PARSONS THEATRE . ,. . HARTFORD Monday Evening, November 27, at 8.15

.-#

BOSTON SYMPHONY ORCHCSTRS INC. FORTY-SECOND SEASON J922-J923

wW

PRSGRsnnc

1 vg

LOCAL MANAGEMENT, SEDGWICK & CASEY Steinway & Sons STEINERT JEWETT WOODBURY

«. w Duo-Art REPRODUCING PIANOS AND PIANOLA PIANOS

VICTROLAS VICTOR RECORDS

M, STEINERT & SONS 183 CHURCH STREET NEW HAVEN PARSONS THEATRE HARTFORD

FORTY-SECOND SEASON 1922-1923

INC.

PIERRE MONTEUX, Conductor

MONDAY EVENING, NOVEMBER 27, at 8.15

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

COPYRIGHT, 1922, BY BOSTON SYMPHONY , INC.

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 *UHE INSTRUMENT OF THE IMMORTALS

QOMETIMES people who want

a Steinway think it economi-

cal to buy a cheaper in

the beginning and wait for a

Steinway. Usually this is because

they do not realize with what ease

Franz Liszt at his Steinway and convenience a Steinway can

be bought. This is evidenced by

the great number of people who

come to exchange some other

piano in partial payment for a

Steinway, and say: "If I had only

known about your terms I would

have had a Steinway long ago!"

You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of

two years.

'Prices: $875 and up. Convenient terms. Used pianos taken in exchange.

09 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE I •©sitoim £>ympn

Forty-second Season, 1922-1923 PIERRE MONTEUX, Conductor

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. Barozzi, S. Leveen, P. Mariotti, V.

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

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

Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A. Artieres, L. Van Wynbergen, C. Shirley, P. Mullaly, J.

Gerhardt, 3. Kluge, M. Deane, C. Zahn, F.

Violoncellos.

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

Basses. Kunze, M. Seydel, T. Ludwig, 0. Kelley, A. Girard, H. Keller, K. Gerhardt, G. Frankel, I. Demetrides, L.

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

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

Horns. Horns. Trumpets. Trombones. Wendler, G. Hess, M. Mager, G. Hampe, C. Lorbeer, H. Van Den Berg, C. Mann, J. Adam, E. Hain, F. Perret, G. Mausebach, A.

Gebhardt, W. . Kloepfel, L. Kenfield, L.

Tuba. Harps. Timpani. Percussion. Adam, E. Holy, A. Ritter, A. Ludwig, C. Zahn, F. Delcourt, L. Kandler, F. Sternburg, S.

Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. 3 - Boston Symphony Orchestra VICTOR RECORDS

There are dealers in Victor products everywhere and any

of them will gladly play any of the Boston Symphony Orchestra records for you.

Victrolas $25 to $1500

Victor Talking Machine Co. Camden N.I

HIS MASTERS VOICE' PARSONS THEATRE HARTFORD

Forty-second Season, 1922-1923 PIERRE MONTEUX, Conductor

FIRST CONCERT

MONDAY EVENING, NOVEMBER 27

AT 8.15

PROGRAMME

Beethoven . . Symphony No. 3 in E-flat major, "Eroica," Op. 55 I. Allegro con brio. II. Marcia funebre: Adagio assai. III. Scherzo: Allegro vivace; Trio. IV. Finale: Allegro molto.

Debussy .... "Prelude a l'Apres-Midi d'un Faune (Eglogue de S. Mallarme)" ("Prelude to the Afternoon of a Faun [Eclogue by S. Mallarme]")

Liszt . . Concerto in A major No. 2 for Pianoforte and Orchestra

Glazounoff . . . "Stenka Razin," , Op. 13

SOLOIST ERWIN NYIREGYHAZI

KNABE PIANO USED

There will be an intermission of ten minutes after the symphony

5 S. S. "Resolute" Jan. 9. S. S. "Volendam" Jan. 16.

125 days of entertaining, healthful travel under ideal conditions on ideal cruise-ships. Under the auspices of the oldest American Travel Company and on a splendid new Cruise-ship you are doubly assured of that high standard of service which every discriminating American traveler expects.

S. S. "Rotterdam," sailing Feb. 10.

65 days amidst the lands of the an- markable Cruise will enable you to cients, the Romans, the Greeks, the see the interior of beautiful Spain, Egyptians. Besides many other in- while the trips in the HolyLand and teresting shore excursions this re- Egypt are most comprehensive.

S. S. "Reliance," sailing Feb. 3. 45 days from New York to New York on a superb Ameri- can Cruise-ship. This unique cruise is an ideal winter vacation and is the only specially chartered steamship- cruise offered to the public that includes Rio de Janeiro and the West Indies. This year the great Centennial Exposition is making Rio de Janeiro doubly interesting.

Six special De Luxe Tours to the Winter resorts of Southern Europe. Promenade deck accommodations on splendid liners at attractive rates.

In connection with the famous suming our popular tours to Mex- Raymond-Whitcomb Winter Tours ico. We suggest that you include a to the Southwest, the Pacific Coast trip to Mexico City on your way to and Hawaii, we are this season re- California this winter.

On your request we ivill gladly send you the Book- let descriptive of the par- ticular Cruise or Tour that appeals to you most.

F. Irvin Davis, 82 Pearl St. Ward W. Jacobs & Co., 750 Main St. Elliott & Pearl, 54 Church St. 17 Temple Place, Boston Symphony No. 3, in E-flat major, "Eroica,7 Op. 55

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

Anton Schindler wrote in his life of Beethoven (Munster, 1840): "First in the fall of 1802 was his [Beethoven's] mental condition so much bettered that he could take hold afresh of his long-formulated plan and make some progress: to pay homage with a great instru- mental work to the hero of the time, Napoleon. Yet not until 1803 did he set himself seriously to this gigantic work, which we now know under the title of 'Sinphonia Eroica': on account of many interrup- tions it was not finished until the following year. . . . The first idea of this symphony is said to have come from General Bernadotte, who was then French Ambassador at Vienna, and highly treasured Beet- hoven. I heard this from many friends of Beethoven. Count Moritz Lichnowsky, who was often with Beethoven in the company of Berna- dotte, . . . told me the same story." Schindler also wrote, with refer- ence to the year 1823: "The correspondence of the King of Sweden led Beethoven's memory back to the time when the King, then General Bernadotte, Ambassador of the French Republic, was at Vienna, and Beethoven had a lively recollection of the fact that Bernadotte in- " deed first awakened in him the idea of the 'Sinphonia Eroica.' These statements are direct. Unfortunately, Schindler, in the third

Steinway has been the chosen piano of the masters from Liszt and Rubinstein to Paderewski, Rachman- inoff and Hofmann.

It is the instrument by which all other pianos are measured.

241 ASYLUM STREET

Sole Steinway Agents edition of his book, mentioned Beethoven as a visitor at the house of Bernadotte in 1798, repeated the statement that Bernadotte in- spired the idea of the symphony, and added: "Not long afterward the idea blossomed into a deed"; he also laid stress on the fact that Beethoven was a stanch republican, and cited, in support of his ad- miration of Napoleon, passages from Beethoven's own copy of Schleier- macher's translation of Plato. Thayer admits that the thought of Napoleon may have influenced the form and the contents of the symphony; that the composer may have based a system of politics on Plato; "but," he adds, "Bernadotte had been long absent from Vienna before the Consular form of gov- ernment was adopted at Paris, and before Schleiermacher's Plato was published in ."

The symphony was composed in 1803-04. The story is that the title-page of the manuscript bore the. word "Buonaparte" and at the bottom of the page "Luigi van Beethoven"; "and not a word more," said Ries, who saw the manuscript. "I was the first," also said Ries, "who brought him the news that Bonaparte had had himself declared Emperor, whereat he broke out angrily: 'Then he's nothing but an ordinary man! Now he'll trample on all the rights of men to serve his own ambition; he will put himself higher than all others and turn " out a tyrant!'

Furthermore, there is the story that, when the death of Napoleon at St. Helena was announced, Beethoven exclaimed, "Did I not fore- see the catastrophe when I wrote the funeral march in the 'Eroica'?" M. Vincent dTndy in his remarkable Life of Beethoven argues against Schindler's theory that Beethoven wished to celebrate the French Revolution en bloc. "C'etait Vhomme de Brumaire" that Beet- hoven honored by his dedication (pp. 79-82). The original score of the symphony was bought in 1827 by Joseph Dessauer for three florins, ten kreuzers, at auction in Vienna. On the title-page stands "Sinfonia grande." Two words that should follow immediately were erased. One of these words is plainly "Bona-

Sarhrarfj Portraits for CHRISTMAS Their quality and prestige are known and will be appreciated everywhere. To properly finish them requires time and care. Make an appointment for a sitting now.

69 PRATT STREET - - - HARTFORD JX.ew evidence of the superior tonal qualities of

is provided by the decision or THE CHICAGO OPERA COMPANY to make it tneir official piano

Sh^^aldumtptmuk (&>« CINCINNATI CHICAGO NEW YORK INDIANAPOLIS ST. LOUIS LOUISVILLE DENVER DALLAS SAN FRANCISCO parte/' and under his own name the composer wrote in large characters with a lead-pencil: ''Written on Bonaparte." The first performance of the symphony was at a private concert at Prince Lobkowitz's in December, 1804. The composer conducted, and in the second half of the first allegro he brought the orchestra to grief, so that a fresh start was made. The first performance in public was at a concert given by Clement at the Theatre an der Wien, April 7, 1805. The symphony was announced as "A new grand Sym- phony in D-sharp by Herr Ludwig van Beethoven, dedicated to his Excellence Prince von Lobkowitz." Beethoven conducted. Czerny remembered that some one shouted from the gallery: "Fd give an- other kreuzer if they would stop." Beethoven's friends declared the work a masterpiece. Some said it would gain if it were shortened, if there were more "light, clearness, and unity." Others found it a mixture of the good, the grotesque, the tiresome. The symphony was published in October, 1806. The title in Italian stated that it was to celebrate the memory of a great man. And there was this note: "Since this symphony is longer than an ordinary symphony, it should be performed at the beginning rather than at the end of a concert, either after an overture or an aria, or after a concerto. If it be performed too late, there is the danger that it will not produce on the audience, whose attention will be already wearied by preced- ing pieces, the effect which the composer purposed in his own mind to attain."

WEBER STERLING VOSE HUNTINGTON

^he Music Center of Hartford

VICTROLAS and STEINWAY DUO ART VICTOR RECORDS PIANOLA PIANOS

10 Prelude to "The Afternoon of a Faun (after the Eclogue of Stephane Mallarme)" Achille Claude Debussy

(Born at St. Germain (Seine and Oise), August 22, 1862; died at Paris, March 26, 1918.)

"Prelude a FApres-Midi d'un Faune (Bglogue de S. Mallarme)" was played for the first time at a concert of the National Society of Music, Paris, December 23, 1894. The conductor was Gustave Doret. The first performance in Boston—it was also the first in the United States—was at a concert of the Boston Orchestral Club, Mr. Longy conductor, April 1, 1902. Let us read Mr. Gosse's explanation of the poem that suggested music to Debussy: "It appears in the florilege which he has just published, and I have now read it again, as I have often read it before. To say that I understand it bit by bit, phrase by phrase, would be excessive. But, if I am asked whether this famous miracle of unintelligibility gives me pleasure, I answer, cordially, Yes. I even fancy that I obtain from it as definite and as solid an impression as M. Mallarme desires to pro- duce. This what I read in it: A faun—a simple, sensuous, passionate being—wakens in the forest at daybreak and tries to recall his experience of the previous afternoon. Was he the fortunate recipient of an actual visit from nymphs, white and golden goddesses, divinely tender and in- dulgent? Or is the memory he seems to retain nothing but the shadow of a vision, no more substantial than the 'arid rain' of notes from his own flute? He cannot tell. Yet surely there was, surely there is, an animal whiteness among the brown reeds of the lake that shines out yonder? Were they, are they, swans? No! But Naiads plunging?

The oldest music-shop and publishing house in America, with a continuous sale of music for 139 years and of musical instruments for 84 years.

1783 — The Boston Book-Store, 8 State Street

1835 — Oliver Ditson, Music Publisher, 1 07 Washington Street 1889 — Oliver Ditson Company, 449-451 Washington Street 1917 — In their own building, 178-179 Tremont Street

Music 'Publishers and Importers

The largest and most complete stock of music and musical instruments in New England.

11 Americas Greatest CLEANSERS DYERS LAUNDERERS

BOSTON SHOPS

284 Boylston Street 1 7 Temple Place 248 Huntington Avenue BROOKLINE SHOP WATERTOWN SHOP 29 State Street 79 Summer Street 1310 Beacon Street I Galen Street Coolidge Corner at Works

Also LYNN WALTHAM WORCESTER CAMBRIDGE MALDEN FITCHBURG SPRINGFIELD BRIDGEPORT SALEM FALL RIVER PROVIDENCE NEW HAVEN MANCHESTER NEW BEDFORD NEWPORT WATERBURY ALBANY NEW YORK SHOP: 10 WEST 48th STREET SHOP: 1901 CHESTNUT STREET

Packages called for and delivered by our own trucks in Boston and suburbs

ESTABLISHED 1829 YOU CAN RELY ON LEWANDOS"

12 PARSONS THEATRE • • HARTFORD

MONDAY EVENING, JANUARY 8, 1923, at 8.15

PIERRE MONTEUX, Conductor

SOLOIST

'

13 Perhaps ! Vaguer and vaguer grows the impression of this delicious ex- perience. He would resign his woodland godship to retain it. A garden of lilies, golden-headed, white-stalked, behind the trellis of red roses?

Ah ! the effort is too great for his poor brain. Perhaps if he selects one lily from the garth of lilies, one benign and beneficent yielder of her cup to thirsty lips, the memory, the ever-receding memory, may be forced back. So when he has glutted upon a bunch of grapes, he is wont to toss the empty skins into the air and blow them out in a visionary greedi- ness. But no, the delicious hour grows vaguer; experience or dream, he will never know which it was. The sun is warm, the grasses yield- ing; and he curls himself up again, after worshipping the efficacious star of wine, that he may pursue the dubious ecstasy into the more hopeful boskages of sleep.

Concerto for Pianoforte, No. 2, in A major

(Born at Raiding, near Odenburg, Hungary, October 22, 1811; died at Bayreuth, July 31, 1886.)

This concerto was sketched in 1839. It was completed and scored in 1849. The concerto is dedicated to Hans von Bronsart, by whom it was played from manuscript for the first time at a concert for the benefit of the Orchestral Pension Fund in the Grand Ducal Court Theatre, , January 7, 1857. Liszt conducted. His symphonic poem "Ce qu'on entend sur la montagne" was also performed for the first time at this concert. The second performance of the concerto was at Berlin, January 14, 1858, in the Sing-Akademie, when Karl Tausig was the pianist and von Billow conducted. The first performance in Boston was at a concert of Theodore Thomas's Orchestra, October 5, 1870, when Anna Mehlig was the pianist, and this performance is said to have been the first in the United States. The autograph manuscript of this concerto bore the title "Concert symphonique," and, as Mr. Apthorp once remarked, the work might be called a symphonic poem for pianoforte and orchestra, with the title "The Life and Adventures of a Melody." The concerto is in one movement. The first and chief theme binds the various episodes into an organic whole. But let us use the words of Mr. Apthorp rather than a dry analytical sketch: "From this point onward the concerto is one unbroken series of kaleidoscopic effects of the

INCORPORATED Thirty-third season, 1922-1923

. BOARD OF MANAGERS . . .. , M v p -j AURELIO GIORNIrmDM (New York) - - - Piano *„ a a ,„ci d ,. Mr. A. A. WELCHru ----.- President ...... LILLIAN L. BlbbLLLoiccn t Mrs. T. B. BEACH Secretary Miss M. H. WILLIAMS Treasurer FLORENCE A. ATKINS Mrs. J. P. ANDREWS ELLIOT STANLEY FOOTE - - - - Miss K. E. ANDREWS „,.„. EVELYN BONARDrwAD Mrs. A. S. COOK Mrs. JULIUS CAY ROSA DUNNE Mrs. S. B. ST. JOHN MARGUERITE FOSTER

FACULTY ALFRED TROEMEL (New York) - - Violin L. BALDWIN, Classes in Theory . RALPH r Rn , VM VI/ACURITRM CAROLYN WASHBURN - WALDO S. PRATT. Musical History - - - Organ WM. L. WHITNEY (Boston and New York). Voice ARTHUR PRIEST

14 most brilliant and ever-changing description; of musical form, of musical coherence even, there is less and less. It is as if some magician in some huge cave, the walls of which were covered with glistening stalactites and flashing jewels, were revealing his fill of all the wonders of color, brilliancy, and dazzling light his wand could command. Never has even Liszt rioted more unreservedly in fitful orgies of flashing color. It is monstrous, formless, whimsical, and fantastic, if you will; but it is also magical and gorgeous as anything in the 'Arabian Nights.' It is its very daring and audacity that save it. And ever and anon the first wailing melody, with its unearthly chromatic harmony, returns in one shape or another, as if it were the dazzled neophyte to whom the magician Liszt were showing all these splendors, while initiating it into the mysteries of the world of magic, until it, too, becomes magical, and possessed of the power of working wonders by black art." *

This concerto is scored for solo pianoforte, three flutes (one inter- changeable with piccolo), two oboes, two clarinets, two bassoons, horns, two trumpets, three trombones, bass tuba, kettledrums, cymbals, strings.

"Stenka Razin," Symphonic Poem for Full Orchestra, Op. 13 Alexander Glazounov

(Born at Petrograd, July 29, 1865; now living at Petrograd.)

"Stenka Razin" was composed at Petrograd in 1885. Dedicated "to the memory of Alexander Borodin," it is scored for three flutes (one interchangeable with piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, four kettledrums, bass drum, cymbals, tam-tam, harp, and strings. The composer con- ducted the symphonic poem at a concert of Russian music at the Trocadero, Paris, on June 22, 1889,—the year of a World's Exposition there.

.. CONCERT "DIRECTION .. PIERGE BUILDING - - - BOSTON

As heretofore, Mr. Richmond continues his policy offeaturing artists of distinction. Appearing under his direction this season: RICHARD BURG IN, Violinist — FELIX FOX, Pianist — LAURA LITTLEFIELD, Soprano (lyric)— MARIA CONDE, Soprano (coloratura)— JEAN BEDETTI, Cellist— FIEDLER TRIO — Henry Gideon in "CONCERTS with COM- MENTS" -and BOSTON SYMPHONY ENSEMBLE "A Miniature Symphony Orchestra" AUGUSTO VANNINI, Conductor

15 — — —

"Stenka Razin" is built on three themes: the first is the melan- choly song of the barge-men of the Volga; the second theme, short, savage, bizarre, typifies the hero who gives his name to the piece; and the third, a seductive melody, pictures in tones the captive Persian princess. The chant of the barge-men is that which vitalizes the or- chestral piece. It is forever appearing, transformed in a thousand ways. The river is personified. This Razin was a Cossack, who long ago ruled the Volga, led an in- surrection, took Astrakan, devastated provinces; at last, a prisoner, he was broken on the wheel in the reign of the Tsar Alexis, 1672. "The Volga immense and placid! For many years those along its banks had dwelt in peace when suddenly appeared the terrible hetman Stenka, who at the head of his savage band ran up and down the Volga devastating and pillaging the villages and towns along its shores. As the folk-song has it : "Forth swiftly swam the light canoe, The light canoe of the Ataman, Of the Ataman, Stenka Razin. The craft was everywhere adorned; Seats it had for the Kazaki; The sails were wove of silken cloth; The sweeps were tipt with solid gold. Amid the boat was a brocaded tent, And in that brocaded tent there lay Great barrels stuft with golden hoards. On the treasure sat a beauteous maiden, The mistress of the Ataman. ... A Persian princess, taken captive by Stenka Razin.

"One day she grew pensive, and addressing herself to the comrades of her master, she told them of a dream she had once dreamt :

" 'Listen to me, ye gallant braves; When I was young, my sleep was light; My sleep was light, but much I dreamed. To me my dream seemed far from good: I dreamed our chief was shot to death; The Kazak oarsmen sat chained in prison; And I— I was drowned in Mother Volga.'

"The dream of the Princess came true. Stenka was surrounded by the soldiers of the Tsar. Seeing his ruin at hand, Stenka cried out: " 'Never, during all the thirty years of my going up and down Mother Volga, have I made her a gift. To-day I shall give her what is in my eyes the most precious of earthly treasures.' Saying this, he threw the Princess into the Volga. The savage band began to sing the praise of their leader, and they all rushed upon the soldiers of the Tsar."

SEVENTY YEARS' REPUTATION

An old and reliable remedy for throat troubles caused by cold or use of the voice. Free from opiates in any form. Sold only in boxes—never in bulk. Prices. 15c, 35c, 75c. $1.25. at druggists or by mail

rated :8 K O W N ' S Ma°ceous D IE N T I F R I C E Will keep the teeth and gums in healthy condition. Price. 30c at druggists or by mail. JOHN I. BROWN & SON. BOSTON. MASS.

16 MUSICAL INSTRUCTION

TEACHER OF THE HARP

!

'

I i I , A ( AW Address, 236 BAY STATE ROAD, BOSTON

Tel. Copley 5294-M

Available for a limited number of New England engagements. Wide experience in HARP VIRTUOSO giving and arranging Musicale programs. Order your de luxe copy of original tone and Interpreter of classical music, ancient and poems now. for your holiday gifts, and modern—whose artistry has been hear them rendered by the composer. likened to that of Paderewski Address. 3 SOUTH AVE., AUBURNDALE Tel. West Newton 1404

TEACHER OF SINGING Teacher of PIANO ORGAN, HARMONY and COACHING STEINERT HALL 1 75 Dartmouth St. (Trinity Court) Boston, Mass.

1 62 BOYLSTON STREET . . . BOSTON Copley 341 4-R

DRAMATIC SOPRANO VOICE SPECIALIST and Now Booking TEACHER OF ARTISTIC SINGING CONCERTS OPERA RECITALS Qualified to develop male and female voice References: Miss ROSE STEWART. PHILIP HALE Home Address 1 1 75 Hemenway St .. Boston Tel . . Copley 1 1 3 -M 647 CRANSTON STREET - PROVIDENCE. R.I. CIRCULAR ON REQUEST

All applications for advertising space

in the Boston Symphony Orchestra

programme book should be made to

L. S. B. Jefferds, Advertising Manager,

Symphony Hall, Boston, Mass. BOSTON'S GREAT ART PRODUCT

Pianos

It is impossible to convey in words an adequate idea of the surpassing tonal quality of the Mason & Hamlin Piano.

And yet, that which baffles verbal expression is a very real thing. If you should play the Mason & Hamlin Piano you would know; listening to it would tell more than a thousand words, as a glance at the Woman Weighing Pearls" tells more of Vermeer's artistry than page after page of description. We invite you to play and hear this extraordinary piano. MASON & HAMLIN CO. BOSTON NEW YORK Hartford Representatives GALLUP & ALFRED, Inc. 201 Asylum Street