Schumann, who had appeared at the second concert as well as at the second matinee of the Musical Union, and proved herself to be a pianiste of the highest class, with a brilliant finger,* producing the richest and most even tone, and a facility of execution that was only equalled by her taste and style, was present on this occasion, not amongst the audience, where her presence would have obtained for her both respect and sympathy, but actually upon the orchestra, immediately in front of the conductor, to whom she gave from time to time directions which he communicated at second hand to the orchestra and vocalists ! If the lady herself were so devoid of good taste as not to have perceived that she was entirely out of place in this position, the directors at least ought to have saved her from herself by insisting

*This use of the word "finger" to mean "skill in fingering a musical instrument" or "touch," was in fashion in England for over a century. In "Pamela' (1741): "Miss L. has an admirable finger upon the harpsichord," and this was apparently the first use of the term with this meaning in literature. When Miss Wirt, the governess, played to Thackeray's friend, Mr. Snob, at the Ponto's house, "The evergreens," in Mangelwurzelshire, some variations on "Sich a Gettin' up Stairs," Mrs. Ponto exclaimed, "What a finger!" and Mr. Snob added: "And indeed it was a finger, as knotted as a turkey's drumstiek, and splaying all over the piano."—P. H.

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1709 upon her absence. If they had, however, requested her presence, they were doubly culpable. From this and various other circumstances, it was impossible for either band, principals, or chorus to be at their ease. As for the conductor (Sterndale-Bennett), he was much more puzzled than complimented by an interference that suggested incom- petency on his part and a positive inability to guide his forces without superior direction. . . . The coldness with which the entire performance was received was fearfully disheartening; but to no one could it have been more distressing than to Mme. Schumann herself, who could but be aware of 'the disappointment and aversion of the audience, whilst she had to endure the pain of witnessing a defeat that' would have been confirmed by the most vehement demonstrations of derision, had not the audience been restrained by the presence of Royalty." John -W. Davison, the music critic of the London Times and the editor of the Musical World, wrote: "Robert Schumann has had his

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I. Allegro affettuoso, A minor, 4-4. After a short pianoforte prelude, the first period of the first theme is announced by wind instruments. The antithesis, which is almost an exact repetition of the thesis, is for the pianoforte. The second theme is practically a new version of the first, and may be considered as a new development of it. The free fantasia begins Andante expressivo, A-flat major, 6-4. The recapitulation section is almost a repetition of the first. There is an elaborate cadenza for the pianoforte before the coda, which is an Allegro molto, A minor, 2-4. II. Intermezzo: Andante grazioso, F major, 2-4. The movement is in simple romanza form. Dialogue between solo instrument and

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) 1125. s.. cut L. a. orchestra; then more emotional phrases for violoncellos, violins, etc. (accompanied by pianoforte arpeggios). At the close there are hints at the first theme of the first movement, which lead directly to the Finale. III. Allegro vivace, A major, 3-4. The movement is in sonata form. The pianoforte gives out the chief theme. After a modulation to E major, the second theme is for the pianoforte. This theme is distinguished by constantly syncopated rhythm. A contrasting theme is developed in florid fashion by the pianoforte. The free fantasia begins with a short orchestral fugato on the first theme. The third part begins irregularly in D major, with the first theme as an orchestral tutti. There is a long coda.

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18 Faubourg Poissonaire Concerto for Pianoforte and Orchestra Germaine Tailleferre

(Born at Pau St. Maur near Paris, April 19, 1892; now in the United States)

Mile. Tailleferre studied music at The Paris Conservatory. In 1912, as a pupil of Henri Dallier, she won a second prize for harmony; in 1913, a first prize for harmony; in 1914, as a pupil of Georges Caus- sade, a first prize for counterpoint. She became a member of the little band of young Parisian composers known as the "Groupe des Six," being associated with Messrs. Auric, Durey, Honegger, Milhaud, Poulenc; but Henri Prunieres has said that her musical tendencies were not revolutionary; that she follows in the footsteps of Faure, Debussy,

and Ravel; that she is to be commended for giving proof of "an exquisite feminine sensibility and uncommon good taste," being able to write "harmonies full of savour without outraging our ears."

This Concerto is Mile. Tailleferre's latest work. It was completed

in January, 1924. When Mr. Cortot played it with the Philadelphia Orchestra in Philadelphia on March 20, 21, 1925, Mile. Tailleferre

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1716 "...It cries nvhen Ifeel like crying, it singsjoyfully nvhen Ifeel like singing. It responds—like a human being— to every mood. " I love the Baldwin Piano.

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1717 sent the following note to Mr. Lawrence Gilman, the accomplished editor of that orchestra's Programme Books:* "The classic form which I have used in this work may be regarded as in a way a reaction against Impressionism and Orientalism, and as an indication of an attempt to find an expression purely musical, free from all literary implications.

"It is written in three parts. The first movement (Allegro, D major, 4-4) begins with two themes, exposed concurrently by the orchestra and the piano, but developed separately. The second movement is an Adagio in B minor, 3-4 time. The songful theme is announced at once by the solo instrument and is taken up at the fourth measure by the flute. The Finale (Allegro non troppo, D major, 6-8) opens with a pianissimo statement of the chief theme by the piano and horns, mar- cato. There is a second theme, of a more flowing nature, stated by the piano alone. The development section of this movement requires no special comment."

The score, published in 1925, is dedicated to the Princess Edmond de Polignac. The first performance with orchestra was at a concert of the British

*The Philadelphia Orchestra, with Mr. Cortot, performed the concerto in New York on March 24, 1925.

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1719 Women's Symphony Orchestra in London on December 3, 1924. Alfred Cortot was the pianist; Gwynne Kimpton conducted. The first performance of the version for two pianofortes was at a Jean Wiener concert in Paris on January 20, 1925. The pianists were the comp ser and M. Wiener. * *

The list of her compositions includes: "Image," for orchestra (flute, clarinet, celesta, pianoforte, string quartet); Morceau Symphonique for pianoforte and orchestra; Ballade for pianoforte and orchestra; Pastorale for small orchestra; String quartet; Sonata for violin and pianoforte; Trio; Jeux de plein air for two pianofortes; pianoforte pieces. Her ballet, "Le Marchand d'Oiseaux," was produced at the Theatre des Champs-Elysees, Paris, in May, 1923, by the Swedish Ballet. The scenario is by Mine. Helene Perdriat, who also designed the costumes and stage settings; the scene painter was Marcel Guerin; Jean Borlin took the part of the Bird-Merchant; Greta Lundberg and Carina Ari were respectively the younger and the older sisters in the legend. M. Ingelbrecht conducted. ("Offerlunden," a ballet pantomime by M. Borlin, music by Algot Haquinius, and "Skating Rink," with Honeg- ger's music, were also performed, the former for the first time in Paris.) The action is on a tropic island. Two sisters live in a cottage; the older one a haughty person, the younger humble and gentle. A young

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1721 : stranger appears. He is the bird-merchant. The older sister will have nothing to do with him; the younger smiles on him. An unknown man approaches; he is richly clad, and the older girl is greatly impressed by him until a roguish school-girl strips him of his mask. Lo, he is the old black merchant at the port. The older sister runs away covered with shame, and the younger dances gaily with her well-beloved.

Mile. Tailleferre arrived in New York on February 1st of this year. Her first appearance on the American concert stage was at New York on February 14, in iEolian Hall, when she and Robert Imandt played her Sonata for pianoforte and violin. This was at the second "Referen- dum" concert of the Franco-American Musical Society. The programme also included a Chorale and an Allegro by Charles E. Ives, and the third movement of a Sonata by Hans Barth for the quarter- tone pianoforte; songs, among them Casella's "Adieu de la Vie" (No. 1), sung by Mme. Raymonde Delaunois, and four Pianoforte pieces by Bartok, played by E. Robert Schmitz, who also talked about the quarter-tone pianoforte. * * * "La Tirlitentaine" and "Cache-cache Mitonla" from Mile Taille- ferre's "Jeux de Plein Air" were played in Boston by Messrs. Maier and Pattison on October 26, 1921, and January 19, 1924.

BOSTON SYMPHONY ORCHESTRA SERGE KOUSSEVITZKY, Conductor

Symphony Hall, Boston March 30, 1925 To Our Saturday Subscribers

In compliance with the wishes of Mr Koussevitzky, the Trustees have authorized a change in the date of the last evening concert of the season from Saturday, May 2, to Friday evening, May 1. This will enable Mr. Koussevitzky to take passage on a boat which will arrive in time for important European engagements. The Trustees are confident that in these circumstances the patrons of the Orchestra will welcome the final concert one day earlier than originally announced. Will you therefore please take the precaution to change

the date on your No. 24 ticket to read "Friday Evening, May 1, at 8.15." Yours very truly, W. H. BRENNAN. Manager

1722 The Trustees of the Boston

Symphony Orchestra, Inc., thank

all who by their subscriptions

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possible.

Additional Subscribers to March 28th

Beebe, E. Pierson Holbrook, Miss Mary F.

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Subscriptions to date for season of 1924-25 - - $90,542.99

1723 ENTR'ACTE OUR CONTEMPORARIES: MR. GRAY'S SURVEY*

(Herbert Hughes in the London Daily Telegraph, November 8, 1924)

It should be an instruction to the timid who would understand Mr. Cecil Gray's essays on contemporary music aright to read the Postface first. "Poor dear age," he apostrophises, "you have indeed been sadly abused in many of these pages, but it is a lover's abuse. We all love you in spite of your faults, perhaps even largely on account of them. We cannot help loving you." And having done that the gentle reader will surely discover that the iconoclasms are not nearly so truculent or vicious as they would appear at first sight. He will discover, moreover, as dissection follows dissection, as one penetrating criticism follows another, that Nietzsche's gibe at the "sweet impudence of the panegyrist" could have no place in appraising a literary work of this calibre, and that praise and blame were never more judicially recorded. In other words, he will feel safe, even when he is most shocked. Musically, we have been living in a fool's paradise. On the one hand we have been guilty of a crass Chauvinism since the war that has led to wild over-praising of native composers, native orchestras, native singers, native everything. On the other hand we have tolerated the buffoonery of Le Six (and Le Cinq) and the extravagant attitudinising of Stravinsky and his disciples to such an extent that they had begun to believe in themselves. We cry out for better representation of

*"A Survey of Contemporary Music," by Cecil Gray, Oxford University Press.

Presenting a unique recital of songs written with String Quartet Accompaniment

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1725 British music abroad, when what we really want is less inferior music at home. We plead fervently and eloquently for local effort and toler- ate "celebrity" concerts, which make only for its complete annihilation. We charge absurd prices for admission to recitals which the public have no eagerness to attend—and fill the concert halls with "paper." We underpay our orchestral players, and are surprised there is so little orchestral music. We buy gramophones and listening-in sets, and let our best artists migrate to America or dissolve into the teaching pro- fession at home. These things may not appear as germane to any aesthetic discussion, but they are in fact very definite manifestations of our general attitude in musical affairs, and declare most plainly our place in European culture. As a sort of protest against national inertia, small coteries are perpetually being formed, circling round some self- appointed apostle of a new creed, and returning home to roost when they have had enough of it and of him. But now it would seem that

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Authorized Story of Boston's Famous Psychic "MARGERY" THE MEI

By J. MALCOLM BIRD Profusely illustrated with diagrams and many actual photographs of the seances Everybody has read of this Boston woman, a lady of refinement rather than of the ordinary fibre associated with the seance room, and of the contro- versy over her mediumship that split the Scientific American Committee wide open. Scores of scientists have seen her phenomena and pronounced them genuine. Mr. Bird, former Managing Editor of the Scientific American and former Recorder and Secretary of the Scientific American Investigation Committee, is now Research Officer of the American Society for Psychical Research and has written a clear, interesting account of the many curious effects observed on this border-line of science. Watch for the revelation* of Margery, to be published March 21$t

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OWN OWN TAXI TAXI Stravinsky at least no longer requires the coteries to support him; he has become as popular as any film star; virtuoso pianists play his monstrous transcriptions; and the coteries are discomfited, having failed to see the barbarian in the revolutionary. Such a survey as this of Mr. Gray was bound to come. It tightens up a lot of very loose thinking, and must make the reader concentrate on essentials in musical appreciation. It begins with a brilliant review of nineteenth-century music, incidentally putting that much-abused adjective Romantic in its right place—an achievement that should be carefully noted, for it was long overdue. Then follow critical essays on Richard Strauss, Delius, Elgar, Debussy, Ravel, Stravinsky, Scriabine, Schonberg, Sibelius, Bartok, Busoni, and Bernard van Dieren, with a final pungent chapter on Minor Composers which includes many names of internation- al notoriety. Nothing has been so easy and at the same time so mis- leading as to take Weber as the founder of "the" Romantic School. The misuse of the word has led to false definitions and false values traceable through the criticism of the last hundred years. "There have been many Romantic movements in art," says Mr. Gray, "and the element which distinguishes them all is not merely the outcome of historical events, of social or psychological conditions, neither is it the &&Vy** ARE &COW SHOWING New French Models and Original Creations for Spring featuring DAY and EVENING GOWNS STREET COSTUMES and WRAPS

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1729 ;

monopoly of any single age or school, but an eternal, ever-fruitful principle, an attitude of mind whose presence we can infallibly discern under the most diverse conditions, in the most widely dissimilar utter- ances. It is not even confined to the modern world, but can be found just as well in so-called 'classical' art—one whole side of Greek art and life is romantic, though it is generally ignored or passed over because it does not accord with the conventional conception of 'the Greek " spirit.' Mr. Gray's fine prose is not made the radiant thing it is by mere temperamental enthusiasm, but by an intellectual and spiritual fire that burns incessantly and illumines the darkest corners of the many curious aesthetic problems investigated in these pages. Bernard van Dieren is the only one among the creative artists discussed whose work is unfamiliar, for the cogent reason that it is still largely in manuscript but each of the others is, so to speak, presented afresh, complete with genealogical tree and collateral relationships. It has not, I think, been done quite in the same way before. Mr. Philip Heseltine has, of course, dealt fully with Delius in the critical study published about a year ago, the present essay amplifying Mr. Heseltine's and placing the composer more definitely in relationship to other great European artists, living and dead. Mr. Gray confesses—the one lapse from purely intellectual analysis—to a temperamental dislike of "Gerontius," placing (with which no one can disagree) the two Symphonies, the Variations, the String Quartet, and the "Introduction and Allegro" among the best

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Ballad, F minor \ Etude, C-sharp minor I Chopin Prelude, G major f Ballad, A-flat ) Prelude, B minor Rachmaninoff Claire de Lune Debussy Noel Balfour Gardiner Music Box Sauer Polonaise, E major Liszt-Busoni Steinway Piano Tickets on sale at Jordan Hall box office

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1731 of Elgar's achievements. "The air is too heavy with the odour of clerical sanctity and the faint and sickly odour of stale incense, and the

little light there is filters dimly through stained-glass windows. . . . With all its spirituality and undoubted sincerity, the atmosphere is sanctimonious rather than saintly, pious rather than fervid." Which are hard words, if true. Debussy is not an impressionist, as has so often been claimed, but an expressionist. "Quite apart from whether impressionism is even possible in music, it is at least certain that the ideal of the direct transcription of nature to the exclusion of the element of personal sensibility and emotion is the opposite of what Debussy sets out to do. Strauss, in fact, is the real musical impressionist, with his

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Melisande" is but a variation and restatement of Wagner's theory that music should be subordinated to the interests of the drama a reductio ad absurdurn. Mr. Gray pulls Ravel's works to pieces, leaving little intact but the ballet "Daphnis et Chloe."

In spite of Ravel's great reputation as a wit and retailer of musical "bon mots,"

one does not feel that his laughter rings altogether true. His irony and cynicism . . . are only a mask which serves to conceal somewhat ineffectually, as all masks do, if not the pageant of a bleeding heart, at least an almost morbid, quivering, nervous

sensibility. . . . He is actually an extremely sentimental little person, who is only rather too ashamed to show it. Most professional cynics and ironists are like that, as a matter of fact.

Scriabine's work draws forth the following awful picture:

First and foremost one finds a kind of saccharine derived from the by-products of Chopin's consummate genius. Secondly, we get the element which operates the first fermentation in the music of Scriabine; an extract of diabolism carefully prepared from certain works of Liszt, and first utilised in the "Poeme Satanique." Thirdly, appears a powerful aphrodisiac prepared from the monstrous flowers that grow in Klingsor's Magic Garden and in the scented caves of the Venusberg. These are the main ingredients, cemented together, not by a strong, central nerve of person- ality, but by a kind of patent glucose or gelatine—a style with the flaccid, molluscular, invertebrate, viscid consistency of Welsh rabbit. . . .

I should like to quote much more from this fascinating survey : passages that illuminate the work of Berlioz and of Liszt, of Schonberg and

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1734 STANDARDIZATION

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1735 Sibelius, each of whom, with reservations, he tremendously admires; passages of trenchant denunciation, and others of calm or dithyrambic praise, for there is humour in them all and a philosophy of health and energy, impatient of sentiment and sloppiness. His exposure of the rhythmic weakness of the "Sacre du Printemps" is a brilliant piece of analysis that leaves the disciples of Stravinsky never a leg to stand on. "The Cubist, non-representational movement in modern painting which Stravinsky has so far been imitating, has come to a sudden close. Its leaders are now in full tilt back to realism, and a similar reaction cannot be long delayed in music. The ebb-tide has already set in, and the high-water line marked by a trail of dead crabs and seaweed will soon be visible." Step by step, Mr. Gray examines the arguments for and against this music, leaving no aspect of it undiscussed, and concludes by remarking "that he of all people should claim to be regarded as a writer of pure music is one of the most remarkable examples of insolence and charlatanism in the history of art; that he should be accepted as

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1737 one, is only another instance of the melancholy stupidity and gulli- bility of the musical public." The "also ran" in Mr. Gray's list includes Casella, Malipiero, Hindemith, Da Falla, Granados, Albeniz, Florent Schmitt, Dukas, Vincent DTndy, Erich Korngold, Kodaly, Szymanov- sky, Prokofieff, Hoist (whom he dislikes), Cyril Scott (who "provides us with imitation Debussy"), Holbrook, and Bantock ("who have followed Strauss"), Goossens, Bliss and Berners ("our English Ravel, Stravinsky, and Satie"), Vaughan Williams, and Arnold Bax. Only of the last two has he any kindly word.

"The Waltz," A Choregraphic Poem . . Joseph Maurice Ravel

(Born at Ciboure, Basses-Pyrenees, March 7, 1875; living near Paris)

"La Valse," dedicated to Misia Sert, a painter who designed the scenes for Richard Strauss's "Legend of Joseph," produced in Paris (May 14, 1914), is scored for three flutes (one interchangeable with piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, double-bassoon, four horns, three trumpets, three trom-

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*The crotalum (from Greek, Krotalon) was a rattle, whether of split reed, pottery, or metal, a sort of Castanet. It has also been defined as consisting of two little brass plates or rods, which were shaken in the hand. The word "crotal" in Irish antiquities was applied to a small globular or pear- shaped bell or rattle. Wotton in his Dictionary of Foreign Musical Terms defines "crotales" as a species of clapper, usually made of wood. They have been used by Massenet and other composers. For a long and learned description of the "Krotalon" see F. A. Lampe "De Cymbalis Veterum" (Utrecht, 1703). As employed by Ravel in "The Waltz" the crotales are to be taken as small cymbals a little thicker than those known as antique.

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1739 — — the graces and languors of Carpeaux is opposed an implied anguish with some Prud'homme exclaiming: 'We dance on a volcano.' There is a certain threatening in this bacchanale, a drunkenness, as it were, warning itself of its decay, perhaps by the dissonances and shock of timbres, especially the repeated combinations in which the strings grate against the brass." We are indebted to Mr. Alfredo Casella, the celebrated composer and pianist, for the following information. "The Waltz" was sketched by Ravel during the war and completed in 1920. The themes employed are of the Viennese nature. "The Waltz" was composed with the thought of a dance-production, but Ravel had no exact idea of a choregraphic production. In Novem- ber, 1920, Ravel and Casella played an arrangement for two pianofortes at a concert of the Schoenberg-Musikverein in Vienna. "The poem is a sort of triptych: "a. The birth of the waltz. (The poem begins with dull rumors ARY DULFER VIOLINIST Teaches exclusively at DULFER-STUDIO

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72 Chauncy St., Boston Tel. Beach 0048 — as in 'Rheingold' and from this chaos gradually takes form and development.) "6. The waltz. "c. The apotheosis of the waltz."

This waltz recalls a famous page of De Quincey*: "From all which the reader may comprehend, if he should not happen experimentally to have felt, that a spectacle of young men and women flowing through the mazes of an intricate dance under a full volume of music, taken with all the circumstantial adjuncts of such a scene in rich men's halls—the blaze of lights and jewels, the life, the motion, the sea-like undulation of heads, the interweaving of the figures, the ayaKVKXrjovs or self-revolving, both of the dance and the music, 'never ending, still beginning,' and the continual regeneration of order from a system of motions which forever touch the very brink of confusion

* "Autobiography," pp. 198, 199, vol. i., Edinburgh edition of 1889.

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1743 —

—that such a spectacle, with such circumstances, may happen to be capable of exciting and sustaining the very grandest emotions of phil- osophic melancholy to which the human spirit is open. The reason is, in part, that such a scene presents a sort of mask of human life, with its whole equipage of pomps and glories, its luxury of sight and sound, its hours of golden youth, and the interminable revolutions of ages hurrying after ages, and one generation treading upon the flying footsteps of another; whilst all the while the overruling music attempers the mind to the spectacle, the subject to the object, the beholder to the vision. And although this is, known to be but one phasis of life of life culminating and in ascent—yet the other (and repulsive) phasis is concealed upon the hidden or averted side of the golden arras, known but not felt: or is seen but dimly in the rear, crowding into indistinct proportions. The effect of the music is to place the mind in a state of elective attraction for everything in harmony with its own prevailing

The first performance of "La Valse" in Boston was by the Boston Symphony Orchestra, Mr. Monteux, conductor, on January 13, 1922. "La Valse" was played again at these concerts on December 7, 1923, and on December 19, 1924.

RAVEL'S MUSIC AT CONCERTS OF THE BOSTON SYMPHONY ORCHESTRA 1913. December 27, Ma Mere l'Oye. 1914. March 7, Ma Mere l'Oye; November 21, Rapsodie Espagnole. 1915. October 22, Ma Mere l'Oye.

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Special Notice "THE OLD

We have just received from C. F. Summy Co., Chicago a selection of music of special interest to piano teachers. It is attractively graded and was brought to our attention by Miss Eleanor Brigham, who feels teachers may find just what they need quickly and satisfactorily.

C. W. Thompson Sc Co. 77 Providence Street (3 doors from Arlington Street) Telephone. Back Bay 9492 1916. March 3, Rapsodie Espagnole. 1917. December 14, Lever du Jour, Pantomime, Danse Generate from "Daphnis et Chloe." 1918. January 4, Lever du Jour, etc., from "Daphnis et Chloe"; November 1, First Suite (Nocturne, Interlude, Danse Guerriere, from "Daphnis et Chloe"). 1919. January 3, Rapsodie Espagnole. 1920. April 9, Ma Mere l'Oye; November 19, Le Tombeau de Couperin. 1921. March 11, Valses Nobles et Sentimentales; November IS, Lever du Jour, etc., from "Daphnis et Chloe'.' 1922. January 13, La Valse. 1923. February 23, Rapsodie Espagnole; December 7, La Valse; December 28, Orchestral Fragments (First Series) from "Daphnis et Chloe." 1924. February 29, "Sheherazade," Three Poems for voice and orchestra (Vera

Janacopulos) ; December 5, Orchestral Fragments (First Series) from "Daphnis et Chloe." 1924. December 19, "La Valse," Choregraphic Poem

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FORTY-FOURTH SEASON. NINETEEN HUNDRED TWENTY-FOUR & TWENTY-FIVE

Next week the orchestra will give concerts in New York and Brooklyn. The next regular pair of concerts will take place on April seventeenth and April eighteenth

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Bax The Garden of Fand

Rachmaninoff . . . Concerto No. 2 in C minor for Pianoforte with Orchestra, Op. 18 I. Moderate II. Adagio sostenuto. III. Allegro scherzando.

Strauss .... "Ein Heldenleben," ("A Hero Life"), Tone Poem, Op. 40 The Hero—The Hero's Adversaries—The Hero's Helpmate The Hero's Battlefield — The Hero's Works of Peace — The Hero's Escape from the World, and the Completion.

SOLOIST SERGEI RACHMANINOFF

There will be an intermission of ten minutes after the concerto

A lecture on this programme will be given by Professor Alfred H. Meyer, on Monday, April 13, at 4.45, in the Lecture Hall, Boston Public Library.

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

1749 FOURTH STEINERT CONCERT - 1 924 - 1 925 SYMPHONY HALL

Next Sunday Afternoon, April 5, at 3.30

Joint Recital by JOHN CHARLES THOMAS BARITONE

EFREM ZIMBALIST VIOLINIST

1. Concerto in G minor Eubay 2. Invocazione di Orfeo Peri (1560-1625) Che tiero costume .... Legrenzi (1625-1690) Gebet Joseph Marx O liebliche Wangen Johannes Brahms Mr. Thomas 3. Prelude and Fugue in G minor Bach (For Violin Alone) Mr. Zimbalist 4. Chanson Triste Duparc Nicolette Ravel II Niege Bcmberg

Aria "Salome," from "Herodiade" . . . Massenet Mr. Thomas 5. La Gitana Kreisler Hungarian Dance Brahms-Joachim Improvisation on a Japanese Tune .... Zimbalist Spanish Dance Sarasate Mr. Zimbalist

('». Crying of Waters Campbell -Tipton Old Skinflint 'Howells Nocturne .....'. Gurran Dialogue Lord Berners (Conversation between Tom Filuter and his man. as related by Ned the dog-stealer) The Wandering Jew Edward Morris Mr. Thomas

Seats, $1.00, $1.50, $2.00, $2.50, plus tax Tickets at STEINERT and SYMPHONY Halls