Boston Symphony Orchestra Concert Programs, Season 50,1930

PRSGREttAE TO THE MUSIC LOVER

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Dr. SERGE KOUSSEVITZKY, Conductor

FIFTIETH SEASON, 1930-1931

Programme

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

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BOSTON SYMPHONY ORCHESTRA, Inc.

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1628 FIFTIETH SEASON, NINETEEN HUNDRED THIRTY AND THIRTY-ONE

Twenty-fourth Programme

FRIDAY AFTERNOON, MAY 1, at 2.30 o'clock

SATURDAY EVENING, MAY 2, at 8.15 o'clock

Wagner Prelude to "The Mastersingers of Nuremberg"

Debussy "Prelude to the Afternoon of a Faun (Eclogue by S. Mallarme)"

Strauss "Till Eulenspiegel's Merry Pranks, after the Old-fashioned, Roguish Manner," in Rondo Form, Op. 28

Beethoven Symphony No. 5 in C minor, Op. 67

I. Allegro con brio. II. Andante con moto. III. Allegro; Trio. J

1 IV. Allegro.

There will be an intermission before the symphony

The new book "THE BOSTON SYMPHONY ORCHESTRA: 1881-1931," is now obtainable (see page 1693).

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1630 ;

Prelude to "The Mastersixgeks of Nuremberg" Richard Wagner

(Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883)

The Prelude to "Die Meistersinger von Nurnbeffg" was performed for the first time in the Gewandhaus at Leipsic, November 1, 1862. At a concert organized by Wendelin Weissheimer for the production of certain works, Wagner conducted this Prelude and the overture to "Tannhauser." The hall was nearly empty, but the Prelude was received with so much favor that it was immediately played a second time. The opera was first performed at Munich, June 21, 1868.* One critic wrote of the Prelude, "The overture, a long movement in moderate inarch tempo, with predominating brass, without any distinguishing chief thoughts and without noticeable and recurring points of rest, went along and soon awakened a feeling of monot-

*The chief singers at this first performance at the Royal Court Theatre, Munich, were Betz, Hans Sachs ; Bausewein, Pogner ; Holzel, Beckmesser ; Schlosser, David

Nachbaur, Walther von Stolzing ; Miss Mallinger, Eva ; Mme. Diez, Magdalene. The first performance in the United States was at the Metropolitan Opera House, New

York, January 4, 1886 ; Emil Fischer, Sachs ; Joseph Staudigl, Pogner ; Otto Kemlitz,

Beckmesser ; Kramer, David ; Albert S'tritt, Walther von Stolzing ; Auguste Krauss (Mrs. Anton Seidl), Eva; Marianne Brandt, Magdalene. The first performance in

Boston was at the Boston Theatre, April 8 1889, with Fischer, Sachs ; Beck, Pogner

Alodlinger, Beckmesser ; Sedlmayer, David ; Alvary, Walther von Stolzing ; Kaschoska,

Eva ; Reil, Magdalene. Singers from the Orpheus Club of Boston assisted in the choruses of the third act. Anton Seidl conducted.

From Recent Programs of Prominent Artists SONGS KATHERINE FOLLETT MANX MME. SCHUMANN-HEINK Mabel W. Daniels, Cherry Flowers G. W. Chadwick, The Danza WALTER KIDDER JOHN McCORMACK Mrs. M. H. Gulesian, Spring Arthur Foote, Memnon Interlude MARIA JERITZA ROSE ZULALIAN Mrs. H. H. A. Beach, Ah, Love, but Mrs. M. H. Gulesian, Spring Inter- a Day lude, Hollyhocks, Pan and the GIOVANNI MARTINELLI Little Green Reed Mrs. H. H. A. Beach, Ah, Love, but MAUDE ERICSON Mrs. M. H. Gulesian, Spring DOROTHY GEORGE Interlude Marion Bauer, The Linnet is Tuning her Flute OLGA AVERINO Mrs. H. Gulesian, Spring Inter- Mrs. H. H. A. Beach, Ah, Love, but M. lude, HolWhocks a Day EMMA ROBERTS JAMES R. HOUGHTON Mrs. H. H. A. Beach, Ah, Love, but Mrs. M. H. Gulesian, Spring a Day Interlude G. W. Chadwick, The Danza ESTA CANTOR ANNA HAMLIN Arthur Foote, A Song of Four Seasons Mrs. H. H. A. Beach, On a Hill G. W. Chadwick, The Lament (Negro Melody)

INSTRUMENTAL FELIX FOX (Pianist) MAIER and PATTISON (Two Pianos) Felix Fox, Fantaisie lyrique F. Chopin, Op. 73. Rondo Edward MacDowell, Finale from (Abbreviated and revised by Lee Keltic Sonata. Played at Boston, Pattison) Providence, Andover, Greenfield, Edward MacDowell, Forest Elves Farmington, etc. (Transcribed by Felix Fox) ADOLPHE HALLIS (Pianist) WALTER EDELSTEIN (Violinist) Theophil Wendt, Valse Glissando on A. Walter Kramer, Eklog Black Keys PHILADELPHIA SINFONIETTA, Fabien Sevitzky, Conductor Arthur Foote, Suite in E for Strings

P. SCHMI1

1631 out." The critic of the Mitteldeutsche Volkzeitung wrote in terms of enthusiasm. The Signalers critic was bitter in opposition. He wrote at length, and finally characterized the Prelude as "a chaos,'' a " 'tohu-wabohu' and nothing more." For an entertaining account of the early adventures of the Prelude, see "Erlebnisse mit Richard Wagner, Franz Liszt, und vielen anderen Zeitgenossen, nebst deren Briefen," by W. Weissheimer (Stuttgart and Leipsic, 1898), pages 163-209. This Prelude is in reality a broadly developed overture in the classic form. It may be divided into four distinct parts, which are closely knit together. 1. An initial period, moderate*, in the form of a march built on four chief themes combined in various ways. The tonality of C major is well maintained. 2. A second period, E major, of lyrical character, fully developed, and in a way the centre of the composition. 3. An intermediate episode in the nature of a scherzo, developed from the initial theme, treated in diminuation and in fugued style. 4. A revival of the lyric theme, combined this time simultaneously with the two chief themes of the first period, which leads to a coda wherein the initial phrase is introduced in the manner of a stretto. The opening energetic march theme serves throughout the work to characterize the mastersingers. As Wagner said, "The German is angular and awkward when he wishes to show his good manners, but he is noble and superior to all when he takes fire." The theme might

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1633 characterize the German bourgeoisie (compare Elgar's theme of "London Citizenship" in "Cockaigne"). Wagner in his Autobiography tells how the idea of "Die Meister- singer" formed itself ; how he began to elaborate it in the hope that it might free him from the thrall of the idea of "Lohengrin" ; but he was impelled to go back to the latter opera. The melody for the fragment of Sachs's poem on the Eeformation occurred to him while going through the galleries of the Palais Royal on his way to the Taverne Anglaise. "There I found Truinet already waiting for me and asked him to give me a scrap of paper and a pencil to jot down my melody, which I quietly hummed over to him at the time." "As from the balcony of my flat, in a sunset of great splendor, I gazed upon the magnificent spectacle of 'Golden' Mayence, with the ma- jestic Rhine pouring along its outskirts in a glory of light, the prelude to my 'Meistersinger' again suddenly made is presence closely and distinctly felt in my soul. Once before had I seen it rise before me out of a lake of sorrow, like some distant mirage. I proceeded to write down the prelude exactly as it appears to-day in the score, that is, containing the clear outlines of the leading themes of the whole drama." One night when he had sketched the theme of Pogner, "Das schone Fest Johannistag," he heard suddenly the mad laughter, horrible whimpering, and frightful howling of his servant Lieschen attacked with hysterical convulsions.

-"SO LONG UNTIL FALL" — Paraphrasing Lowell Thomas

This being the last Symphony Concert until fall, may I extend you the wish for a pleasant summer and a beneficial vacation?

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1635 Eclogue of Prelude to "The Afternoon of a Faun (after the Stephane Mallarme)" .... Achille Claude Debussy (Seine and Oise), August 22, 1862; died at Paris, St ' Germain vmorn at March 26, 1918)

"Prelude a 1'Apres-Midi d'un Faune (Eglogue de S. MallarmS)," the completed in 1892, was plaved for the first time at a concert of conductor National Society of Music, Paris, December 23, 1894. The was Gustave Doret. According to Charles Koechlin, there had been desired, insufficient rehearsal, so the performance left much to be and the acoustics of the Salle d'Harcourt were unfavorable. When the second performance took place at a Colonne concert, a critic wrote: "This composer seems to dread banality." "And yet," says Koechlin, "the charm of this music is so simple, so melodic. But every new melody should be heard several times. Besides, even the construction—a supple melodic line that is expanded—could be dis- concerting. For certain writers about music, Debussy was a dan- gerous artist with a diabolical fascination: the worst possible "example. Diabolical or not, the work has lasted. It has the votes of the elite: that is enough." The second performance was at a Colonne concert, Paris, October 20, 1895. In the "Annales du Theatre," we find this singular note: "Written after a poem by Stephane Mallarme so sadistic that M. Colonne did not dare to print the text; young girls attend his concerts." The first performance in Boston, and also in the United States,

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1637 Orchestral Club, Georges Longy, was at a concert of the Boston

of his Prelude, a To Debussy is attributed a short "explanation the music evokes "the very free illustration of Mallarme's poem" : successive scenes in which the longings and the desires of the Faun pass in the heat of this afternoon." Stephane Mallarme formulated his revolutionary ideas concerning style about 1875, when the Parnasse Contemporain rejected his first poem of true importance, "L'Apres-Midi d'un Faune." The poem was published in 1876 as a quarto pamphlet, illustrated by Manet. The eclogue is to the vast majority cryptic. The poet's aim, as Edmund Gosse expresses it, was "to use words in such harmonious combinations asjsvill suggest to the reader a mood or a condition which is not mentioned in the text, but is nevertheless paramount in the poet's mind at the moment of composition." Mallarm6, in a letter to Mr. Gosse, accepted with delight his understanding of his purpose : "I make music, and do not call by this name that which is drawn from the euphonic putting together of words,—this first re- quirement is taken for granted; but that which is beyond, on the other side, and produced magically by certain dispositions of speech and language, is then only a means of material communication with the reader, as are the keys of the pianoforte to a hearer." Gosse gave this explanation of the poem that suggested music to Debussy: "It appears in the florilege which he has just published, and I have now read it again, as I have often read it before. To say

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1639 phrase by phrase, would be excessive. that I understand it bit by bit, this famous miracle of unintelhgibility But if I am asked whether Yes. I even fancy that I ob- gives me pleasure, I answer, cordially, impression as M. Mallarme tain from it as definite and as solid an in it: faun— simple, desires to produce. This is what I read A a daybreak and sensuous, passionate being—wakens in the forest at afternoon. he the tries to recall his experience of the previous Was fortunate recipient of an actual visit from nymphs, white and golden goddesses, divinely tender and indulgent? Or is the memory he seems to retain nothing but the shadow of a vision, no more sub- stantial than the 'arid rain' of notes from his own flute? He cannot tell. Yet surely there was, surely there is, an animal whiteness among the brown reeds of the lake that shines out yonder. Were they, are they, swans? No! But Naiads plunging? Perhaps! Vaguer and vaguer grows the impression of this delicious experience. He would resign his woodland godship to retain it. A garden of lilies,

golden-headed, white-stalked, behind the trellis of red roses? Ah ! the effort is too great for his poor brain. Perhaps if he selects one lily from the garth of lilies, one benign and beneficent yielder of her cup to thirsty lips, the memory, the ever-receding memory, may be forced back. So when he has glutted upon a bunch of grapes, he is wont to toss the empty skins in the air and blow them out in a visionary greediness. But no, the delicious hour grows vaguer; experience or dream, he will never know which it was. The sun is warm, the grasses yielding; and he curls himself up again, after

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1641 worshipping the efficacious star of wine, that he may pursue the dubious ecstasy into the more hopeful boskages of sleep. "This, then, is what I read in the so excessively obscure and un- d'un Faune'; and, accompanied as it is intelligible&

"The Afternoon of a Faun" is scored for three flutes, two oboes, Emglish horn, two clarinets, two bassoons, four horns, two harps, small antique cymbals, strings. It is dedicated to Raymond Bonheur. The chief theme is announced by the flute, tres modere, E major, 9-8. Louis Laloy gives the reins to his fancy: "One is immediately transported into a better world; all that is leering and savage in the snub-nosed face of the faun disappears; desire still speaks, but there is a veil of tenderness and melancholy. The chord of the wood- wind, the distant call of the horns, the limpid flood of harp-tones, accentuate this impression. The call is louder, more urgent, but it almost immediately dies away, to let the flute sing again its song. And now the theme is developed: the oboe enters in, the clarinet has its say; a lively dialogue follows, and a clarinet phrase leads

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1642 IN the courtyard of a Bohemian Tavern a broad-shouldered lad, with dark brown eyes and coal black hair, was listening to the singing of the patrons of his innkeeper father, Frantisek Dvorak. The

boy s eyes sparkled . . . his cheeks flushed with enthusiasm.

rilS eyes always sparkled when he

heard music. For it was Antonin (184.1- 1904), the innkeeper's oldest son. After |fc| y\|flg^^^A a brief schooling, Antonin was called ^\^m *^^^ home to learn the trade of a butcher. He l. -i* *W _ was Dro ken hearted. He even composed a polka to prove his musical talent. It was a marvelous succession of discords. Young Dvofdk became a butcher. After a year he went to Prag where there was an organ school. Here he had to rely on

himself . . . There were not even spare pennies for music paper. He graduated from the Prag organ school in i860. Then he tried to write; but always the same result ... he tore up the scores. Finally, in 1875, he completed an opera. Stabat Mater was his first masterpiece (1876). In 1892, he came to New York to head the National Conservatory of Music of America. He was enthusi- astically received. But Dvofdk was homesick, and after three years he returned to Prag.

Antonin Dvordk was a prolific worker. His compositions cover almost every form of composition. * * *

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satisfied or it expresses the to a new theme which speaks of desire ; rapture of mutual emotion rather than the ferocity of victory. The of first theme returns, more languorous, and the croaking muted horns darkens the horizon. The theme comes and goes, fresh chords violoncello joins itself to the flute unfold themselves ; at last a solo and then everything vanishes, as a mist that rises in the air and scatters itself in flakes."

"I/Apres-Midi d'un Faune" was produced at the Chatelet, Paris, as a ballet scene, on May 29, 1912, with M. Mjinsky as the Faun. We quote from the New York Sim of June 2, 1912 : "A novelty produced during the Russian ballet season at the Chatelet Theatre has occasioned an outburst of protests. The cele- brated mime, Vaslav Mjinsky, arranged a short ballet inspired by Debussy's music written to Stephane Mallarm&s poem 'The Faun's Afternoon/ Mjinsky miming the faun. An editorial in Figaro signed by Director Calmette says: 'Our readers will not find the usual notice of the performance in the theatrical columns, because I have suppressed it. I do not criticise the music, which was written ten years ago, but I am convinced that all the readers who were present at the Chatelet yesterday will approve my protest against an exhibition offered as a profound production perfumed with precious art and harmonious poetry. The words "art" and "poetry" in con-

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1645 mockery. It was neither a neetion with such a spectacle are mere saw an unseemly graceful eclogue nor a profound production. We gestures, and that all. faun with vile movements and shameless was The hisses which greeted the pantomime were fully justified. The true public never accepts such animal realism.' "The Gaulois also demands the suppression of the show. Others defend it as a legitimate product of the naturalists' school. "The protests .against Mjinsky's 'Faun' are expected to result in the house being crowded and the act, which does not occupy ten min- utes, being given extra performances. "M. Diaghilev, the director of the Kussian ballets, has written a letter to the Figaro quoting in his defence a letter by Odilon Redon, Mallarme's most intimate friend, and M. Rodin's article in the Matin. The latter praises Nijinsky's creation as a noble effort, which every artist should see. "M. Calmette replies, saying that M. Redon's opinion is merely personal. As regards M. Rodin, whom he admires as one of the most illustrious and most clever sculptors, he says he is unable to accept him as a judge of theatrical morality. M. Calmette says, 'To chal- lenge his [Rodin's] judgment it will suffice to recall that, contrary to all common decency, Rodin exhibits in the former chapel and de- serted church, now the Hotel Biron, a series of obscene and cynical sketches displaying with even more brutality the shameless attitudes so justly hissed at the Chatelet. If I must speak plainly, the dancers in the mimicry angered me less than the daily spectacle Rodin gives

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1647 in the ex-convent to legions of lackadaisical female admirers of self-satisfied snobs. It is beyond conception that the State has paid 5,000,000 francs for the H6tel Biron merely to afford a free lodging " for the richest sculptor.'

• *

Madame Tamara Karsavina, in her "Theatre Street/'* a volume of her reminiscences, describes the first performance of the ballet in Paris, when it raised a "perfect riot of contending emotions. The au-

dience clapped, yelled, hissed ; across a barrier between two boxes a

quarrel burst ; over the hideous noise rose a loud, 'Silence, laissez le spectacle s'achever.' Diaghilev was standing at the back of the pit; his intervention restrained the frenzy of the public, the performance was allowed to go to the end. I was not taking part in the ballet and sat in the stalls that night. I could not see what had offended the public so much." Mme. Karsavina met Debussy when the ballet "Jeux"t was performed. "What Debussy had thought of the interpretation of his music I don't know. He was reported to have said

^Published by E. P. Dutton & Co., N.Y., 1931. fThis "danced poem" was produced at the Theatre des Champs-Elys£es, Paris* on May 15, 1913. Mme. Karsavina took the part of the First Young Girl. The music in concert form was performed in Boston by the Boston Symphony Orchestra, Mr. Monteux, conductor, on January 2, 1920.—P. H.

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1648 .

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1649 pourquoif but it might have been evil tongues who reported it. To me he did not comment on the production. He often invited me to sit by his side. Madame Debussy and his little daughter usually came with him. He was so gently courteous, so devoid of pose and consciousness of his importance, so sincere in his admiration for the straightforward charm of the romantic ballets, for which he praised me, that in spite of his forbidding brow, in spite of his being an unfamiliar celebrity, I enjoyed our brief talks. But it was Qui, Maitre, vous avez raison, Maitre. ... I was talking to an Olympian."

* •

The ballet "L'Apres Midi d'un Faune" was produced at the Boston Opera House on February 1, 1916, by Serge Diaghilev's Ballet Russe. Mr. Massine mimed the Faun. Ernest Ansermet conducted the orchestra. There was an amusing and characteristically Bos- tonian exercise of censorship by the local authorities. But there were other performances that month by the same company. At the same opera house, on November 9, 1916, Mr. Mjinsky mimed the Faun. It was a chaste performance. Mr. Monteux conducted.

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1650 JOSEPH F. WAGNER Composer-Conductor

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1651 —

"Till Eulenspiegei/s Merry Pranks, After the Old-fashioned Koguish Manner,—in Hondo Form/' for Full Orchestra, Op. 28 Richard Strauss

(Born at Munich, June 11, 1864; now living at Vienna)

"Till EulenspiegePs lustige Streiche, nach alter Schelmenweise in Rondoform—fur grosses Orchester gesetzt, von Richard Strauss," was produced at a Gurzenick concert at Cologne, November 5, 1895. It was performed in Boston for the first time at a concert of the Boston Symphony Orchestra on February 22, 1896. Richard Strauss conducted in Boston a performance by the Philadelphia Orchestra on March 7, 1904. Till (or Tyll) Eulenspiegel is the hero of an old Volksbuch of the fifteenth century attributed to Dr Thomas Murner (1475-1530). Till is supposed to be a wandering mechanic of Brunswick, who plays all sorts of tricks, practical jokes,—some of them exceedingly coarse,—on everybody, and he always comes out ahead. In the book, Till (or Till Owlglass, as he is known in the English translation) goes to the gallows, but he escapes through an exercise of his ready wit, and dies peacefully in bed, playing a sad joke on his heirs, and refusing to lie still and snug in his grave. Strauss kills him on the scaffold. The German name is said to find its derivation in an old proverb : "Man sees his own faults as little as a monkey or an owl recognizes his ugliness in looking into a mirror." When Dr. Franz Wiillner, who conducted the first performance at Cologne, asked the composer for an explanatory programme of the

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1652 !

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1653 "poetical intent" of the piece, Strauss replied : "It is impossible for

me to furnish a programme to 'EulenspiegeP ; were I to put into words the thoughts which its several incidents suggested to me, they would seldom suffice, and might even give rise to offence. Let me leave it, therefore, to my hearers to crack the hard nut which the Kogue has prepared for them. By way of helping them to a better understanding, it seems sufficient to point out the two 'EulenspiegeP motives, which, in the most manifold disguises, moods, and situa- tions, pervade the whole up to the catastrophe, when, after he has been condemned to death, Till is strung up to the gibbet. For the rest, let them guess at the musical joke which a Rogue has offered them." Strauss indicated in notation three motives,—the opening theme of the introduction, the horn theme that follows almost immediately, and the descending interval expressive of condemnation and the scaffold.

Symphony No. 5, C minor,, Op. 67 . Ludwig van Beethoven

(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827)

Beethoven sketched motives of the allegro, andante, and scherzo of this symphony as early as 1800 and 1801. We know from sketches that while he was at work on "Fidelio" and the pianoforte concerto

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^57T\5E7^\5^7T\5E7X\5e7^\5H7X\5^ 1655 in G major,—1804-1806,—he was also busied with this symphony, which he put aside to compose the fourth symphony, in B-flat. The symphony in C minor was finished in the neighborhood of Heiligenstadt in 1807. Dedicated to the Prince von Lobkowitz and the Count Rasumovsky, it was published in April, 1809. It was first performed at the Theater an der Wien, Vienna, De- cember 22, 1808. All the pieces were by Beethoven; the symphony described on the programme as "A symphony entitled 'Recollections 5" of Life in the Country,' in F major, No. (sic) ; an Aria, "Ah, perfido," sung by Josephine Kilitzky ; Hymn with Latin text written in church style with chorus and solos; Pianoforte Concerto in G major, played by Beethoven; Grand Symphony in C minor, No. 6

(sic) ; Sanctus, with Latin text written in church style (from the Mass in C major), with chorus and solos; Fantasia for pianoforte solo; Fantasia for pianoforte "into which the full orchestra enters little by little, and at the end the chorus joins in the Finale." Beethoven played the pianoforte part. The concert began at half- past six. We know nothing about the pecuniary result. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings; and in the last movement piccolo, double-bassoon, and three trombones are added. This symphony was performed in Boston at an Academy concert as early as November 27, 1841. Other first performances: London, April 15, 1816, Philharmonic

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1656 A Tragedy Averted

Mary came to Boston from a little village in Canada, secured work as a domestic, and saved a little money. She met a young man, also from Canada, come to seek work. They loved one another and planned to be married when they had saved enough money. But the man, during recent economic depression, lost his job and his father sent him his fare home. After his departure, Mary realized that she was pregnant. Overwhelmed with despair she wrote to the man, but the letter did not reach him. She was forced to give up work and take a room in a lodging house. Soon her savings disappeared. She came to the prenatal clinic,—a pathetic, half-starved little creature who, dazed with the thought of having a baby out of wed- lock, had lost interest in life altogether. The doctor found her a serious medical problem. She was growing weaker daily and ap- parently had no desire to live. He appealed to the clinic Social Worker who would be sympathetic and friendly, would understand the technical difficulties embodied in illegitimate pregnancy, immi- gration laws, and so forth, and who would know community resources. The Worker immediately secured friendly shelter for Mary. A letter was sent to the father of her coming baby explaining her cir- cumstances. Still Mary did not respond to encouragement. In co-operation with the interested clinic doctor, arrangement was made for admission to the hospital for general building up. Soon the Worker received a letter from the man expressing his genuinei affection for Mary and his desire to marry her if she could come to him. He was earning enough to provide for her at home but not enough to enable him to come for her. This letter and succeeding ones written to herself, caused a remarkable improvement in Mary. She remained in the hospital until she had her baby and until her health was restored. And now the Worker has succeeded in sending mother and baby to join the far-away father, who will marry Mary when she reaches her journey's end.

Department of Social Work The Boston City Hospital

COMMITTEE IN CHARGE OF WORK AND SUBSCRIPTIONS

Mrs. George H. Monks, Chairman Mrs. Edward H. Bradford Mrs. George R. Minot Mrs. C. A. Coolidgb Mrs. I. A. Ratsheskt Mes. Thomas M. Devlin Mrs. William H. Robby Mrs. Henry Ehrlich Mrs. John Rock Mrs. Reid Hunt Mrs. Soma Weiss Mrs. Charles C. Lund Mrs. Ernest B. Young

Treasurer, Mr. WILLIAM C. ENDTCOTT. 71 Ameb Building Executive Director. Miss GERTRUDE L. FARMER

1657 Society; Paris, April 13, 1828, Societe des Concerts; Leningrad, Madrid, 1878. March 23, 1859 ; Rome, November 9, 1877 ; The fifth symphony was the opening number of the first concert of the Philharmonic Society of New York, December 7, 1842. U. L. Hill conducted the symphony.

WORKS PERFORMED AT THE SYMPHONY CONCERTS DURING THE SEASON OF 1930-1931

Works marked with an asterisk were performed for the first time at these concerts. Works marked with a double asterisk were performed for the first time in Boston. 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

Albeniz : Two Pieces, "El Albaicin"** and "Navarra,"** transcribed for orchestra by E. F. Arbos, January 23, 1931 (conducted by Arbos) 914 Anonymous (See Koussevitzky).

Arensky* : Variations on a Theme of Tchaikovsky,* Op. 35a, December 26, 1930 ' 653 Bach: Two Preludes (Adagio, Vivace),f arranged for string

orchestra by Pick-Mangiagalli, October 17, 1930 . 79

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1659 :

Prelude and Fugue in E-flat for organ (arranged for

. . 628 orchestra by Schonberg), December 19, 1930 .

. 1352 Suite for Orchestra, No. 3, D major, March 27, 1931 . Brandenburg Concerto No. 5, March 28, 1931 1396 Concerto, D minor, for two violins and string orchestra (Richard BuRGiNf and Julius THEODOROWiczf), March 27, 1931 1386 Preludes and Fugues from "Well-Tempered Clavichord'- G minor, No. 16; D major, No. 5; B-flat minor, No. 22; C-sharp major, No. 3 (Alexander Borov- sky), March 28, 1931 1351 Cantatas No. 85,* "Ich bin ein Guter Hirt," and No. 20,* "O Ewigkeit, du Donnerwort" (Bach Cantata Club

and Amy Evans,** soprano ; Margaret Matzenauer, contralto; Richard Crooks, tenor; Fraser Gange,

bass), March 27, 1931 (sung in German) . . . .1391-1392 Cantatas No. 4,* "Christ lag in Todesbanden" and No. 80,* "Ein feste Burg ist unser Gott," March 28, 1931 (singers as on March 27) (sung in English) 1394-1403 Beethoven: Symphony No. 1, C major, Op. 21, January 2, 1931 727 Symphony No. 5, C minor, Op. 67, May 1, 1931 1654

Symphony No. 7, A major, Op. 92, October 17, 1930 . . . 84

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1660 Overture, "Consecration of the House," October 10, 1930 (conducted by George Henschel) 12 Overture to "Egmont," February 27, 1931 1172 Concerto for pianoforte, No. 5, E-flat major (Walter Gieseking), November 28, 1930 472 Concerto for violin, D major (Jascha Heifetz), Febru- ary 27, 1931 1156 Berlioz: Symphonie Fantastique, C major, Op. 14A, Febru- ary 20, 1931 1094

Brahms : Symphony No. 1, C minor, Op. 68, April 3, 1931 . . 1472

Symphony No. 2, D major, Op. 73, November 7, 1931 . . 331 Concerto for violin, D major, Op. 77 (Nathan Mil- stein**), March 13, 1931 1249

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1661 Two Hungarian Dances: No. 2, F major; No. 1, G minor, March 13, 1931 1259 Bruch: "Penelope's Sorrow," from "Odysseus" (Margaret Matzenauer), October 10, 1930 45 "Gwendoline," February Chabrier : Prelude to Act II of 27, 1931 1147 Corelli: Suite** (arranged by Pinelli), January 23, 1931 (conducted by E, F. Arbos) 871

Debussy : "La Mer," October 24, 1930 188 Prelude to "The Afternoon of a Faun" (Eclogue by S. Mallarme) May 1, 1931 1636 Elgar: Introduction and Allegro, Op. 47,,** for string orchestra, January 30, 1931 943 Falla, De: Suite from "El Amor Brujo," January 23, 1931

(conducted by E. F. Arbos) . . 898 Franck: Symphony, D minor, January 23, 1931 (conducted by E. F. Arbos) 878 Gluck: "Che faro senza Eurydice," from "Orfeo ed Eury-

dice" (Margaret Matzenauer), October 10, 1930 . 24

Grtffes : "The Pleasure Dome of Kubla Khan," April 24, 1931 1580 Hadley: "Salome," Tone Poem (after Wilde's tragedy), Op. 55 (conducted by the composer), January 16, 1931 804 Suite for orchestra, "Streets of Pekin"** (conducted by the composer), January 16, 1931 846

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Plants at: A Dorchester, Lowell, Newton, Springfield, A4M Winchester k and Somerville A4M 1662 Handel: Concerto Grosso for string orchestra, B minor, No. 12, November 7, 1930 295 Concerto Grosso for string orchestra, Op. 6, No. 6, G

minor, February 20, 1931 . ,.. 1079 Hanson: Symphony No. 2, "Romantic,"f November 28, 1930 464 Haydn: Symphony, B-flat (B. & H. No. 12), October 10, 1930 (conducted by George Henschel) 38 Symphony No. 1, E-flat major, January 16., 1931 (conducted by Henry Hadley) 799

Symphony, D major (B. & H. No. 10), March 13, 1931 . 1215 Hill: An Odef (Poem by Robert Hillyer) (Harvard Glee

Club and Radcliffe Choral Society ; Reader, Mr. Hillyer), October 17, 1930 113

Symphony No. 2,f in C major, February 27, 1931 . . . 1152

Hindemith : Konzertmusik for String and Brass Instru- ments^ April 3, 1931 1427 Honnegger: Symphony,! February 13, 1931; March 19, 1931 1030,1300

Koussevitzky (See Anonymous) : Overture,! October 31, 1930 223 Krenek: Little Symphony, Op. 58,** December 12, 1930 (conducted by Mr. BuRGiNf) 511

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Anderson, Mrs. C. S. Brigham, Mrs. D. S. Curtis, Mrs. G. S. Hi I

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1664 all ) by their subscriptions thee oncerts possible*

irlow, Dr. and Mrs. John W, Harrington, Mrs. Francis B. Johnson, Miss Harriet E. raoiUrnsworth, William Harris, Miss Frances K. Johnson, Mrs. Otis S. ly, Mrs. D. B. Hartwell, Miss Mary A. Jones, Miss Margaret H. ly, Mrs. Henry H. Harvey, Mr. and Mrs. mollosa, William S. Elbert A. Kaffenburgh, Mr. and Mrs. eld, Edward B. Harwood, Mrs. John H. Albert W. .ten, Miss Carrie T. Hatfield, Dr. and Mrs. Kaffenburg, Mr. and Mrs. >ote, Arthur Hugh K. Donald >ote, George L. Haughton, Miss Alison Keeler, Mrs. L. M. siret;)rbes, Allyn B. Hawley, Mr. and Mrs. George Kent, Mrs. Edward L. >rbes, Edward W. Hayden, Mrs. Harold B. Kibrick, I. S. >rbes, Mrs. Ralph E. Hayden, Sherman S. King, Mrs. Henry P. >rbes, Mrs. Waldo E. Hayward, Miss Emily H. King, The Misses )rness, Mrs. Arthur A. Heilman, William C. Kinsley, James D. >x, Walter S., Jr. Herman, Mrs. Joseph M. ench, Miss Katharine Higginson, Mrs. F. L. Lamb, Miss Aimee *ost, Mr. and Mrs. Higginson, F. L. Lane, Chester T. Donald McKay Higginson, Mrs. Henry L. Lang, Mrs. B. J. •ost, Horace W. Hill, Arthur D. Lang, Miss Margaret Ruthven othingham, Dr. and Mrs. Hill, Mr. and Mrs. Lapham, Mrs. Henry G. Langdon Edward B. Lasell, Miss Elizabeth

?, Ai 'othingham, Mrs. Louis A. Hill, Mrs. John F. Latimer, Mrs. George D.

D. Holbrook, Miss Mary S. Laughlin, Henry A. ige, Mrs. Homer Holmes, Miss Alice Marion Lauriat, Mrs. C. E. .rdner, Roy B. Holmes, Mr. and Mrs. Lawrence, Mrs. John irritt, Mrs. Walter G. Edward J. Lee, Mr. and Mrs. George C. uton, Mrs. W. A. Holmes, Miss Lee, Joseph bson, Mrs. K. H. Homans, Miss Katharine A. Leeds, Mrs. Adolph lbert, Miss Helen 0. Hopkins, Mrs. A. L. Leland, Mrs. Lester rceifles, Miss Louise Hornblower, Henry Leman, J. Howard Imore, Mrs. G. L. Hornblower, Mrs. Henry Lewis, Mrs. George nn, Mrs. Edwin Houghton, Clement S. Lewis, Mr. and Mrs. Leo Rich >lden, Edward I. Houghton, Mrs. Clement S.Littell, Miss Lucy todwin, Miss Frances Houghton, Miss Little, Mrs. David M. >odwin, Mrs. Frederic S. Elizabeth G. Loeffler, Mrs. C. M.

mlston, Leopold Morse Houser, Mrs. H. M. Lord, Mrs. W. H . ray, Morris Howe, Henry S. Loring, Miss Marjorie C. ray, Mrs. Russell Howe, Mrs. Henry S. (In Memory of Charlotte Lowell) reene, Edwin Farnham Howe, Mrs. J. Murray Howe, Miss Lothrop, Miss Mary B. reene, Mrs. Kathleen T. Katharine McPherson Lothrop, Mrs. W. S. H. reenough, Mrs. Henry V. Howe, M. A. DeWolfe Lowell, Miss Lucy reenslet, Ferris Hunneman, Miss Ida Lucas, Mrs. William H. riffith, Miss Josephine Hunnewell, Mrs. Henry S. Luce, Stephen B.

! rover, Mrs. Frances L. Hunt, Miss Abby W. Lyman, Arthur rozier, Mrs. E. A. Hunt, Mrs. Albert W. Lyman, Herbert Hutchins, Mrs. Edward W.Lyon, Mrs. George Armstrong all, Mrs. Frederick G. Jack, Dr. Frederick L. Machin, all, Mrs. H. S. Joseph Jackson, Dr. Henry Manning, Mr. and allowell, Mr. and Mrs. Mrs. Jackson, Mrs. James, Sr. Earl G. 13 N. Penrose Jacobs, Miss May Mason, Miss Fanny P. amilton, Mrs. Charlotte D. Jamieson, Mrs. J. B., Jr. McConnel, Mrs. Charles W. .amilton, Miss Ruth W. Jaques, Miss H. L. Merrill, Mr. and Mrs. C. H. S. amlin, Miss Jenny L. Johnson, Arthur S. Metcalf, Mrs. Thomas N. !armon, Miss Lilian Johnson, Miss Edith Morse (Continued on following page)

1665 Miller, Miss Mildred A. Eemick, Mrs. Frank W. Stackpole, Miss Alice Milliken, Arthur N. Eenfrew, Mrs. L. B. Stackpole, Mrs. Frederick D. Moir, Mrs. John St. Petersburg, Florida Stackpole, Mr. and Mrs. Morey, Mrs. Edwin Eiee, Miss Ellen P. Pierpont L. Moore, Mrs. Edward C. Eichards, Mrs. J. L. Staniford, Mrs. Daniel Moors, Mr. and Mrs. Eichardson, Mrs. John Stanton, Miss Katharine Arthur W. Eichardson, Nicholas Stearns, Miss Elsie E. Morison, Samuel Eliot Eichardson, W. K. Steinert, Mr. and Mrs. Morse, Miss J. G. Eichmond, W. D. Alexander Morss, Mrs. Charles A. Eiley, Miss Mabel Louise Stevens, Moses T. Moseley, Mrs. F. S. Eobb, Mrs. Eussell Stevenson, Mrs. Eobert H. Motley, Mrs. E. Preble Eoberts, Mrs. Coolidge S. Stone, Mrs. Galen L. Mumford, Mrs. George S. Eobinson, Miss Gertrude Stone, Miss Katherine H. Murdock, Mrs. Harold Eobinson, Miss Katherine Streeter, Mrs. E. C. McCreary, Mrs. Lewis S. Eogers, Miss Bertha F. Sturgis, The Misses McGinley, Mrs. Holden Eogers, Mr. and Mrs. Sumner, Mrs. Charles P. McKee, Mrs. William L. Henry M. Swain, Mrs. Howard T. McKibbin, Miss Emily W. Eogers, Mr. and Mrs. Swift, Miss Lucy W. McMichael, Mrs. L. G. Howard L. Eopes, James H. Taft, Edward A. Nash, F. H. Eopkins, Mrs. Kate C. Taintor, Mrs. Charles W. Neilson, Mrs W. LaCoste Eosenthal, Mrs. Louis Tapley, Miss Alice P. Nichols, Mrs. Henry G. Eothwell, Bernard J. Tappan, Mrs. Frederick H. Nickerson, Mrs. W. G. Eubenstein, Philip Tappan, Miss Mary A. Nourse, Miss Annie Endicott Eussell, Mr. and Mrs. H. B. Thaw, Mrs. Edward Nutter, George E. Thomas, Mrs. Washington B. Sachs, Professor Paul J. Thorndike, Albert Osgood, Miss Emily L Sampson, Mrs. Eobert deW. Thoron, Mrs. Ward Sampson, Mrs. W. E. Thorp, Miss Alice A. Paine, Eev. George L. Sanger, Mrs. Charles E. Tower, Miss Florence E. Paine, E. T. 2d Sanger, Mrs. George P. Tozzer, Mrs. Alfred M. Palmer, Mrs. L. C. Sargent, Porter E. Trafford, Mrs. B. W. Parker, Haven Saville, Mrs. William Tuckerman, Mrs. L. S. Parkman, Mrs. Henry Sawyer, Mr. and Mrs. In Memory of Patton, James E. Henry B. William Bartlett Tyler Peabody,.Mrs. Endicott Schenck, Miss Martha McLeol Peabody, Mrs. W. Eodman Schneider, Miss Elizabeth Underwood, Miss Sophia A. Perera, G. L. Scott, Mrs. Arnold Pfaelzer, Mrs. Franklin T. Scranton, Mrs. Gilmore G. Vaughan, Miss Bertha H. Pickman, Dudley L. Sears, Miss Annie L. Vaughan, Mrs. W. W. Pickman, Edward M. Sears, Mrs. Francis B. Vorenberg, Mrs. Felix Pierce, Mrs. Edgar Sears, Miss Mary C. Pierce, Mrs. M. V. Sears, Mrs. Montgomery Wadsworth, Mrs. Alexander P. Pitman, Mrs. Harold Sears, Eichard D. Wadsworth, Mr. and Mrs. Post, Mrs. John E. Sears, Mrs. Eichard Eliot Potter, Mrs. John Briggs Selfridge, Mrs. George S. Walker, Mrs. George Potter, Mrs. Murray A. Shepard, Mrs. Willis S. Wallace, Charles F. Pratt, Mrs. Walter M. Sigourney, Miss Edith Walter, Mrs. W. A. Prendergast, Miss Julia C Silsbee, Mrs. George S. Ward, Miss M. DeC. Putnam, Mrs. F. Delano Slattery, Mrs. Charles Lewis Ward, Professor E. DeC. Putnam, Mrs. James J. Slocum, William H. Ware, Henry Putnam, Miss Louisa H. Slocum, Mrs. Winfield S., Sr.Ware, Miss Mary Lee Putnam, Mr. and Mr3. Smith, Miss Elizabeth H. Waring, Mrs. Guy William E. Smith, Mr. and Mrs. Warren, Bentley W. F. Morton Warren, Mrs. George E. Eackliffe, Mrs. John B. Smith, Louis C. Watson, Mrs. Thomas E. Eand, Professor and Mrs. Sonnabend, Mr. and Mrs. Webster, Mr. and Mrs. E. K. Abraham M. Edwin S. Eand, Mr. and Mrs. Sortwell, Mrs. A. F. Weeks, Mr. and Mrs. Harry Seaton Spalding, Mrs. Philip L. Eobert S. Ranney, Miss Helen M. Spalding, Mr. and Mrs. Weidhorn, Leo Rantoul, The Misses Walter E. Welch, Mr. and Mrs. Eantoul, Mrs. Neal Spaulding, Miss Emma F. E. Sohier Raymond, Mr. and Mrs. Sprague, Mrs. Charles Weld, Mrs. Charles G. Franklin F. Spring, Eomney Weld, Mrs. C. Minot 1666 Lambert: "The Rio Grande/'** for chorus (Cecilia Society), orchestra, and solo pianoforte (Jesus Maria San- roma) poem by Sacheverell Sitwell, April 24, 1931 1596 ; Loeffler: Canticum Fratris Solis (After St. Francis of Assisi) for voice (Povla Frijsh) and orchestra, February 13, 1931 1034 A Pagan Poem (after Virgil), Op. 14, for orchestra, English horn, and three trumpets obbligati, Febru- ary 13, 1931 1046

>djOURi£ : "Sonate Liturgique"** in the form of Four Chorales (with alto voices), January 2, 1931 748 McKinley: Masquerade,* January 16, 1931 (conducted by Henry Hadley) 800 Mahler: "Das Lied von der Erde" (Richard Crooks/ tenor; Margaret Matzenauer, contralto), December 26, 1930 664

Mendelssohn : Overture and Scherzo from music for "A Mid- summer Night's Dream," March 19, 1931 1283

Moussorgsky-Ravel : "Pictures at an Exhibition," October 17, 1930 119

Wellington, Kaynor G. Whitney, Mrs. Margaret F. Q Wolcott, Mrs. Roger Weston, Charles H. Wilder, Mrs. Edward F. Wood, Miss Charlotte Wetherbee, Miss Martha Williams, Moses Woolley, Mrs. Wheelwright, Miss Mary C. Willson, Donald B. Edith Christiana White, Miss Gertrude E. Winsor, Mrs. Frederick Wrenn, Philip W. Whitin, Mrs. G. Marston Winsor, Mrs. Kennard Wright, Mrs. Walter P.

Subscribers to Endowment Fund for the season 1930-31

Bancroft, Mrs. Hugh Eppenstein, James F. Newberry, John S., Jr. DoWse, Mrs. W. B. H. Fay, A. D. Wiggin, Arthur M. Harding, Emor H.

Estimated deficit for season of 1930-1931 . . . $100,000.00

Subscriptions to date for season of 1930-1931 . . . 80,440.33

Balance required to meet estimate . . . . . 19,559.67 Endowment Fund 319,194.41 Endowment Fund, in memory of Henry L. Higginson 70,310.18 Endowment Fund, in memory of Richard C. and Ellen Sturgis Dixey .... 5,000.00 Endowment Fund, The Adele Wentworth Jones Trust Income dedicated to purposes other than running expenses 10,000.00 Subscriptions are applicable to deductions from the Federal Income Tax

Subscriptions to annual deficit and to the Endowment Fund should be sent to E. B. Dane, Treasurer, 6 Beacon Street, Boston, Mass.

1667 Mozart: Overture to "The Magic Flute," November 14, 1930 367 Concerto for clarinet (Victor Polatschek-j-**), Novem- ber 14, 1930 <°>S6 Concerto in A major for pianoforte (Bruce Simonds) and orchestra, December 12, 1930 (conducted by Richard BuRGiNf) 526 Symphony in G minor (K. 550), December 19, 1930 ... 583 ^Nabokov: "Symphonie Lyrique,"** October 31,, 1930 (first .,- ..•'. time in the United States) L . 230 Pick-Mangiagalli (See Bach). Pilati: Suite for Pianoforte (Jesus Maria Sanroma) and string orchestra,** February 13, 1931 1011

^ Prokofiefp : Symphony No. 4, Op. 47,t November 14, 1930 . 405

Rameau-Mottl : Ballet Suite ("Platee," "Les Fetes d'Hebe"), October 24, 1930 149 Ravel: La Valse, October 24, 1930 199 Bolero, November 28, 1930 477 (See Moussorgsky.) ^Respighi: Metamorphoseon, Modi XII (Theme and Varia- tions),! November 7, 1930 304

RiAisKY-KoRSAKOv : Caprice on Spanish Themes, November 14, 1930 410 "The Russian Easter," Overture on Themes of the Russian Church, Op. 36, April 3, 1931 1460

A Roussel: Symphony, G minor, Op. 42,, f October 24, 1930 . . 168 Schoenberg (See Bach).

Schubert: Symphony, C major, No. 7, April 24, 1931 . . . 1563 Ballet Music from "Rosamunde," October 10, 1930 (conducted by George Henschel) 44 Schumann: Symphony No. 1, B-flat major, Op. 38, April 17, 1931 1526

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1668 Concerto for Violoncello (Gregor Piatigorsky**), A minor, Op. 129, April 17, 1931 1520 Overture to Byron's "Manfred," April 17, 1931 1495 Sibelius: Symphony No. 1, E minor, Op. 39, December 12, 1930 (conducted bv Mr. Burgin) 548 Symphony No. 7, Op. 105, January 30, 1931 958 Steinert: Leggenda Sinfonica,** March 13, 1931 (first time in the United States) 1240 Strauss: "Ein Heldenleben," tone poem, Op. 40, January 2, 1931 769 Symphonia Domestica, Op. 53, January 30, 1931 .... 968 Salome's Dance from "Salome," March 19, 1931 .... 1326 "Till Eulenspiegel's Merry Pranks," Op. 28, May 1, 1931 1652 Stravinsky: "Symphonie de Psaumes,"** for orchestra with chorus (Cecilia Society), December 19, 1930 (first

time in the United States), February 20, 1931 . 594, 1088 Capriccio** for piano (Jesus Maria Sanroma) and orchestra, December 19, 1930 (first time in the United States) 604 Suite from "L'Oiseau de Feu," April 24, 1931 1604 Tchaikovsky: Symphony No. 4, F minor, Op. 36, October 31, 1930 261 Concerto for pianoforte (Vladimir Horowitz) and orchestra, B-flat minor, No. 1, Op. 23, March 19, 1931 1306

Wagner : Overture to "Der Fliegende Hollaender," November 28, 1930 439 Prelude to "Parsifal," April 3, 1931 1442 Prelude to "Die Meistersinger von Nuernberg," October

10, 1930 ; May 1, 1931 51, 1631 if—11 mm EDWARD K , PERRY m{ra 774

1669 SUMMARY first time at The following composers were represented for the Lambert, Lourie, McKinley, these concerts: Koussevitzky, Kfenek, Nabokov, Pilati. Albeniz 2 Lambert 1 Arensky 1 LOiEFFLEIR 2 BACH 14 Lourie 1 Beethoven 7 McKinley 1 1 Berlioz 1 Mahler . . Brahms 5 Mendelssohn 1 Bruch 1 MOUSSORGSKY 1

. Mozart 4 Ohabrier . 1 Corelli 1 Nabokov 1 Debussy 2 Pilati 1 1 • Prokofieff ...... Elgar • 1 Falla, De 1 Rameau 1 2 France: . . 1 Ravel

. . 1 Gluck . . ., 1 Respighi 2 Griffes . . 1 RlMSKY-KORSAKOV 1 Hadley . . 2 ROUSSEL 2 Handel . . 2 Schubert 3 Hanson . . 1 Schumann 2 Haydn . . . 3 Sibelius Hill .... 2 Steinert 1

HlNDEMITH . 1 Strauss 4 HONEGGER 2 Stravinsky 4 KOUSSEVITZKY 1 Tchaikovsky 2

KRENEK . . . 1 Wagner 4

99 Honegger's Symphony, Stravinsky's "Symphonie de Psaumes," and Wagner's Prelude to "The Mastersingers of Nuremberg" were each performed twice.

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1670 ORCHESTRAL WORKS PERFORMED FOR THE FIRST TIME ANYWHERE

Bach: Two Preludes (arranged for string orchestra by Pick-Man- GIAGALLl).

Hanson* : Symphony No. 2, "Romantic." Hill*: An Ode (chorus and orchestra). Symphony No. 2 in C major.

Hindemith* : Konzertmusik for string and brass instruments.

Honegger* : Symphony.

Koussevitzky* : Overture.

Prokofieff* : Symphony No. 4, Op. 47.

Respighi* : Metamorphoseon Modi XII.

Roussel* : Symphony, G minor 10

OTHER WORKS PERFORMED IN BOSTON FOR THE FIRST TIME

Albeniz-Arbos : "El Albaicin," "Navarra."

Corelli-Pinelli : Suite. Elgar: Introduction and Allegro for string orchestra, Op. 47.

Hadley : Suite for orchestra, "Streets of Pekin." Krenek: Little Symphony,Op. 58. Lambert: "The Rio Grande." Lourie: Sonate Liturgique. (First time in the United States.) Nabokov: Symphonie Lyrique. (First time in the United States.)

Pilati : Suite for piano and string orchestra. Steinert: Leggenda Sinfonica. (First time in the L^nited States.)

The composers marked with an asterisk wrote these compositions for the orchestra's 50th anniversary.

i -_ ... i .: ;„ ,.:.;, .!.iiii,.iuiMi;ililimilllllliUli;iil!i;;i. ,;:. .1:1 ., :_

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1671 WORKS PREVIOUSLY PERFORMED IN BOSTON, PLAYED FOR THE FIRST TIME AT THESE CONCERTS

McKinlby : Masquerade.

THE FOLLOWING ARTISTS HAVE APPEARED AS SOLOISTS THIS SEASON Borovsky, Alexander, pianist (Four Preludes and Fugues from "Well-Tempered Clavichord"), March 28, 1931 1351 Crooks/ Richard, tenor (Mahler's "Lied von der Erde"), December 26, 1930 664 Frijsh, Povla, soprano (Loeffler's "Canticum Fratris Solis"), February 13, 1931 1034 Gieseking, Walter, pianist (Beethoven, Concerto No. 5, E- flat major), November 28, 1930. Sketch 470 Heifetz, Jascha, violinist (Beethoven's Concerto), February 27, 1931. Sketch 1154 Horowitz, Vladimir, pianist (Tchaikovsky's Concerto, No. 1), March 19, 1931. Sketch 1304 Matzenauer, Margaret, contralto (Gluck, "Che faro senza Eurydice"; Bruch, "Penelope's Lament"), October 10, 1930 (Mahler's "Lied von der Erde"), Decem- ber 26, 1930 5,653 Milstein,** Nathan, violinist (Brahms, Concerto), March 13, 1931. Sketch 1248 Piatigorsky,** Ghegor (Schumann, Concerto), April 17, 1931. Sketch 1520 PoLATscHEK,f** Victor, clarinetist (Mozart's Concerto for clarinet), November 14, 1930. Sketch 386 Simonds, Bruce, pianist (Mozart's piano concerto, A major)

(K. 488) . . . 526

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1672 Singers: Soprano, Povla Frijsh . 1 Contralto, Margaret Matzenauer 1 Tenor, Richard Crooks* 1 Violinists: Jascha Heifetz, Nathan Milstein** 2 Violoncellist: Gregor Piatigorsky** 1 Clarinetist: Victor Polatschekf** 1 Pianists: Alexander Borovsky, Walter Gieseking, Vladimir Horowitz, Bruce Simonds 4

THE FOLLOWING HAVE ASSISTED IN PERFORMANCES

Amy Evans/* soprano ; Margaret Matzenauer, contralto ; Richard Crooks,* tenor; Fraser Gange, bass, in Bach's cantatas Nos. 85 and 20, March 27, 1931, and No's. 4 and 80, March 28, 1931 (part of the Bach Festival). (Mme. Evans was first heard here with the orchestra in Bach's Mass in B minor, March 24, 1931.) Marie Murray, contralto in Lambert's "Rio Grande," April 24, 1931. The Bach Cantata Club, rehearsed by G. Wallace Woodworth, its conductor, sang the choruses in the above-mentioned cantatas of Bach. The Harvard Glee Club, Dr. Davison conductor, and the Radcliffe Choral Society, Mr. Woodworth conductor, sang Hill's "Ode" on October 17, 1930. The Cecilia Society, Arthur Fiedler conductor, was the chorus in Stravinsky's "Symphonie de Psaumes,"** December 19, 1930, and February 20, 1931; also in Lambert's "The Rio Grande," April 24, 1931. Alto voices trained by Mr. Fiedler sang in Lourie's "Sonate Litur- gique" on January 2, 1931. December 19, 1930. Jesus Maria Sanroma, pianist. Stravinsky's Capriccio** for piano and orchestra. February 13, 1931. Mr. Sanroma, pianist. Pilati's Suite** for piano and string orchestra; Lambert's "The Rio Grande," April 24, 1931.

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1673 ;

March 27, 1931. Richard BuRGmf and Julius Theodorowicz,! violinists. Bach's Concerto for two violins and string orchestra (Bach Festival). March 28, 1931. Alexander Borovsky, piano; Richard Burgin/j- Con- violin ; Georges Laurent^ Ante. Bach's Brandenburg certo No. 5 (Bach Festival).

GUEST CONDUCTORS Arbos, Enrique Fernandez. January 23, 1931. Corelli-Pinelli, Suite**; Franck, symphony in D minor; De Falla, Suite from "El Amor Brujo"; Albeniz-Arbos, "El Albaicin/'** "Navarra."** Burgin/j" Richard. December 12, 1930. Kfenek, Little Symphony** Mozart, Piano Concerto in A major (K.488) (Bruce

Simonds, pianist) ; Sibelius, Symphony No. 1, E minor, Op. 39. Hadley, Henry. January 16, 1931. Haydn, Symphony No 1, E-flat major; McKinley, Masquerade*; Hadley, "Salome" (after Wilde's Tragedy), Op. 55; Hadley, Suite for orchestra, "Streets of Pekin."** Henschel, Sir George. October 10, 1930. Beethoven, Overture to the "Consecration of the House"; Gluck, "Che faro senza

Eurydice" (Mme. Matzenauer) ; Haydn, symphony in B-

flat (B. & H. No. 12) ; Schubert, Ballet Music from "Rosa- munde"; Bruch, Penelope's Lament from "Odysseus"

(Mme. Matzenauer) ; Wagner, Prelude to "The Master- singers of Nuremberg." The programme, with the exception of Wagner's Prelude, of the first concert of the orchestra (October 22, 1881), when Weber's Festival Overture was played.

ENTR'ACTES AND EXCURSIONS PAGE

Blandford, W. F. H. : A Note on Drums 195

Borowski, F. : Music of the Sea 194

Calvocoressi : Moussorgsky's Inspiration 127

invites all lovers of modern music LEO REISMAN'S Bradford Orchestra EVERY NIGHT LUNCHEON ted ROY DINNER 65c—85c— $1.25 Dir.ctin. $1.50— $2.50 Daily orsan concert # Dancing 6:30-2 a. m. Convenient— near theatres—opposite the Metropolitan TREMONT ST. at HOLLIS . . . L C. PRIOR, Manager

1674 ;

Cceuroy : Albert Roussel 182

Evans : Haw I Became a Modernist 540

Fox-Strangways : Personality 314 Publicity 762 Since 1920 or so 326 Gilman: "This Modern Stuff" 614 Gray: Sibelius, Man and Artist 556 Hale: Bolero 479 Bourree 1366 Clarinets 400 Concerts in the Paris of the 18th century 1215 Debussy and the Sea 193 Flying Dutchman, Legend of the 448 Gavotte 1360 Gigue 1372 Goethe and Beethoven 1182 Jota 917 Mahler the Man and the Composer 692 Penelope 48 Salome, Legend of 816 Tchaikovsky and Glazounov 246 Waxen Images, A Note on 1053 Laloy: Oesar Franck and the Schola Cantorum 888

Newman : Enter the Pianola 1468

Scholes : Novels and Symphonies 655

Times (London) : Gypsy Musicians: Mourning for a master 117

Vuillermoz : Singers vs. Voices 624

INDEX TO SUNDAY REFERENCES AND FOOTNOTES

Biographical (Men) :

A. Abington, Lord, 39 ; Agricola, J. F., 394 ; Alva, Duke of, 1181 ; Arbos, E. F. 911; Aristobulos, 818. B. Bach, J. C, 392; Bachrich, S., 79; Bardella, 302; Bargaglia, S., 300; Barnby, J., 630; Bax, A., 322; Beardsley, A., 1331; Beauharnais, E., 94; Becker, C, 1391; Beecke, 528; Benedict VI, 750; Berger, L., 534; Berg-

mann, C, 1320 ; Berr, F., 403 ; Best, Capt, 630 ; Blow, 630 ; Blumenfeld, E., 1304; Boettger, 1534; Bolingbroke, R., 1056; Bottarelli, 393; Bronsart, 1518; Bruckner, A., 694; Bunge, R., 1353; Buxtehude, 628.

C. Camelford, 630 ; Capoul, V., 260 ; Cartellieri, 475 ; Oastrucci, 302 ; Cavos, C. 226; Charles IX, 1055; Charles de Valois, 1056; Christian, Ludwig, 1396; Chrysostom, St., 843; Clement, F., 1116; Clementi, 382, 532, 534; Coconas, 1056; Cooke, T., 460; Croft, 630; Czerny, 474.

D. Damrosch, L., 1322 ; Decius, N., 1391 ; De La Haye, 1222 ; Delius, 322 Denner, J. C, 402; Denvil, 1512; Derby, Earl of 1059; Dessoff, 1474;

^OWELL BROTHERS, INC. lS 422 BOYLSTON STREET, BOSTON, MaSS.

c Trousseau, Wedding and Anniversary (jifts

1675 ;;

8.12, 1321 ; Dragonetti, ; L., Dietsch, P. L. P., 448 ; Douglas, Lord, 98 Drouet,

; Dulot, J., 1057. 1286 ; Duffus, King, 1055 E. Ebert, 1524: Elgar, 320; Ellingham, H., 1469; Epstein, J., 343, 693; Esterhaz, A., 39; Esterhazy, N., 39. F. Faber, J. A. J., 394; Farinelli, 872; Fokke, B., 456; Fonta, L., 1016; 1407. Fonteski, 1226 ; Francisco, 1014 ; Franck, G Gallini, 39; George I, 872; George III, 765; George IV, 100; Gieseke,

; ; Glnck, ; J. G., 367 ; Gladstone, 631 Glinka, 224 583 Goodson, J. E., 590 Gregory, St., 842; Griepenkerl, 628; Guadagni, G., 26; Gugliemi, P., 475. H. Hiamet ben Hadji, 1014; Hartmann, V., 121; Hazlitt, W., 630; Heer-

mann, 1171; Heine, 446; Heinechen, 1352; Heller, R. (see Palmer) ; Hen- schel, 8; Hensler, C. F., 12; Herod, 816; Herzogenberg, H., 343; Higgin-

son, H. L., 7 ; Hogarth, 302 ; Holzbauer, 382 ; Hubert, 1314 ; Hummel, 1191. I. Irving, H., 462. J. James, King, 1058; Jewell, Bishop, 1058; John of Austria, 1024; Jon-

kovsky, 224 ; Joseph II„ 583 ; Jot Aben, 917 ; Jurgenson, B., 1322 ; Jurgen- son, G., 1322; Jurgenson, P. I., 1322.

K. Kapsberger, 304 ; Kautz, J., 1533 ; Kempelen, W., 92 ; Klose, H. E., 403

Kokoscka, 1434 ; Konoye, Hidemaro, 846 ; Kotak, J., 262 ; Krenn, F., 693 Kross 1324.

L. Lalande, 1216 ; Lamb, C, 631 ; Lambert, M., 1018 ; La Mole, 1055 ; Lang, B. J., 132; Le Brun, 750; Lefevre, 403; Legros, 30; Leotiardi, L., 120 Leopold II„ 583, 1352; Ligonier 631; Listemann, B., 8; Lomonossov, 232

Louis Hutin, 1056 ; Louis X, 1056 ; Louis XIV, 1022 ; Louis XV, 1022. M. Macaulay, 631; Maetzel, J. N., 90; Maelzel, L., 92; Maguinnis, D.. 1326; Malata, J., 914; Madetoja L., 964; Manzoni, 1182; Marigny, 1056;

Martucci, 306 ; Maurel, V., 18 ; Mayr, 475 ; Mayseder, 474 ; Meyerbeer, 98

Miaskovsky, 408 ; Michelletti, 300 ; Molinari, 192 ; Moline, 26 ; Monastario,

911 ; Monn, 1028 ; Mueller, 403, 405.

N. Niemann, W., 338 ; Nini, A., 106. O. Ogny, Baron d', 1222; Ottoboni, Cardinal, 872.

P. Padilla, 478, 1325; Palmer, R., 476 (see Heller) ; Perkins, C. C, 590;

Philidor A. D., 1216 ; Philidor, F. A. D., 1216 ; Piatti, 1290 ; Pinelli,, 871 Preller, 46. Q. Quevedo, 92. R. Radics, Bela, 117; Remenyi, 1259; Reynolds, J., 631; Reynolds, R., 1469; Richelieu, Cardinal, 1014; Rist, 1393; Rodwell, 460; Rohan-Rohan,

1222 ; Roitsch, 628 ; Rose, A., 703 ; Ruggeri, 1055. S. Salomon, 39, 43; Savasta, 1011; Schenck, 370; Schikaneder, 367, 374; Schleinitz, 1296; Schneider, J. C. F., 472; Schubert, clarinet maker, 403; Siboni, 474; Smart, Sir G., 1288; Smith, S., 269, 1079; Specht, 340; Spiering, 699; Stadler, A., 388; Stein, 727; Stoepel, 36; Stricher, 1353: Stumpf, 20. .'"'..-.'' T. Terezo, 478; Theodore of Corsica, 630; Thomson, 86; Tiorba, 304; Torelli, 300 ; Toushmalov, 120 ; Turner, C, 197 ; Turner, J., 767. V. Varlamov, 246; Verretti, 1011.

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typify Theodore (jorums and tyrocki Theodore INC.

557 Boylston Street Opposite Copley Plaza

1676 ;:;

W. Weisheimer, 51; Wetzler, 974; Wienawski, 18; Williams, V., 322; Winterfeld, 1390; Wittgenstein, 991; Wood, H., 120; Worcester, S., 633; Worcester, S. M., 633; Worcester, Z., 633; ranitzky, 730; Wuellner, L., 702. Y. Yveteaux, 1014. Z. Zeuxis, 50; Zichy, 991.

Riooraphical (Women) : A. Ahna, P. de (Mme. R. Strauss), 966; Albeniz, L., 921; Albeniz, Mme.,

921 ; Ancre, Mme. d', 1059 ; Artot, M. J., D., 1325 ; Aurnhammer, J., 530 Austin, Mrs., 378.

B. Bach, A. M. 1352 ; Bach, M. B., 1352. C. Oandar, S., 1012; Cantelen, Dame de, 1056; Catherine de Medici, 1055, 1366; Celeste, Mme., 460; Corelli, Marie, 655. D. Darragh, Miss, 814; Delna, 32; Duncan, I., 106. G. Gautier, E., 1124; Gerl, 368; Gloucester, Duchess of, 1056. H. Heilbron, S., 260; Henschel (L. Bailey), 7; Herodias, 816 et seq.; Her-

zogenberg, E., 343 ; Hofdaemmel, 370. I. Imperio pastore, 898. J. Jordana, R. (Mme. Albeniz), 921; Jourdain, M., 1056.

L. Leigh, M., 816, 1331 ; Lenclos, 1014 ; Lopokova, 1608.

M. Maclezova, X., 1608 ; Mahler, J., 703 ; Marguerite de Valois, 1366 ; Marie Antoinette, 1362; Meek, N. F. v., 255 262 1308; Millioukov, A. J. (Mme. Tchaikovsky), 256; Moke, M. F. D., 1118; Mons, A. de, 1056; Munte, L., 812. P. Padella, L. A. de, 1325; Pleyel, Mme. (see Moke). R. Rath, Gisella v., 1352; Recio, M., 1122; Ross, Oriel, 234; Rubinstein, I., 477. S. Saal, Miss, 728; Salome, 816; Schindler (Mme. Mahler), 698; Schroeder-

Devrient, 442 ; Schumaun, C, 1526 ; Schumann, M., 1538 ; Sealey, C, 630 Selva, B., 914; Sembrich, M., 1256; Sesi, A., 474; Sessi, C, 474; Sesi, I., 474; Sesi, M., 474; Smithson, H„ 1110; Stein, N., 528; Strauss, P. (see Ahna), 966; Stricher, C, 1353. T. Tchaikovsky, Mme. (see Millioukov), 256. V. Vestvali, F., 36. Viardot, P., 28, 30. W. Wieck, Clara, 1526. Z. Ziegler, M. v., 1391.

Musical Forms : Alborada, 412 ; Atonality, 308 ; Aubade, 413. Badinerie, 876 Boutade, 1288. Capriccio, 1288; Concertino, 295; Concerto, 298-9, 10S0 Oontinuo, 1356. Diverttimento, 1102. Fantaisies, 1238, Fugue, Irregular,

1358. Overture, 1354. Parties and Partheyen. 1354 ; Preludio, 1238 ; Prose, 748. Rejouissance, 1238; Ritornelle, 1238. Sequence, 748; Sinfonie, 588. 799; Suite, 1354; Toccata, 1238.

Dances: Bergomask, 1290; Bolero, 478; Bourree, 1084, 1366. Cordax, 1012. Dancing in Vienna (see Kelly), 214. Fandango, 415, 479; Flamenco, 482.

A Music Store Right in the Heart of the Shopping District Former Patrons of The Oliver Ditson Co. will find a COMPLETE Stock of Music at THE BOSTON MUSIC CO. 116 Boylston St., Boston, Mass., near Tremont St. Telephone, Hancock 1561

1677 ;

• Gavotte, 1104; Gigue, 1104, 1360, 1372. (see also Jig). Jig, 1378 (see also

; Sarabande, 1012 ; Seguidella, 479. Gigue) ; Jota, 917. Saltarello, 1020 Balalaika, Instruments : Archlute, 302; Aubadinel, 413. 269; Balalaika orchestra, 269. Chalumeau, 402; Citterone, 302; Clarinet, -388; Crotal, 201

Crotalum, 201. Drums : 195, Caisse roulante, 198 ; chromatic, 197 ; kettle drum sticks, 196; long, 196; tambour, 199; tenor, 196, 511; universal pedal tympani, 198; Wirbel trommel, 198. Galoubet, 413; Gigue, 1372 Guitar, 1376. Horns at Cothen in Bach's time, 1401. Jigger, 1378. Melo

phone, 1538 ; Metronome, 90 ; Musette, 1086. Oboe d'amore, 976 ; Orches

tras in Vienna, 526. Panharmonicon, 90, 92 ; Pianola, 1468. Rehab, 1372 Ruehrtrommel, 511. Schalmey, 402. Theorbo, 302; Trumpeter, Automa ton, 90, 92. Viola marine, 302; Violetta marina, 302. Violetta piccola

302 ; Violino di grosso or ripieno, 295, di concertino, 296. Wirbeltrommel 198.

Legends and Folklore: Abunda, 822. Baba-Yaga, 125. Calypso, 50. Circe 50. Diana, 822. Fire-Bird, 1606; Flying Dutchman, 456 et seq. Herodias 818 et seq. Katschei, 1606. Penelope, 48. Stromkarl, 110. Telegonus 50; Telemachus, 50. Vanderdecken, 442.

Songs :

A. Adieu, 188 ; Adieu de l'hotesse Arabe, 10 ; Amoureaux separes, 187 ; Am

Strande, 1538 ; Arrow, 7 ; Athenian Song, 962 ; Auf dem Strom, 1563 Auf der Treppe, 1432; A un jeune gentilhomme, 187. C. Crowned Tone, 53.

D. Dies Irae, 888, 1102 ; Durch die Abendlichen Gaerten, 1432.

F. Farewell, A., 187 ; Flammes, 187.

G. Garden of Kama, 1595 ; God Save the King, 100. H. Heigho, 7. I. Ich atmet' einen Lindenduft, 700; Ich hoer' ein Voeglein, 1535; II

faut s'amuser, 1324 ; In Haven, 946 ; Intruder, 1603 ; Invocation, 188 ; Irish Christening, The, 1325.

J. John Brown's Body, 944 ; Joto, 1157. K. Kuss, Der, 14. L. Laschia ch'io pianga, 1020 ; Lauda Sion, 888 ; Light, 187 ; Little Birch Tree, 268 ; Loewenbraut, 1538 ; Long Departed Lover, the, 1603. M. Melancholie, 1432; Menace, La, 186; Minuet d'Exaudet, 1026. N. Nocturne, 1603; Nora Creina, 86. O. Ode Chinois, 188 ; Odelette, 188 ; Old song resung, An, 1594 ; Old Temple Among the Mountains, 1595 ; On the City Street, 1603. P. Partant pour la Syrie, 1286. R. Rheinlegendchen, 700 ; Ruin of the Ku-Su Palace, 1603 ; Rule Britannia, 396. S. Sabbath Morning at Sea, 946 ; Sea Pictures, 946 ; Sea Slumber Song,

946 ; So-fei gathering flowers, 1594 ; Sorrow of Mydath, 1594 ; Sterne, Die,

1563 ; Summer Day, A., 1603 ; Swimmer, The, 946. T. Tramonto, II, 310 ; Traum durch die Daemmerung, 775.

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U. Ugly Duckling, The, 406 ; Urlicht, 702. V. Veni, Sante Spiritus, S88; Victimae Paschali, S38. W. Waikiki, 1595; Wanderer, The, 590; Where Corals Lie, 946; White Nightingale, 1603; With a Man of Leisure, 1603; Widmung, 1538; Win- terabend, Der, 1563. Opera House and Theatre:

A. Acanthe et Cephise, 394 ; Acis and Galatea, 583 ; Adelasia et Aleramo 475; Ailda, 621; Alceste, 394; Alcyone, 199; Alessandro, 10; Aline, 474 Almira, 1020; Amor Brujo, El, 898; Antigone, 1929; Antony, 1120

Aphrodite, 226 ; Apollo Musagete, 602 ; Apres-midi d'un Faune, 615, 1644

Argonauten, Die, 695 ; Ariane et Barbe-Bleu, 921 ; Arme, Jonathan, 923

Artaxerxes, 394 ; Ascanio, 892 ; Athalie, 1929 ; Aventures du Roi Pausole,

1032 ; Azora, 849.

B. Bachelier de Salamanque, 187 ; Baiser de la Fee, 612 ; Barbiere de

Seviglia, 413 ; Basi e Bote, 82 ; Bastien et Bastienne, 1258 ; Belfagor, 310 Belle de Meudon, 1034, 1304; Belohnte Treue, 1228; Benvenuto Cellini

(play), 892; Berceuse, La, 82; Bianca, 849; Blackbirds, 1603 ; Brigands, The, 36.

C. Cardillac, 1436 ; Carillon Magico, II, 82 ; Cavalleria Rusticana, 37

Oephale et Procris, 1362 ; Chout, 406, 409 ; Christmas Eve's Revels, 120 ' Clemehza di Tito, 390 ; Cleopatra's Night, 849 ; Coeur du Moulin, 174,

916 ; Consecration of the House, 12 ; Contes d'Hoffmann, 896 ; Corsair.

1495 ; Corsaro, II, 106 ; Cosi fan tutte, 583 ; Cradle Song, 898 Cristina di Suezia, 106.

D. Daemon, Der, 1438 ; Debora e Sisera, 475 ; Deux Aveugles de Toledo,

480 ; Diktator, 514 ; Don Giovanni, 583, 596, 699 ; Dorfbarbier, 370 ; Dover

Street to Dixie, 1603 ; Drei Pintos, 697, 734 ; Duke's Motto, 36.

E. Egmont, 1172, 1193-4 ; En Prison, 896 ; Entfuehrung« aus dem Serail,

318, 1256 ; Ermitage Fleurie, 923, 1059 ; Ernest v. Schwaben, 694 ; Erode,

844 ; Etourdie. L', 413 ; fitudiant de Vichy, 174, 916 ; Eugene Oniegen,

271 ; Euryanthe, 1474 ; Eventail de Jeanne, 186. F. Fanny's First Play, 223; Favorite, La, 1122; Fedelta Premiata, 1228: 1' Fervaal, 232, 921 ; Festin de Araignee, 176, 182, 186 ; Fidelio, 698, 1193

Fils Prodigue, 407, 408 ; Flamenca, La, 482 ; Fliegende Hollaender, 439 Florentine Tragedy, 814; Flying Dutchman (play), 460; Franc Juges, 1125; Frankestein, 460; Fredegonde, 896; Freischuetz, Der, 7, 460; Friedrich der Schoene, 10.

G. Galante Aventure, 896 ; Gambler, The, 406 ; Gamea, 36 ; Geheime Koenig-

reich, 514 ; Genoveva, 1498 ; Geschoepfe d. Prometheus, 1319 ; Goetterdaem-

merung, 621 ; Gramia and Diarmid, 943 ; Gretna Green, 896 ; Guenther v.

Schwarzburg, 380 ; Guinivere, 923 ; Guntram, 775, 966 ; Gwendoline, 1147. ; H. Hamlet (play), 10; Helene de Sparte, 74, 916 • Heliogabale, 174, 916;

Henry Clifford, 923 ; Herodiade, 10, 844.

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Iphi- ; 968 ; Iphigenie en Aulide, 1362 ; I Ida della Torre, 106 Intermezzo, ' Soussanin, 226. ; Isola disabitata, 1228 ; Ivan &o-enie en Tauride, 199 821 ; John the Baptist, 834, 836 ; Jonny J Jessonda 1318 ; Johannes, (Honegger's), "spielt auf, 514, 520; Jota, La, 920; Judith 1032, 1302; (Serov's) 120; Julius Caesar, 7.

; King Christian II, 550, 552-3, K Karin of Koridwen, 1588 ; Katsche'i, 1604 964; King David, 1032, 1302; Kingdom of God, 898; Kobold, Le, 896; Kuolema, 551.

of Joseph, ; Life for L. Lancelot, 923 ; Leben des Or est, 516 ; Legend 199 the Tzar, A, 224, 226; Lohengrin, 50, 238, 1444, 1452; London Assurance, 1178; Louise, 197; Lucia di Lammermoor, 106, 590, 800. M. Mme. Turlupin, 896; Maddalena, 406; Magic Flute, 106, 367, 390,, 966; Magic Opal, 921; Mammon, 516; Manfred, 1512; Marchand de Sable qui

; York, ; Marriage of passe, 176 ; Marescill d' Ancre, 106 Margherita di 106 Figaro, 698; Mastersingers of Nuermberg, 51, 913, 1631; Merchant of Venice, 1370; Merlin, 923; Merry Wives of Windsor, 834; Midsummer Night's Dream, 1178, 1292; Mlada, 542, 1604; Moerder, Hoffnung d. Frauen, 1434; Muette de Portici, 480, 1118.

N. Naissance de la Lyre, 186 ; Navarraise, La, 919 ; Neues vom Tage, 620, 1436; Noces, Les, 610; Norma, 104; Nubia, 10; Nusch-Nuschi, 1436. O. Odalisca, 106; Ode, 232; CEdipus Rex, 602; Oiseau de Feu, 600, 1604; Olympia (play), 1178; Oresteia, 1324; Orfeo ed Euridice, 24, 394; Orione. 392; Orlando, 302; Othello, 261. P. Padmavati, 184, 186; Panurge, 1362; Parsifal, 695, 697, 820, 1444;

Pas d'arier,407, 409 ; Paul et Virginie, 260 ; Pelleas et Melisande, 546, 921 Pepita Jiminez, 923, 1059; Petite Poucette, 1370; Petits Riens, 1364;

Petrouchka, 600, 610, 1609 ; Piccolino, 896 ; Pique Dame, 698 ; Pohjalaisia, 964; Pomona, 1602; Poor Jonathan, 923; Power of Evil, 120; Preciosa,

198, 480 ; Prince Igor, 542 ; Prize Fight, 1603 ; Pulcinella, 600. R. Rheingold, 340, 696; Rienzi, 198, 440; Rinaldo, 1020; Rivals, The,

1178 ; Robert le Dia'ble, 199 ; Rognedo, 120 ; Roi d'Ys 413, 886 ; Romantic

Young Lady, 898 ; Romeo and Juliet, 36, 37, 1112, ballet, 1602 ; Rosamunde,

44 ; Rosiere ed Salency, 1028 ; Rossignol, Le, 600 ; Ruebezahl, 695 ; Ruins of Athens, 12; Russian and Ludmilla, 125. S. Sacre de Printemps, 600, 610 ; Sane, 849 ; Salice d'Oro, 82 ; Salome, 618, 804, 844, 845, 1326, (marionettes) 844, (pantomine) 845; Salut au Monde, 1592 San Antonio ; de la Florida, 923 ; Sancta Susanna, 1436 Schojo 1592; Schwergewicht, 514; Sea Change, A, 10; Shylock, 1298; Siegfried, 51 Sold Bride, ; The, 698 ; Sprung ueber den Schatten, Der, 514 Stradella, 590; Sumitra, 82. T. Tamerlano, 394; Tannhaeuser, 448; Telemacho, 26; Tempest, The, 1032, 1178, 1302; Three-Cornered Hat, 913; Titon et l'Aurore, 30; Tra- gedie de Salome, 845; Triadic Ballet, 1438; Trial of Love (Orfeo), 34; Tristan u. Isolde, 51, 698, 699, 1450; Trovatore, II, 36; Trying It On, 1298 ; Tuttifantchen Weihnachten, 1436. V ai seau Fant6me > 446 (see Flying Dutchman) *.oJ ^ ; Vepres Siciliennes. 480; Virginia, 106; Vormittags Spuk, 1438.

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1680 W. Walkuere, Die, 51, 696. 699; William Tell (play), 1178: Wozzek, 170.

Z. Zampa, 104 ; Zanetta, 104 ; Zwingburg. ol6 ; Zwischenakts Potpourri, 1436.

Miscellaneous : A. Andalusians, The, 918: Aragon, 918: Aragon Women. 918; Asturians,

417 ; Auverpins, Les, 136s.

B. Bacline'rie, 876 ; Big Ben, 1477. C. Canards, Faire des, 404; Catalonia, 914; Chess Player, Automatic, 92;

Clarinet, spelling of, 400 ; Clarinette de cinq pieds, 403 ; Clemenceau and

Wilson, 559 ; Conflagration of Moscow, 94 ; Concert de Loge Olympic,

1224 ; Concerts des Amateurs, 1222 ; Concerts Spirituels, 1216 ; Conductor

with baton, 748 ; Couac. 404.

E. Envoutement, 1055 ; Essentuka water, 258. F. Frozen music, 1189.

G. Gap and Gavotte, 1360 ; Gigue. derivation of word, 1374 ; in French slang, 1376.

H. Hiam-scrapers, 1376 : Handel's house in London, 296, 1079 ; Hogarth's "Enraged Musician," 302.

I. Jig—the word in slang, 13S6 ; Joya. 417. L. Lerida in Spain, 818.

M. Madrenas, 417 ; Masonry in the "Magic Flute," 378, 384 ; menuet,

derivation of the word, 1020 ; Music, frozen, 1189. O. Obikhod, 1462.

P. Penelope, the bird, 49 ; Pictures of Salome, 831, 842 ; Poems on Salome, 820 et seq., 841.

R. Ranz des Vaches, 1104 ; Rejouissance, 876 ; Rope Dancers, Antomatic, 92, 94.

S. Saint Anne, Church. 630 ; St. Anne's tune, 629 : Salome, pictures of,

831, 842 ; Sarao, the word, 1012 ; Scotch snap, 1084 ; "Stray Dog" in Lenin- grad, The, 754.

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1681 ;;

631; Wilson and Clemenceau, 559; w "Wantage," 633; Wardonr Street, Aragon, 918. Women of Andalusia and word, 1012. Z. Zarabanda, the C? RY and John, 820. Albert!, Bee- Mahler,arer tt*.694 AAelfric, Herodias A.rîtrMAdler > Domestic Sym., 982. Alger, Sym \ldY\ ch strauss s rS Aihe^, U^rgfrikJ Allen M^fin ^ ^^ 96 A '; ' Co^^tionôf fh°e ^Jse, T6 , > iT AptC/p 3ffi£ ^ 7 Sym. No 1, 1475; Haydn, ' tr^BeÛoz 1094 ; Brahms, Sym" No l#; Easter, 41- Mozart, Sym. G minor, 592; Rimsky-Korsakov's M«?t'«rv Svm Laoor, ^ÂpSeiCwiS 1053. Arnold, M., tr., 1036. Ars. et ^T^Fl^^'ci*^ Lndwig, 1398; on Prince Leopold 1352. Beam J. N„ BachJahr Buch, 1353. Bayle, Penelope, 49; Ruggen, 1056 bolero, 481 Beethoven, on his Wilde's Salome, 826. Beckford, on the 88, 98; his v. c. 1158; Egmont, Oy., 1183, Sym No. 1, 732; Sym. No. 7, 86, Berlioz, his Sym 1190*; Goethe, 1183 et seq.; Handel, 20; Salomon 43. Orfeo, 32, Fantastic, 1094 et seq.; his "Euphonia," 1116; on Haydn 41; of clarinet concerto Beethoven Sym., No. 1, 732; Vestvali, 37; Story Arnim, Beethoven and 404 Bethge, Chinese poets, 666. Bettina v. Blandford, Goethe 1188. BlacUoood Magazine, Flying Dutchman, 458. Bespighi, 310 Serov, 120 Drums! 195. Blessis, Bolero, 479. Blom, E., ; Borrow, 343. Borowski, Life for the Tsar, 226; Sea Music, 194. tr with Asturias, 417. Zoschot, Harriet Smithson, 1110; Controversy Gluck's Tiersot, 1125. Botsford, Russian Folksongs, 268. Boye, on No. 2, 332, 343 "Orfeo," 32. Brahms, on his Sym. No. 1, 1473-74 ; Sym. Beethoven, Sym. No. 1, 736. his v. c, 1250, 1257 ; J. Strauss, 767. Brenet, Brewster, Automaton Chess Player, 96. Brossard, Indications of tempo, 540; capricio, 1238. Browne (Artemus Ward), quoted, 843. Bryant, H., tr. 343. Bryce, Editor of Virgil, 1050-51. Buelow, Brahms Sym. No. 2, 336; the "Drei Pintos," 697; Tchaikovsky, p. c. No. 1, 1316, 1317, 1322; on New England, 1320. Burke, H. R. De Falla, 905. Burney, Concerts Byron Spirituels, 1218 ; a dedicator, 765. Byrd, to Sir Henry Carey, 764. fc

the Bolero, 480 ; on his Manfred, 1512. O. Oalderon, E., Spanish dancing, 487. Calmette, Debussy, Afternoon of a Faun, 1644. Calverley, tr.. .631. Carse, clarinets, 396. Casella, Ravel's Valse, 261. Celler, Bouree, 1368; Gavotte, 1362. Chabrier, Spanish dancing, 485. Charlevoix, wax images, 1055. Chorley, Schumann, Sym. No. 1, 1540. Christian Science Monitor, Hindemith, 1440, Kfenek, 522. Clementi, Ov. to Magic Flute, 382. Cceuroy, A., Roussel, 182. Collier, J., wax images, 1055. Cotgrave, Badinerie, 876. Courrier de VEurope, Bee- thoven, Sym. No. 1, 746. Cowper, "The Task" quoted, 400. Cummins, Handel's house in London, 296, 1079. Czerwinski, Bolero, 479; Bourfee, 1368; gavotte, 1364. D. Daily Chronicle, Automatic Chess Player, 94. Daily Journal, viola marina, 302. Daily News, 977. Daily Post, Handel 296, 1079. Daily Telegraph, "Ode," 244: Hindemith, 1428, 1430. Daniel S., wax images,

P. c.=piano concerto; v. c.— violin concerto; vc. c.=violoncello concerto;

Sym. r= Symphony ; tr.— translator. E. C. SCHIRMER MUSIC CO. 221 COLUMBUS AVENUE, BOSTON, MASS. Telephone Kenmore 1772 Publishers of Depot for THETHF rnurnon e = D ,« PETERS EDITION CONCORD SERIES AUGENER*S EDITION THE COMMONWEALTH SERIES SCHIRMER LIBRARY OF MUSICAL CLASSICS HARVARD UNIVERSITY GLEE CLUB CURWEN.GRAYa NOVELLO PUBLICATIONS COLLECTION OF PART SONGS Sole Agents for FOR MEN'S VOICES compositions of paul juon i f feE CHORALchoral MUSICmusic andA... vassar "king david" J:.t£!: . . honegger CHORAL MUSIC FOR WOMEN'S VOICES THE COWLEY CAROL BOOKS

1682 De- 1059. Dante, giga, 1374; Ulysses, 50. Daudet, A., galoubet, 413.

; Albeniz, 915, 921 ; Franck, 896. bussy, on his "Mer," 189 ; the ocean, 192 Decade Philosophique, Beethoven, Sym. No. 1, 744. Delvau, Bourree, Doerffel, 1368. Desrat, Bolero, 479; gavotte, 1362; minuet, 1028. 748. Brahms, v. c 1256. Downes, Prokofieff, 407. Durandus, Sequence, Duerenberg, Beethoven, Sym. No. 7, 110. Dwight, Brahms, Sym. No. 1, 1474; Brahms, Sym. No. 2, 336; Magic Flute in Boston, 376; Goodson, 590;- Mrs. Barrow in "Egmont," 1180; Schumann, Sym. No. 1, 1541. E. Egan, tr. of Heine, 822. Ehlert, Manfred, 1506. Elgar, on his Opus 47, 943; and G. B. Shaw, 954. Ellis, H., Spanish dancing, 487. Jota, 917. Elson, L. C., jig, 1378; sarabande, 1018. England, P., tr., 1394. Eng- lish Dictionary, New, jig, 1378. Erb, Brahms, Sym. No. 2, 332. Evans, Kfenek, 518. F. Fertiault, Gavotte, 1364. Fetis, Beethoven, Sym. No. 1, 744. Figaro, Debussy, Afternoon of a Faun, 1644. Finck, H. T., on Wetzler—Strauss, 974. Fliiuhert, Salome, 831. Ford, R., Albaicin, 915; Asturians, 417; Catalonia, 914; Herodias, 818; Spanish dancing, 483. Forkel, Bach, 628. Forsythe, C, Chalumeau, 402; clarinet (derivation of word), 402. Fowler, spelling of "clarinet," 400. France, A., Histoire Comique quoted, 910. Francis, St. Song of Brother Sun, 1036. Franz, R., Lohengrin, 238. Fuller, T., Duke of Alba, 1181. Fuller-Maitland, Bach, Brandenburg Concerto No. 5, 1402. Furuhjelm, Sibelius, 962. G. GaraudS, Haydn, 1232. Gardiner, on Salomon, 43. Gaulois, Debussy, Afternoon of a Faun, 1644. Gautier, T., Spanish dancing, 487. Gerber,

The Stadler Brothers, 388 ; Mozart's Symphonies, 584. Gibbons to Hatton, 764. Gibbs, Music of twentieth century. 326. Gilchrist, E., Mozart and

Masonry, 382. Gilman, L., editor, 511 ; De Falla, 893, 908 ; Loeffler's Song

of Brother Sun, 1042 ; Sibelius, Sym. No. 7, 960 ; Strauss's Salome, 841. Goepp, Sibelius, Sym. No. 1, 550; tr., 670. Goethe, Egmont, etc., 1182 et seq.; Magic Flute, 368. Gogol, Dead Souls quoted, 268. Gosse, Mal- larm§, Afternoon of a Faun, 1638. Gossec, on Concerts des Amateurs, 1222. Gounod, Franck's Sym., 882. Grammont, Sarabande, 1014. Gray, C, Sibelius, 556. Gregory, St., on Dancing, 842. Grenerin, Thearbo, 304. Gr6try, on Haydn, 1232, 1236. Griffes, on his "Kubla Khan," 1582. Grimm and Diderot, on Legros, 1228. Grove, L., Fandango, 418. Gutman, Hinde- mith, 1436, 1438. H. Hadley, A. T., Sibelius, 558. Hanslick, quotes Boye, 34; Brahms, Sym. No. 2, 333; v. c, 1254; Schubert Sym. No. 7, 1564. Hanson, on his sym, 464. Hardy, T., Return of Native, 1057. Hawkins, a dedication, 765; Jig, 1378; theorbo, 302. Haydn, Concert Spirituel, 1228; London concerts, 779; minuet in London, 1024. Hazlitt, on Drouet, 1286; Byron's Manfred, 1510. Hebbel, Mutter u. Kind, 339. Heermann. Bee- thoven, v. c. 1170. Heine, Berlioz, Sym. Fantastic, 1121; Flying Dutch- man, 448; Herodias, 820. Henderson, W. J., Salome, 820. Henley, Poets and the Ocean, 193. Herzogenberg, E., Brahms, v. c, 1252. Herzogen- berg, H., Brahms v. c, 1254. Heuberger, Schubert, Sym. No. 7, 1564. Heywood, J. C, John the Baptist, 841. Hill, on his anniversary Ode,

114 ; his sym., 1152. Hiller, Mmes. Moke and Riccio, 1116, 1122. Hilliard, Automatic Chess Player, 96. Hillyer, his anniversary Ode, 113, 115.

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1683 Elsie Venner, 1020. Hinneau Mnie Plevel, 1116. Holmes, O. W., Hopkins, A. A Homli PaHas ktheiie, 47. Hood, T., Bolero, The, 480. images, 1051. Horae Book on Magic 477. Horace, Penelope, 50 ; wax Howard, Griffes, 1588. pllLnis, 752 Home, John the Baptist, 836. Huysmans, Moreau's Salome, 832. Imbert, Brahms, Sym. No. 2, 335. T Iken Beethoven, Sym. No. 7, 110. ' of prose ; Franck's Sym., 880 ; use Indy, d', Beethoven, Sym. No. 7, 112 '.'.

"Dies Irae," 752. . ; Joachim, Brahms, v. c, J Jean-Aubry, De Falla, 898, 904 ; Roussel, 172. 1254. John, St., 1391. Josephus, Herodias, 820 . ' Sym No. 2, K. Kaelo, Sibelius, 962. Kalbeck, Brahms, Sym. No. 1, 1472;

• 1648. Kastner, 332 v c 1250, 1258. Karsavina, Afternoon of a Faun, Sym. "Couacs," 404; gigue, 1376. Kautz, Boettger, 1534; Schumann, 330. Kisbeck, Vienna No. 1, 1535. Kirchner, Brahms, Sym. No. 2, orchestras, 526. Klingemann, Mendelssohn, Midsummer Night's Dream, 1283. Knickerbocker Magazine, Manfred in New York, 1516. Koechlin, Debussy, Afternoon of a Faun, 1636. Koenig, Strauss's Heldenleben, 771. enek, on his Little Krehbiel, minuet, 1026 ; Mozart and Masonry, 380. Kf Sym., 511. Kufferath, Parsifal, 1446. L. Lachner, Mozart, G minor Sym., 592. Laforgue, Salome, 841. Laloy, Franck and Schola Gantorum, 888; Mallarme-Debussy, 1642. Lampe, De Cymbalis, 201. Lapommeraye, Stravinsky's Capriccio, 606. Laurencie,

Clarinets and Rameau, 396 ; Haydn in Paris, 1232. Lavoix, Ov. to Magic Flute, 380. Lectio V. Feria VI, in Parasceve, 750. LegouvS, Berlioz and H. Smithson, 1122. Leichtentritt, on Kfenek, 516. Le Roux, Aubade, 413. Leyden, The Flying Dutchman, 458. Lourie on Melody, 754. Liszt, Bruch's Odysseus, 46; Mozart's G minor Sym. 592; Remenyi, 1260; Schumann's Manfred, 1500. Litzmann, Schumann's Sym. No. 1, 1528. Lucian, Penelope, 49. Luther, M., Ein Feste Burg, 1407; Christ lag in Todesbanden, 1396. M. Mace, A Dedication to God, 764; Sarabande, 1016. Machabey, Hinde- mith, 1428. McKinley, on his "Masquerade," 800. Mackail, tr., Virgil Eclogue, 1048. Maginn, Bottom the lucky, 1290. Mahillon, Violetta marina, 302. Mahler, Letter to Buelow, 695; on his music, 703. Man- chester Guardian, Elgar, 950. Mander, Portrait of Salome, 842. Mariana, Sarabande, 1012. Mark, St., Herodias, 816. Marnold, Strauss's Helden- leben, 775. Marryat, The Flying Dutchman (Phantom Ship), 462. Martial, Slanderer of Andromeda, 50. Marx, Beethoven, Sym. No. 1, 736; Sym. No. 7, 110. Mattheson, Bourree, 1366; Capriccio, 1238; gavotte, 1360; minuet, 1024; Sarabande, 1016, 1018. Matthew, St., quoted, 1392; Hero-

dias, 816. May, Brahms, 'Sym. No. 2, 332, 339 ; v. c, 1256. Meilhan, S. de, minuet, 1022. Menage, Aubade, 413; Gigue, 1374. Mendelssohn, on his Midsummer Night's Dream music, 1284; Goethe and Beethoven, 1189; Schubert's Sym. No. 7, 1578. Menecken, Picture of Salome, 842. Men- nicke, on Rameau and clarinets, 394. Mey, The Meistersingers, 58. Mey- nell, E., Magdalena Bach, 1352. Meziriac, Penelope, 48. Mitteldeutsche Volkzeitung, Ov. Meistersinger, 52. Modem Journal, Clarinet, 388. Moeser, Beethoven v. c, 1164. Moliere, on the ballet, 485. Mong-Kao-Jen, Poems, 689. Montagu-Nathan, Rimsky-Korsakov's Russian Easter, 1467; Stra-

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1684 ;

vinsky's Fire-Bird, 1604, 1608. Moreau, Picture of Salome, 832. Morley, H., Manfred, the play, 1514. Moroni, minuet, 1022. Morse, J., Spelling of clarinet, 402. Moscheles, Schleinitz, 1296. Moulin, Severac, 916. Mount- Edgcombe, Sessi, 474. Moussorgsky, his Tableaux of the Exhibition, 122.. 123, 124, 126. Mozart, on his ov. to "The Magic Flute," 367; Holzbauer,

382 ; Clementi's sonatas, 531 ; on piano-playing, 528 ; minuet, in Italy, 1028 ;

on his poverty, 584 ; at Leipsic, 586. Mu&ical Times, St. Anne's tune.

630 ; Strauss, Sym. Domestioa, 968. Musical World, Schumann, Sym. No. 1, 1539. Musik, Die Strauss, Sym. Domestica, 983. N. Naylor, Jig, 1378. Newman, E., Krenek, 524. Newmarch, tr., 248. Nicolai, John the Baptist, 834. Niecks, Schumann and champagne, 1498.

Niemann, Brahms, Sym. No. 1, 1474 ; Sym. No. 2, 338 ; Strauss, Sym. Domestica, 986. Nodnagel, Mahler, 701-3-5. Nohl, Beethoven, Sym. No. 7, 110. Nork, The Flying Dutchman. Nottebohm, Beethoven, Sym. No. 1,

727 ; Ov. Consecration ol the House, 13. O. Odell, Magic Flute in New York, 378; Manfred (the play) in New York, 1516. Olmo, Herodias, 818. Ortigue, d\ Beethoven, Sym. No. 7, 110 Sequence and Prose 750. Oulibichev, Beethoven, Sym. No. 1, 731, 740 Sym. No. 7, 110. Ovid, Penelope, 49; wax images, 1051. P. Parke, M. Sessi, 474. Parry, Bach, 629; v. c. for two violins, 1388: Corelli, 874. Perera, tr. St. Francis of Assisi, 1036. Phelps, tr. Parsifal, 820. Pick-Mangiagalli, on his two Bach Preludes, 80. Pieranzovini, method for drums, 196. Pirro, Bach, organ music, 62S. Pliny, the bird

penelope, 49 ; description of portrait of Penelope, 50. Poe, Von Kempelen. and Chess Player, 96. Pohl, Haydn, 799; Schumann conducting Manfred, 1504. Pollard, tr. Carello, 831. Pontecoulant, Maelzel's panharmonicon, 92. Potter, Beethoven and Cherubini, 24. Praeger, Wagner's Flying Dutch- man, 446. Praetorius, theorbo, 302. Prod'homme, Beethoven, Sym. No. 1,

746 ; Sym. No. 7, 112. Prokofieff, on his Sym. No. 4, 408 ; tells of Taniev,

407. Proust, M., quoted, 123. Prunieres, Lambert, 1018 ; Ravel's Bolero. 478; Richelieu and the ballet, 1014. Psalm 39, 594, 1038; Psalm 40, 596,

1090 ; Psalm 68, 1465 ; Psalm 150, 596, 1092. Punch, Playing the Plate, 111. R. Raaff, Concerts Spirituels, 1220. Ralston, The Fire-Bird, 1606. Ravel and Moussorgsky, 120. Regnault, his Salome, 832. Reichardt, Con- cert des Amateurs and Haydn, 1234. Reimann, Beethoven, Sym. No. 1, 736; Brahms, Sym. No. 1, 1477; Brahms, Sym. No. 2, 332. Reissmann, Schumann, Ov. Manfred, 1506. Remenyi and Brahms, 1261. Respighi, on atonality, 308. Richardson, "Pamela," 1020. Richepin, quoted, 1376. Richter, J. P., "Titan," 701. Riesemann, Moussorsgky, 121 et seq. Rimsky-Korsakov, on his Caprice on Spanish Themes, 410; his Russian Easter, 1460. Riviere, Debussy's "La Mer," 192. Robbins. J., tr. 268. Roesch,

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1685 ;

Handel, orchestral Strauss, Heldenleben, 771. Holland, clarinets, 394 ; music,

772. Rosenfeld, Mahler, 705 ; Sibelius, Sym. No. 300 ; Strauss, Heldenleben, 1057. Rossini, Mozart, 1, 553, 556. Rossetti, D. G., "Sister Helen," Ov. Magic Flute, 374. Roussel, on music, 168. Rubinstein, N., Letter to Tchaikovsky, 259. Rusiczki, Schubert's Erlking, 326. Rust, Bach, two- violin concerto, 1390. S. Saint-Saens, Mozart's indications for piano-playing, 536; Mozart, Ov. Magic Flute, 376. Sala, Hogarth, 302. Salillas, the Flamenco, 482. Salome, Poems on, 820, 841. Schaeffner, Nabokov's Ode, 234. iSchelling, Archi- tecture and Music, 1189. Schildermayer, Mahler, 703. Schoelcher, Handel, 297, 1079; theorbo, 302. Schultz, Minuet in Mozart's early syms., 1030. Schumann, Clara, Robert's vc. c, 1520. Schumann, Robert, on his Sym. No. 1, 1527; bis Manfred, 1496; Beethoven Sym. No. 1, 110; Brahms,

Sym. No. 1, 1472 ; Liszt, Letter to, 1496 ; Mozart, Ov. to Magic Flute, 376; Schubert's Sym. No. 7, 1568. Schwab, Ravel's Waltz, 201. Schwab, Libyan Witches, 1054. Scott, M., Hindemith, 326. Scott, W., The Flying Dutchman, 456. Selva, B., Severac, 916. Seyfried, Beethoven, Sym. No. 7, 102; on Clement, 1170. Shaw, G. B., Elgir, 952; Irving's Vanderdecken, 462; quoted, 223. Shedlock, tr., 119. Ship News, Maelzel, 92. Sibelius on himself, 554, 558. Signale, Ov. Mastersingers of Nuremberg, 52. Siloti, Beethoven, Sym. No. 7, 112. Smith, Sir Joshua Reynolds, 631. Sonneck, Haydn, 41. Spazier, Minuet in Symphonies, 1028. Specht, Brahms, Sym. No. 1, 1474; Sym. No. 2, 340. Spectator, Salome and John the Blaptist, 826. Spitta, Bach, 1353, 1400. Spohr, Beethoven, Sym. No. 7, 100. Squire, Nabokov's Ode, 234. Stadler, Beethoven, Sym. No. 7, 111. Stainer and Barrett, Jig, 1378. Stanley, Catalogue museum of musical instruments, Ann Arbor, 268. Stassov, Moussorgsky, Pictures of an Exhibition, 123. Steinert, on his Leggenda, 1240. Strauss, on his Heldenleben, 770; Sym. Domestica, 968. Studien fuer Tonkuenstler, The Magic Flute, 377. Sue, E., The Wandering Jew (Herodias), 820. Sun, the "Salome" (play) in New York, 814. iSundelin, Drums, 198. Swift, Gulliver quested, 1160. T. TaUettes de Polymnia, Beethoven, Sym. No. 1, 746. Tabourot, Ga- votte, 1364. Tacitus, Ulysses, 50. Tallemant de Reaut, Lambert, 1018; Ninon Lenclos, 1014. Tasso, Clarinda, 36. Tchaikovsky, M., his brother's p. c. 1325. Tchaikovsky, P., his p. c. No. 1, 1306 c. and N. Rubin- ; p, stein, 1308 ; his p. c. and the United States, 1324 ; Letters to Glazounov, 250; to Modest, 248; to Anatol, 255; to Mme. Meek, 263. Modest and Peter, 257, 267; on Rimsky-Korsakov's Spanish Caprice, 410. Tennyson, Enoch Arden, 698; Ulysses, 50. Terry, J. C. Bach, 392; J. S. Bach, 628, 1354; Princess Leopold, 1352. Thalia, Beethoven, p. c. No. 5, 474. Thayer- Krehbiel, Beethoven, 86; p. c. No. 5, 474. Theocritus, Idyll No. 2, 1048, 1051. Tibullus, wax images, 1051. Tiersot, Berlioz, Synt. Fantastique, 1101; its first performance, 1120; controversy with Boschot, 1125; on Gluck's Orpheus, 34. Times (N. Y.), Strauss, Sym. Domestica, 982, 986. Trent, De Falla, 904, 908. Tschang-Tsi, poem, 674. U. Udine, Debussy's Mer, 190. United States Magazine, Maelzel, obituary,

V. Von Vechten, De Falla, 898. Verlaine, Clair de Lune, 1290. Veuillier, Jota, 917, 919. W Wagner on his Mastersingers Ov., 51, 53, 1634 ; Flying Dutchman, 440 Beethoven, Sym. No. 7, 110 ; Paris Conservatory Orchestra, 1234. Walsh, publisher of Handel, 296. Walther, Bourree, 1366; capriccio, 1238; in-

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dications of tempo, 538. Wang-Wei, poem, 689. Ward, Artemus, quoted, 843. Watts, Our God (hymn), 631. Wasielewski, Schumann's Manfred, 1405. Weber, on Clement, 1170. Weingartner, Brahms, Sym. No. 2, 336. Weissmann, on Hindemith, 1427. Wesley, J., Our God (hymn), 631.

White, R. G., spelling of clarinet, 402 ; German commentators, 1473

Vestvali, 36. Whitman, Walt, quoted, 818, 1162 ; Strauss's Sym. Domestica, 989. Wieland, his Fairy Tales (Magic Flute), 367. Weiner Zeitung, Bee- thoven, Sym. No. 1, 727. Wilde, O., Salome, 810 et seq., 1329. Williams, L. H., Respighi, 312. Willing, Beethoven and chess, 96. Wotton, drums, 199. Z. Zederbaum, Ravel-Moussorgsky, 120.

Comments on Composers : Albeniz: Collet, Debussy, Ellis, Ford, Selva, Severac.

Bach : Bach, Bacfi-Jahrouch, Becker, Christian Ludwig, Decius, Franz, Fuller-Maitland, Leopold (Prince), Luther, Rist, St. John, St. Matthew, Spitta, Terry, Ziegler (Frau).

Beethoven : Alberti, Allg. Mus. Zeitung, Apthorp. Beethoven, Berlioz, Bettina, Brahms, Brenet, Clement, Colombani, Courrier de VEurope, Czerny, Decade Philosophique, Duncan, Duerenberg, Fetis, Fuller, George IV, Goethe, Heermann, Hensler, d'Indy, Iken, Kalischer, Koerner, Mael- zeel, Marx, Meyerbeer, Moeser, Nohl, Nottebohm, d'Ortigue, Oulibichev, Potter, Prod'homme, Reimann, Saal, Schumann, Seyfried, Siloti, Spohr, Stadler, Stein, Strumpf, Swift, Taolettes de Polymnie, Thalia, Thomson, Wagner, Wiener Zeitung, Willing, Wranitzky. Berlioz: Apthorp, Berlioz, Boschot, Gautier (E.), Heine, Hiller, Hippeau, Legouve, Moke, Riccio, Smithson, Tiersot.

Bkahms : Apthorp, Brahms, Buelow, Dessoff, Doerffel, Dwight, Erbs, Hans- lick, Herzogenberg (E. & H.), Imbert, Joachim, Kalbeck, May, Niemann, Reimann, Remenyi, Schumann, Specht, Weingartner. Debussy: Calmette, Debussy, Figaro, Gaulois, Gosse, Karsavina, Koechlin, Laloy, Riviere, d'Udine. Falla, De: France, Gilman, Jean-Aubry, Sierra, Trent, Van Vechten.

Franck : Debussy, Gounod, d'Indy, Laloy. Handel: Cummins, Daily Journal, Daily Post, Hogarth, Sala, Schoelcher, Rolland, Walsh.

Haydn : Abington, Apthorp, Beethoven, Berlioz, Concert de la loge Olym- pique. Esterhazy, Fonteski, Gallini, Garaude, Gardiner, Gretry, Haydn, Laurencie, Pohl, Reichardt, Salomon, Sonneck.

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1687 Monitor, Daily Telegraph, Gutman, Macha- Hindemith : Christian Science bev, Weissmann. Krenek: Christian Science Monitor, Evans, Kfenek, Leichentritt. Moussorgsky: D'Alheim, Calvocoressi, Hartmann, Moussorgsky, Riese- mann, Zederbaum. Mozart: Aptliorp, Brossard, Clementi, Dwight, Gerben, Gieseke, Gilchrist. Gluck, Goethe, Holzbauer, Joseph II, Krata Repoa, Krehbiel, Lachner, Lavoix, Leopold II, Liszt, Mozart, Odell, Rossini, Saint-Saens, Schenk, Schikaner, Schumann, Studien fuer Tonkuenstler Watts, Walther. Nabokov: Daily Telegraph, Schaefi'ner, Squire. Ravel: Casella, Schwab, Zederbaum.

Rimsky-Koksakov : Apthorp, Montagu-Nathan, Rimsky-Korsakov. Roussfx: Jean-Aubry, Roussel.

Schubert : Hanslick, Heuberger, Mendelssohn. Schumann. Pohl, Reissmann, Clara Schumann : Byron, Ehrhert, Hazlitt, Liszt, Morley, Schumann, Robert Schumann, Wasielewski. Sibelius: Furuhjelm, Gilman, Goepp, Gray, Hadley (A. T.), Kaelo, Rosen- feld, Sibelius.

Strauss : Aldrich, Daily News-, Finck, Koenig, Marnold, Newman, Rolland, Roesch Strauss, Times (N. Y.).

Stravinsky : Lapommeraye, Prunieres. Tchaikovsky: Artot, Balalaika, Bergmann, Buelow, Damrosch, Essentuka Water, Glazounov, Hubert, Jurgenson, Kotek, Kross, Lang, Little Birch Tree, Maguinnes, Meek, Milioukov, Rubinstein (N.), Tchaikovsky (A.), Tchaikovsky (M.), Tchaikovsky (P.), Verlamov. Wagner: Dietsch, Franz, Heine, KurTerath, Mey, Mitteldeutsch Volkzeitung, Praeger, Signale, Wagner, Weissheimer.

Extra Symphony Concerts Six symphony concerts were given in Symphony Hall on Monday evenings, Dr. Koussevitzky conductor. 1930. November 10. Bach. Two Preludes (arranged for string orchestra by Pick-Mangiagalli) ; Respighi. Metamorphoseon, Modi XII; Beethoven, Symphony No. 7, A major. December 15. Dr. Koussevitzky sick; Richard Burgin conducted. Handel, Concerto Grosso for String Orchestra, B minor. No. 12; Mozart, Concerto for violin, No. 5, A major (K. 219) (Anton Witek, violinist) ; Brahms, Symphony No. 2, D major. 1931. January 26. Mozart, Symphony in G minor (K. 550) ; Mozart, Piano Concerto, D minor (K. 466) (Hortense Monath, pianist) ; Monssorgsky-Ravel, "Pictures at an Exhibition." bri ry 6 E1 ar * ' S > Introduction and Allegro for string orchestra, up.n ^ ^ 4r: Stravinsky, Capriccio for piano and orchestra (Jesus Maria fcANROMA, pianist) ; Strauss, Symphonia Domestica. rCh 6 Be ' tnoven Overture to • ,<: > "Leonore," No. Berezowsky, qvm^ AT , 3; p, 10 (firSt Performance; the composer conductor) \2rh\',?n, n Vl m Concerto (Leon Zighera, violinist; ^rnnr- « n . his first ap- Stat6S) Rimsk Themes ; y-Korsakov, Caprice on Spanish April 27. Bach, Suite for Orchestra, D major, No. 3, ''The Rio DOLL & RICHARDS IMPORTANT PAINTINGS AND WATER COLORS FINE AND RARE PRINTS EXPERT RESTORATION AND CORRECT FRAMING 138 NEWBURY STREET BOSTON, MASS,

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Grande," poem by Sacheverell Sitwell, and set for chorus, orchestra, and

solo pianoforte by Constant Lambert ( Cecilia Society, trained by Arthur

Fiedler) ; Brahms, Symphony, C minor, No. 1.

Six symphony concerts were given in Symphony Hall on Tuesday afternoons, Dr. Koussevitzky, conductor 1030. November 25. Bach, Two preludes (arranged for string orchestra

by Pick-Ma ngiagalli) ; Beethoven, Symphony No. 7, A major ; Brahms, Symphony No. 2, D major.

1931. January G. Wagner, Overture to "Rienzi" ; Bacchanale from "Tann-

haeuser" ; Introduction to Act III of "Lohengrin" ; Ride of the Valkyries

from "The Valkyrie" ; Prelude and Love-Death from "Tristan and

Isolde" ; Prelude to "The Mastersingers of Nuremberg."

February 10. Beethoven : Symphony No. 3, E-flat major, "Eroica" ;

Piano Concerto No. 4, G major (Myra Hess, pianist) ; Overture to Goethe's "Egmont."

February 24. Sibelius, "Finlandia," Symphonic Poem ; Sibelius, Sym-

phony No. 7, Op. 105 ; Tchaikovsky, Symphony No. 4, F minor, Op. 36.

March 10. Mozart, Symphony, G minor (K. 550) ; Berlioz, Sym- phonic Fantastique, Op. 16A. April 21. Chadwick, "Noel" from the "Symphonic Sketches" (in

memory of the composer, who died on April 5, 1931) ; Schumann, Sym-

phony, B-flat major, No. 1 ; Stravinsky, Capriccio for piano and orchestra

(Jesus Maria Sanroma, pianist) ; Strauss, "Till Eulenspiegel's Merry Pranks."

• *

Pension Fund Concerts

1930. December 2S. Wagner, Overture to "The Flying Dutchman" ; Pre-

lude to "Lohengrin" ; Stravinsky, Capriccio for piano and orchestra

(Jesus Maria Sanroma, pianist) ; Tchaikovsky, Symphony, F minor, No. 4. Dr. Koussevitzky, conductor. 1931. March 29. Bach's Mass in B minor. (Amy Evans, soprano

Margaret Matzenauer, contralto ; Richard Crooks, tenor ; Fraser Gange, bass. Harvard Glee Club and Radcliffe Choral Society.) Dr. Kousse- vitzky, conductor. A repetition of the performance on March 24, the first day of the Bach Festival.

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Young People's Concerts for string orchestra by 1930 November 12-13. Bach, Prelude arranged from Symphony No. Mozart, Pick-Mangiagalli ; Beethoven, Allegretto 7; (Victor Polatschek,| clarinetist) Adagio from the Concerto for Clarinet ; Moussorgsky-Ravel, "Pictures at an Exhibition" (Promenade, Gnome, Tuileries, Bydlo, Promenade, Ballet of the Chicks in their Shells, Samuel Polovetskian from "Prince Goldenherg and Schmuyle) ; Borodin, Dances Igor." Dr. Koussevitzky and Mr. Burgin, conductors. Explanatory remarks (with lantern slides) by Alfred H. Meyer. 1931. April 6, 7. Haydn, Symphony, D major (B. & H., No. 10), First Movement; Mendelssohn, scherzo from Incidental Music to "A Midsum- mer Night's Dream"; Handel-Casadesus, Andante from Concerto (Jean 231" LEFRANC,f viola solo) ; Honegger, "Pacific ; Rimsky-Korsakov, Caprice on Spanish Themes. Dr. Koussevitzky and Mr. Burgin, conductors. Ex- planatory remarks (with lantern slides) by Alfred H. Meyer.

Bach Festival Festival of the music of Johann Sebastian Bach, Boston Symphony Or- chestra, Dr. Koussevitzky conductor, given in the Orchestra's 50th season in honor of its founder, Henry L. Higginson. Assisted by Harvard Glee Club

(Dr. Archibald T. Davison, conductor) ; Radoliffe Choral Society (G.

Wallace Woodworth, conductor) ; Bach Cantata Club (Mr. Woodworth, conductor); Amy Evans, soprano; Adelle Alberts, soprano; Margaret

Matzenauer, contralto ; Richard Crooks, tenor ; Fraser Gange, baritone

Alexander Borovsky, piano ; Mme. Patorni-Oasadesus, harpsichord ; Wal- lace Goodrich, organ; Messrs. BuRGiNf and Theodorowicz,! solo violins; Messrs. Laurent,! flute, Gillet, f oboe, Speyer,! oboe d'amore, Devergie,! oboe d'amore, Mager,J trumpet, Snow,! organ. Address on "H. L. Higginson" by Bliss Perry. Tuesday, March 24, 4.30 p.m., 8.30 p.m. Mass in B minor. Wednesday, March 25, 8.30 p.m. Organ: Fantasia in C minor, Adagio from the Toccata in C major, Fugue in C major (Mr. Goodrich). Address (Mr. Perry). Harpsichord: Italian Concerto, Fantasia No. 3 in C minor, Gigue in D minor (Mme. Patorni-Casadesus). Organ: Choral Prelude, "Schmuecke dich, o Hebe Seele" ; Fugue in G minor (Mr. Goodrich). Thursday, March 26, 8.30 p.m. Brandenburg Concerto No. 2, F major (solo violin Mr. Burgin; flute, Mr. Laurent; oboe, Mr. Gillet; trumpet, Mr. Mager). Concerto for piano and orchestra, D minor (Mr. Barovsky, pianist). Magnificat. Friday, March 27, 2.30 p.m. (20th Symphony Concert). Suite for orchestra No. 3, T> major. Concerto, D minor, for two* violins and orchestra (Messrs. Burgin and Theodorowicz). Cantata No. 85, "Ich bin ein Guter Hirt" (sung in German). Cantata No. 20, first half of "O Ewigheit, du Donnerwont" (sung in German). Saturday, March 28, 8.15 p.m. (continuation of Symphony Concert No. 20). Easter cantata, "Christ lag in Todesbanden" (sung in English). Branden- burg Concerto No. 5 (solo piano, Mr. Borovsky; violin, Mr. Burgin; flute, Mr. Laurent). Preludes and Fugues from the "Well-Tempered Clavichord," Book I : Prelude and Fugue, G minor, No, 16 ; D major, No. 5 ; B-flat minor,

JOHN R. PERRY HOWARD R. PERRY

8 Lewi:* IE D * d £* PAINTING AND DECORATING 248 BOYLSTON STREET, BOSTON Telephone: Ken. 4550 ^^ Decorators of Symphony Hall

1690 :

No. 22; C-sharp major, No. 3 (Mr. Borovsky, pianist). Cantata No. 80, "Ein' feste Burs ist unser Gott" (sung in English). Sunday, March 29, 4.30 and 8.30 p.m. Repetition of Bach's Mass in B minor (in aid of the Orchestra's Pension Fund).

Errata and Addenda

Programme Book of October 24-25, 1930. Page 183, 9th line from the bottom : for "Ferrand" read Ferroud. Programme Book of November 14-15, 1930. Page 384, 6th line from the top: for "A. E. AVatts" read A. C. Waite." Page 402, 2d line from the top: for "Jedidiah's' read "Jedediah Morse's." Programme Book of November 28, 29, 1930. Page 460, 10th line from the top : for "of 'Der Freischuetz' " read "or 'Der Freischuetz.' " Page 468, 10th line from the top: for "Yahoo" read "Wahoo." Title-page 489, under Stra- vinsky, "Symphonie de Psaumes" : for "I. Psalm XXVIII" read "I. Psalm XXXVIII." Programme Book of January 23-24, 1931. Page 923, 8th line from the top for "Pepita Jimene" read "Pepita Jimenez." Fourth line from the top : for "L'Ermitage Flaurie" read "L'Ermitage Fleurie." Programme Book of February 20-21, 1931. Page 1084, 3d line from the top add to "The Concertino in this work consists of first and second violin" "and violoncello. The Germans in the concertino sometimes coupled an oboe or a bassoon with the violin. The Italians were faithfful, as a rule, to the strings." Page 1088, 2d line from the bottom : for "depreciationem" read "deprecationem." Programme Book of March 27-28, 1931. Page 1404, 9th line from the bottom : for "friends" read "fiends." Page 1390: 8th line from the bottom: for "Winterfield" read "Winterfeld."

APPLICATIONS FOR ADVERTISING SPACE IN THIS PRO-

GRAMME SHOULD BE MADE TO L. S. B. JEFFERDS,

ADVERTISING MANAGER, SYMPHONY HALL, BOSTON, MASS.

m m

rOKT (UtCBtf

IvM Study Foreign Languages ET MADAME For your cultural well-being, for a Inc. greater enjoyment of literature, art LA JEUNE FILLE, and music, you should know several foreign languages. The easy way to 130 Newbury Street, Boston learn is the Berlitz Conversational Method—taught by native teachers, Mrs. John A. Tuckerman thus assuring a cultured accent and perfect pronunciation. SPORT COSTUMES, PRIVATE OR CLASS LESSONS SUCCESSFUL 82 YEARS DAY and EVENING DRESSES

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Degree of Bachelor of Music Atlas Enterprise FOUR-YEAR COURSE Company Music Supervisor's J. FORBES AMORY, Pres. Certificate Offers individual help in planning trips. TWO-YEAR COURSE All Lines Any Route

For information address 1374 Massachusetts Avenue THE REGISTRAR Harvard Square, Cambridge, Mass. 29 EXETER STREET, BOSTON Telephone Reservations by telephone University 6636 if you prefer

Guard Against Theft- and Damage to Your Auto One minute from Symphony Hall STORE AT WESTLAND AVENUE GARAGE Inc. 41 WESTLAND AVENUE

SALARIED POSITIONS BOUND COPIES of the FOR Unafcm ^gmplfflttB ©rrlj^atra'a Teachers of Music PROGRAMME BOOKS in Educational Institutions Containing Mr Philip Hale s analytical and de- Also for CHURCH MUSICIANS. scriptive notes on all works performed during the GUIDANCE. COUNSELLING season ("musically speaking, the greatest art Address. HENRY C. LAHEE annual of to-day"—W. J. Henderson. New York Boston Musical and Educational Bureau Sun), may be obtained by addressing 513 Pierce Building, Copley Square. Boston. Mass. PRICE. $6.00 SYMPHONY HALL

1692 ANNOUNCEMENT A NEW BOOK— "7Ae BOSTON SYMPHONY ORCHESTRA: 188U931" By M. A. De WOLFE HOWE

SemUCentennial Edition

It is seventeen years since M. A. De Wolfe Howe's history of the Boston Symphony Orchestra was published. The Fiftieth season of the Orches- tra has seemed a fitting time to re-publish this prized narrative of its earlier days, and likewise to record, in additional chapters, the last years of Dr. Muck's conductorship, and those of Henri Eabaud, Pierre Monteux, and Dr. Serge Koussevitzky. New appendices will include a complete list of the music played at the regular concerts, giving the dates of performances. The soloists and the personnel through fifty years are also recorded, and the address on Henry Lee Higginson made by Bliss Perry at the Bach Festival, March 25, 1931.

NOW ON SALE

To symphony patrons at a special price of $1.50 at the

Box Office or the Subscription Office

1693 |l' 'l|l' ! ! *l|l' 'l|H 'l|l' MIP 1|P q||l i|| Lewandos CLEANSERS- LAUNDERERS- FUR STORAGE

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1694 NOTICE TO SUBSCRIBERS

FIFTY-FIRST SEASON, 1931-1932

OPENING CONCERTS, OCTOBER 9-10 BOSTON SYMPHONY ORCHESTRA

Dr. SERGE KOUSSEVITZKY, Conductor

24 Friday Afternoon Concerts

24 Saturday Evening Concerts

RENEWAL CARDS HAVE BEEN MAILED TO ALL FRIDAY AND SATURDAY SUBSCRIBERS. IF ANY SUBSCRIBER HAS NOT RECEIVED HIS NOTICE, HE IS REQUESTED TO ADVISE THE SUBSCRIPTION OFFICE TODAY.

W. H. BRENNAN, Manager,

Symphony Hall, Boston.

1695 SYMPHONY HALL, BOSTON SEASON 1931-1932 TWO CONCERT COURSES BY THE WORLD'S GREATEST ARTISTS

c^iVe Sunday 9we (Week-day

oAftemoons at 3.30 Srenings at 8.30 Oct. Nov. 22 25 Nov. 10 Jan. 9 Jan. 3 Mar. 13 Apr. 3 Feb. 16 Mar. 1 Apr. 12

ROSA LILY PONSELLE PONS Soprano Soprano YEHUDI LA MENUHIN ARGENTINA Violin Spanish Dancer

LAWRENCE ROLAND TIBBETT Baritone HAYES Tenor JESUS MARIA SANROMA WALTER Piano GIESEKING Piano The DON LONDON SINGERS COSSACKS WITH SERGE JAROFF, Leader JOHN GOSS

Season Tickets for each Series, £5, £7.50, #10, £12.50 Choose your own locations now, from the AUTOMATIC SUBSCRIPTION BOARD in the Huntington Avenue Lobby Payment not due until October 5

1696 SYMPHONY HALL - BOSTON THE POPS Orchestra of Symphony Players

ARTHUR FIEDLER, Conductor

Wednesday, May 6 OPENING NIGHT

PROGRAMME

HUNGARIAN MARCH, "Rakoczy" Berlioz

OVERTURE to "Oberon" Weber

MINUET (for String Orchestra) Bolzoni FANTASIA, "Carmen" ...... Bizet

TALES FROM JOHANN STRAUSS Korngold LONDONDERRY AIR .... Arranged by Hamilton Harty (For violin solo, string orchestra and harp)

"LES PRELUDES," Symphonic Poem No. 2 ... . Liszt

"GIRL CRAZY," Selection Gershwin

CZARDAS from the Opera "Ghost of the Warrior" . . Grossman THE RIDE OF THE VALKYRIES Wagner

1697 A. H. HANDLEY, Announces THE CHAMBER ORCHESTRA OF BOSTON NICOLAS SLONIMSKY, Conducting FOURTH SEASON — 1931-1932

The Chamber Orchestra has produced new works by the following composers: Paul Allen, Heinrich Gebhard, Otto Straub, Robin Milford, Frank Martin, Lazare Saminsky, Henry Gilbert, Henry Cowell, Edgar Varese, Colin McPhee, Arthur Bliss, Ernest Bloch, Charles Ives, Carl Ruggles. Alejandro Catnrla, Ottorino Respighi, Carlos Salzedo, Igor- Stravinsky, Arthur Honegger, Ernest Krenek, Bela Bartok, Serge Prokofiev. The Chamber Orchestra has also revived many forgotten compositions by great classical composers, as well as many revealing works by forgotten composers of the past.

"Mr. Slonimsky constructs his programs with enterprise and curi- osity for music that is new and old." (Olin Downes in the New ) ork Times.) "The playing of the orchestra, under Nicolas Slonimsky, was at all times delightful." {The New York Evening Post.) "La Chamber Orchestra de Boston, dirigee par Nicolas Slonimsky. qui est un de plus brillants musiciens d'Amerique, nous a revele une nouvelle oeuvre, tres americaine d'aspeet. Ge sont les Trois Coins de New England de Charles Ives." (La Revue Musicale, Paris.)

"Nuestros musicos se transformaron bajo el baton magnetico de Slonimsky. Justeza admirable. Aiin en las mas agudas disonancias bubo una perfecta afinacion. Esto refleja en credito hacia el director que da muestras de un oido mas que perfecto sorprendente !" (Diario de la Marina, Havana, Cuba.)

"Slonimsky, el ." dinamico director y cerebro musical privilegiado. . (El Pais, Havana, Cuba.)

Steinert Piano

Management: A. H. Handley, 162 Boylston Street, Boston, MasSS.

1698 :

Concert Direction: AARON RICHMOND AK PIERCE BV1LDINQ, COPLEY SQUARE NEXT SEASON f Fritz Kreisler, Sergei Rachmaninoff and John McCormack will appear in City Hall Auditorium, Portland, Maine, and in Infantry Hall, Provi- dence, next Fall.

^1 Subscribers to the Ernest Schelling "Young People's Concerts" will have until May 5 to renew their present subscriptions to the eighth series of Four Saturday Morning Concerts in Jordan Hall. A few additional seats at popular prices have been made available. f Ignace Jan Paderewski will play in Worcester, Smith College (Northampton) and in Hartford. series fl Junior Leagues are making plans for a of Three Young People's programs, two of which are Dorothy Gordon, who sings folk-songs in costume, and Guy Maier whose inimitable programs will include a number of stereopticon slides.

*! Mary Wigman will open her American tour with four New England appearances: Hartford, December 1; Boston (Symphony Hall) December

3 ; Worcester, December 5 and one other Xew Eng- land center not yet decided upon, December 7.

% The list of Jordan and Symphony Hall recitals for the coming season includes the Kussian Sym- phonic Choir, Mary Wigman, Victor Chenkin, the Gordon String Quartet, Povla Frijsh, the Com- pinsky Trio, Jean Bedetti, Barbara Hillard, Koyal Dadmun, the Swastika and Musical Art Quartets, Eudolph Ganz, Jan Smeterlin, Benno Kabinof, Rose Zulalian, Reinald Werrenrath, Guy Maier and Dorothv Gordon.

During the season 1931-32 Concert Direction: Aaron Richmond will feature, exclusively in New England, the list of concert celeb- rities represented by the N. B. C. Artists Service of New York, in addition to a small select list under Mr. Richmond's personal management.

1699 The Massachusetts Division of University Extension The Public Library of the City of Boston 1931-32 A Series of Lectures, with Music ON THE

on the Thursdays preceding the Concerts at 5.15 p.m.

in the Lecture Hall, Boston Public Library (Boylston Street Entrance)

These lectures are intended for all who wish to gain a keener enjoyment and appreciation of symphonic music whether attending concerts, "listening in," or following phonograph record- ings. Based on the programmes of the regular subscription series of the Boston Symphony Orchestra, the course assures an invaluable introduction to all symphonic repertory, contribu- ting to the understanding of the Monday and Tuesday and Pension Fund series and to other occasional concerts. ^______^^____

The Course will be given in three parts of eight lectures each. $1 per Course, or $2 for the entire 24 lectures.

First lecture, Thursday, October 8, at 5.15, open to the public. James A. Moyer, Director, Charles F. D. Belden, Director, Division of University Extension. Boston Public Library.

TO OUR SYMPHONY SUBSCRIBERS

It is suggested that subscribers who for any reason find themselves unable to attend the Symphony Concerts, and whose tickets would not otherwise be used, send them in to be sold for the benefit of the Boston Symphony Orchestra, Inc. Endowment Fund. Last season the Endowment Fund received over $7,000.00 from this source. Kindly send tickets as early each week as convenient to the Boston Symphony Orchestra, Inc., Symphony Hall, Boston. (If it is too late to mail the tickets, kindly telephone their location to Symphony Hall, Commonwealth 1492.)

DICTION AND PRONUNCIATION FOR SINGERS, IN FRENCH, ITALIAN, GERMAN, SPANISH AND RUSSIAN SONG COACHING Studio: 402 PIERCE BUILDING

1700 W MUSICAL INSTRUCTION

. hall McAllister TEACHER OF SINGING

384 COMMONWEALTH AVENUE Kenmore 0384 BOSTON, MASS.

PIANOFORTE THEORY Interpretation of Songs

6 NEWBURY STREET BOSTON

Sty* luitujg 8>rlj00l nf fBuHtr 44 CHURCH STREET Established 1915 CAMBRIDGE, MASS. LOUIS ARTIERES (Member of the Boston Symphony Orchestra) On the Faculty of the School as TEACHER OF THE VIOLA Catalogue on Request Phone: Univ. 0956 " HELENE DIEDRICHS PIANIST AND TEACHER Former professor of the Tobias Matthay Pianoforte School, London, announces her ANNUAL FREE TUITION SCHOLARSHIP. Last date of entry February first STUDIO 366 COMMONWEALTH AVENUE MASON & HAMLIN PIANO Telephone Com. 3810

F. Addison Porter Laura Huxtable Porter

TEACHER OF PIANOFORTE Drama and Pianoforte Music 512 Pierce Building, Copley Square, Boston 26 EVANS WAY, BOSTON, MASS. GERTRUDE EDMANDS TEACHER OF SINGING 6 VAN BUREN HALL TRINITY COURT 175 DARTMOUTH STREET JANE RUSSELL COLPITT

Matthay Principles PIANIST AND TEACHER BALDWIN PIANO 405 PIERCE BUILDING. COPLEY SQUARE Telephone Bowdoin 1BB3-W

announces the seventeenth year of his SUMMER SCHOOL OF MUSIC CONCORD, MASSACHUSETTS JUNE 22 to JULY 17, 1931 CIRCULAR ON APPLICATION kRY INGRAHAM pianist organist Studio, Kenmore 0491 TTTAPWTnT? Residence, N. N. 2500- 1 Jl/W^raniV Lang Studios 6 NEWBURY ST,

1701 MUSICAL INSTR U CTION VINCENT V. HUBBARD

Successor to the late Arthur J. Hubbard VOCAL STUDIO 246 Huntington Avenue

AND ASSOCIATE TEACHERS Former pupil of the famous Paris LESSONS IN SINGING Conservatory 31 STEINERT HALL, BOSTON Tuesdays, Wednesdays and Saturdays VIOLIN LESSONS Thursdays Manchester. N.H., 939 Elm St., 30 STEINERT HALL and Fridays

TEACHER OF SINGING 77A CHARLES STREET HAYMARKET 6634

TEACHER OF SINGING

Formerly of 2 PRIMUS AVENUE 37 Commonwealth Avenue, Boston Telephone HAY. 6170

SOPRANO SOLOIST TEACHER OF SINGING 4 HAVILAND STREET Kenmore 1047 BOSTON In Worcester, Tuesdays, Wednesdays and Friday Afternoons, 317 Day Building

SOPRANO TEACHER OF SINGING STUDIO: Home Address: 41 Commonwealth Ave. LANG STUDIOS Chestnut Hill 6 NEWBURY ST., BOSTON Tel. Newton Center 3850

PIANIST TEACHER CLASSES IN PIANO ENSEMBLE PRIVATE STUDIO, 110 GAINSBOROUGH STREET, BOSTON, MASS. Tuesdays and Fridays Tel. Commonwealth 4289

PIANIST AND TEACHER STUDIO, 46 WESTLAND AVENUE Telephone Commonwealth 5984

"Recognized authority on Vocal Technique" MRS. FREDERICK LAME, Associate Teacher Staff of competent Assistants Classesses in all brancheshran ru~. oft the.u c- • Singing Art English, French, German and Italian Diction ^ourses ,n °Pera, Sight-reading and Appreciation of Music FREDERICKpr unco t^ LAMBr * w« STUDIOS 106Q Boylston Street Kenmore 0564 1702 MUSICAL INSTRUCTION

PIANO

VIOLIN TEACHER Studios Assistant to Harrison Keller 129 NEWBURY STREET 206 W. EMERSON STREET BOSTON, MASS. MELROSE, MASS. Commonwealth 0539 Melrose 2796 M GERTRUDE TINGLEY SINGER AND TEACHER OF SINGING

STUDIOS, 83 NEWBURY STREET Telephones j Asptowatl 7190 FRANK ERNESTO LA FORGE—BERUMEN STUDIOS VOICE, PROGRAMME BUILDING, CONCERT PIANIST WEEKLY MUSICALES ACCOMPANYING AND PIANO PEDAGOGUE THURSDAYS, 3:30 The following use and endorse the La Forge method of voice production: WEAF Mme. Frances Alda, Mme. Margaret Matzenauer, Miss Emma Otero, Messrs. Lawrence Tibbett. Richard Crooks, Harrington van Hoesen, and many others. Telephone: Trafalgar 8993 Address: 14 West 68th Street, New York, N. Y. SUMMER SCHOOL TO SEPTEMBER 1st Miss GERALDINE DAMON TEACHER OF THE SINGING AND SPEAKING VOICE RESIDENCE PELHAM HALL, COOLIDGE CORNER BROOKLINE, MASSACHUSETTS Telephone Beacon 2430 NEW YORK CITY, 145 WEST 55th STREET, Mondays and Tuesdays OTTO G. T. STRAUB THEORY, HARMONY, COUNTERPOINT, COMPOSITION, ORCHESTRATION COURSES IN MUSICIANSHIP Starting October 21 EAR TRAINING CLASSES STUDIO: 23 Steinert Hall, 162 Boylston Street, Tuesdays, Wednesdays and Fridays Telephone, University 9488 ROYAL DADMUN BARITONE In Boston Fridays STUDIO, 129 Newbury Street Telephone Com. 0539 EDWARD SCHUBERTH & COMPANY Importers, Music Publishers and Dealers, 11 East 22nd Street, New York PUBLISHERS' AGENTS IN THE UNITED STATES FOR Steingraeber Edition, Leipzig Gould & Bolttler, London J. B. Cramer & Co., London Cotta Edition, Stuttgart Forsyth Bros., Ltd., London Gary & Co.. London Practical Pianoforte School Beal, Stuttard & Co., London F. Hofmeister.-Germer Works, Leipzig Banks & Co.. York Joseph Williams, Ltd., London Bach-Boekelman, Works in colors AGENTS FOR. AND PUBLISHERS OF, H. GERMER'S INSTRUCTIVE EDITIONS SEND FOR A FREE THEMATIC CATALOG LEONARD S. WHALEN, A. M. VOICE TRAINING COACHING FOR CONCERT. CHURCH Instruction in organizing and directing Liturgical Choir Work MONDAY, WEDNESDAY, SATURDAY 507 Pierce Building Copley Square, Boston Tel. Kenmore 7675 1703 MUSICAL INSTRUCTION

ACCOMPANIST and COACH Telephone 74 THE FENWAY BOSTON Commonwealth 0054

TEACHER VIOLINIST Tutor in Harmony and Solfeggio Ensemble music furnished for all occasions STUDIO, 102 GAINSBOROUGH STREET, BOSTON Phone Commonwealth 4026

CHARLES W. MOULTON, Director

83 NEWBURY STREET, BOSTON Telephone Needham 1550

TEACHER OF SINGING 611 PIERCE BUILDING, BOSTON DANA HALL SCHOOL OF MUSIC, WELLESLEY, MASS. OXFORD SCHOOL, HARTFORD, CONN.

Former Member Boston Symphony Orchestra Autographic Music Printing Chorus Parts Duplicated Band and Orchestra Arrangements 9 ENFIELD STREET, JAMAICA PLAIN Telephone Jamaica 2126-M

TEACHER OF SINGING TEACHER OF SINGING Tuesdays and Fridays at Lasell Seminary 245 Chestnut Hill Avenue, Brighton 66 FENWAY Telephone Stadium 2326

Mrs. Charles Adams Wl HARRIS 8. SHAW TEACHER OF SINGING PIANO, ORGAN, COACHING MONDAYS STUDIO Studio: TRINITY COURT Steinway Hall Pierce Building 175 DARTMOUTH STREET, BOSTON New York City Copley Square, Boston (Kenmore 8431) Madame Alexander-Maries (ofncier de 1'Instruetion publique) SOPRANO Vocal Instruction, Breathing, Tone TEACHER OF SINGING Production, Phonetics, French Diction, STUDIO, 83 STREET Interpretation of French Songs NEWBURY Home Address, 330 CLINTON ROAD, 25 BICKERSTAFF ST., Room 7 KEN. 9896 Telephone Aspinwall 9504 BROOKLINE

" 'I Pauline Hammond Clark I 'I- "I i I' TEACHER OF SINGING COACH MANAGER Vignette COPLEY CLUB SINGERS AND ENTERTAINERS iennese | MABELLE TRASK. CONTRALTO SOLOIST A new waltz for piano by DOLORES RODRIGUEZ, PIANIST MME. ELYSE SALIGNAC QF PARIS, FRENCH LANGUAGE VCHARLES REPPER DEVELOPMENT OF VOICE AND DICTION FOR PUBLIC SPEAKING j CHU.RCH CHOIR SINGERS ALSO AVAILABLE ON CALL On Sale at Music Stores • 4S BOYLBTON STREET TEL. KENMORE 5156 1704 MUSICAL INSTRUCTION ALICE FOSTER PEIRCE Mrs. Mabel Mann Jordan TEACHER OF PIANOFORTE Pupil of SILVESTRI, Naples, Italy CLASSES IN TWO PIANO PLAYING TEACHER OF Interpretative talks on the Great Composers MANDOLIN, GUITAR, BANJO and UKULELE Symphony Programmes followed Foreign and American Instruments For Sale Studio 206 COMMONWEALTH AVE. 405 PIERCE BUILDING Tel. Kenmore 7850 Commonwealth 8908 Boston Huntington Chambers JOHN LANE Room 516 TEACHER OF SINGING Ruth Thayer Burnham STEINERT HALL Faculty, Abbot Academy 162 BOYLSTON STREET BOSTON Andover, Mass. Telephone Hubbard 6677 Member of Guild of Vocal Teachers, Inc., New York LOUISA BURT WOOD CORINNE HARMON CONTRALTO PIANO TEACHER TEACHER OF SINGING 49 NORWAY ST. Tel. Ken. 9589 Hancock, N. H. after June 10 Tel. Hancock 53 701 PIERCE BLDG. Telephone Kenmore 6520 "Will teach in Dublin and Peterboro by appointment SUZA DOANE ROSALIE THORNTON PIANIST and TEACHER PIANO STUDIOS OPERA TALKS 282 Dartmouth Street, Boston 41 Concord Avenue, Cambridge Faculty: Dana Hall 25 ST. STEPHEN ST. Wellesley Telephone Com. 2786 Telephone: Commonwealth 4994 SUSAN WILLIAMS ALENA G. EMERSON PIANIST AND TEACHER TEACHER OF SINGING AVAILABLE FOR CONCERTS and MUSICALS Faculty, New England Conservatory Formerly with W. L. Whitney Concert Management, Standard Booking FRIDAYS at 311 Pierce Building Office, Also studio at 28 King Street, Worcester New York 61 Foster St., Cambridge Tel. Porter 6728 Write for appointment Mason & Hamlin Piano PRISCILLA WHITE Mrs. H. Carleton Slack TEACHER OF SINGING SCIENCE OF VOCAL ART BOSTON STUDIO: PIERCE BUILDING. Room 317 Removed to HAVERHILL STUDIO: DAGGETT BUILDING WINCHENDON STUDIO: 42 SPRUCE STREET 543 BOYLSTON STREET, BOSTON Telephone Kenmore 3490 THE TORREY STUDIO FRANCES ADELMAN The ART of SINGING and SPEAKING TEACHER OF PIANO ENSEMBLE ACCOMPANIST For circular apply to EDITH E. TORREY Home Address: Studio: 536 Commonwealth Avenue 3 Outlook Road, Mattapan 83 Newbury Street Tel. Kenmore 1445 Milton 8964 Mondays and Thursdays LUTHER O. EMERSON CLAIR LEONARD BARITONE HARV. A.B., A.M —ECOLE NORM., PARIS TEACHER OF Teaches—Critic SINGING Harmony Counterpoint Associate Teacher and Representative or Free Composition FRANTZ PROSCHOWSKI; CHICAGO 90 Myrtle St., Boston Tel. HAYmkt 0571 30 HUNTINGTON AVENUE Room 406 GERTRUDE BELCHER ROSALIND KEMPTON VIOLIN TEACHER TEACHER OF PIANO SOLO AND ENSEMBLE WORK TRINITY COURT 262 COMMONWEALTH AVENUE, BOSTON Creative wotk with children a specialty Telephone Kenmore 6520 Ear training, Soltege, Dalcroze Tel. Ken. 6123 Banks Are Men

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