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Home , Adella Prentiss Hughes, Cleveland Orchestra, Julius Baker, Severance Hall

THE MUSICAL ARTS ASSOCIATION SUPPORTING THE

Thomas L. Sidlo, President

Mrs. D. S. Blossom Mrs. Francis F. Prentiss Honorary Vice Presidents

Lewis B. Williams Vice President Grover Higgins Vice President Percy W. Brown Vice President Vice President and Secretary A. A. Brewster Treasurer C. J. Vosburgh Assistant Treasurer

EXECUTIVE COMMITTEE Mrs. George P. Bickford Edgar A. Hahn Mrs. Francis F. Prentiss Mrs. D. S. Blossom Grover Higgins Mrs. Arthur Shepherd A. A. Brewster Adella Prentiss Hughes Thomas L. Sidlo Percy W. Brown Jay Iglauer C. J. Vosburgh A. C. Ernst Frank G. James Whitney Warner Paul L. Feiss I. L. Jennings Lewis B. Williams E. W. Garfield E. J. Kulas

TRUSTEES Kenneth L. Allen Edgar A. Hahn Mrs. Francis F. Prentiss Mrs. George P. Bickford Samuel H. Halle Joseph Remenyi Mrs. D. S. Blossom Grover Higgins Ralph S. Schmitt Charles Bingham Bolton Mrs. Allan C. House Mrs. Arthur Shepherd A. A. Brewster Adella Prentiss Hughes Thomas L. Sidlo Percy W. Brown Jay Iglauer M. L. Sloan W. M. Clapp Mrs. R. Livingston Ireland Mrs. Abraham Strauss Henry S. Curtiss Frank G. James Mrs. Charles H. Strong A. C. Ernst I. L. Jennings Mrs. Frank H. Teagle Miss Frances Ernst E. J. Kulas C. J. Vosburgh Paul L. Feiss Mrs. E. J. Kulas Whitney Warner E. W. Garfield W. G. Mather Mrs. Fred R. White Msgr. John R. Hagan Mrs. Malcolm L. McBride Lewis B. Williams Victor B. Phillips

A. A. Brewster, General Manager C. J. Vosburgh, Manager The Musical Arts Association The and

11001 EUCLID AVENUE, CLEVELAND, sse SEASON CALENDAR — SYMPHONY CONCERTS

1939—1940

Thursday and Saturday evenings at 8:30

October 12-14 Opening Program 19-21 Orchestral Program 26-28 Sergei Rachmaninoff, piano

November 2-4 Orchestral Program 9-11 Orchestral Program 16-18 Emanuel Feuermann, cello 23-25 Orchestral Program

December 7-9 Jascha Heifetz, violin 21-23 Beryl Rubinstein and Arthur Loesser, piano 28-30 Rudolph Ringwall, conducting

January 4-6 Rudolph Ringwall, conducting Oscar Levant, piano 11-13 Orchestral Program 25-27 Orchestral Program

February 1-3 Orchestral Program 22-24 Artur Rubinstein, piano 2M Orchestral Program March -2/ 7-9 Albert Spalding, violin 21-23 Josef Hofmann, piano

April 4-6 Orchestral Program 18-20 Berlioz’ Damnation of Faust The Cleveland Philharmonic Chorus The Singers Club of Cleveland Artur Rodzinski, music director , conductor and Rosa Tentoni, soprano Charles Kullman, tenor Ezio Pinza, basso

.‘140 ORCHESTRA PERSONNEL

First Violins Clarinets Josef Fuchs Daniel Bonade Concertmaster George Rowe Carl Kuhlmann Felix Eyle Alfred Zetzer Second Concertmaster Bass Clarinet Paul Gershman Ben Silverberg Carl Kuhlmann Albert Edelman Bassoons Homer Schmitt Frank Ruggieri Jac Gorodetzky August Rickert Eugene Bergen Marcello Bucci Ernest Kardos Bernard Goodman Artur Rodzinski Contrabassoon Samuel Salkin Marcello Bucci Morris Morovitsky Conductor Louis Berman French Horns David Klinger Rudolph Ringwall Rudolph Puletz, Jr. Associate Conductor Alexander Andru Second Violins • William Namen Hyman Schandler Ernani Angelucci Principal Basses Jacques Posell Erwin Miersch Willis Reinhardt Richard Lurie Salvatore Fiore Principal Joseph Koch Michael Lamagna Trumpets William Dosch Thomas Pivonka Louis Davidson Irving Fink Clarence Totten Alois Hruby Arpad Bognar Olin Trogdon William Hruby Edward Matyi Hyman Goldin Alfred Käufer Andre Callot Theron McClure Sam Willis Erwin King Frank May Trombones Harley Holmes Alfred Käufer Harp Merritt Dittert Emil Sholle Warren Burkhart John Coffey Flutes Tuba Violas Maurice Sharp Tom Brennand Adolph Moser Principal Emil Pagano Tympani David Schwartz Robert Morris Wolf Kalinovsky Godfrey Layefsky Samuel Goldblum Percussion Frederick Funkhouser Emil Pagano Constant Omers Vladimir Coonley Julius Baker Frank Sholle Ben Selcer David Klinger Fred Rosenberg Oboes Emil Sholle Philip Kirchner Joseph Senyak Piano Le Roy Collins Ernest Serpentini Bert Gassman Leon Machan Cellos Robert Zupnik Celesta English Horns Jeanette Pearlstein Principal Bert Gassman Organ Charles McBride Ernest Serpentini Vincent Percy Harry Fuchs Isadore Gordon E Flat Clarinet Librarians Frank Grant George Rowe Constant Omers Alford Hampel William Dosch Raymond Gerkowski Robert Swenson Personnel Manager Baggage Master Henry Hensel William Dosch George Higgins 341 THE WOMEN’S COMMITTEE of THE CLEVELAND ORCHESTRA

OFFICERS Mrs. George P. Bickford, President Mrs. Frank H. Teagle Mrs. Siegmund Herzog Mrs. James S. Abbott, II Vice Presidents Mrs. Sterling Newell Miss Phyllis Peckham Mrs. Henry R. Hatch Recording Secretary Treasurer Corresponding Secretary Mrs. Frank Billings Mrs. Chester C. Bolton Mrs. Howard P. Eells Mrs. Charles G. Hickox Mrs. Prentiss Hughes Honorary Vice Presidents

TRUSTEES Mrs. George P. Bickford Mrs. Richard C. Findley Mrs. Victor B. Phillips Mrs. D. S. Blossom Miss Katherine M. Halle Mrs. Frank M. Roby Mrs. Henry T. Bourne Mrs. Frank I. Harding, Jr. Mrs. Alexander C. Robinson III Mrs. A. A. Brewster Mrs. Henry R. Hatch Mrs. Frank H. Teagle Mrs. Percy W. Brown Mrs. Siegmund Herzog Mrs. Charles H. Strong Mrs. George J. Chapman Mrs. Walter T. Kinder Mrs. E. R. Wagley Mrs. Erie Devlin Mrs. Sterling Newell Mrs. Herman Wolf Miss Phyllis Peckham

SUBCOMMITTEES Children’s Concerts Mrs. Richard C. Findley, Chairman Mrs. Robert M. Clements, Vice Chairman Mrs. Henry T. Bourne Miss Barbara Ginn Miss Lucy Ann Webb Mrs. Carl Breithaupt Mrs. Carl A. Hamann Mrs. L. C. Wykoff Mrs. Benjamin P. Gale Mrs. Walter S. Root, Jr. Mrs. Edward H. Yost Membership Mrs. Frank M. Roby, Chairman Mrs. Henry T. Bourne Mrs. Frank E. Taplin Mrs. Clifton L. Wyman Miss Phyllis Peckham Mrs. George Stanley Young Music Memory and Appreciation Mrs. Walter B. Johnston, Chairman Miss Lillian L. Baldwin, Advisor Miss Alma Lorena Bake Mrs. Clark Bole Mrs. Louis S. Peirce Mrs. Cleon M. Bell Mrs. Walter M. Bucher Mrs. Charles E. Scanlon Mrs. Tell Berna Miss Olive Gibson Mrs. Avery L. Sterner Mrs. Arthur W. Huning Program Interpretation Mrs. Henry Hunt Clark, Chairman Mrs. Edward S. Bassett Mrs. Joseph M. Hayman, Jr. Mrs. Alfred R. Willard Mrs. Robert A. Weaver Speaker s Division Mrs. Walter T. Kinder, Chairman Miss Celeste Beckwith Mrs. Howard C. Hollis Miss Phyllis Peckham Mrs. Albert Edelman Mrs. Thomas H. Jones Mrs. Victor B. Phillips Miss Katherine M. Halle Mrs. Philip Kirchner Mrs. Arthur Quimby Mrs. Frank I. Harding, Jr. Mrs. Arthur Shepherd Record Lending Library Mrs. Arthur W. Huning, Director Activities for Small Children Mrs. E. R. Wagley, Chairman Miss Marie Martin, Director Mrs. William Chisholm II Mrs. Henry R. Hatch Mrs. John P. McWilliams Mrs. Richard C. Findley Mrs. Lawrence Hitchcock Mrs. P. C. O’Brien Mrs. Charles B. Gleason Mrs. James L. Luke Mrs. Francis Sherwin Mrs. William C. McCally THE CLEVELAND ORCHESTRA ARTUR RODZINSKI, CONDUCTOR

FIFTEENTH PROGRAM Thursday Evening, February 22, 1940 at eight-thirty Saturday Evening, February 24, 1940 at eight-thirty

ARTUR RUBINSTEIN

Quartet for strings Debussy Arranged for orchestra by Frank Black

Concerto for piano, No. 4, G major, Op. 58 Beethoven Allegro moderato Andante con moto Rondo INTERMISSION

Symphony No. 3, C minor, The Divine Poem, Op. 43 Scriabin Struggles— Delights— Divine Play

The Steinway is the official piano of The Cleveland Orchestra and is used by Mr. Rubinstein The Lyon and Healy is the official harp of The Cleveland Orchestra

346 PROGRAM NOTES By ARTHUR LOESSER

Quartet for strings Arranged for orchestra by Born August 22, 1862 in St. Germain Frank Black Died March 26, 1918 in Paris With this work and the Afternoon of a Faun, written contemporaneously with it, Debussy graduated from being a promising young composer into one of the most important musical personalities of his time. The Quartet was first performed on December 29, 1893, by Messrs. Ysaye, Crickboom, Van Hout and Jacob at the Société Nationale before an audience that included many devotees of the chamber music of Haydn, Mozart, Schubert and Beethoven. In a recent book* Oscar Thompson says of these listeners : “Some of these were nonplussed, others irritated, even scandalized. The part writing was regarded as too orchestral; there were objection to the persistent pizzicato, to the mandolin and guitar suggestions. One reviewer spoke of ‘orgies of modulation’ ; the composer was credited with being ‘rotten with talent.’ Not until after Pelléas was the Quartet to achieve any such measure of recognition and understanding as to make it other than dubious material for the program makers of Paris.” Mr. Thompson says further: “Though Debussy wrote no other of its kind, the work has retained its original listing as his ‘First Quartet.’ Of all Debussys’ compositions, it most nearly corresponds to classic form, in the internationally accepted sense. The Quartet is not free of influences, Franck and Borodin among them, but its determinative qualities are purely Debussyan. An individual application of the principle of community of theme, as then much publicized in connection with the cyclic form of Franck and his disciples, is one of the salient features of the structure. To fill out the form in the required dimensions, Debussy undertakes a kind of development not characteristic of his methods.” Frank Black, the arranger of the Quartet, is General Music Director of the National Broadcasting Company. 1 Debussy, Man and Artist. Dodd, Mead and Company, , 1937 i=—gtlpQkfaelattbJiatituieiiffDttait—= announces an ORCHESTRA CONCERT on Friday evening, March 1st, at 8:30 at John Hay High School Auditorium Admission gratis FRANK WILCOX, of the Cleveland School of Art, will speak on . . “Renaissance Painting in Italy" Friday morning, March 1st, at 11:30 BERYL RUBINSTEIN, Director • 2605 Euclid Ave. • Pros. 2637

347 Concerto for piano, No. 4, Ludwig van Beethoven major, Op. 58 Born December 16, 1770 in Bonn Died March 26, 1837 in Vienna The melodic atmosphere of the first movement of this Concerto is one of warm serenity; a vernal contentment is projected by the main themes, from which quite naturally sprout the florid tendrils of figuration of which the solo part mostly consists. True, in the second movement, the dialog between the piano and the orchestra takes on a somewhat elegiac coloration which deepens into a gripping intensity at one point; but presently the last movement leads back to the happy mood of the beginning, in even brisker and more playful form. The problem of the conventional thematic preview began. to plague Beethoven in this his fifth example in the concerto form. He snipped off a little of the red tape in which the 18th century Mrs. Post decreed that the openings of the concertos must be swaddled: he lets the piano, right at the start, barge into the main theme, unescorted, and without any preliminary orchestral calling cards. For five measures only, however. The brash soloist retires again and lets the orchestral butlers and footmen go through their decorous and elaborate routine of thematic announcements before making his permanent entrance as the evening’s guest of honor some minutes later. Beethoven probably completed this Concerto during the year 1806. It has a rather close spiritual affinity with his Concerto for Violin, composed during the same year; there are no melodic resemblances between the two, yet the emotional climate is much the same.

ARTUR RUBINSTEIN’S awzilaJkle. 2o- an VICTOR RECORDS

The subtle voice of Rubinstein’s piano has been held for your enjoyment forever on Victor Red Seal Records. The artistry of other great musicians, too, is yours for the asking. Make your own concerts at home every night ... on Victor Records. Consult the Victor library in our record depart­ ment for a complete list of selections by your favorite artists. LYON & HEALY 1005 HURON ROAD CHERRY 5330

349 Muzio Clementi, Rome-born cosmopolite, presents an interesting contrast to Beethoven. He, too, was a composer of originality and resource, the first to have evolved a true pianoforte style as distinct from that of the harpsichord. Indeed, Clementi’s sonatas were among the few contemporary works that Beethoven admired. Yet Clementi evinced none of Beethoven’s emotional instability. In fact, he was able to combine the activities of prolific composer and traveling virtuoso with those of owning and directing a profitable piano­ manufacturing and music-publishing business in London. Clementi was in Vienna in 1807; Beethoven’s fame had spread, the rights to publish his compositions, especially for such a large and prosperous terri­ tory as the British Dominions, were quite valuable. Clementi wrote the fol­ lowing letter to his partner, F. W. Collard: “By a little management and without committing myself, I have at last made a complete conquest of the haughty beauty, Beethoven, who first began at public places to grin and coquet with me, which of course I took care not to discourage; then slid into familiar chat, till meeting him by chance one day in the street — ‘Where do you lodge?’ says he; ‘I have not seen you this long while1’ — upon which I gave him my address. Two days after I found on my table his card brought by himself, from the maid’s description of his lovely form. This will do, thought I. Three days after that he calls again, and finds me at home. Conceive then the mutual ecstasy of such a meeting! I took pretty good care to improve it to our house’s advantage, therefore, as soon as decency would allow, after praising very handsomly some of his compositions: ‘Are you engaged with any publisher in London?’ ‘No,’ says he. Suppose then, that you prefer me?’ — ‘With all my heart. Done. What have you ready?’ — ‘I’ll bring you a list.’ In short I agree with him to take in MSS. three quartets, a symphony, an overture and a concerto for the violin, which “Yours For Keeps” The Cleveland Orchestra UNDER ARTUR RODZINSKI ON "Under a Spreading Chestnut Tree" (Weinberger)—X161 ...... $4.50 "Scheherazade" (Rimsky Korsakov)—M398...... $10 For the first time you may permanently have in your home recordings of the Cleveland Orchestra at its finest, under masterful direction of Rodzinski. “Specialists in Music” for Over 36 Years Is Your Assurance of Satisfaction

1310 HURON ROAD

851 is beautiful, and a concerto for the pianoforte, for all of which we are to pay him two hundred pounds sterling. The property, however, is only for the British Dominions.” The “concerto for the pianoforte” mentioned was the Fourth Concerto. The letter continues: “Today sets off a courier for London through Russia, and he will bring over to you two or three of the mentioned articles.” The routing of a courier from Vienna to London via Russia was a detour necessitated by the activities of an excessively admired nuisance named Napoleon Bonaparte.

Symphony No. 3, C minor, Alexander Nicholaevich Scriabin Op. 43, The Divine Poem Born January 6, 1872 in Moscow- Died April 27, 1915 in Moscow Scriabin’s formal musical education was gained at the Moscow Conserva­ tory toward the end of the 1880s. However, it was only as a pianist that he was awarded the gold medal. In the composition class, the contrapuntal dis­ cipline exacted by teachers Taneieff and Arensky failed to enlist his interest, irked him to passive resistance: he never finished the course. His classmate, Rachmaninoff, on the contrary, assimilated this branch of musical skill with ardor and prize-winning success. It was to the apron strings of the non-polyphonic Chopin that the youth­ ful Scriabin first tied himself. His early, attractive works show a decidedly Chopinesque idiomatic pianism, as well as delicate morbidity of sentiment. As he progressed his harmony grew sultrier and more highly spiced; toward the end he cut his harmonic balloon away from the moorings of the traditional tonal system, and it proceeded to drift around in the vapor given off by a dissonant six-tone chord of his own concoction. He called this chord “mystic," no doubt subsconsciously impelled by a desire to convince himself it was important. As he approached middle life he began to take an interest in ‘ ‘philosophy. In his case this was no rigorous mental exercise; rather, various unassorted philosophical, religious, metaphysical and occultist notions entered his hospitable head and gave themselves informal, convivial all-night talking parties, Rahssian style. “There will have to be a fusion of all the arts,” he said, “but not a theatri-

During intermission a visit may be made to the Green Room, off the west side of the Main Floor, where there are displayed exhibits of books, prints, and scores relating to the music played by The Orchestra, together with timely photographs by Geoffrey Landesman.

THE A reading list on the next symphony concerts is available at the Cleveland Public Library, 325 Superior Avenue. Music scores and books about music may be borrowed from the Main Library or through any Branch Library.

THE CLEVELAND TRANSFER COMPANY Freight and Baggage Delivery Service THEATRICAL HAULING 1808 East 22nd Street PRospect 782S

353 THE CLEVELAND ORCHESTRA ARTUR RODZINSKI, CONDUCTOR

SIXTEENTH PROGRAM

Thursday Evening, February 29, 1940 at eight-thirty Saturday Evening, March 2, 1940 at eight-thirty

Overture to The Abduction from the Seraglio Mozart

*Nenia, Op. 82 Brahms

Symphony No. 4, E minor, Op. 98 Brahms

INTERMISSION

Overture on Jewish Themes Prokofiéfi:

Spanish Dances Granados

*Choros No. 10 Villa-Lobos

•THE CLEVELAND PHILHARMONIC CHORUS Boris Goldovsky, conductor

Mr. Ringwall will discuss the music of this program on Thursday, February 29, over Station IFGAR, from 3:45 to 4:00 p. m.

Thursday evenings, $1.00, $1.25, $1.50, $2.00 and $2.50 RESERVED SEATS Saturday evenings, .50, $1.00, $1.25, $1.75 and $2.00 SEVERANCE HALL, TAYLOR’S, and JOHN WADE, Inc., Shaker Square 50 cent seats Saturday, 7:30 p. m., Severance Hall only

8*4 cal one like Wagner’s. Art must unite with philosophy and religion in an in­ divisible whole to form a new gospel, which will replace the old Gospel we have outlived. I cherish the dream of creating such a ‘mystery.’ For it, it would be necessary to build a special temple, perhaps far away in India. But mankind is not yet ready for it.” Perhaps it is not quite fair to scoff at this sort of bubble blowing. For him to link up his own musical creative impulses vaguely with God, the universe, and the destiny of man was a way of making himself believe in himself. Without this self-inflation he might never have composed anything at all. The Divine Poem was Scriabin’s first larger attempt to “unite music with philosophy.” The following “programme” was published together with the music, with Scriabin’s approval: “ ‘The Divine Poem’ represents the evolution of the human spirit which, torn from an entire past of beliefs and mysteries which it surmounts and over­ turns, passes through Pantheism and attains to a joyous and intoxicated affirmation of its liberty and its unity with the universe (the divine ‘Ego’). “Struggles. The conflict between the man who is the slave of a personal god, supreme master of the world, and the free, powerful man — the man god. The latter appears to triumph, but it is only the intellect which affirms the divine ‘Ego,’ while the individual will, still too weak, is tempted to sink into Pantheism. “Delights. The man allows himself to be captured by the delights of the sensual world. He is intoxicated and soothed by the voluptuous pleasures into which he plunges. His personality loses itself in nature. It is then that the sense of the sublime arises from the depths of his being and assists him to conquer the passive state of his human ‘Ego.’

MANNY LANDERS

and his ORCHESTRA in the CORAL ROOM

SUPPER DANCING 10:00 p. m. to 2:00 a. m. DINNER DANCING jFentoap Sail Sunday, 6:00 to 8:30 p. me EUCLID AVE. at

355 “Divine Play. The spirit finally freed from all the bonds which fastened it to its past of submission to a superior power, the spirit producing the uni­ verse by the sole power of its own creative will, conscious of being at one with this Universe, abandons itself to the sublime joy of free activity — the ‘Divine Play.’ ” It would be unfortunate if those who fail to extract any meaning from the above verbiage were thereby to discourage themselves from, or prejudice themselves against enjoying the real beauties of the music. The music is a product of the composer’s middle, transitional period; it still contains many evidences of traditionalism. For instance, the pattern of the first movement is that of a fairly orthodox sonata-allegro. Harmoni­ cally, too, the composer has not yet irrevocably entered the purple realm of his “mystic chord.” The work dates from 1904; it was first performed on May 29, 1905 at the Theatre Chatelet in Paris. Arthur Nikisch, the glamorous orchestra leader, magnanimously accepted a bribe of 3000 roubles from one M. K. Morozova, a wealthy benefactor of Scriabin, to perform the work as if he were doing so on his own initiative.

Scriabin once visited the , in December 1906. Modest Altschuler, a former classmate, was the conductor of a symphony orchestra in New York devoted to the promulgation of Russian music, and had invited

JUST ACROSS TH6 LRGOOn

there’s a cozy Marine Room inviting you and

your friends to get together after the concert.

WADE PARK MANOR East 107th Street and Park Lane Geo. A. Schneider, Mgr.

Cluttered Closets? Do not clutter your closets with out of season wearing apparel. Let us store these garments at only 2% of your own valuation and we will return them to you fresh and ready to wear in the Spring. Full insurance against fire and theft and guaranteed against moths. ★ The O. O. SUMMERS Co. HEnderson 7220 6220 Carnegie Avenue Cleveland, Ohio

357 Eighth twilight Concert

THE CLEVELAND ORCHESTRA RUDOLPH RINGWALL, conducting

Sunday afternoon, February 25, 1940, at five o'clock

ONE HOUR OF MUSIC SEVERANCE HALL

Overture to The Bartered Bride Smetana

Allegretto Presto from Symphony No. 7, A major, Op. 92 Beethoven

Peer Gynt Suite Grieg Morning Mood Ingrid’s Lament In the Hall of the Mountain King Anitra’s Dance Peer Gynt’s Homecoming Solveig’s Song

Waltz, The Beautiful Blue Danube Strauss

Roumanian Rhapsody No. 1, A major, Op. 11 Enesco

Tickets 25 and 50 cents Box seats 75 cents BOX OFFICES: SEVERANCE HALL, TAYLOR’S, and JOHN WADE, INC.

REMAINING TWILIGHT CONCERTS MARCH 3, 10 and 24 • APRIL 14

358 the composer to appear with the orchestra in various capacities. Some good performances of Scriabin’s works, including the Divine Poem, were given in the course of the month. Scriabin also penetrated the thickets of Cincinnati and , giving a taste of his piano works to the local Indians and buffaloes. There was a lady named Tatiana Schloezer with whom Scriabin had been on the best of terms for some years. In fact, she had borne him a daughter not long before..However, the composer had been married to someone else long ago; the position of Scriabin’s legal spouse was not vacant, and Tatiana could not aspire to it, despite the undying loyalty between her and him. She it was who wrote the word-salad aforequoted as the “programme” of the Divine Poem. . She remained abroad when Scriabin sailed for New York, but after his initial successes there he sent for her. Alas! .Word was spread that Scriabin and Tatiana were, — well----- !! A storm of virtuous indignation was gathering. Altschuler, experienced in American folk-ways, anxiously tipped off the couple: they escaped on to a Europe-bound steamer just one jump ahead of the axes of the Galahads of the Immigration Department, and of the avenging lasso of Anthony Comstock and his Society for the Suppression of Vice. They escaped disgrace, but engagements were canceled and contracts were broken. They returned to Paris from the fabulous Dollarland just thirty francs this side of stony brokeness.

PIANIST-TEACHER CARL RIEMENSCHNEIDER STUDIO: 718 The Arc.de

Pianist - Teacher EMILIE PRAY For appointment call GL 5786 FRANKLIN BENJAMIN =^EACHER ______call GArfield 3865

ALBERT RIEMENSCHNEIDER For Appointments or Lessons Teacher of Piano & Pipe Organ call WOodbine 2190 or Address 10001 Edgewater Drive

¿BALDWIN-WALLACE CONSERVATORY OF ¿MUSIC Faculty of Artist Teachers FOUR YEAR COURSES Eighth Annual Baldwin-Wallace Berea, Ohio Leading to B.M. and B.S.M. Degrees Bach Festival, June 8-9, 1940 For catalog or information, address Albert Riemenschneider, Director

SERGE NADEJDIN’S Instruction by SERGE NADEJDIN Russian Ballet * Ar‘ Dir"cu" The“tr” 1220 Huron Rd.Tel,Tel. CHerry 4588 714 Carnegie Hall 359