Symphony Hall, Boston Huntington and Massachusetts Avenues

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

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

INC.

PIERRE MONTEUX, Conductor

FORTY-THIRD SEASON. 1923-1924

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc.

FREDERICK P. CABOT President

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

ALFRED L. AIKEN ARTHUR LYMAN

FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE

M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH

W. H BRENNAN. Manager G. E. JUDD. Assistant Manager

1505 and cT^ture

Jhtnujjor Ui£ Steinvay Collection

bj (J^C\'^yeth

STEIN WAY n-HE /NSTKUMENT OF THE JMMORTALS the 26th of March, 1827, died Liszt and Rubinstein, for Wagner, Berlioz Ludwig van Beethoven, of ON whom and Gounod. And today, a still greater it has been said that he was the Steinway than these great men knew, greatest of all musicians. A generation responds to the touch of Paderewksi, later the was born Steinway Piano, which Rachmaninoff and Hofmann. Such, in is acknowledged to be the greatest of all fact, are the fortunes of time, that today, pianofortes. What a pity it is that the this Instrument of the Immortals, greatest master could not himself have this piano, more perfect than any played upon the greatest instrument — Beethoven ever dreamed of, can be pos' that these two could not have been born sessed and played and cherished not only together! Though the Steinway was de- by the few who are the masters of music, nied Beethoven, it was here in time for but by the many who are its lovers.

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1506 7^\

Forty-third Season, 1923-1924

PIERRE MONTEUX, Conductor

Violins.

Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Siegl, F. Kassman, N. Cherkassky, P. Leveen, P. Mariotti, V. Thillois, F. Gorodetzky, L. Kurth, R. Riedlinger, H. Murray, J. Goldstein, S. Bryant, M. Knudsen, C.

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

Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A. ArtiSres, L, Shirley, Van Wynbergen, C. P. MuUaly, J. Gerhardt, S. Kluge, M. Deane, C. Zahn, F.

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

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

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

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

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

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

Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. 1507 JULIUS CHALOFF In this musician a composer -pianist of rare quality and power has been added to the list of Ampico artists. ^ He was born in Boston of Russian parents and has attained a high place among eminent musicians and real distinction in his musical achievements. THE AMPICO

His playing of Islamey, that won- position — its blazing color, its derful Oriental Fantasie by Bala- Oriental enchantment, with ut- kirew, adds yet another triumph most fidehty. ^F^'om crashing to the long line of Ampico suc- crescendo to delicate diminuen- cesses. For the Ampico re-enacts do, all the exquisite shading in- Julius Chaloff's interpretation of spired by the artist's own genius this tremendously difficult com- is brought to you by the Ampico.

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PIANOS OF ALL PRICES — EACH PRE-EMINENT IN ITS CLASS

1508 .

SYMPHONY HALL 44th Season 1924-1925

24 FRIDAY AFTERNOON CONCERTS 24 SATURDAY EVENING CONCERTS

BEGINNING OCTOBER 10-11, 1924

BY THE Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor

WITH DISTINGUISHED SOLOISTS

SUBSCRIPTION INFORMATION

This year's subscribers for the series of 24 Friday afternoon and 24 Saturday evening concerts have an option until May 1 to retain their seats for the following season of 1924-25.

Applications from new subscribers are now being received and their names placed on the waiting list. These applications will be filled in order of receipt and seats allotted as near the desired location as possible shortly after May 1 Season Tickets for 24 concerts. $70, $65, $60, $55, $50. $48, $45. $40. $35. $30, $20. No Tax.

Address all communications to

W. H. BRENNAN, Manager

Symphony Hall, Boston

Please advise if you have not already received your renewal subscription notice.

FORTY-THIRD SEASON. NINETEEN HUNDRED TWENTY-THREE 6- TWENTY-FOUR

FRIDAY AFTERNOON, APRIL 11, at 2.30 o'clock

SATURDAY EVENING, APRIL 12, at 8.15 o'clock

Franck Symphony in D minor I. Lento; Allegro non troppo. 11. Allegretto. III. Allegro non troppo.

Chopin Concerto in E minor for Pianoforte and Orchestra, Op. ii, No. i I. Allegro maestoso. II. Romanza; Larghetto. III. Rondo: Vivace.

Berlioz Hungarian March, ^'Rakoczy"

SOLOIST MORIZ ROSENTHAL

KNABE PIANO USED

Extra, by general request:

Stravinsky . . "Le Sacre du Printemps" ('Tlie Rite of Spring"), A Picture of Pagan Russia I. The Adoration of the Earth. Introduction — Harbingers of Spring, Dance of the Adolescents — Abduction — Spring Rounds — Games of the rival cities — The Procession of the Wise Men — The Adoration of the Earth (The Wise Man) — Dance of the Earth. II. The Sacrifice Introduction — Mysterious Circles of the Adolescents — Glorification of the Chosen One — Evocation of the Ancestors — Ritual of the Ancestors — The Sacrificial Dance of the Chosen One.

City of Boston, Revised Regulation of August 5, 1898,—Chapter 3, relating to the covering of the head in places of public amusement

Every licensee shall not, in his place of amusement, allow any person to wear upon the head a. covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectatori, it being understood that a low head covering without projection, which does not obstruct such view, may be worm. Attest: J. M. GALVIN. City Clerk.

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

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1510 ;

Symphony in D minor, for Orchestra Cesar Franck

(Born at Li^ge, Belgium, December 10, 1822; died at Paris, November 8, 1890)

This symphony was produced at the Conservatory, Paris, February 17, 1889.* It was composed in 1888 and completed August 22 of that year. It was performed for the first time in Boston at a concert of the Boston Symphony Orchestra on April 15, 1899, and it was also played at its concerts on December 23 of that year; Feb-

ruary 11 and April 22, 1905 ; January 29, 1910 ; November 25, 1911 January 3, 1914; May 1, 1915; December 8, 1916; October 25, 1918; April 19, 1919; April 29, 1921; December 8, 1922 (Centennial of Franck), December 10, 1922. It was played also at the benefit concert to Mr. Wilhelm Gericke, April 24, 1906. The symphony, dedicated to Henri Duparc, is scored for two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, two cornets-a-piston, three trombones, bass tuba, a set of three kettledrums, harp, and strings. Vincent d'Indy in his Life of Franckf gives some particulars about the first performance of the Symphony in D minor. "The performance was quite against the Avish of most members of the famous orchestra, and Avas only pushed through thanks to the

•Franck wrote a symphony for orchestra and chorus, "Psych6," text by Sicard and Fourcaud, which was composed in 1887 and produced at a concert of the National

Society, March 10, 1888. • He also wrote in his earlier years a symphony, "The Ser- mon on the Mount," after the manner of Liszt's symphonic poems. The manuscript exists, but the work was never published. fTranslated by Mrs. Newmarch.

Twenty Modern American Piano Works ERNEST HARRY ADAMS ARTHUR FOOTE When the Leaves Turn Red 50 Op. 73, No. 4. Flying Cloud 50 (From "Tone Fancies after Famous G. A. GRANT-SCHAEFER Paintings") Tales of the Red Man 1.00 FLORENCE NEWELL BARBOUR {Schmidt's Educational Series No. 260) Bravura. Etude Melodique 40 A White Violet 40 CLAYTON JOHNS MARION BAUER Once Upon a Time 50 The Tide 50 LOUIS EDGAR JOHNS Six Preludes 75 Op. 6. Elegie Heroique 1.00 (Schmidt's Educational Series No. 286) Op. 21, No. 2. Humming Bird.. .60 MRS. H. H. A. BEACH JOHN W. METCALF Op. 83. From Blackbird Hills Op. 49. Winds at Play .65 (Omaha Tribal Dance) 60 ARCHIE A. MUMMA Op. 92, No. 1. A Hermit Thrush Six Bird Songs, each .40 at Eve 60 ELIAS BLUM F. ADDISON PORTER Op. 13. Humoresque 60 Op. 29. Prelude Fantastique .50 JULIUS CHALOFF EDWARD ROYCE Op. 10, No. 1. Prelude in E-flat 75 Noon-Tide. Concert Study .75 CHARLES DENN^E ALEXANDER STEINERT, Jr. Op. 40. Concert Etude 75 Mirage .75

IN THE PRESS BY EMINENT RESIDENT COMPOSERS EDWARD BALLANTINE RUDOLPH GANZ Variations on "Mary Had a Little Op. 10, No. 3. Fileuse Pensive 50 Lamb" D. SEQUEIRA El Bufon. (The Jester) 60 "A Uttle masterpiece of tonal humor." SIGISMOND STOJOWSKI Boston Transcript Op. 30, No. 3. By the Brookside 75

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1511 — benevolent obstinacy of the conductor, Jules Garcin. The subscribers could make neither head nor tail of it, and the musical authorities were much in the same position. I inquired of one of them—a professor at the Conservatoire, and a kind of factotum on the committee—what he thought of the work. 'That, a symphony?' he replied in contemptuous tones. 'But, my dear sir, who ever heard of writing for the English horn in a symphony? Just mention a single symphony by Haydn or Beethoven introducing the English horn. There, well, you see—your Franck's music may be whatever you please, but it will certainly never be a symphony!' This was the attitude of the Conservatoire in the year of grace 1889. "At another door of the concert hall, the composer of 'Faust' es- corted by a train of adulators, male and female, fulminated a kind of papal decree to the effect that this symphony was the affirmation of incompetence pushed to dogmatic lengths. For sincerity and disinterestedness we must turn to the composer himself, when, on his return from the concert, his whole family surrounded him, ask- ing eagerly for news. 'Well, were you satisfied with the effect on the public? Was there plenty of applause?' To which 'Father' Franck, thinking only of his work, replied with a beaming coun- tenance: 'Oh, it sounded well, just as I thought it would!'" The following analysis is based, in a measure, on a synopsis prepared by Cesar Franck for the first performance at the Paris Con- servatory concert : I. Lento, D minor, 4-4. There is first a slow and sombre introduction, which begins with the characteristic figure, the thesis of

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1513 the first theme of the movement (violoncellos and basses). This phrase is developed for some thirty measures, and leads into the Allegro, or first movement proper. Allegro non troppo, D minor, 2-2. The theme is given out by all the strings and developed with a new antithesis. Mr. Apthorp remarked in his analysis of this symphony: "It is noticeable that, whenever this theme comes in slow tempo, it has a difi'erent antithesis from when it comes in rapid tempo. The characteristic figure (thesis) reminds one a little, especially by its rhythm and general rise and fall, of the 'Muss es seinf (Must it be?) theme in Beethoven's last quartet, in F major." There is a short development, and the opening slow passage returns, now in F minor, which leads to a resumption of the Allegro non troppo, now also in F minor. This leads to the appearance of the second theme, molto cantabile, F major, for the strings, which in turn is followed by a third theme of a highly energetic nature, which is much used in the ensuing development, and also reappears in the Finale. The free fantasia is long and elaborate. Then there is a ADVANTAGES

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1515 return of the theme of the introduction, which is now given out for- tissimo and in canonic imitation between the bass (trombones, tuba, and basses) and a middle voice (trumpets and cornets) against full harmony in the rest of the orchestra. The theme of the Allegro non troppo is resumed, and leads to the end of the first movement. II. Allegretto, B-fiat minor, 34. The movement begins with pizzicato chords for the string orchestra and harp. The theme, of a gentle and melancholy character, is sung by the English horn. The first period is completed by clarinet, horn, and flute. The violins then announce a second theme, dolce cantabile, in B-flat major. The English horn and other wind instruments take up fragments of the first motive, in B-flat minor. Now comes a new part, which the composer himself characterizes as a scherzo. The theme, of lively nature, but pianissimo, is given to the first violins. Clarinets intone a theme against the restless figuration of the violins, and this is developed with various modulations until the opening theme returns, first in G minor, then in C minor. Then the whole opening section, announced by the English horn, is combined with the chief theme of the scherzo, given to the violins.

III. Finale : Allegro non troppo, 2-2. After a few energetic introductory measures the chief theme appears, dolce cantabile, in violoncellos and bassoons. After the first period of nearly sixty measures, a phrase in B major, announced by the brass, is answered by the strings. A more sombre motive follows in violoncellos and basses. The opening theme of the second movement now reappears (English horn), accompanied by a figure in triplets. The composer

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1517 — gives this description of the remainder of the movement: Develop- ment of the tliemes of the Finale. A marked retard in the tempo. A fragment of the opening tlieme of the second movement alternates with fragments of the sombre third theme of the Finale. Kesump- tion of the original tempo, with a great crescendo, which ends in a climax,—the restatement of the opening D major theme with all possible sonority. The chief theme of the second movement returns, also with great sonority. The volume of tone subsides, and the third theme of the first movement reappears. This leads to a coda, constructed from the chief themes of the first movement in conjunc- tion with the opening theme of the Finale.

.Vincent d'Indy in his Life of Franck says little about the struc- ture of this symphony, although he devotes a chapter to Franck's string quartet. Speaking of Franck's sonata for violin and pianoforte, he calls attention to the fact that the first of its organic germs is used as the theme of the four movements of the work. "From this moment cyclical form, the basis of modern symphonic art, was created and consecrated." He then adds: "The majestic, plastic, and perfectly beautiful symphony in D minor is constructed on the same method. I purposely use the word method for this reason: after having long described Franck as an

1518 TEMPLE. PLACE ELEVEN

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BOSTON TEMPLE PLACE ELEVEN empiricist and an improviser—which is radically wrong—^his ene- mies (of whom, in spite of his incomparable goodness, he made many) and his ignorant detractors suddenly changed their views and called him a musical mathematician, who subordinated inspira- tion and impulse to a conscientious manipulation of form. This, we may observe in passing, is a common reproach brought by the ignorant Philistine against the dreamer and the genius. Yet where can we point to a composer in the second half of the nineteenth century who could—and did—think as loftily as Franck, or who could have found in his fervent and enthusiastic heart such vast ideas as those which lie at the musical basis of the Symphony, the Quartet, and 'The Beatitudes'? "It frequently happens in the history of art that a breath passing through the creative spirits of the day incites them, without any previous mutual understanding, to create works which are identical in form, if not in significance. It is easy to find examples of this kind of ar-tistic telepathy between painters and writers, but the most striking instances are furnished by the musical art. "Without going back upon the period we are now considering, the years between 1884 and 1889 are remarkable for a curious return to pure symphonic form. Apart from the younger composers, and one or two unimportant representatives of the old school, three composers who had already made their mark—Lalo, Saint-Saens, and Franck—produced true symphonies at this time, but widely different as regards external aspect and ideas.

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"Lalo's Symphony in G minor,* which is on very classical lines, is remarkable for the fascination of its themes, and still more for charm and elegance of rhythm and harmony, distinctive qualities of the imaginative composer of 'Le Roi d'Ys.' "The C minor Symphony of Saint-Saens,t displaying undoubted talent, seems like a challenge to the traditional laws of tonal struc- ture; and although the composer sustains the combat with clever- ness and eloquence, and in spite of the indisputable interest of the work—founded, like many others by this composer, upon a prose theme,$ the Dies Irae—yet the final impression is that of doubt and sadness. "Franck's Symphony, on the contrary, is a continual ascent towards pure gladness and life-giving light because its workmanship is solid, and its themes are manifestations of ideal beauty. What

*Lalo's Symphony in G minor was performed for the first time, February 13, 1SS7, at Paris. The introduction to the first allegro, passages in the scherzo, and the theme of the slow movement were taken by Lalo from his opera "Piesque," composed in 1867-68.—P. H. tSaint-Saens wrote his symphony in C minor for the London Philharmonic Society. The symphony was first performed at a concert of the society in London, May 19, 1886, when the composer conducted. It has been performed at concerts of the Boston

Symphony Orchestra in Boston, February 16, 1901 : March 29, 1902 ; May 2, 1914

March 22, 1918 ; November 22, 1918 ; May 4, 1923. The Adagio was played on Decem- ber 23, 1921, in memory of S'aint-Saens. The symphony was performed in Boston at a concert given by the Boston Symphonv Orchestra and Saint-Saens, November 26, 1906, when Dr. Muck conducted it.—P. H.

+Mrs. Newmarch's translation is here not clear. D'Indy wrote : "Sur le theme de la prose : Dies Irae,"—on the theme of the prose, Dies Irae. Prose here means a piece of rhythmical or rhymed accentual verse, sung or said between the epistle and gospel at certain masses. It is also called a sequence. "Victimae Paschali," "Veni, Sancte Spiritus,"" "Lauda Sion," "Dies Irae," are examples, but neither Le Brun nor Benedict XIV. recognized the "Stabat Mater" as a prose.—P. H.

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1523 is there more joyous, more sanely vital, than the principal subject of the Finale, around which all the other themes in the work cluster and crystallize ? While in the higher registers all is dominated by that motive which M. Ropartz has justly called 'the theme of faith.' "This symphony was really hound to come as the crown of the artistic work latent during the six years to which I have been alluding."*

MoRiz (MoRiTz) Rosenthal, pianist, was born on December 18, 1862, at Lemberg. He showed pronounced musical ability when he was four years old. His first teacher, when he was eight years old, was Golath. At the age of ten he played in public a duet with his teacher Carl MikuH (1821-97), a pupil of Chopin and Reber. In 1875 Mr. Rosenthal studied with Rafael Joseffy in Vienna. The next year he gave a concert there, then went to Bucharest, where he was appointed pianist to the Roumanian Court. Liszt invited him to Weimar in 1877 and received him as his pupil. Mr. Rosenthal in 1878 gave recitals in Paris, Warsaw, and Petrograd. He did not devote himself exclusively

*We must in justice deal with the erroneous view of certain misinformed critics who have tried to pass off Franck's Symphony as an offshoot (they do not say imitation, because the difference between the two works is so obvious) of Saint-Saens's work in C minor. The question can be settled by bare facts. It is true that the Symphony with organ, by Saint-Saens, was given for the first time in England in 1885 (sic), but it was not known or played in France until two (sic) years later (January 9, 1887, at the finished. d'l. Conservatory) ; now at this time Franck's Symphony was completely —V.

M. d'Lndy is mistaken in the date of the performance in London ; but his argu- ment holds good.'—P. H. PIERCE-ARROW

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1525 to music; he attended lectures on philosophy and musical aesthetics and passed examinations at the University of Vienna. His "mature debut" was made with the Leipsic Liszt Society in 1886. Then followed tours in Europe. In 1912 he was appointed Imperial Kammervirtuoso to the Austrian Court. His compositions include Variations on a Single Theme, "Papillons," Romance, Preludes, Transcriptions, Paraphrases, Etudes, etc., for the pianoforte. His home town is Vienna. His first appearance in Boston was in the Music Hall, November 9, 1888, when he was assisted by "Master" Fritz Kreisler, violinist, and an orchestra conducted by Walter Damrosch. He played Liszt's Concerto in E-flat major, solo pieces by Henselt and Schumann, and Liszt's "Don Juan" Fantasia. He gave recitals in Bumstead Hall on December 17, 18, and 19 of that year. He did not come to the United States again until 1896, when he made his first appearance in New York at Carnegie Hall on November 10, with an orchestra led by Walter Damrosch. He then played Schytte's pianoforte concerto, and solo pieces by Chopin and Schubert-Liszt. His appearance at a concert of the Boston Symphony Orchestra in Boston was announced for November 21, 1896, when he was expected to play Chopin's Concerto in E minor. Recitals in Music Hall were also announced. He fell sick in Boston and was obliged to cancel his engagements. He went to Chicago, where his sickness turned out to be typhoid fever, and there he barely escaped with his life. His third visit to the United States was in 1898, when on November 5 he played in Boston with the Boston Symphony Orchestra, Xaver

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152 < Scharwenka's Concerto, B-flat minor, No. 1. He gave recitals in Boston on November 16 and 23, 1898, and on March 18, 1899, and played at a Kneisel Quartet concert on April 10, 1899 (Beethoven's Pianoforte Trio, B-flat major. Op. 97). On November 30, December 1, 1906, he played with the Boston Symphony Orchestra, in Boston, Liszt's Pianoforte Concerto, E-flat major. No. 1. He gave a recital in Symphony Hall on December 8, 1906. On January 13, 1924, he gave a recital in Symphony Hall, Boston; music by Beethoven, Schumann, Chopin, and his own "Humoreske" on themes by Johann Strauss.

Concerto in E minor, for Pianoforte and Orchestra, Op. 11 Frederick Chopin

(Born at Zelazowa-Wola, near Warsaw, March 1, 1809; died at Paris, October 17, 1849)

In March, 1830, Chopin wrote from Warsaw: "I hope yet to finish before the holidays the first Allegro of my second concerto" {i.e., the one in E minor). The concerto in F minor was composed and played before the one in E minor, but it was published later (1836). He wrote on May 15 of the same year: "The Rondo for my concerto is not yet finished, because the right inspired mood has always been wanting. If I have only the Allegro and the Adagio completely finished, I shall be without anxiety about the Finale. The Adagio is in E major, and of a romantic, calm, and partly melancholy character. It is intended to convey the impression which one receives when the eye rests on a beloved landscape which calls up in one's soul beautiful memories—for instance, on a fine moonlit spring night. I have written for muted violins as an accompaniment to it. I wonder if that will have a good effect? Well, time will show." In August the Finale was ready; in September the concerto was

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rehearsed with a quartet. Chopin wrote, ''Those who were present say that the Finale is the most successful movement (probably because it is easily understood)." The musical world of Warsaw— Poles, Czechs, Germans, Italians—were invited to the rehearsal with full orchestra, except trumpets and drums, September 22, 1830. "Then I have also to provide the desks and mutes, which I had yesterday totally forgotten; without the latter the Adagio would be wholly in- significant and its success doubtful. The Rondo is effective, the first Allegro vigorous. Cursed self-love! And, if it is any one's fault that I am conceited, it is yours, egoist: he who associates with such a person becomes like him." The concert was given in the theatre at Warsaw on October 11, 1830. The programme was as follows: Symphony Gorner First Allegro from the Concerto in E minor Chopin Aria with Chorus Soliva Sung by Miss Wolkow Adagio and Rondo from the Concerto in E minor Chopin Overture to "Guillaume Tell" Rossini Cavatina from "La Donna del Lago" Rossini Sung by Miss Gladkowska Fantasia on Polish Airs Chopin

Carlo Evasio Soliva, composer and singing-teacher, was born at Casal-Monferrato about 1792. He studied at Milan, where his opera "La Testa di Bronzo" was produced at the Scala in 1816. He taught

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1531 — singing at the Warsaw Conservatory from 1821 to 1832, when he went to Petrograd, where he was made conductor and director of the opera in 1834. He taught at the Imperial School and at the court; he afterwards travelled in Italy. Having made his home in Paris, he died there in 1851. Among his works are four operas, sacred music, chamber music, songs, and a treatise on singing. George Sand wrote a sonnet in memory of him:

Du beau dans tous les arts, disciple intelligent, Tu possedas longtemps la science profonde Que n'encourage point la vanite d'un monde Insensible ou rebelle au modeste talent. Dans le style sacre, dans le style elegant, Sur le divin Mozart ta puissance se fonde. Puis dans Cimarosa ton ame se feconde, Et de Paesiello tu sors jeune et vivant. Si dans ce peu de mots je ne puis de la vie Resumer de travaux la force et le genie, Laissons dire le reste aux pleurs de I'amitie.

The singers at this concert were Soliva's pupils. Anna Wolkow was born near Grodno in 1811, and made her debut at the Warsaw Theatre in 1830 as Fiorella in Rossini's 'Tl Turco in Italia." Her beautv and her skill in song were long admired at W^arsaw.

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Constantia Gladkowska was born in the palatinate of Masovia, and she studied at the Warsaw Conservatory. Chopin was madly in

love with her. In 1829 he wrote to Titus Woyciechowski : "I have perhaps to my misfortune—already found my ideal, which I worship faithfully and sincerely. Six months have elapsed, and I have not yet exchanged a syllable with her of whom I dream every night. Whilst my thoughts were with her, I composed the Adagio of my concerto" (the one in F minor). Henriette Sontag heard her sing in 1830, and said that her voice was beautiful but already somewhat worn, and she must change her method of singing if she did not wish to lose her voice within two years; but Chopin worshipped Constantia as a singer as well as woman. His sweetheart made her debut as Agnese in Paer's opera of that name in 1830. We learn from Chopin's letters that she looked better on the stage than in the parlor, that she was an admirable tragic play-actress, that she managed her voice excellently up to the high F and G, observed wonderfully the nuances. "No singer can easily be compared to Miss Gladkowska, especially as regards pure intonation and genuine warmth of feeling." In this same year he was sorely tormented by his passion. Some of his letters were steeped in gloom. At the concert October 11, 1830, she ''wore a white dress and roses in her hair, and was charmingly beautiful. . . . She never sang so

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1535 well as on that evening, except the aria in 'Agnese.' You know 'O! quante lagrime per te versai.' The Hutto detesto' down to the lower B came out so magnificently that Zielinski declared this B alone was worth a thousand ducats." In 1831 he dined eagerly with Mrs. Beyer in Vienna because her name was Constantia: "It gives me pleasure when even one of her pocket handkerchiefs or napkins marked 'Constantia' comes into my hands." In a letter he says of the young woman at Warsaw: "If W. loves you as heartily as I love you, then would Con— No, I cannot complete the name, my hand is too un- worthy. Ah! I could tear out my hair when I think that I could be forgotten by her!" The next year he was still in love, although he let his whiskers grow only on the right side. "On the left side they are not needed at all, for one sits always with the right side turned toward the audience." Constantia married Joseph Grabowski, a merchant of Warsaw, in 1832. Count Wodzinski tells another story —that she married a country gentleman who afterwards became blind.* In 1836 Chopin asked Maria Wodzinska to marry him. She refused him, too. She could not act, she said, in opposition to the wishes of her parents. During the winter of 1836-37 Chopin met George Sand. C. Corner, horn player and composer, went to Berlin in 1835; he died there in 1847. The concert was most successful. The theatre was full. Chopin, who had been exceedingly nervous, played at his ease on one of Streicher's pianos. Soliva conducted. "The first Allegro of the concerto went

*"Perhaps even a blind country gentleman was preferable to a lachrymose pianist."— James Huneker ("Chopin," New York, 1900).

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1537 — very smoothly, and the audience rewarded him with thundering applause. Of the reception of the Adagio and Rondo we learn nothing except that in the pause between the first and second parts the con- noisseurs and amateurs came on the stage, and complimented him in the most flattering terms on his playing. The great success, however, of the evening was his performance of the Fantasia on Polish airs. 'This time I understood myself, the orchestra understood me, and the audience understood us.' " Soliva was obliged to make many corrections in the score. Carl Mikuh, w^ho copied many of Chopin's manuscripts, says that "they were full of slips of the pen, such as wrong notes and signatures, omissions of accidentals, dots, and intervals of chords, and incorrect markings of slurs and octaves." Chopin played the concerto at Breslau (November, 1830), Vienna (1831), Munich (1831), Paris (February 26, 1832, and April 5, 1835), Rouen (1838). This concerto has been changed by some pianists for the sake of fuller orchestration and their own glor3^ The most famous of these versions is the one by Tausig. "Edward S. Kelly holds a potent brief for the original orchestration, contending that it suits the character of the piano part. Rosenthal puts this belief into practice by playing the older version of the E minor with the first long tutti curtailed. But he is not consistent, for he uses the Tausig octaves at the close of the rondo. While I admire the Tausig orchestration, these particular octaves are hideously cacophonic. The original triplet unisons are much more graceful and musical." James Huneker.

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mxv JF. Mlltx & ^ong ^iano Co. 395 Boylston Street Near Arlington Subway Station, Boston 1539 "The poverty of this orchestration inspired two musicians KHncl- worth and Tausig, with the singular idea of reorchestrating, respecting the pianoforte part as much as possible. Klindworth arranged the concerto in F minor; Tausig, the one in E minor—a pious intention and an ungrateful labor that remain useless."—Elie Poiree ("Chopin," Paris, s. d.). "Of Tausig's labor, I shall only say that his cutting down and patch- ing up of the introductory tutti, to mention only one thing, are not well enough done to excuse the liberty with a great composer's work. More- over, your emendations cannot reach the vital fault, which lies in the conceptions. A musician may have mastered the mechanical trick of

instrumentation, and yet his works may not be at heart orchestral. . . . The fact is, Chopin could not think for the orchestra."—Frederick Niecks ("Frederick Chopin," London and New York, 1888). Chopin dedicated this concerto to Friedrich Kalkbrenner, whose playing he greatly admired. The work was published in 1833.

* * Chopin's Concerto in E minor has been played at these concerts in Boston by Madeline Schiller, December 23, 1882; Adele aus der Ohe, March 26, 1887; Teresa Carreno, October 29, 1887; Etelka Utassi, October 27, 1888; Ernest Hutcheson, March 1, 1902; Antoinette Szu- mowska, November 17, 1906; Ossip Gabrilowitsch, October 30, 1915; Josef Hofmann, December 20, 1918.

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1541 Rakoczy March from "The Damnation op Faust" Hector Berlioz

(Born at la Cote Saiut-Audre, December 11, 1803; died at Paris, March 9, 1869)

Gerard de Nerval published his translation into French of Goethe's ''Faust" in November, 1827. Goethe was pleased at the thought that his poem could be read in the language in which Voltaire ruled fifty years before, and he told Eckermann how Voltaire had influenced his earlier years and what an effort it cost him to shake off this influence and stand on his own feet in close communion with nature. He praised the translation highly, although it was for the most part in prose. "I cannot read 'Faust' any more in German, but in this translation into French everything is again fresh, new and in- genious."* Berlioz, reading it, was intoxicated. "The marvellous book," he wrote, "fascinated me at once ; I could not put it down ; I read it constantly, at my meals, in the theatre, in the street, everywhere. This translation in prose contained some versified fragments, songs, hymns, etc. I yielded to the temptation of setting music to them. Hardly had I finished this dififlcult task,—and I had not heard a note of the score,—I committed the folly of having the score engraved—at my expense." At least two translations into French of "Faust" had been published before de Nerval's, but Berlioz was apparently unacquainted " with them. De Nerval in his preface wrote : 'Faust' is about to

*See "Goethes Gesprache mit J. P. Eckermann," 1S30, January 3.

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The average annual expenses of the Boston Symph This operating deficit is met by subscriptions. A list of tl: Abbott, Gordon Browning, Mrs. C. A. Curtis, Mrs. G. S. (Estat Adams, Clara A. Miss Bruzza, L., Brooklyn, N.Y. Curtis, Miss Harriot S. Agassiz, Mrs. George R. Buckingham, Miss M. H. Curtis, Miss Mary G. Aiken, Mr. and Mrs. Alfred Bullard, Miss Ellen T. Gushing, Sarah P. Ames, Mrs. F. L. Burdett, Everett W. Gushing, Mrs. W. E. Ames, Mrs. Hobart Burnham, Miss Helen C. Cutler, Mrs. C. H. Ames, Hobart Burnham, Miss M. C. Cutler, Miss Elisabeth A. Ames, John S. Burnham, Mrs. W. A. Ames, Oakes Burr, Mrs. Heman Dabney, Mr. and Mrs. G Ames, Mrs. William H. Burr, I. Tucker Dana, R. H. Amory Mrs. Harcourt Dane, Mr. and Mrs. Errn Anonymous (3) Cabot, Miss Amy W. Daniels, Miss Mabel W. Anthony, Mrs. Margaret Cabot, Mrs. Arthur T. Davenport, Mrs. George ' Anthony, Miss A. R. Cabot, Frederick P. Day, Mrs. Heniy B. Apsey, Laura Soule Cabot, Henry B. Derby, Miss Elizabeth P. Apthorp, Mrs. H. O. Cabot, Mrs. Sewall Dexter, Miss Rose L. Dixey, Atherton, Percy L. Carter, Mrs. J. W. Mrs. Richard C. Atwill, Miss EHzabeth M. Case, Miss Louise W. Dodd, Mrs. Henry Aubin, Miss Margaret H. Cate, Martin L. Dole, Mrs. Charles F. Dunne, F. Chadbourne, Mrs. J. H. L. and Compai Bacon, Mrs. William Chapin, Horace D. Dupee, W. A. Baker, Mr. and Mrs. G. B. Chapin, Miss Mabel H. Eager, Miss Mabel Baker, Miss Helen S. Chase, Mrs. Henry M. T. Eaton, Miss Balch, Mrs. John Cheever, Dr. and Mrs. D. B. L. Barbour, Thomas Chromatic Club Eaton, Miss L. H. Edwards, Barkhouse, Mrs. Arthur Coale, George O. G. Robert J. J. Eisemann, Barlow, R. S. Coale, Mrs. George O. G. JuHus Eisemann, Ludwig Barnet, Mr. and Mrs. S. J. Codman, Miss C. A. Ellery, Mr. and Mrs. Will Barrett, Mrs. William E. Codman, Mrs. Russell S. ElUot, Mrs. Bartol, Mrs. John W. Coffin, Winthrop John W. Ely, Bates, The Misses Colby, A. E. Miss Augusta C. Ely, Elizabeth Bates, Mrs. Oric Coleman, Miss E. L. B. Endicott, Bayhes, Mrs. Walter C. Colt, Mr. and Mrs. James D. S. C Ernst, Mrs. Harold Beal, Miss Ida G. Conant, Mrs. WilHam C. C. Eustis, H. D. Beebe, Frank H. Converse, Mrs. Costello C. Beebe, E. Pierson Converse, M. M. Eustis, The Misses Beebe, Miss Sylenda Coolidge, Mr. and Mrs. Harold J. Farlow, Dr. and Mrs. Joh Berwick-Walker, Clara CooUdge, Mrs. J. G. Farlow, Mrs. Wilham G. Best, Mrs. Edward H. Coolidge, Mrs. J. T. Farrington, Robert D. Bigelow, E>r. W. S. Coohdge, JuUan L. Faulkner, Miss Fannie M. Bishop, Miss Margaret Coolidge, Mrs. T. J. Fay, Mrs. D. B. Blake, Mrs. Arthur W. Coonley, Howard FenoUosa, William S. Blake, Estate of Wilham P. Corey, Mrs. H. D. Fish, Frederick P. Bliss, Henry W. Cotting, Mrs. C. E. Fisher, Miss Edith Boit, Mrs. John E. Cotton, Miss Elizabeth A. Fisher, Frances B. Bostwick, JuUette C. Courtney, Mr. and Mrs. Paul G. Fitch, Miss Carrie T. Bradford, Mary G. Crafts, Mrs. George P. Fitz, Mrs. R. H. Bradlee, Mrs. Arthur T. Craig, Mrs. Helen M. Fitz, Mrs. W. Scott Bradlee, Mr. and Mrs.Thos. S. Crosby, Mrs. S. V. R. Foote, Arthur Bradlee, Miss S. C. Crowninshield, Mrs. F. B. Foote, George L. Brandegee, Mr. and Mrs. E. D, Cummings, Estate of Mrs. Forbes, Allan Bremer, Mrs. J. L. Charles A. Forbes, Mrs. Ralph E. Brewer, F. R. Cummings, Mr. and Mrs. Forbes, Mrs. Waldo E. Brigham, Mrs. Cyrus Charles K. Fox, Miss Alice M. Brown, George W. Cunningham, Miss Mary Fox, Felix

The Orchestra can be carried on only by the generosity of those! financially. All such are invited to join in sustaining the Orchestra.

1544 :hestra exceed its average income by about $95,000.00. foliov^s: have subscribed for the season 1 923-24 Loring, Miss Louisa P. h, Miss Katharine Howe, Mrs. Henry S. Loring, Mrs. Thacher h, Mrs. Hollis Howe, M. A. DeWolfe Loring, William Caleb enstein, Lina H. Howe, Mrs. J. Murray Hoyt, Mrs. C. C. Lothrop, Mrs. Thornton K. i H. ngham, Mrs. Langdon Hyde, Mrs. Katharine H. Lothrop, Mrs. William S. tngham, Mrs. Louis A. Hunnewell, Mrs. Arthur Luce, Stephen B. Hunnewell, Mrs. Henry S. Lowell, Miss Lucy , Alvan T. Hunt, Miss Abby W. Lyman, Arthur 5. Howard Lyon, Mrs. George Armstrong n, Mrs. W. A. Ivers, Miss Ella F. Lyon, Mrs. W. H. t, Mrs. EUen J. Jackson, Mrs. Henry Macomber, John R. re, Mrs. G. L. Jackson, Mrs. James, Jr. Maguire, Mrs. Emily M. vin, Miss Frances Jackson, Miss Marian C. Manning, Mr. and Mrs. Earl G. in, Mrs. John L., Jr. Jaques, Miss H. L. Mason, Miss Fanny P. ;, Mr. and Mrs. Edwin Johns, Clayton McMichael, Mrs. L. G. arnham and Mrs. Arthur S. Johnson, Mr. Memoriam C. S. D. 5eld, Joseph Baram In — Johnson, Miss Edith Morse Dugh, Mrs. H. V. Miller, Miss Mildred A. Johnson, Mrs. E. J. Milhken, Arthur N. wood,Mr.andMrs.LeviH. L. Jordan, Helen Milliken, Mrs. I. Did, Roger James Moir, Mrs. John r, Mrs. Frances L. Ka£fenburgh,Mr.&Mrs.AlbertW. Miss Eleanor Kaufman, M. B. Moore, Mrs. Edward C. Moors, Mrs. Arthur Miss S. L. Keeler, Mrs. A. M. W. Kent, Mrs. Edward L. Morison, Mrs. John H. Mrs. H. S. Kimball, The Misses Morse, Miss Frances R. Mrs. L. John King, Mrs. Henry P. Morse, Henry Lee rt'ell, Mr.and Mrs.FrankW • King, The Misses Morse, Miss J. G. ivell, N. Penrose Koshland, Mr. and Mrs. Morse, J. Torrey, Jr. nond, Mrs. Edward Abraham Morss, Mr. and Mrs. Charles .A. H. ng, Emor Koshland, Mr. and Mrs. Jesse Motley, Mrs. E. Preble Qgton, Mrs. Francis B. Mumford, Mrs. George S. Aimee s, Miss Frances K. Lamb, Miss Murdock, Mr. and Mrs. Harold Lamb, Horatio A. , Mrs. Richard Murfitt, Mrs. S. C. away, Miss Ellen R. Lamson, Clement R. McKibbin, Miss Emily W. hton, Mrs. M. G. Lane, Mrs. G. M. MacLaurin, Mrs. Richard C- n, Parkman B. Lang, Mrs. B. J. ey, Mr. and Mrs. George Lang, Miss Margaret Ruthven Newell, Mrs. Edward A. vaid, Mrs. G. G. Lanz, Jeanne M., Brooklyn, N.Y. Nichols, Mrs. Henry G. lan, William C. Lapham, Henry G. Nickerson, WilHam E. Otis lan, Mrs. Joseph M. Lasell, Miss Elizabeth Norcross, Mrs. Lasell, Josiah M. Nutter, George R. , Mrs. John Jay inson, Mrs. F. L. Latimer, Miss J. W., Brooklyn, Oakes, Francis J., Jr. inson, F. L., Jr. N.Y. Osgood, Emily L. Arthur D. Lawrence, Mrs. John Mr. and Mrs. Edward B. Lawrence, Miss Sarah Paine, Rev. George L. Mrs. John F. Lee, Miss Bertha Paine, R. T. 2d Parker, Mrs. Edward L. irt, PhiHp W. Lee, Mrs. F. H. Parkman, Henry les, Mr. and Mrs. E. J. Lee, George C. Mrs. Henry les, Ida E. Lee, Mr. and Mrs. James S. Parkman, ans. Miss Katharine A. Lee,, Joseph Patton, James E. ans. Miss Marian Leland, Mrs. Lester Peabody, Charles Peabody, Mrs. Endicott 1, Miss Helen Leman, J. Howard Francis ;hton, Clement S. Lewis, Mrs. George Peabody, Mrs. jhton, Elizabeth G. Lilly, Mrs. Changing Peabody, Mrs. H. Rodman e, Mrs. George D. Lodge, John E. page) e, Henry S. Lombard, Mrs .Ephraim (Continued on following ilieve it Important in the life of Boston and are willing to help it

1545 .

Peabody, Margaret Savilla, Mrs. William Torbert, Dr. James R. Perera, Mrs. Gino L. Sawyer, Mr. and Mrs. Henry B Tower, Florence E. Peters, Mrs. William Y. Schneider, Miss Elizabeth Tuckerman, Mrs. L. S. Pfaelzer, Mrs. FrankUn T. Sears, Miss Annie L. Turner, Nellie B. Phillips, Mrs. John C. Sears, Miss Mary P. Vaughan, Bertha H. Phillips, Mrs. W. Sears, Mrs. Montgomery Vaughan, Mrs. Henry G. Pickman, Dudley L. Sears, Mr. and Mrs. Richard D Vorenberg, FeUx Pickman, Edward M. Sears, Richard D. Pierce, Mrs. M. V. Sears, WiUiam R. Wadsworth, Mrs. A. F. Pitman, Mrs. B. F. Shaw, Mrs. Henry S. Ward, Prof. R. DeC. Post, Mrs. John R. Shaw, Mrs. Henry S., Jr. Ware, Mrs. Arthur L. Potter, Mrs. Murray A. Shaw, Mrs. Q. A., Jr. Waring, Mrs. Guy Pratt, Mrs. L. Alortimer, Jr. Sheldon, Katharine H. Warner, Elizabeth Pratt, Mrs. Walter W. Shepard, Mrs. WiUis S. Warren, Mrs. Bayard Putnam, Mrs. James J. Silsbee, Mrs. George S. Warren,Mr. and Mrs.BentleyW. Putnam, Marion C. Slocimi, Mrs. WiUiam H. Warren, Mr. and Mrs. E. R. Smith, F. Morton Watson, Mrs. Thomas R. Rand, E. K. Sortwell, Mrs. A. F. Webster, Mr. and Mrs. Edwin S. Ranney, Miss Helen M. Spalding, Walter R. Weeks, Mr. and Mrs. Robert S. Rantoul, Harriet C. Spaulding, Miss F. Weeks, Sinclair Rantoul, Mrs. Neal Emma Sprague, Mrs. Phineas Welch, E. Sohier Reed, Miss Emily W. Stackpole, Mrs. Frederick D. Weld, JMrs. Bernard C. Reed, Miss Ida B. Stackpole, Mr. and Mrs. Pier- Weld, Mrs. Charles G. Richardson, Mrs. Charles F. pont L. Weld, Miss Mary Richardson, Mrs. F. L. W. Staniford, Mrs. Daniel Wells, Mrs. Webster Richardson, Mrs. John Stanton, Katharine Wendell, ]\Irs. Barrett Richardson, W. K. Steinert, Alexander Wheatland, Richard Robb, Russell Steinway, Frederick T., Wheelwright, A. Robinson, B. L. W. New York, N.Y. Wheelwright, Miss Mary C. Rogers, H. L. Stevenson, Mr. and Mrs.R.H., Jr. White, Miss Gertrude R. Rollms, ]\Irs. W. J. Stone, Galen L. White, Miss Susie E. Rothschild, John Stone, Mrs. Galen L. Whitin, Mrs. G. Marston Rousmaniere, Mrs. E. S. Stone, Nathaniel H. Whiting, Mrs. Rothwell, Bernard Jasper J. Streeter, Mrs. E. C. Whitman, WiUiam Russell Mrs. Richard S. Sturges, Alice K. Whitney, Mrs. Margaret F. G. Russell, ]\Irs. Robert S. Sturgis, The Misses Whittier, Mrs. Albert R. Sachs, Prof. Paul J. Swallow, Maude C. WhitweU, Mr. and Mrs. Fred- Sagendorph, George Swift, Miss Lucy W' erick S. Saltonstall, Mrs. John Swift, Newton WilUams, Moses Saltonstall, Leverett Wilson, Miss A. E. Saltonstall, Miss Muriel Gurdon Taft, Edward A. Winsor, Mrs. Alfred Saltonstall, Mrs. Phihp L. Tapley, Miss Alice Wolcott, Mrs. Roger Saltonstall, Richard Tapley, Henrj'- F. Wood, WilUam E. Saltonstall, Mrs. R. M. Tappan, Miss Mary A. Wright, A. M. Sanger, Mrs. Charles R. Thayer,_ Mrs. W. H. Sanger, Mrs. George P. Thorndike, Mrs. J. L.

Edmands, Miss Violet Sargent, Mr. and Mrs. EdwardH. Squibb, Dr. Edward H., Fay, A. D. Scott, Mrs. Arnold Brooklyn, N. Y. Lyman, Mrs. G. H., Jr. Tozzer, Mr. and Mrs. AlfredJM.

Badger, Dr.and Mrs.George S.C. Frost, Horace W. Moseley, Mrs. F. S. Beckwith, Mrs. Daniel, Hornblower, Henry Stevens, Moses T. Providence, R. I. Hornblower, Mrs. Henry Tappan, Mrs. Frederick H. Cochran, Mrs. Edwin Paul, Kaffenburgh,Mr.andMrs.Carl J. Ware, Henry New Haven, Conn. Lyons, John A.

Beach, John P. Farnsworth, WilUam Ripley, Edward L. Bemis, Mr. and Mrs. A. FarweU Holbrook, Miss Mary S. Selfridge, Mrs. G. S. Carr, CorneUa P. Hutchins, Mr. and Mrs. Edward Shattuck, LilUan Chapin, Mrs. Mar>' G., Little, Mrs. David M. Sibley, Mrs. Henry C. Providence, R. I. Metcalf, Mr. and Mrs. Jesse H.. Steedman, Mrs. C. J., Clark, Mrs. Mvror. H. Providence, R. I Providence, R. I. Dana, Dr. Harold \^'. MUlLken, Miss Lois H. Thayer, Mrs. John E. Dowse. William B H Palmer, Mrs. Marion C. DuBois. Mrs. L. (\. Platner. Mrs. John Winthrop 1546 Latimer.Mr.and Mrs. George D. Sampson, Charles E. In Memory of Albert van Raalte Carmichael, Dr. and Mrs. Henry Friend Harwood, Mrs. John H. Guild, Courtenay Huntsman, Ray Galacar, Mr. and Mrs. Frederic R Loeffler, Mrs. C. M. Jackson, Mrs. Arthur E. Shrigley, Mrs. Wilfred R.

Alford, Mrs. 0. H. Duff, Mr. and Mrs. John Jones, Miss Margaret H. Anonymous Friend Morse, Leonice S. Beebe, C. PhiUp Harwood, G. Fred Peirce, Miss Alice Foster BramhaU, Miss Eleanor Appleton, Miss Mar>- Frost, Mr. & Mrs. Donald McKav Putnam, Mrs. George Curtis, Miss Frances G. Houser, Mrs. H. M., Ratshesky, Mr. and Mrs. A. C. Ellis, Miss Helen Washington, D. C. Sherman, Mrs. Henry H Nickerson, Mrs. William G.

Pledges received from New Subscribers, April 8th Manson, Elizabeth E. Sampson, Mrs. Robert deW. Stone, Mrs. William E. Pingree, Mrs. Arthur H.

Subscriptions to date for season of 1923-24 - $81,873,34 Endowment Fund 146,970.72 Endowment Fund, in memory of Henry L. Higginson 10,025.00 Subscriptions are applicable to deductions from the Federal Income Tax. Orchestra. Inc. for The list of subscribers to the operating deficit of the Boston Symphony later, 1923-24 was first printed in the programme books of November 16 anMU- Two weeks with the names of many new subscribers added in the interval, the pledged amount of $58,706.00 was published. Since then the total has been increased to $81,873.34 This has come about through a greatly extended cooperation in the support of the Orchestra has already been on the part of its patrons. The Trustees, with much appreciation of what done, would be glad to have it generally understood that subscriptions of small and moderate amounts are warmly welcomed from those who cannot make such contributions as they would desired as like to offer. The widest possible distribution of support is as much to be the support itself. Subscriptions to annual deficit and to the Endowment Fund should be sent to E. B. Dane, Treasurer, 6 Beacon Street, Boston, Mass. DONORS TO THE ENDOWMENT FUND Adams, Mrs. Brooks Bennett, Mrs. T. W. Gary, Miss Georgina S. Adams, Mrs. Charles H. Best, Mrs. Edward H. Case, Miss Louise W. Alford, Martha A. Bird, Mrs. Frances A. Chafee, Mrs. Z. H. D. Alford, Mrs. O. H. Bishop, Mrs. C. J. Chapin, Allen, Mary O. Bowditch, Dr. and Miss Olivia Y. Chapin, Miss_Mabel H. Allen, Mrs. PhiUp R. Bradlee, Miss S. C. Chase, Mrs. Theodore Andrews, Miss Katharine H. A. B. Clark, Mrs. Frederic S. Anthony, Miss Margaret Bradlee, Col. and Mrs. Thomas S. Clarke, Marshall G. Ashton, Joseph N. Brewer, Miss F. R. Clay, Mrs. B. B. Atherton, Percy L. Briggs, Miss H. S. Codrnan, Miss C. A. Atkinson, Mr. and Mrs. E. W. Brigham, Mrs. CHfford Cole, Mrs. MolUe R. Aubin, Miss Margaret H. Brooks, Miss Phyllis Cooper, Charlotte E Austin, Mrs. Calvin Bruce, James L. Cram, Robert V. Buckingham, Mary H. Curtis, Mrs. Horatio G. "B" Burnham, Miss Alice E. Gushing, Mrs. W. E. Miss Alice H. Bailey, Burnham, Miss Helen C. Cutler Mrs. Elbridge G. Baker, H. S. Burnham, Miss M. C. Barr, Laura M. Daly, Mrs. Reginald A. Burr, Mr. and Mrs. Allston Bartlett, Mrs. S. Davenport, Mrs. George H J. Burr, Mrs. Heman Bartlett, Mary F. Davenport, Mrs. Mary H. Butler, Miss Isabel Day, Mrs. Frank A. Bartol, Mrs. J. W. Bayley, Mrs. M. R. Cabot, F. Ernest Delano, Miss Julia Elizabeth P. Bazeley, Mr. and Mrs. W. A. ] Cabot, Frederick P. Derby, Miss Frank E. Beach, Mr. and Mrs. Jonn Cabot, J. W. Dickerman, Mrs. Bearse, Mrs. H. L. Cabot., Miss Theodora Dole, Mrs. Charles F. Beebe, Sylenda Carmichael, Dr. and Mrs. Henry Dudley, Frances Gardner 1547 Duff, Mr. and Mrs. John Hunter, Miss Lillian Phillips, Mrs. A. V. Duncan, Mrs. Albert Greene Hurlbut, Mr. and Mrs. B. S Powell, Mrs. W. B. Durkee, A. Imogene Friend Prather, Miss Elisabeth Hyde, Mrs. M. E. Prince, Earle, C. B. J. Mrs. Morton P. Edwards, Miss Hannah M. Ingraham, Mary Quincy, Elinor "Cash" Ivers, Ella F. Ellery, Mr. and Mrs. WilUam Jack, Dr. Edwin E. Rantoul, Miss Edith Ehns, Helen T. Rantoul, Anonymous Jack, Dr. Frederick L. Harriet C. Friend Rantoul, Miss Margaret Emery, Mr. and Mrs. Frederick L • • Jenmson,T Missn/r- Kathannet^ ^u A.a Rawles, James D. Emetyi Georgia H. Johnson, Miss Edith Morse Raymond, Mrs. FrankHn F. Emery, Miss M. S. Rider, Johnson, Mrs. E. J. Mrs. Leha Y. Ensign, Mrs. C. S., Jr. Johnson, Ellsworth E. Robbins, The Misses Estabrook, Mrs. Ida F. Robinson, Jeannie D. Kaffenburgh, Carl J. Robinson, Mrs. M. Fairbanks, Miss Catherine Kent, Mr. and Mrs. Edward L. J. Rogers, Henry M. and Clart Farlow, John W. King, Miss Anne P. Kathleen Fay, Miss Helen B. King, Miss CaroUne W. Ropes, Mrs. C. B. Felton, Mrs. C. C. King, Franklin Rueter, Fenollosa, William S. Mrs. Helene C. L.,J.D. Russell, Mrs. Robert S. Ferris, Ida J. Fisher, Miss Edith S. Lampney, Alice E. Fisher, Miss Frances B. Lancaster, Mrs. Stella C. Sargent, Mrs. Francis W. Fisher, R. B Lang, Margaret Ruthven Schneider, Elizabeth Fiske, Arthur P., In Memory of Lee, Mrs. Francis H. Sears, Miss Annie L. Florence Sumner Fiske Lee, Mr. and Mrs. James S. Sears, Miss Mary P. Fitz, Mrs. W. Scott Friend Sedgwick, Prof, and Mrs. Lee, Mr. and Mrs. WiUiam T. Fogg, Mrs. Louisa H. >, Joseph Foote, Arthur Levey, Mrs. WilUam M. Selfridge, Mrs. George S. Forbes, Edward W. Lewis, Carrie L. S. Anonymous Fox, Miss Alice M. Littell, Miss Harriet R. Shaw, Miss Eleanor Fox, Felix Littell, Miss Lucy Shaw, Mrs. Henry S. Fox, Isidor Lombard, Annie F. Sheldon, Edward S. French, Miss Katherine Loring, Miss Louisa P. Shepard, Miss Emily B. Frothingham, Mrs. L. A. Lothrop, Mrs. Thornton K. Shepard, Mrs. W. S. Lothrop, Mrs. W. S. H. Sherman, Henry H. Gay, E. Howard Lowell, Miss Lucy Shurtleff, Gertrude H. Gebhard, Heinrich Lyon, Mrs. W. H. Silsbee, Elizabeth W. Grant, Mrs. Elizabeth Slocum, Mrs. W. H. McCabe, Gertrude B. Gray, Elizabeth F. Smith, Mrs. Frederick M. McCrary, Mabel S. Snell, Miss Gray, Marion E. McDaniels, Mrs. W. H. Frances Spalding, Gray, Mr. and Mrs. Russell MacFadden, Hamilton Miss Dora Spring, Mr. and Griswold, Mrs. Fitz-Edward McKibbin, Miss Emily W. Mrs. Romney Guild, Miss Charlotte H. Stackpole, Mrs. Frederick D. Manson, Miss Elizabeth E. Guild, Miss Eleanor Staniford, Mrs. Daniel Marrs, Mrs. Kingsmill Mayo, Lawrence Stearns, Mrs. C. K. Harding, Emor H. Steams, Mrs. F. P. MiUer, Miss Mildred A. Harpham, Mrs. Sherlie B. Stevens, Minot, Laurence Mary Louisa Harrington, Mrs. F. B. Stewart, Mrs. Cecil Moore, Mrs. Edward C. Harris, Miss Frances K. Sturges, Dorothy Moran, Mrs. John Hatfield, Dr. and Mrs. H. K. J. Sturges, Mrs. Howard Morey, Mrs. Edwin O. Hayward, Mrs. A. F. SuUivan, Mrs. T. Russell Morrill, Miss Helen Hayward, Miss Emily H. Swallow, Maude C. Morrill, Miss Isabel W. Hayward, Mrs. G. G. Swan, Miss M. H. Hill, Mr. E. B. Neal, Mrs. J. A. Swift, Miss L. W. Hill, Miss Marion Newell, Mrs. Edward A.

Hitch, Miss JuUa D. Nickerson, William E. Taft, Edward A. , Hobbs, Mrs. Jane W. Norcross, Mrs. Otis Tapley, Miss Alice P. Hofman, H. O. Tapley, Henry F. Ogden, Mrs. David B. HoUand, Charles P. Tappan, Mrs. Frederick H. Osgood, Miss Emily L. Homans, Mrs. William P. Thayer, Mrs. John E. Hooper, Mrs. Susan Thayer Paine, Robert Treat, 2d Thomas, Miss Anna B. Hopkinson, Miss Leslie W. Parkman, Henry Thompson, C. A.

Hosmer, Mrs. Elizabeth T. Parkman, Mrs. Henry ThorndLke, Mrs. J. L. Howe, Mrs. George D. Perera, Mrs. Gino L. Thorndike, Mary D. Howe, Sarah L. Perkins Institution for the Blind Townsend, Miss Annie R.

1548 Wadsworth, Mrs. A. F. Watson, S. L. D. Whittier, Mr. Albert R. Walton, Alice Weidhorn, Leo Williams, J. Bertram Walworth, Harriet E. Wheatland, Mrs. Richard Wilson, Miss A. E. Ward, Miss A. S. Wheeler, Mrs. H. R. Winkley, Hobart W. Ware, Mrs. Whitman Whitin, Mrs. G. M. Winsor, Mrs. Alfred Waring, Mrs. Guy- Whitman, Miss Effie E. Worthington, Miss Julia H. Watson, Mrs. Donald C. Whitman, Mrs. Florence Lee Wright, Mrs. Walter P.

Issued for the centenary of Cesar Fianck's birth A NEW VOLUME OF THE MUSICIANS LIBRARY!

PIANO COMPOSITIONS Edited and with Preface by VINCENT D'INDY

Cesar Franck, the great genius who gave to absolute music in France its most enduring impetus, did not neglect the piano. Franck's piano compositions are not

only of the highest beauty, but are permanent contributions to the history of the art, in that he invented new forms, or adapted old ones to modern uses. His pupil and

devoted disciple, Vincent d'Indy, contributes a biography which has abiding critical

value. This preface of Mr. d'Indy is in French and English.

Price, paper, cloth back, $2.50, postpaid; full cloth, gilt, $3.50, postpaid

A catalog giving full particulars of the eighty-seven vohimes, and Table of Contents, sent free on request

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It has been suggested that subscribers who for any reason find themselves unable to attend the Friday Symphony Concerts, and whose tickets would not other- wise be used, send them in to be sold for the benefit of the Boston Symphony Orchestra, Inc. Endowment Fund. Kindly send such tickets as early each week as convenient to Boston Symphony Orchestra, Inc. Symphony Hall, Boston.

15i9 be performed in all the theatres of Paris, and those Avho will see the performances will no doubt be curious to consult at the same time the German masterpiece." The Figaro of November 30, 1827, re- ferred to the translation published "at a moment when the chief theatres purpose to represent the very bizarre and marvellous adventures of Dr. Faust." A "Faust" by Th^aulon and Gandolier, with music arranged by the orchestral leader, Beancourt, was performed with great success at the Nouveautes.* Stapfer's "Faust," illustrated by Delacroix, was published in March, 1828. "Faust," with Frederic Lemaitre as the hero was produced at the Port-Saint- Martin, October 29, 1828. Berlioz's "Huit Scenes de Faust," composed at Grenoble in 1828, and at Paris in 1829, engraved in 1829, is now extremely rare. It did not include the Eakoczy March. Berlioz sent a copy to Goethe, who consulted Zelter of Berlin as to its worth. Zelter wrote a letter abusive of the music. Goethe never acknowledged the gift, never replied to Berlioz's letter.

*The libretto of this "Faust," a lyric drama in three acts, produced at the Theatre de Nouveautgs on October 27, 1827, is a curious one. Faust, rejuvenated by his own magic art, has saved Marguerite, the daughter of Conrad, an old soldier, from drowning. He asks for her hand, but Conrad refuses the offer because Faust cannot maintain her in becoming state. Faust, desperate, invokes the aid of hell. Mephistopheles appears, and offers untold wealth in exchange for a bond binding the two for eternity. Faust accepts. Rich and noble, he again asks Conrad for his daughter. Soon the price paid by the philosopher for his sudden prosperity is known. Marguerite rejects him, and prays for help. Faust feels remorse. He demands of Mephistopheles the annulment of the compact. Pardoned, he weds Marguerite, who is found to be the heiress of the noble family of Irnestal. There was a brilliant mise-en-scene. For an account of a dispute over the music see "Histoire des Theatres de Paris : Les Nouveautes," by L. Henry Lecomte (Paris, 1907, pp. 36-38).

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1551 )

The revision of these scenes were made and the other portions of "The Damnation of Faust" were composed in 184:5-46. The first performance was at the Opera-Comique, Paris, December 6, 1846. Berlioz conducted. The singers were Mme. Duflot-Maillard, Roger, Leon, Henri. The first performance in the United States was at New York, February 12, 1880. Amy Sherwin, Jules Jordan, Franz Remmertz, Bourne. Leopold Damrosch conducted. The first performance in Boston was on May 14, 1880. Mrs. Humphrey-Allen (now Mrs. George F. Babbitt), W. J. Winch, Clarence Hay, and "an Amateur" (S. B. Schlesinger). B. J. Lang conducted. The first performance in operatic form was at Monte Carlo, February 18, 1893. Mile. d'Alba, Jean de Reszke, Melchissedec, and Illy. The first performance of the Rakoczy March in Boston was at one of Theodore Thomas's concerts on April 9, 1870. Berlioz, early in 1846, was about to leave Vienna for Budapest. He Avrote the Rakoczy March the night before his departure. "A Viennese amateur, who knew well the manners of the country I was to visit, came to me some days before with a volume of old airs. 'If you wish to please the Hungarians,' he said, 'write a piece on one of their national airs. They will be enraptured, and you in turn will give me, when you are back, news of their Elien (hurrah ! and applause. Here is a collection, and you have only to choose.' I took his advice and chose the Rakoczv tune."

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The march was played for the first time at Budapest, February the National Theatre. ]5, 1846, in a concert given by Berlioz in The description of the reception of it by the Hungarians is familiar. ''The extraordinary effect it produced tempted me to introduce it in my score of Taust.' I took the liberty of putting my hero in Hun- gary at the beginning of the action, and making him witness the passage of an Hungarian army across the plain where he is walking, buried in thought. A German critic found it exceedingly strange that I had made Faust travel to such a place. I do not see why I should not, and I should not have hesitated the least in the world to take him anywhere else, if it would have helped my score. I had not bound myself to follow Goethe's plan, and the most eccentric travels may be attributed to a character like Faust without any shock to probability. Other German critics took up this singular thesis later, and attacked me with still greater violence for the 'Fausts' changes I made in Goethe's plan ! As if there were no other critics than Goethe's ! . . . I have often wondered why those same never reproached me for the libretto of my 'Romeo and Juliet' symphony, which is little like the immortal tragedy. No doubt, because !" Shakespeare is not a German.^ Patriotism ! Fetishism ! Cretinism Christopher Marlowe pictures Faust as an accomplished traveler

During the World War some German writers insisted that Shakespeare was of German descent. They also found for Dante some German ancestors. "Deutschland iiber alles." Ed.

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STEINWAY PIANOFORTE — — ; : ; ; ; here who was personally conducted by Mephistopheles. Faust says

(scene vii.) :

Having now, my good Mephistophilis, Passed with delight the stately town of Trier, Evironed round with airy mountain-tops. With walls of flint, and deep entrenched lakes, Not to be won by any conquering prince From Paris next, coasting the realm of France, We saw the river Maine fall into Rhine, Whose banks are set with groves of fruitful vines Then up to Naples, rich Campania, Whose buildings fair and gorgeous to the eye, The streets straight forth, and paved with finest brick Quarter the town in four equivalents. There saw we learned Maro's golden tomb, The way he cut, an English mile in length, Through a rock of stone in one night's space From thence to Venice, Padua, and the rest, In one of which a sumptuous temple stands. That threats the stars with her aspiring top. Thus hitherto has Faustus spent his time But tell me, now, what resting place is this? Hast thou, as erst I did command. Conducted me within the walls of Rome?

Akos Laszlo gives this account of the origin of the Rakoczy March : When Prince Franz Rakoczy II. (1676-1735) entered in solemn

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1555 state his town of Eperjes, bringing with him his young bride, the Princess Amalie Karoline, daugliter of Duke Vanfried of Hesse, the leader of the gj^psies, Michael Barna, court fiddler and favorite of the Prince, wrote a processional march in honor of the pair and played it with his band. The march was originally of a joyous nature, but Barna rewrote it. He learned that his master was about to revolt against the Austrian house, in spite of the treaty of Szat- mar ; and he threw himself at the feet of his master, and with tears he spoke from his heart: "Most gracious Prince! You abandon a pleasant life, to chase after nothing !" And to soothe the Prince he took his fiddle in his hand and played the rewritten tune, the tune with which he had greeted his happy master, who then blazed at the zenith of his might. The Prince died exiled in Turkey, whither Barna had followed him. The "Rakoczy Song" was popular among the Hungarian people and the wandering gypsy musicians. It was first put in notation by Karl Vaczek of Jaszo, who died, very old, in 1828. He was an amateur who had played the flute before the Austrian court, and was known as one learned in music. He learned the Kakoczy tune from a grandchild of Michael Barna, a Avoman renowned throughout all Hungary for her beauty and fiddling; and her name was Czinka Panna. Vaczek wrote the tune on paper and gave the manuscript to a * Say it with flow - era

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1556 fiddler naiiied Ruzsitska,* who made of it a greater work, for he broadened it into a march and battle music. The original melody of Barna was preferred by the Hungarians. Berlioz in his transcription used portions of Ruzsitska's version; he took the true ''Rakoczy Song" and also Ruzsitska's battle music. Czinka Panna was educated musically by a German Kapellmeister at Rozsnyo. "N^Tien she was fourteen, she married a gypsy who played the "Viola da Gampa," and with her husband and her two brothers went here and there in Hungary. Their performance of the Rdkoczy March was sensational. Before her death her band was composed wholly of her sons. When she died, her beloved Amati, which had been given her by the Archbishop of Czaky, was buried with her; for she had asked this. She was at the height of her fame in 1772.t But according to the Vienna Allg. Musik-Zcitung (No. 27. 1846, page 104) a regimental bandmaster named SchoU, "a very modest,

*Was not this "fiddler" a musician named Wencelas Ruzsicska, born on Septem- ber S, 1758, at Jameritz in Moravia? Going to Vienna, sent by his father to give lessons, he studied composition, became court organist and played the viola in the orchestra of the National Theatre. He died at Vienna on June 21, 1823. It is said that he drifted into Hungary in 1797. When Salieri discovered Schubert's easy aptitude for music he handed him over to Ruzsicska, who did not keep him long, but returned him. saying: "He knows everything already. God Almighty has taught him." Albert Soubies in his little book on Hungarian music (Paris, 1898) says that Kuzsicska's opera "the Flight of Bela" (1826) was the first opera in the Hungarian language. tFor a sketch of her life see Liszt's "Des Bohemiens et de la musique en Hongrie," pp. 292, 293 (Paris, 1859).

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1557 amiable, good, fat man," composed the Rakoczy March at the beginning of the nineteenth century. He may have based his march on the old tune.

* *

When "The Damnation of Faust" was first performed, Wagner's ''Tannhauser" was not a year old on the stage; Verdi's greatest opera was then "Ernani"; Schumann had still ten years to live; Tchaikovsky was six years old; Brahms was a student of thirteen years.

Liszt's Rakoczy March was played in Boston at a concert of the Boston Symphony Orchestra on March 14, 1891. The first performance in Boston was on December 2, 1871, at one of Theodore Thomas's concerts. The pianoforte version was played by Carl Baermann at a concert on January 27, 1883.

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1558 —

"Le Sacre du Printemps" ("The Rite of Spring"): Pictures OF Pagan Russia in two parts .... Igor Stravinsky

(Born at Oranienbaum, near Petrograd, Russia, on June 5, 1882; living in Paris)

"The Rite of Spring," or more literally according to the Russian "Spring Consecration," scenery and costumes designed by Nicolas Roerich, choreography by W. Nijinsky, was produced at the Theatre des Champs Elysees on May 29, 1913, by the Diaghilev Ballet Russe. Mr. Monteux conducted. The chief dancers were M. Nijinsky and Mile. Piltz. The performance, while it delighted some, incited howls of protest. The hissing was violent, mingled with counter cheers, so that M. Astruc ordered the lights turned up. The late Alfred Capu wrote a bitter article published in Le Figaro, in which he said:

Bluffing the idle rich of Paris thi'ough appeals to their snobbery is a deUghtfuUy simple matter. . . . The process works out as follows: Take the best society possible, composed of rich, simple-minded, idle people. Then submit them to an intense regime of pubhcity. By pamphlets, newspaper articles, lectures, personal visits and all other appeals to their snobbery, persuade them that hitherto they have seen

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only vulgar spectacles, and are at last to know what is art and beauty.. Impress them with cabalistic formulae. They have not the shghtest notion of music, literature, painting, and dancing; still, they have heretofore seen under these names only a rude imitation of the real thing. Finally assure them that they are about to see real dancing and hear real music. It will then be necessary to double the prices at the theatre, so great will be the rush of shallow worshippers at this false shrine. There were five performances that season. When this ballet was brought out at Drury Lane, London,_ on July 11, 1913, with Mr. Monteux conductor, it was thought advisable to send a lecturer, Mr. Edwin Evans, in front of the curtain, to explain the ideas underlying the ballet. At the end of the performance there was greater applause than hissing. The music of this ballet was performed for the first time in concert form by an orchestra conducted by Mr. Monteux at one of his concerts at the Casino de Paris in Paris on April 5, 1914, when it was enthusiasti- cally applauded. And now "The Rite of Spring" is acclaimed as Stravinsky's "greatest work."

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1561 The first performance of the music in this country was by the Phila- delphia Orchestra in Philadelphia on March 3, 1922. The first performance in Boston was at a concert of the Boston Symphony Orchestra on January 25, 1924. * * * Much has been written about this remarkable ballet. Some have gone to Sir J. G. Frazer's "Golden Bough" and talked about the mystical adoration of Spring "as the sign of fertility culminating in a propitia- tory sacrifice"; how the decay of vegetation in winter is the weakening of the impulse of fertility and must be brought to life in a younger form. Mr. Edwin Evans finds behind the pretext of a rite the marvellous power inherent in all nature to grow, develop, and assume new forms. "This power is so great that it affects Nature herself with a tremor, expressing itself in uneasiness at the critical period of adoles- cence in all living things. It is that tremor, that inner disturbance, which is the underlying thought of 'The Rite of Spring.' " And Edith Sitwell has this to say: "Life is energy, and the very fact of that life will eventually push us over the abyss into the waiting and intolerable darkness. In 'The Rite of Spring' he [Stravinsky] gives us the beginning of energy, the enormous and terrible shaping of the visible and invisible world through movement." Thus might Captain Lemuel Gulliver have heard learned professors discussing at the Academy of Legado. But some have quoted Stravinsky as saying that this work is to be

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1563 regarded as abstract music in all but name, a modern symphony. The answer to this is that descriptive titles for the various sections are in the score. * * *

First of all, the ballet is a succession of scenes. Let us hear what Stravinsky himself told Michel Georges-Michel about it.*

The embryo is a theme that came to me when I had completed the "Fire-Bird." As this theme with that which followed was conceived in a strong, brutal manner, I took as a pretext for developments, for the evocation of this music, the Russian prehistoric epoch, since I am a Russian. But note well that this idea came from the music; the music did not come from the idea. My work is architectonic, not anecdotical: objective, not descriptive construction.

And so Boris de Schloezer in an elaborate study of Stravinsky published in La Revue Musicale for December, 1923, is inclined to smile at those who speak of the "religious, mystical element" in the ballet, and philosophize over ''the mentality of primitive man evoked by a Russian, rather, Scythian barbarian." He insists that in Russia the negro-American elements, as syncopation, would be at once recognized. The work is not an impressionistic evocation; it is "the direct trans- position of a certain act on a sonorous plane," a symmetrical construction. * * * •

*In La Revue Musicale for December, 1923.

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1565 —

Stravinsky worked on ''The Rite of Spring" in 1912-13, completing it at Clarens. Boris de Schloezer, discussing the question of Russian folk-song influence, states that the two melodies in "Mysterious Circles of Youths" and the second motive in "Ritual Action" are Russian folk-tunes, the other themes, while they have Russian character rhjrthmic accentuation, preciseness of melodic lines, harmonic harshness, a diatonic nature—are of Stravinsky's invention. * * *

The first part of the work is "The Fertility of the Earth." The second part is "The Sacrifice."

Part I

There is a slow Introduction, which, according to commentators, portrays "the mystery of the physical world in Spring." It is said that Stravinsky here uses wood-wind instruments, whose "dryness conveys a more austere expression of truth"; he "mistrusts the facile expressive- ness" of the strings. The curtain rises. Omens of Spring. Dances of the Youths and Maidens: a rite of incantation with vigorous stamping on the ground. Dance tune for flutes, while trumpets chant a harmonized theme used later. A mock abduction is part of this ritual. Then come the Spring Rounds, introduced by a tune for clarinet. The main portion of the dance is based on the theme already announced by the trumpets. Another Ceremony: Games of Rival Towns. An

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1566 It was the day of the last hart storm that a frail exhausted woman came to the Charlestowii station of the Community Health Association. She was the only one to come that day. The nurses had almost decided not to hold the regular clinic—feeling that no mother would bring a baby out in such weather. "But, if one did come—" said a nurse. And so they were there when she opened the door—a wild gust of rain and wind blowing in before she could close it behind her. "I read about yo\i in the paper" she said, holding out a clipping from a Boston newspaper that showed a nurse holding a smiling, healthy baby. Underneath was an account of the Charlestown station and the weekly baby conferences. "I brought my baby. He is the only one I have. I have done everything I know and he loses all the time. He weighs less than five pounds now. Do you think you can save him?" Her voice shook. '"I don't know what to do." Welcomed and cared for by the nurses, she soon felt warm and rested. The nurses and the clinic doctor examined the baby and then the doctor made arrangements for him to be admitted at the Chil- dren's hospital. Hopefully she started on her trip to the hospital carrying her mite of a baby. "I will write to you and tell you how the baby gains," she said to the nurses, "I shall never forget how good you have been."

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1567 old man, wise, white-haired, bearded, enters. He is the Celebrant. He prostrates himself. All kiss the ground. A sacred dance follows. When this ballet was performed early in 1914 at Moscow, this first section was entitled ''The Kiss to the Earth."

Part II At the Introduction, "The Pagan Night," Mr. Evans has said: "A deep sadness pervades it, but this sadness is physical, not sentimental. It is gloomy with the oppression of the vast forces of Nature, pitiful with the helplessness of living creatures in their presence. This Prel- ude leads to the Mystic Circle of the Adolescents. Girls dance and play. One must be sacrificed to Spring. The victim is chosen. Her Glorification. Evocation of Ancestors. Ritual Performance of the Ancestors. The chosen victim begins her sacrificial act. She must dance herself to death." The score calls for -two piccolos, two flutes, flute in G, four oboes (one interchangeable with a second English horn), English horn, three clarinets (one interchangeable with a second bass clarinet), clarinet in E-flat, bass clarinet, four bassoons (one interchangeable with second double-bassoon), double-bassoon, eight horns (two interchangeable with Bayreuth tubas), four trumpets, trumpet in D, bass trumpet, three trombones, two tubas, four kettledrums, small kettledrum, bass drum, tambourine, cymbals, antique cymbals, triangle, tam-tam, rape guero (scratcher), and strings.

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1570 March 17, 1924.

Dear Miss B : "... I should have written before but have been very busy trying to get used to my new work. The hours are long, but I do not mind, for I love these children, and am so happy to know that I am helping someone while earning my living .... I shall learn much, too .... For the first time in years I awake in the morning glad to be alive and eager to get to my work .... This is a beautiful place, the air is so sweet and refreshing and I love the hills and country. ... I can never thank you and your society for all you did for me. I have not known such kindness since I left my mother. ... I am sending twenty dollars which you paid for my uniforms and aprons. I want to repay you also for the fares you paid for me. . . . Only God can repay your kindness. Daphne"

This young girl came to America when she was twelve years old to join two brothers already emploj^ed here. Her father, a university professor, had died. Her mother with whom she kept in touch for some time was lost in the political upheaval of her country. The social worker who became Daphne's friend is now endeavoring through the proper agencies to trace the mother. In the eight years that followed, Daphne never became adjusted to American life. Her brothers beat and abused her, forced her to work before she was old enough, tried to force her into marriage with an older man, and finally even turned her out of the home, considering that the control and discipline a man should exercise over the women of his family fully justified them. At twenty, while a patient in the hospital, she was called to the attention of the social worker, who won her confidence. Within a year it was possible to bring about an entire change in Daphne's life. The girl, well educated when she came here, was carefully studied by those who understood the racial back- ground, and placed through the social worker in a position away from her brothers, where she is useful, very happy and receiving a training which will make her independent. No longer maladjusted, but remai-kably poised and self-contained, though still at times needing guidance, her grateful sense of the transformation in her life is expressed in the letter quoted. It is interesting to note as indicating this young girl's sense of responsibility that in seven short months she has not only repaid her loan but has saved $200 out of her small wages. Many such patients get stranded in a large city hospital. Deparlmeiii he Boston City M 818 HARRISON AVENUE MR. WILLIAM C. ENDICOTT, Treasurer 71 AMES BUILDING, BOSTON Miss Gertrude L. Farmer. Director Established 1914

COMMIT I EE Mrs. GEORGE H. MONKS, Chairman. Mrs. Henry Andrews Mrs. I. A. Ratshesky Mrs. Edward H. Bradford Mrs. Wm. H. Robey, Jr. Mrs. C. A. Coolidge Mrs. Milton J. Roaenau Mrs. Thomas M. Devlin Miss Anna Thorndike Mrs. Henry Ehrlich Mrs. Geo. L. Tobey, Jr. Mrs. Reid Hunt Mrs. Ernest B. Young Mrs. Edward M. Pickman Mr. William C. Endicott, Treasurer

1571 Cleansed and Refinished JJLMOST LIKE NEW

NOW $2.00 COLLECTION AND DELIVERY SYSTEM

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Branch Shops

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1572 FORTY-THIRD SEASON. NINETEEN HUNDRED TWENTY-THREE 6-TWENTY-FOUR

Tweety-secoiad Progri

FRIDAY AFTERNOON, APRIL 18, at 2.30 o'clock

SATURDAY EVENING, APRIL 19, at 8.15 o'clock

Rimsky-Korsakov . 'The Russian Easter," Overture on Themes of the Russian Church, Op. 36

Schubert Symphony in B minor, "Unfinished"

I. Allegro moderato. II. Andante con moto.

Converse "Song of the Sea," Tone-poem for Orchestra (After Walt Whitman)

nur einmal in Mozart . Aria, "Ach noch Leben" from "La Clemenza di Tito"

Strauss . Two Songs with Orchestra

Schelling . "A Victory Ball," Fantasy for Orchestra (Conducted by the Composer)

SOLOIST SIGRID ONEGIN

There will be an intermission of ten minutes after the symphony

City of Boston, Revised Regulation of August 5, 1898,—Chapter 3, relating to the covering of the head in places of public amusement

Every licensee shall not. in his place of amusement, allow any person to wear upon the head a covering which obstruct* the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it beins understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN. City Clerk.

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

1573 STEINERT HALL JOIKT RECITAL ELSA HENRY

SOPRANO "PIANIST MAY FORSLIND, Accompanist

WEDNESDAY EVENING/APRIL 23

AT 8.15 O'CLOCK

Reserved seats, $0.50, $1, $1.50, plus tax

Tickets are now on sale at Steinert Hall

THE STEINWAY PIANO

T>IANO "RECITAL Miss FELA

by Mme. ANTOINETTE POLISH "PIANIST

will give a

Recital ofPiano Music AFTERNOON THURSDAY on APRIL 24 FRIDAY EVENING AT 3 O'CLOCK MAY SECOND

Tickets, $0.50, $1, $1.50, plus tax Tickets, $0.50, $1, $1.50, plus tax

at the Hall NOW Reserved seats at the Hall

THE STEINERT PIANO THE STEINERT PIANO

1574