Boston Symphony Orchestra Concert Programs, Season 55,1935-1936

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BOSTON SYMPHONY ORCnTSTRft INC. FIFTY-FIFTH SEASON 1935-1936 [E]

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FIFTY-FIFTH SEASON, 1935-1936 Boston Symphony Orchestra INCORPORATED

Dr. SERGE KOUSSEVITZKY, Conductor

Richard Burgin, Assistant Conductor

Concert Bulletin of the Fifth Concert

MONDAY EVENING, March 2

with historical and descriptive notes

By John N. Burk

COPVRH.Hl, 1936, BY BOSTON SYMPHONY ORCHESTRA, llXC.

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Orchestra Concerts. It is particularly appropriate that these regular subscribers to concerts which cannot be maintained on the proceeds of seat sales should join the Friends of the Orchestra in their effort to make up the deficiency. Thus far this year only 1 1.7 per cent of them have enrolled. Irrespective of the amounts of their contributions, the enrollment by these Boston and Cambridge season ticket subscribers ought to be 100 per cent numerically, for such subscribers are the real sup- port of the Orchestra and they should see it through.

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4] SYMPHONY HALL, BOSTON

Boston Symphony Orchestra

Dr. SERGE KOUSSEVITZKY, Conductor

FIFTH CONCERT of the MONDAY EVENING SERIES

MONDAY EVENING, March 2, at 8:15 o'clock

Programme

Haydn Symphony in E-flat, No. 99

I. Adagio; Vivace assai II. Adagio III. Menuetto (Allegretto) IV. Vivace

Saint-Saens Pianoforte Concerto No. 5 in F major, Op. 103

I. Allegro animato II. Andante III. Molto allegro INTERMISSION

Wagner Prelude to "Lohengrin"

Wagner Prelude and "Liebestod" from "Tristan und Isolde"

Wagner Prelude to "Die Meistersinger von Niirnberg"

soloist MARJORIE CHURCH STEINWAY PIANO

(A number of paintings loaned by the Boston Art Club, together with music, autographs, and pictures of the composers whose works are in the Orchestra's current repertory, may be seen in the Huntington Avenue Foyer. See page 24)

I .. . II I M—1^——— ^^"^^— SYMPHONY IN E-FLAT MAJOR, No. 99 (No. 10 of the London Series)*

By Joseph Haydn

Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809

Lingering over the beauties of one of the symphonies of Haydn, it

* is hard to realize that he wrote more than a hundred, and pro- duced even the best of them literally by the dozen. For Salomon in London he composed two sets of six for his two English visits — his

last, and according to general opinion, his finest development of the form. For the Parisian society, "Concerts de la Loge Olympique," he had also provided an even twelve. This symphony (the ninety-ninth in the chronological numbering of Mandyczewski) was designed by Haydn for his second visit to England, written in Vienna in 1793 in the interval between his two journeys to the British capital, and duly performed in London in 1794 or 1795. Haydn was required by the terms of his agreement with Salomon to write a new work for each of the weekly concerts in the subscription series which he arranged, and the composer was as good as his word. He stipulated (hearing, perhaps, that the British public had late-coming habits) that the new piece should be played always at the beginning of the second part of the programme. When each

particular symphony was played it is usually impossible to tell, for the programmes simply state: "New Grand Overture (Symphony)," or "Grand Overture (Symphony) mss." There is every evidence that

England took the twelve symphonies to its heart. The concerts were crowded, and another management had only to announce a work of Haydn to be sure of an audience. The Morning Chronicle probably voiced the general opinion when it praised the "agitating modulations" of the symphonies, and the "larmoyant passages" in their slow movements. Everyone was charmed by Haydn's grace and humor, and the arias and choruses of Handel were momentarily overlooked in the interest of those unaccustomed forms to which Haydn had given such abundant life — the symphony and the string quartet. The second of the London symphonies (in D major), and the "Sur- prise" Symphony were singled out for special favor, and often repeated. Also of the Salomon series were the so-called "Clock," "Drum Roll," and "Military" symphonies.

As almost without exception in his London symphonies, Haydn opens this one with a reflective and free adagio, no pompous or cere- monious portal, but tender and mysterious, foreshadowing Beethoven.

* This symphony was performed at the Boston Symphony concerts, January 30, 1886, Wilhelm Gericke, conductor, and October 22, 1926, Dr. Serge Koussevitzky, conductor. 6 t ] The principal difference, in this case, is that instead of leading the hearer by a subtle transition into the main body of the movement, Haydn dismisses the introductory mood with not so much as a gesture, as he breaks into the sprightly theme of his vivace assai. The second theme is for violins and clarinet, an instrument which takes its place in these later symphonies. The development progresses through cham- eleon-like modulations with a wit and daring which almost equals the whimsical fancy and legerdemain of the finale. The adagio, in G major, opens with a theme for the first violins, canlabile, which is ornamented with passages in the wood winds, the flutes predomi- nating. The second theme is inseparable from the elaboration of sixteenth notes upon which its sustained songfulness subsists. This is a slow movement of lyric intensity with aspects of nineteenth-century romanticism, and there is a passage in stormy triplets which again almost makes one exclaim "Beethoven!" There is a lusty minuet, allegretto, based upon a simple descending chord of E-flat. In the trio the oboe, cantabile, is combined with the strings. The final rondo, vivace, brings a more independent and distinct use of the various wood wind voices. There is the characteristic pause of suspense upon the main theme, slowed to adagio and played by the first violins, before the coda.

Writing of Haydn in the Oxford History of Music, W. H. Hadow considers that "the twelve symphonies which he wrote for Salomon are not only the greatest of his orchestral works, but those also in

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which we can most clearly trace the effect of his intercourse with Mozart. Dr. Pohl especially notes the influence of the Jupiter Sym- phony both in the richer orchestration and in the freer uses of episode and incident: "The minuets, tar different from Mozart's courtly dance-measures, have all his old rustic drollery and humor, the rhythms have all his old incisiveness of touch, the folk-tunes that he loved grow thick along the wayside.* The melodies of his own sowing are unmistakable

in hue and shapeliness. And the music is all suffused with a sense of mellowness and maturity, of long experience and an old age honor- ably won; it is too serene for passion, too wise for sadness, too single- hearted for regret; it has learned the lesson of life and will question

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[9] CONCERTO IN F MAJOR, No. 5, for Pianoforte and Orchestra, Op. 103* By Camille Saint-Saens

Born at Paris, October 9, 1835; died at Algiers, December 16, 1921

the winter of Saint-Saens went to IN 1896, Egypt and traveled up the Nile, enjoying a brief respite from the concert and operatic world. He took music paper with him, however; wrote a "False Mignonne" for the Egyptian Princess Bedio Oman, worked upon his Second Violin Sonata and, taking refuge in his hotel, began and completed his Fifth

Piano Concerto. Into this score, and particularly into its slow movement, he recorded his musical impressions of the Orient. Saint-Saens wrote to a friend: "The second movement is a sort of journey in the East, which goes in the episode in F-sharp major to the extreme East.

The section in G major is a Nubian love song which I heard sung by boatmen on the Nile when I went down the stream in a dahabeeyah." The Nubian love song referred to enters after considerable preluding allegretto tranquillo, quasi andantino. The andante ends with a return to the rhythmic matter of the introduction.

*This Concerto has been performed by the Boston Symphony Orchestra, March 5, 1904, Ferruccio Busoni, pianist, and April 2, 1920, Rudolph Ganz, pianist.

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[»] The occasion of the first performance of this concerto was the 50th anniversary of the composer's first public appearance as a pianist. The concert commemorating this event was given at the Salle Pleyel in

Paris, June 2, 1896. The composer took the solo part in the Concerto, and played together with Sarasate the Violin Sonata, which also he had just composed. It was in Paris, in the spring of 1846, that the ten-year-old Camille first sat before his public as pianist, and astonished them by playing from memory and with elegant finish two concertos, a sonata, some Bach, and other pieces. In Paris at that time, Chopin was the pianist of the hour. Berlioz was a hopeful young musician. Wagner, aspiring young Kapellmeister at Dresden, had turned his back on the French capital shortly before, having starved and struggled there, and made not so much as a ripple on its consciousness. The names of Brahms or Tchaikovsky were then unknown — for the very good reason that the one was a schoolboy of fourteen, the other a child of six. Saint-Saens lived to know Wagner, Berlioz, Liszt, Tchaikovsky — all the important composers of his century, and a goodly portion of the unimportant ones. He lived to champion a maligned Wagner, and later to taunt with his acid pen those who fell over themselves in the assumption that the adored Meister could do no wrong. He lived to

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[13] one knows and loves; and yet in M. Saint-Saens' works one does not find any direct resemblance to the works of other composers; for with no one are reminiscences rarer than with this master who carries all the old masters in his mind — it is his spirit that is akin to theirs.

And that is the secret of his personality and his value to us; he brings to our artistic unrest a little of the light and sweetness of other times. His compositions are like fragments of another world. " 'From time to time,' he said, in speaking of 'Don Giovanni/ 'in the sacred earth of Hellene we find a fragment, an arm, the debris of a torso, scratched and damaged by the ravages of time; it is only the shadow of the god that the sculptor's chisel once created; but the

charm is somehow still there, the sublime style is radiant in spite of everything' ('Portraits et Souvenirs').

"And so with this music. It is sometimes a little pale, a little too restrained; but in a phrase, in a few harmonies, there will shine out a clear vision of the past."*

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[14] MARJORIE CHURCH

Marjorie Church was born in Ellenville, New York. At the age of twelve she played a Mendelssohn Concerto with the orchestra which Arnold Volpe then conducted in New York City, also giving a recital there. She 'studied at the New England Conservatory of Music with Carl Stasny, and later went to Vienna where she entered the Academy of Music, and joined the master class taught by Leopold Godowsky. She was sent by the Academy to Berlin and to London to give recitals. Upon her graduation from the master class, she was awarded the Austrian State Diploma. She has in recent seasons given numerous concerts in this country, and in Europe as well. Marjorie Church appeared with the Boston Symphony Orchestra at Sanders Theatre, Cambridge, playing Liszt's Second Concerto in

A major, April 12, 1923.

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Born at Leipzig, May 22, 1813; died at Venice, FeDruary 13, li

In March of 1848, Wagner put the last touches upon his "Lohen- grin," and in May of that year his political activities resulted in his exile from Germany. He therefore had no hand in the early productions of the work, nor did he hear it until May 15, 1861, in

Vienna, following his pardon and return. "Lohengrin" had its first performance at the instigation of his ministering friend, Liszt, August 28, 1850, with such forces, scarcely adequate, as the court at Weimar permitted. It found favor, and in the next few years went the rounds of the principal opera houses of Germany and Austria.

The Prelude is based upon a single motive of the Holy Grail. The explanation of the composer follows:

"Love seemed to have vanished from a world of hatred and quar- relling; as a lawgiver she was no longer to be found among the com- munities of men. Emancipating itself from barren care for gain and possession, the sole arbiter of all worldly intercourse, the human heart's unquenchable love-longing again at length craved to appease a want, which, the more warmly and intensely it made itself felt under the pressure of reality, was the less easy to satisfy, on ac-

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[16] count of this very reality. It was beyond the confines of the actual world that man's ecstatic imaginative power fixed the source as well as the outflow of this incomprehensible impulse of love, and from the desire of a comforting sensuous conception of this super- sensuous idea invested it with a wonderful form, which, under the name of the 'Holy Grail,' though conceived as actually existing, yet unapproachably far off, was believed in, longed for, and sought for. The Holy Grail was the costly vessel out of which, at the Last Supper, our Saviour drank with his disciples, and in which His blood was received when out of love for His brethren He suffered upon a cross, and which till this day has been preserved with lively zeal as the source of undying love; albeit, at one time this cup of salvation was taken away from unworthy mankind, but at length was brought back again from the heights of heaven by a band of angels, and delivered into the keeping of fervently loving, solitary men, who, wondrously strengthened and blessed by its presence, and purified in heart, were consecrated as the earthly champions of eternal love. "This miraculous delivery of the Holy Grail, escorted by an angelic host, and the handing of it over into the custody of highly favored men, was selected by the author of 'Lohengrin,' a knight of the Grail, for the introduction of his drama, as the subject to be musically portrayed; just as here, for the sake of explanation, he may be allowed to bring it forward as an object for the mental receptive power of his hearers."

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[17] PRELUDE AND "LIEBESTOD," FROM "TRISTAN UND ISOLDE" By Richard Wagner

Born at Leipzig, May 22, 1813; died at Venice, February 13, 1883

Wagner permitted the Prelude to "Tristan und Isolde" to be performed in concert before the whole work had been pro- duced—he even allowed it to be played at Prague (by Biilow) and in Leipzig in the spring of 1859, a few months before he had written the third act (which he finished at Lucerne in August). Also before the initial performance (in Munich, June 10, 1865) he conducted the Prelude and "Liebestod," which he had arranged for concert purposes, and labelled — not inaccurately — "Liebestod" and "Verklarung" ("Love Death" and "Transfiguration"). The composer has been criticized for conducting excerpts from his operas at concerts despite his own expressed disinclination thus to sever them from the scheme in which they were so inextricable a part. He has more particularly been reproached for withholding the "Tristan" prelude from Herbeck in Vienna, even while planning a performance under his own hand. The critics, it may here be said with some assurance, might have chosen a dozen far weaker spots in the Wagnerian integrity. One can easily imagine the composer weigh- ing the pros and cons in this dilemma - and finally choosing with

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[18] The Resurrection of the St. Matthew Passion That extraordinary and magnificent work of John Sebastian Bach which we know as the St. Matthew Passion has had a career as peculiar as any artistic crea- tion may be expected to have. Performed in St. Thomas' Church in Leipzig on Good Friday, 1729, under Bach's direction, the work fell into the obscurity that covered all contrapuntal works in a homophonic period. When the astute English critic, Dr. Burney, visited Bach's son Emmanuel in 1772, he heard not one note of the father's music and recorded in his journal that Emmanuel was not only more learned than his father, but "far before him in variety of modulation." For one hundred years the masterpieces remained un- heard and unknown. It is to Mendelssohn that we owe the resurrection. Fired by the enthusiasm of his teacher Zelter, director of the Singakademie, he reintroduced the St. Matthew Passion to an eager world the 11th of March, 1829- the century of silence being exactly complete. An en- thusiastic reception was afforded the work throughout Germany, and on the Palm Sunday of 1841 Mendels- sohn conducted it in Bach's own Church of St. Thomas in Leipzig, the proceeds from the performance being used for the erection of a Bach monument in St. Thomas' School. The Passion, which is given every holy week in Berlin and other German cities, was for many years an annual event in Boston. That it has been heard less frequently in recent years is strange when one remem- bers that Bach is the composer most sympathetic to contemporary musicians. It will be performed next April for the third time in the history of the Boston Symphony Orchestra — the two previous ones having taken place in 1911 and 1918. At these performances — which will be given for the benefit of the Pension Fund — Dr. Koussevitzky will conduct the combined forces of the Orchestra, the Harvard Glee Club, the Radcliffe Choral Society, and five soloists.

[»9] his usual shrewd sense of the larger issue. He must have been reason- ably averse to giving out this fragment from a vital organism as if it were an inconsequential overture a la Rossini, exhibiting it to a world entirely ignorant of the subject and alien to the style and import. It was doubtful propaganda for "Tristan" — for it could not have made a clear or adequate impression on its uninformed hearers. On the other hand, Wagner at this time was pressed by certain imperative needs — the need of money, of course, and the need for recognition of his matured art. He was looked upon, not unreason- ably, by practical-minded folk as a crack-brained spinner of impossible schemes. Still in exile, he had heard nothing since "Tann- h'duser" and the world knew nothing of his "Ring" or his "Tristan." He must have craved the solace and assurance of an actual hearing of something from his later music. Finally, Wagner was ready, and wisely so, to sacrifice present expediency to ultimate success — which then seemed to recede further and further from his reach.

The Prelude, or "Liebestod" as its composer called it, is built with great cumulative skill in a long crescendo which has its emotional counterpart in the growing intensity of passion, and the dark sense of tragedy in which it is cast. The sighing phrase given by the 'cellos in the opening bars has been called "Love's Longing" and the ascending chromatic phrase for the oboes which is linked to it, "Desire."

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[21] The fervent second motive for the 'cellos is known as "The Love Glance," in that it is to occupy the center of attention in the moment of suspense when the pair have taken the love potion, stand and gaze into each other's eyes. Seven distinct motives may be found in the prelude, all of them connected with this moment of the first realization of their passion by Tristan and Isolde, towards the close of the first act. In the Prelude they are not perceived separately, but as a continuous part of the voluptuous line of melody, so subtle and integrated is their unfolding. The apex of tension comes in the motive of "Deliverance by Death," its accents thrown into relief by ascending scales from the strings. And then there is the gradual de- crescendo, the subsidence to the tender motive of longing. "One thing only remains," to quote Wagner's own explanation — "longing, insatiable longing, forever springing up anew, pining and thirst- ing. Death, which means passing away, perishing, never awakening, their only deliverance." When the music has sunk upon this motive to a hushed silence, there arise the slowly mounting strains of a new crescendo, the "Liebestod." Wagner preferred "Verklarung," and never was the word used with more justification. Never has the grim finality of death been more finely surmounted than in the soaring phrases of Isolde, for whom, with the death of her lover, the material world has crumbled. Her last words are "hochste Lust!" and the orchestra lingers finally upon the motive of "Desire." Wagner con- cludes: "Shall we call it death? Or is it the hidden wonder world, from out of which an ivy and vine, entwined with each other, grew upon Tristan's and Isolde's grave, as the legend tells us?" Symphony Hall

Philharmonic - Symphony Society of New York ARTURO TOSCANINI, Conductor Two Concerts

Monday Evening, March 16, Tuesday Afternoon, March 17, at 8:15 at 2:30 Programme Programme Rossini Weber . . . Overture to "Der Freischiitz" Overture to "L'ltaliana in Algeri"

Brahms . . . Symphony No. 4 in E minor Beethoven . Symphony No. in A major 7 Verdi Brahms Three Movements from the String Quartet in Variations on a Theme by Haydn E minor Debussy Two Nocturnes: "Nuages" and "Fetes" Smetana . . . Symphonic Poem, "Vltava" Strauss Wagner Tone-Poem, "Death and Overture to "The Flying Dutchman" Transfiguration"

Mr. Toscanini, who is completing his final season in America, will at these concerts make his only appearances in Boston as conductor of the New York Philharmonic-Symphony Society. Tickets are now on general sale at the box-office.

[22] Symphony Hall

Boston Symphony Orchestra

Dr. SERGE KOUSSEVITZKY, Conductor

EIGHTEENTH PAIR OF CONCERTS FRIDAY AFTERNOON, March 6, at 2:30 o'clock

SATURDAY EVENING, March 7, at 8:15 o'clock

Bruckner Symphony in E major, No. 7 INTERMISSION Liszt "Mephisto Waltz" (The Dance in the Village Tavern), Episode from Lenau's "Faust" Faure" "El^gie" for Violoncello and Orchestra Ravel Rapsodie Espagnole SOLOIST JEAN BEDETTI

Tuesday Afternoon, April 7, 1936 at 3:00 o'clock FIFTH CONCERT of the TUESDAY AFTERNOON SERIES

Monday Evening, April 20, 1936 at 8:15 o'clock THE SIXTH AND LAST PROGRAMME OF THIS SERIES

Sunday Afternoon, April 26 and Monday Evening, April 27 PENSION FUND CONCERTS

Bach's St. Matthew Passion [See page 19]

[23] PRELUDE TO "DIE MEISTERSINGER VON NVRNBERG' By Richard Wagner

Born at Leipzig, May 22, 1813; died at Venice, February 13, 1883

Wagner, whose ideas for music dramas were always considerably ahead of their fruition, first conceived plans for "Die Meister- singer" (and "Lohengrin" as well) in the summer of 1845, when having completed "Tannhauser" he was anticipating its first production. A humorous treatment of the early guilds, of Hans Sachs and his fellow tradesmen, occurred to him as an outgrowth from the Wart- burg scene in "Tannhauser" and its contest of song. He carried the project in the back of his mind while more immediate concerns — "Lohengrin" and the "Ring" — occupied him. Then came "Tristan" and only after the "Tannhauser" fiasco in Paris, in 1861, did he give his complete thoughts to his early Nuremburgers, and draw his libretto into final form. At once, with a masterful assembling of fresh forces as remarkable as that which he had shown in plunging into "Tristan/' he put behind him the impassioned chromaticism of the love drama and the Bacchanale, and immersed himself in the broad and placid periods, the naive folk style of the early guilds. He built up readily, and for the first time, a strictly human world, free of gods, legendary heroes, and magic spells.

TO BE SEEN-

In the Huntington Avenue Lobby

You are invited to inspect the collection of music, manuscripts, and pictures referring to the works in the orchestra's current repertory. There are now being shown the following pictures, loaned by courtesy of the Boston Art Club:

Carroll Bill Segovia in Afternoon Light Margaret Fitzhugh Browne The Village Postman

Polly Nordell . Summer Time Hoyland Bettinger Late Afternoon, Rockport F. John Hilliard Mr. Philip Trueman Hicks Anthony Thieme Morning Light

Ipswich Hills William J. Kaula New Philip Trueman Hicks Mr. Francis M. Findlay

Frank Vining Smith . When Sail was Supreme

Arthur F. Musgrave . The Harvest Polly Thayer Study in Black and Red Robert Strong Woodward New England Origins

[24] He went to Biebrich on the Rhine to compose "Die Meistersinger" and in the early spring of 1862 had completed the Prelude, begun the first act, and sketched the prelude to the third — fragments implicating a fairly complete conception of the ultimate score. Wagner even planned on finishing "Die Meistersinger" for performance in the autumn season of 1862, but intruding troubles — the financial entanglements, the summons to Munich by King Ludwig, and his enforced departure from that city — these things delayed his score, which was not finished until October, 1867. The Prelude was performed from the manuscript at a concert especially arranged by Wendelin Weissheimer at the Leipzig Gewand- haus, November 1, 1862. Wagner conducted the "new" prelude and the overture to "Tannhauser." There was an almost empty hall, but the Prelude was encored. The critics were divided between praise and strong denouncement. There were performances in other cities in

1862 and 1863. The entire work had its first presentation at Munich, June 21, 1868.

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L25] The Orchestra in New York "The concert given by the Boston Symphony Orchestra, Dr. Serge Koussevitzky, conductor, last night in Carnegie Hall was testimony alike to Dr. Koussevitzky's originality and enter- prise in program making, to his rare gifts as an interpreter, and to the qualities of the wonderful orchestra, which he has not only developed technically to the fine edge of virtuosity, but endowed with a sensibility and a tone quality that would set the famous band apart from any other, whenever or where- ever it played. "The concert began with a brilliantly composed 'concerto for orchestra' by Walter Piston of the Music Department of Harvard University. It is music extremely well written, and this with exceptional spirit and invention in the modern metamorphosis of the old classic form. Here is the still exceptional figure among native composers: a young man who in the first place has thoroughly mastered the ground principles of his art; who knows what he wants to do and how to do it; whose basis is a thorough command of counterpoint and form, on which is superimposed brilliant treatment of the

orchestra. . . . "The interpretation was another reminder of the incalculable aid that Dr. Koussevitzky has given the rising generation of American composers. He has not gestured for purposes of publicity, or waved the flag to flatter the public of his adopted country, but by actual performance of many new works has given the young Americans repeated hearings and met talent with the understanding and sympathy so badly needed. At the same time, he has not played new music simply because it was new; he has been quick to recognize merit, and thus has added a very considerable number of worthwhile native

compositions to the orchestral repertory. . . . "It was high time that a great conductor and orchestra should again play representative music of Bloch ["Three Jewish Poems"], which, with the exception of his 'Schelomo,' has been neglected in late seasons. It was also high time that the public of this city should become acquainted with the seldom-played tone poem of the Sibelius inspired by folk-

poetry of the Kalevala, 'Pohjola's Daughter.' . . . "The concert ended with the poetry and the mellow wisdom and beauty of Brahms' Second Symphony, long a famous of- fering of this orchestra. After the rousing finale the audience remained for a time to applaud and cheer. It was an evening of remarkable performances and accumulating enthusiasm." — Olin Downes, New York Times, February 15, 1936.

"Dr. Koussevitzky has given two concerts this week of the most exceptional interest. He and the orchestra have again made us their debtors." — New York Times, February 16, 1936.

[26] MUSICAL INSTRUCTION LONGY SCHOOL OF MUSIC 44 Church Street Incorporated Cambridge, Mass.

- - - Instructors in the Wind Instrument Department « « « Gaston Bladet, Flute Fernand Gillet, Oboe Paul Mitnart, Clarinet Abdon Laus, Bassoon, Willem Valkenier, French Horn Georges Mager, Trumpet Saxophone Eugene Adam, Trombone, Tuba All are members of the Boston Symphony Orchestra SAMUEL ENDICOTT DICTION AND PRONUNCIATION FOR SINGERS, IN FRENCH, ITALIAN, GERMAN AND RUSSIAN SONG COACHING Studio: 725 BOYLSTON STREET Res. Tel. Dedham 0012 ARY DULFER STUDIO OF VIOLIN PLAYING 207 NEWBURY STREET BOSTON MARIE MURRAY CONTRALTO Guest Soloist with the Boston Symphony Orchestra for the past three seasons Address WEST ROXBURY, MASSACHUSETTS Phone Par. 4651 Teacher of Voice Call Registrar, N. E. Conservatory of Music. Ken. 8660

JULES WOLFFERS, Pianist HARRIETTE ELKIND WOLFFERS, Violinist STUDIO AND RECITAL SALON 470 COMMONWEALTH AVENUE Commonwealth 3368 Mine. MARIA PARDO CALVARESI SOPRANO SOLOIST AND TEACHER RADIO CONCERT OPERA 54 WESTLAND AVENUE Telephone Com. 0151 Mrs. Charles Adams White TEACHER OF SINGING 105 REVERE ST., BOSTON Tel. Capitol 6745 JANE RUSSELL COLPITT PIANIST AND TEACHER TOBIAS MATTHAY PRINCIPLES OF PIANOFORTE YORKE-TROTTER PRINCIPLES OF "MUSICIANSHIP" 280 DARTMOUTH STREET Telephone Kenmore 1283 ISABEL FRENCH SOPRANO TEACHER OF SINGING Studio: 22 Embankment Road (Near Charles Street Subway) Telephone Lafayette 3930

[27] :

MUSICAL INSTRUCTION LAMBERT MURPHY TENOR TEACHER OF SINGING In Boston on Mondays STUDIO, 725 BOYLSTON STREET For appointments write to above address or phone Kenmou 3122 on Mondays CLARA SHEAR Soprano Teacher of Singing

12 STEINERT BUILDING, 162 BOYLSTO v. STREET Mondays, Tuesdays, Wednesdays

GLADYS AVERY LEBERT Soprano TEACHER OF VOICE AT WELLESLEY COLLEGE In Boston, Wednesday Afternoons Address 348 CRAFTS STREET, NEWTONVILLE, MASS. Telephone: Newton North 0102 MARY SHAW SWAIN PIANOFORTE TEACHER Former Member of Faculty of the Felix Fox School of Pianoforte Playing ACCOMPANIST AND COACH 74 THE FENWAY COMmonwealth 0054

TEACHER*/' SINGING andcfridaih, one Capitol Ogg5 1

CHARLES COMPOSER Mrs. Mabel Mann Jordan ) PIANIST REPPER TEACHER Pupil of SILVESTRI, Naples, Italy Teacher of Piano: Harmony: Ear training. Adult beginners MANDOLIN, GUITAR, BANJO and UKULELE welcome: andsingers learning their own accompani- Foreign and American Instruments for sale ments. Thematic booklet of piano pieces on request. 206 COMMONWEALTH AVE., Boston Kenmore 6520—Trinity Court—Boston Commonwealth 8908 ELIZABETH GERTRUDE FOGLER SIEDHOFF FRENCH AND ENGLISH DICTION PIANIST — INSTRUCTOR "I am very pleased with her work." 543 Boylston Street MATTHAY in London Concerts: Lecture — Piano Recitals Kenmore 7714 Studio: HOTEL CANTERBURY Tel. Ken. 3700 Boston

Mme.Zoe LassagneMercier,Muc.B. ARTIST ACCOMPANIST—COACH French Diction and Interpretation In Songs and Opera 134 Brattle St., Cambridge, Mass., Tro.6220 Weds.—30 Huntington Ave., Room 520

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