Boston Symphony Orchestra Concert Programs, Season 50,1930-1931

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492

1> INC.

Dr. SERGE KOUSSEVITZKY, Conductor

FIFTIETH SEASON, 1930-1931

'©gramme

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

THE OFFICERS AND TRUSTEES OF THE

BOSTON SYMPHONY ORCHESTRA, Inc.

FREDERICK P. CABOT President

BENTLEY W. WARREN Vice-President

ERNEST B. DANE Treasurer

FREDERICK P. CABOT FREDERICK E. l6wELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN JOHN ELLERTON LODGE HENRY B. SAWYER BENTLEY W. WARREN

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

1557 INSTANT POSSESSION OF A STEINWAY* PAY AT YOUR LEISURE

By depositing 10% of a Steinway's price, you can have the great piano delivered to your home at once. A generous purchase plan

makes it possible for a family enjoying a modest income to obtain

the Steinway . . . distribute payment for it over a period of three years. • In this way a Steinway, rich in tone, beautiful of line, can become part of all those homes where thousands of teachers, students and music lovers have longed to own the one

supreme musical instrument . . . the piano that nearly every great musician since Wagner has fa- vored. • There are, in addition to the standard Steinway models, graceful period designs reflect- ing the notable eras of art and decoration. But there is only one quality of Steinway, and

that is the highest. Make your visit to your nearest Steinway dealer today and listen to the

instrument that would fit most appropriately into your home. STEINWAy THE INSTRUMENT OF THE IMMORTALS

new A Steinway Upright piano can be bought for a total as low as jO"TC

Baby Grand at *UT5 * 10% dOWIl balance in three years the Ae Steinway is made in New York City, this price, naturally, must be "plus transportation" beyond New York and its suburbs.

Used pianos accepted in partial exchange. If there is no Steinway dealer near you, write for information to Steinway & Sons, Steinway Hall, 109 West 57th Street, New York City.

m m J 1 ************** - *"" "n*i n nn njyru-i_rLrLn_ruLAifvn n nn i .n.ri .n_ri.nj'Li'>_r> . iV*wW%iV » Represented in Boston and other New England cities by M. Steinert & Sons 1558 >©§: str.

Fiftieth Season, 1930-1931

Dr. SERGE KOUSSEVITZKY, Conductor

PERSONNEL

Violins.

Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H. Cherkassky, P. Concert-master Kreinin, B. Kassman, N. Hamilton, V. Eisler, D.

Theodorowicz, J.

Hansen, E. Lauga, N. Fedorovsky, P. Leibovici, J. Pinfield, C. Mariotti, V. Leveen, P. Tapley, R. Thillois, F. Zung, M. Knudson, C. Gorodetzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B.

Bryant, M. Beale, M. Stonestreet, L. Messina, S.

Murray, J. Del Sordo, R. Erkelens, H. Seiniger, S.

Violas.

Lefranc, J. Fourel, G. Bernard, A. Grover, H.

Artieres, L. Cauhape, J. Van Wynbergen, C. Werner, H. Fiedler, A. Avierino, N. Deane, C. Gerhardt, S. Jacob, R. Violoncellos.

Bedetti, J. Langendoen, J. Chardon, Y. Stockbridge, C. Fabrizio, E.

Zighera, A. Barth, C. Droeghmans, H. Warnke, J. Marjollet, L.

Basses.

Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Moleux, G. Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Kelley, A.

Flutes. Oboes. Clarinets. Bassoons.

Laurent, G. Gillet, F. Polatschek, V. Laus, A.

Bladet, G. Dcvergie, J. Mimart, P. Allard, R. Amerena, P. Stanislaus, H. Arcieri, E. Panenka, E. Allegra, E. Bettoney, F. (E-flat Clarinet) Piccolo. English Horn. Bass Clarinet. Contra-Bassoon.

Battles, A. Speyer, L. Pigassou, G. Piller, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W Mager, G. Raichman, J. Pogrebniak, S. Schindler, G. Lafosse, M. Hansotte, L. Van Den Berg, C. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Terret, G. Adam, E. Voisin, R.

Mann, J. Tubas. Harps. Timpani. Percussion.

Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L.

Organ. Celesta. Librarian.

OIlUVVjN ft CWXT /\,A Fiedler, A. Rogers, L. J. 1559 fancier & (Ho. BOSTON COMMON TREMONT AT WEST STREET

Drawnfrom Hat shown by Chandler &* Co. $18.50 BEAUTIFUL NEW HATS

Soft, pliable rough straws, bakus of finest quality, charmeuse

which is an outstanding favorite. Sailor hats to wear

with Spring suits, flower and feather trimmings on dressy

hats . . . shallow crowns, lilting brims, brilliant contrasts

of patent leather ... all with that hand-finished look that has made Chandler & Co. hats so popular.

$15.00 to $25.00 to $45.00

FRENCH MILLINERY SALON—SECOND FLOOR

1560 FIFTIETH SEASON, NINETEEN HUNDRED THIRTY AND THIRTY-ONE

FRIDAY AFTERNOON, APRIL 24, at 2.30 o'clock

SATURDAY EVENING, APRIL 25, at 8.15 o'clock

Schubert ...... Symphony in C major, No. 7

I. Andante; Allegro non troppo. II. Andante con moto. III. Scherzo; Allegro vivace; Trio. IV. Finale: Allegro vivace.

GrirTes "The Pleasure Dome of Kubla Khan" (After the Poem of S. T. Coleridge)

Lambert . "The Rio Grande," for Chorus, Orchestra and Solo Pianoforte (Poem by Sacheverell Sitwell) Piano Solo: JESUS MARfA SANROMA (First time in Boston)

Stravinsky . . Suite from "L'Oiseau de Feu" ("The Fire-Bird") A Danced Legend

I. Introduction: Katschei's Enchanted Garden and Dance of the Fire-Bird. II. Supplication of the Fire-Bird. III. The Princesses Play with the Golden Apples. IV. Dance of the Princess. V. Infernal Dance of all the Subjects of Katschei.

Chorus of the Cecilia Society, Arthur Fiedler, Conductor

STEINWAY PIANO

There will be an intermission after the symphony.

Announcement of the new book "THE BOSTON SYMPHONY ORCHESTRA: 1881-1931," on page 1611.

1561 Your own individual trip to TLurope

as laid out for you by Raymond-Whitcomb, in accordance with your

instructions, will be written out for you in a detailed program.

This program will be a complete, day-by-day itinerary. It will describe

your trip from beginning to end with full particulars. It will tell you at

exactly what hour you can arrive at each place you are to visit; at what

hotel you may stop; at what hour and by what train, or other means, you

can leave. It will outline the drives and other sight-seeing that can be arranged for you.

By having a detailed plan like this prepared and

submitted to you before you start, you will

be able to study it at your leisure.

Raymond-Whitcomb is ready to make v^* any changes S? e && m \> you wish, & &> **• to draw up S$ new programs ,^r:^X- for your consid- ?&* eration, until you ^ <$& KB** have one that is

satisfactory in every .•oJft

respect. S^-'fc&l K* Of course a trip that *^>^?t^' KB*' is planned in this way *£$$&^s-7. iot can be on any scale of s» ?^^ k expense you designate. K*$&%&-^** &s s<

Bring your travel questions and ee.t?

requirements to Raymond-Whitcomb. *** to ' a ,<=. vAxe* 0**? &es RAYMOND & s&"^

,*eti «£0' WHITCOMB *°,*** CO. **» V* BOSTON, MASSACHUSETTS

165 Tremont Stre'et, Tel. Hancock 7820 T&g second step 122 Newbury Street, Tel. Kenmore 2870

1562 Symphony in C major, No. 7 Franz Schubert

(Born at Lichtenthal, Vienna, January 31, 1797; died at Vienna November 19, 1828)

The manuscript of this symphony, numbered 7 in the Breitkopf & Hartel list and sometimes known as No. 10, bears the date March, 1828. In 1828 Schubert composed besides this symphony the songs

"Die Sterne" and <*Der Winterabend" ; the oratorio, "Miriams Sieges- gesang" ; the song "Auf dem Strom"; the "Schwanengesang" cycle; the string quintet Op. 163 and the Mass in E-flat. On November 14 he took to his bed. It is said that Schubert gave the work to the Musikverein of Vienna for performance; that the parts were distributed; that it was even tried in rehearsal; that its length and difficulty were against it, and it was withdrawn on Schubert's own advice in favor of his earlier Symphony in C, No. 6 (written in 1817). All this has been doubted; but the symphony is entered in the catalogue of the society under the year 1828, and the statements just quoted have been fully substantiated. Schubert said, when he gave the work to the Musikverein, that he was through with songs, and should henceforth confine himself to opera and symphony.

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

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

The ARTHUR P. SCHMIDT CO., 120 Boylston St.

1563 It has been said that the first performance of the symphony was at Leipsic in 1839. This statement is not true. Schubert himself never heard the work; but it was performed at a concert of the Gesellschaft der Musikfreunde, Vienna, December 14, 1828, and repeated March 12, 1829. It was then forgotten, until Schumann visited Vienna in 1838, and looked over the mass of manuscripts then in the possession of Schubert's brother Ferdinand. Schumann sent a transcript of the symphony to Mendelssohn for the Gewand- haus concerts, Leipsic. It was produced at the concert of March 21, 1839, under Mendelssohn's direction, and repeated three times during the following season,—December 12, 1839, March 12 and

April 3, 1840. Mendelssohn made some cuts in the work for these performances. The score and parts were published in January, 1850.*

The first performance in Boston was at a concert, October 6, 1852, when the small orchestra was led by Mr. Suck. We are told that on this occasion the first violins were increased to four, two extra

Hanslick says in "Geschichte des Concertwesens in Wien" (Vienna, 1869) that the sixth, not the ninth, symphony was performed at the concert in Vienna, December

14, 1828 ; that the ninth was first heard in Vienna in 1839, when only the first and second movements were played, and separated by an aria of Donizetti ; that the first complete performance at Vienna was in 1850. Grove makes the same statement. But see Richard Heuberger's "Franz Schubert" (Berlin, 1902), p. 87.

ENDURING VALUE

Fine things survive, whether in music or in jewels. Flawless gems, supreme craftsmanship and beauty of design

give enduring value . . .

As an example, this fine brooch . . . one of the products of our own Shop. You should see these beautiful pieces of diamond and platinum jewelry, made from designs prepared exclusively for us in Paris, and now offered at the lowest prices in years. BIGELOW, KENNARD & C©. 8-10-12 WEST STREET (at Wnhinglon), BOSTON

1564 Her tailored suit must be made in ^America^

. . clothes She may travel far and fast . buy sports

in England, evening dresses in France . . . but she

will pay no duty on her tailored suit. For this new season the tailored suit of established simplicity,

or as a smart v ariation the long fitted coat with a sep- arate matching skirt. To your order, by Hollander. £J* HOLLANDER «.** 202 BOYLSTON STREET

&T*3

High Grade Bonds

For Safety of Principal and Interest

Harris, Forbes & Co Incorporated Harris Forbes Building

24 Federal St., Boston

1565 and a second oboe was violoncellos took the place of the bassoons, symphony in 1853 and added. The Germania Orchestra played the Philharmonic concert was on 1854; the first performance at a March 14, 1857. January 1851, by The first performance in New York was on 11, the Philharmonic Society, led by Mr. Eisfeld. The manuscript is full of alterations. As a rule Schubert made few changes or corrections in his score. In this symphony, alterations are found at the very beginning. The subject of the introduction and that of the Allegro were materially changed; the tempo of the opening movement was altered from Allegro vivace to Allegro ma non troppo. Only the Finale seems to have satisfied him as originally conceived, and this Finale is written as though at headlong speed. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, kettledrums, strings. There is a story that Schubert was afraid he had made too free use of trombones, and asked the advice of Franz Lachner. The second theme of the first movement has a decidedly Slav-

I WISH TO BUY SOME LIFE INSURANCE— for you*

The prevailing impression is that I sell life insurance. I don't — I buy it — for my clients.

My work is exactly comparable to that of an architect, because the same engineering principles underlie the building and con- serving of an estate as in the erection of a dwelling.

It goes without saying that like an architect I must know well the working tools and materials with which the edifice is to be constructed, but the determining factors are your desires squared with your ability to consummate them.

Life insurance is one of the materials used in the building of an estate. I'd like to be your purchasing agent and general advisor on your estate affairs. May I?

No charge for a conference.

EARL G. MANNING, Qeneral Agent Estate Engineering JOHN HANCOCK MUTUAL LIFE INSURANCE COMPANY Telephone, Liberty 4424 ONE FEDERAL STREET, BOSTON

1566 Fashion 'Turns

'Ruffian!

UnNOUGH of your soft Hi stuff for a steady

diet," said dame fashion in braggadocio mood one day —and presto! we are in- vaded with a healthy brood of fascinating new

ruffians . . . The newest spring coats are of rough wool with the softest furs in the world brushing your cheek—for example, brilliant badger, regal

silver fox or the flat galyak or kid which will be so important this spring. Rough wool dresses with plaid bits asserting their vital Scotchiness to the

tune of $16.50. Algerian jewelry, very rough in its

inspiration and very glamorous in its array of savage colors—at only $1 a rope. Very rough and bristly straws in your newest roll-brim or side- tipped tricorne hats, at $10 and $15. New rough skipper stockings that are meshily sheer and em- inently sturdy at $1.95 a pair. So many new ruffians

with which to refresh your wardrobe . . . you'll find

them all over our store, just ready to give you a brand new Spring feeling of strong, up- Slatterns standing, swashbuck- Opposite Boston Common ling importance. ^

1567 —

Hungarian character, and this character colors other portions of the symphony both in melody and general mood. The rhythm of the scherzo theme had been used by Schubert as early as 1814 in his quartet in B-flat. It may also be remarked that the scherzo is not based on the old menuet form, and that there is more thematic development than was customary in such movements at that period. There is a curious tradition—a foolish invention is perhaps the better phrase—that the Finale illustrates the story of Phaeton and his justly celebrated experience as driver of Apollo's chariot. Others find in the Finale a reminiscence of the terrible approach of the Statue towards the supper-table of Don Giovanni.

Schumann after a performance of the symphony at Leipsic, wrote a rhapsody which might well take the place of an analysis: "Often, when looking on Vienna from the mountain heights, I thought how many times the restless eye of Beethoven may have scanned that distant Alpine range, how dreamily Mozart may have watched the course of the Danube which seems to thread its way through every grove and forest, and how often Father Haydn looked at the spire of St. Stephen and felt unsteady whilst gazing at such

?Ae (HEART) of an ^nnuifc/ is /certainty

HAN cock 6200 R. O. WALTER 100 MILK STREET

1568 1569 a dizzy height. Kange in one compact frame the several pictures of the Danube, the cathedral towers, and the distant Alpine range, and steep all these images in the holy incense of Catholicism, and you have an ideal of Vienna herself ; the exquisite landscape stands out in bold relief before us, and Fancy will sweep those strings which, but for her, would never have found an echo in our souls. "In Schubert's symphony, in the transparent, glowing, romantic life therein reflected, I see the city more clearly mirrored than ever, and understand more perfectly than before why such works are native to the scene around me. I shall not try to extol and inter- pret the symphony; men in the different stages of life take such different views of the impressions they deprive from artistic fancies, and the youth of eighteen often discovers in a symphony the echo of some world-wide event, where the mature man sees but a local matter, whereas the musician has never thought of either the one or the other, and has merely poured forth from his heart the very best music he could give. But only grant that we believe that this outer world, to-day fair, to-morrow dark, may appeal deeply to the inmost heart of the poet and musician, and that more than merely lovely melody, something above and beyond sorrow and joy, as these emotions have been portrayed a hundred times in music, lies

Treasure Hunting at S. S. Pierce's

A shopping excursion to an S. S. Pierce Store is a veritable treasure hunt for the rare and unusual

Bel Paese Cheese—tourists have Choisa Cordiallized Tea Drops long delighted in this Italian —dainty sugar drops filled with cream cheese. Per lb., 75c. rum-flavored cordial ; to sweeten and flavor tea. Box of 12, 50c. Overland Pickled Watermelon Squab a la King—tender, savory —golden blocks of luscious squab meat in a rich cream sauce watermelon, sweet-pickled and with mushrooms and pimentos. spiced. Jar, 50c. 10 oz. tin, 67c.

S. S. PIERCE CO.

1570 For Oriental Rugs

Come to PRAYS

You buy an Oriental Rug at Pray's with a feeling of absolute security.

If you are an expert, you probably can buy a good

Oriental Rug elsewhere; if you are not, the assurance of dealing with the first importer of Oriental Rugs to America, a house 114 years old, gives a comforting feeling of safety.

Pray's stocks, largest in New England and in many ways unequalled in the country, offer many attractive special values now in semi-antique and modern Oriental Rugs.

JOHN H. PRAY & SONS CO., 646 Washington St.

1571 ! concealed in this symphony—nay, more, that we are by the music transported to a region where we can never remember to have been kefore—to experience all this we must listen to symphonies such as this. "Here we have, besides masterly power over the musical techni- calities of composition, life in all its phases, color in exquisite gradations, the minutest accuracy and fitness of expression, and, permeating the whole work, a spirit of romance such as we recog- nize in other works of Franz Schubert. And this heavenly, long- drawn-out symphony is like some thick romance of Jean Paul's in four volumes, which can never end—and, indeed, for the very best reasons, in order that it may draw along the reader with it up to the last moment. How refreshing this feeling of satisfaction of being deceived by the large wealth of melody, whereas with other composers one always fears the end, and feels often saddened b\ the impotent conclusion "Schubert's easy and brilliant mastery over the resources of an orchestra would be unintelligible, if one did not know that six other symphonies had preceded his last effort, and that he wrote it in the full maturity of his powers. Those gifts must be pro- nounced extraordinary in a man who, having during his lifetime

OLIVER DITSON

NINETY-SIX years ago began to publish music, more- over he was the successor of the Boston Book Store established in 1 783 for the sale of music and books.

The Oliver Ditson Company, deep-rooted in Boston, continues the publication of music and musical literature in and of Boston.

The ideals for which it stands and its publishing policy are to be maintained.

Its Publishing and Editorial office is on the 1 Oth floor of the Ditson Building, 1 78 Tremont Street.

Its Wholesale Distribution continues as before at its great warehouse, 166 Terrace Street, Roxbury. Its publications may be had at retail from the best music- shops. Mail and telephone orders will be promptly filled from 166 Terrace St. Telephone HANcock 0200. OLIVER DITSON COMPANY

1572 Genuine "Cultured Pearl Necklaces

Resembling natural pearl necklaces; at

about one-fifth their price

A Japanese scientist has discovered, after years of labor- ious research, a method of inducing pearl oysters to pro- duce pearls more frequently. The pearls produced by this method equal in every respect pearls produced acci- dentally, and are not in any sense imitations. They are real pearls from real oysters. We are showing necklaces 17 and 18 inches long in white, creamy and roseate tints, beautifully matched and graduated. On sale, street floor.

R. H. STEARNS CO h

1573 heard so little of his own instrumental works, succeeded in so masterly a handling of the general body of instruments which con- verse with one another like human voices and chorus. Except in numbers of Beethoven's works, I have nowhere found such an extraordinary and striking resemblance to the organs of the human

voice as in Schubert's ; it is the very reverse of Meyerbeer's method of treating the human voice. The complete independence in which the symphony stands in respect of Beethoven's is another sign of its masculine originality. Let any one observe how wisely and correctly Schubert's genius develops itself. In the consciousness of more modest powers, he avoids all imitation of the grotesque forms, the bold contrasts, we meet with in Beethoven's later works, and gives us a work in the loveliest form, full of the novel in- tricacies of modern treatment, but never deviating too far from the centre point and always returning to it. This must be patent to anyone who often considers this particular symphony. "At the outset, the brilliancy, the novelty, of the instrumenta- tion, the width and breadth of form, the exquisite interchange of

EXPERT FUR CRAFTSMEN HANDLE YOUR FUR GARMENTS FROM THE MOMENT THEY ARE PLACED IN OUR CARE UNTIL YOU WITHDRAW THEM FROM OUR FUR STORAGE VAULTS*

Phone KENmore 5350 Lamson & Hubbard FOREMOST IN FURS" 304 Boylston at Arlington Boston w^^mm^^^^^^$$^m®^m^^^mmmStreet Claude-Achille Debussy was born at Saint-Germain-en Laye, August 22, 1862. No one in hisfamily caredfor music and not even tradition tells of early evidence of his talent.

One day his friend's mother, Madame Mautet, a former pupil of Chopin, chanced to overhear Claude at the piano. "That boy

is a musician," she declared. Through her influence he entered

the Conservatoire in 1873, an<^ n *s successes there proved that Ma- dame Mautet was not mistaken. In 1883, Debussy won the Second Prix de Rome. Though, for a brief time, a resident of Russia, the gypsy music of that country did not affect his compositions. Yet when he served in the army, he delighted in noting down the har- monies of the sound of bugles, and the bells of a neighboring convent. They suggested future master- pieces. Debussy was entirely free of any particular influence. He courted aloofness.

He worked for ten years on his P6ll£as et Meli- sande. It was produced in May, 1903, with Mary Garden as the creator of the part of Melisande. Debussy called her "unforgettable." Before he died (191 8), he destroyed every scrap of his "unfinished" work. Yet he left to the world a legacy of incomparable beauty. * * *

The desire to leave legacies should be incorporated

4 in a carefully drawn will. That will should name Old Colony Trust Company Executor and Trustee. Old Colony Trust Company

17 COURT STREET, BOSTON

^Affiliated with The First National Bank j/ Boston

1675 vivid emotion, the entire new world in which we are landed,—all this is as bewildering as any unusual thing we look upon for the

first time in our lives ; but there ever remains that delicious feeling

which we get from some lovely legend or fairy story ; we feel, above

all, that the composer was master of his subject, and that the mysteries of his music will be made clear to us in time. We derive this impression of certainty from the showy romantic character of the introduction, although all is still wrapped in the deepest mystery. The transition from this to the Allegro is entirely new; the tempo does not seem to vary ; we are landed, we know not how. The analysis of the movements piece by piece is neither a grateful task to ourselves nor others; one would necessarily have to tran- scribe the entire symphony to give the faintest notion of its intense originality throughout. I cannot, however, pass from the second movement which addresses us in such exquisitely moving strains, without a single word. There is one passage in it, that where the horn is calling as though from a distance, that seems to come to us from another sphere. Here everything else listens, as though some heavenly messenger were hovering around the orchestra. "The symphony, then, has had an influence on us such as none since Beethoven's have ever exercised. Artists and amateurs joined in extolling its merits, and I heard some words spoken by the master who had studied the work most elaborately, so as to en-

No Second Bests

In a well-ordered wardrobe there are no second bests.

The smart woman seeks to be wardrobed so that on every occasion she will appear as stately as a lily — lovely as a rose.

This can be done in the Hickson salon, at a surprisingly modest price.

Uuck&orvap

667-669 BOYLSTON STREET BOSTON NEW YORK WASHINGTON, D. C. PARIS

1576 ason

FINESSE . . The more

carefully one examines the Mason & Hamlin, the more

will he be impressed by the

finesse of every detail in its

making » • • Here manufac-

turing ideals of seventy-five

years' standing are coupled with modern processes

directed by men skilled by

years of devoted practice.

The close observer will find

the handiwork of artisans

who know and who use their

knowledge, regardless of the

time expended . • . While

its magnificent tone quality

is apparent to layman and

connoisseur alike, close and

critical inspection of the

Mason &. Hamlin discloses

refinements inconspicuous,

but all bearing eloquent

evidence that here indeed

is a masterpiece.

AMPICO HALL 146 Boylston St., Boston, Mass.

MASON & HAMLIN CO. k. General Offices, 689 Fifth Avenue, New York

1577 sure a grand performance and interpretation of so gorgeous a work—words which I should like to have been able to convey to Schubert, as perhaps conveying to him a message which would have given him the sincerest pleasure. Years perhaps will pass before the work becomes naturalized in Germany; I have no fear of its ever being forgotten or overlooked ; it bears within its bosom the seeds of immortal growth."

A few days after the performance of this symphony at the Gewandhaus, Mendelssohn wrote to the secretary of the Philhar- monic Society in London: "I hope to be able to send you a very extraordinary and excellent symphony by Fr. Schubert, the famous composer, which we performed here at our last concert with great applause. I have written to Vienna to get permission of sending the work to the Society and shall send it immediately if allowed to do so." He forwarded the score three weeks later with a letter in which he stated that the symphony had "created an uncommon sensation in Leipsic." He recommended that certain repetitions in portions of the work should, on account of its great length, be dis- regarded. The Philharmonic Society did not perform the work in the following season. Mendelssohn persisted, and in 1844 when he conducted the Society's concerts in London he put the symphony in rehearsal. The orchestra was contemptuous ; it ridiculed the triplet measures in the Finale. Mendelssohn was indignant and withdrew

------mm \^he K^rousseau z/louse of CzJoosttton*

• a firofoos of V^rousseaux

and (2)pring (jyDrides • • •

• from a romantic, an esthetic, ana a coldly practical

angle of dollars and cents • • • ice modestly ooast tkat

our L^rousseaux stand the tests of (^ime and cfasni*ion

• and they always measure up to our ideal;s

exclusive designs oeauhjul jaon

superior nana=u)ork

Boylstoti Street at four=sixteeti

1578 •——••••••—* »•••••••••••••«•••••••••«#••••••••••••••«•*«»• STEINWdT

The Standard of the World

by which other pianos

are judged

The Steinway's supremacy in the piano industry is no mere accident. Its astonishing length of life, its beauty of outline, and above all its loveliness of tone is the result of slow, careful and painstaking craftsmanship.

There are many Steinways in use now, built 30, 40, yes 50 years ago.

Yet, this remarkable instrument can, today, enter the home of even a modest income.

A new Steinway piano may be bought with an initial deposit of only 10%, the balance being distributed over a period of years.

Thus easily can one obtain this great musical instrument, an object of art made patiently by hand from the finest

materials obtainable . . . the piano of Wagner, of Liszt, of Rachmaninoff.

M. STEINERT & SONS

Steinert Hall 162 Boylston Street

1579 the symphony, which was not performed in England until April 5 and 12, 1856, at the Crystal Palace. The first two movements were played on the earlier date; the last two at the later. The first complete performance in Paris was at a concert of the Societe Ste. Cecile, led by Francois Jean Baptiste Seghers on November 23, 1851. Habeneck had attempted to rehearse the symphony in 1842 for a Conservatory concert, but the orchestra rebelled. The Symphony was not performed at a concert of the Paris Con- servatory until January 17, 1897, in commemoration of the centen- ary of Schubert's birth.

"The Pleasure-Dome of Kubla Khan" (after the Poem of

S. T. Coleridge), Op. 8 . Charles Tomlinson Griffes

(Born at Elniira, N.Y., on September 17, 1884; died at New York on April 8, 1920)

This symphonic poem, suggested by Coleridge's "Kubla Khan," was composed and revised in 1916. It was performed for the first time by the Boston Symphony Orchestra, Mr. Monteux, conductor, on November 28, 1919. The composer was in the audience. There

Jones • McDuffee • Stratton 567 BOYLSTON STREET ESTABLISHED 1810

We quote Confucius who said

"In style all that is required is that

it convey the meaning." The style of a goblet may convey various

meanings, but this one very clearly

says, "Our hospitality is not pre-

tentious, it aims rather to express homelike friendliness, good cheer, sincerity and simple beauty."

1580 I HIS after-dinner coffee set typifies the grace and charm of Georgian design.lt maywell explain why the creations of the silversmiths of that period are the inspirations of many of our most beautiful pieces today. In this particular f service, the utter simplicity o ( line enhanced by a delicately engraved pattern exemplifies the artistry of those earlycrafts- men.AndShrevesilversmrhs have faithfully reproduced every detail of the original.This set,exclusive in Boston at theShreve silver galleries, consists of coffee pot, sugar bowl, cream pitcher and tray. As a gift for a wedding, birthday or anniver- sary, or for your own sideboard, it will be a happy selection.

wt, GrumS &!^low (o0f° ESTABLISHED 1800

BOYLSTON at ARLINGTON STREET, BOSTON Telephone Commonwealth 2970

1581 : : ;

was a second performance by this orchestra in Boston on December 31, 1920. Griffes gave the following information for the Programme Book of November 28, 29, 1919 "The instruments called for are 3 flutes (one interchangeable with piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, bass tuba, kettledrums, bass drum, cymbals, tambourine, tam-tam, celesta, pianoforte, two harps, and strings. "I have taken as a basis for my work those lines of Coleridge's poem describing the 'stately pleasure dome,' the 'sunny pleasure- dome with caves of ice/ the 'miracle of rare device.' Therefore I call the work, 'The Pleasure Dome of Kubla Khan' rather than 'Kubla Khan.' These lines include 1 to 11 and lines 32 to 38. It might be well to quote in the programme book some of the lines—at least the last six." In Xanadu did Kubla Khan A stately pleasure dome decree: Where Alph, the saered river, ran Through caverns measureless to man Down to a sunless sea. So twice five miles of fertile ground With walls and towers were girdled round And there were gardens bright with sinuous rills Where blossomed many an incense-bearing tree

INC.

Interior Decorators

123 Newbury Street, Boston

Telephone, Kenmore 1992

1582 JOSEPH F. WAGNER Composer-Conductor

who conducts the Boston Civic Symphony Orchestra at Jordan Hall on Thursday evening, May 7th,

uses and endorses the Baldwin Piano, and says:

"It is a pleasure and a privilege to express my complete satisfaction with the Baldwin

piano. Its colorful tone qualities and

responsive action combine to make it the perfect means of pianistic expression."

A* M* Hume Company

'New England Representatives 196 BOYLSTON STREET BOSTON

15S3 ; ! —

And here were forests ancient as the hills, Enfolding sunny spots of greenery.

The shadow of the dome of pleasure Floated midway on the waves "Where was heard the mingled measure From the fountain and the caves. It was a miracle of rare device, A sunny pleasure-dome with caves of ice

"As to argument, I have given my imagination free rein in the description of this strange palace as well as of purely imaginary revelry which might take place there. The vague, foggy beginning suggests the sacred river, running 'through caverns measureless to man down to a sunless sea.' Then gradually rise the outlines of the palace, 'with walls and towers girdled round.' The gardens with fountains and 'sunny spots of greenery' are next suggested. From inside come sounds of dancing and revelry which increase to a wild

climax and then suddenly break off. There is a return to the original " mood suggesting the sacred river and the 'caves of ice.'

Griffes studied the pianoforte with Mary S. Broughton of Elmira. Having been graduated from the Elmira Academy, he went to Berlin, where he studied four years : pianoforte with Ernest Jedliczka and

Claim Your Share of Youth

'N the famous salons of Elizabeth Arden, I!-age meets its natural defeat. There is no guesswork— no waste effort. Your skin — your proportions are understandingly studied. Be- fore a long mirror, in a revealing flood of daylight, the keen-eyed Exercise Director notes the faults of your body. She tells you frankly "To be young, your shoulders must be straightened —your chin lifted — that unlovely bulge above the waist must be flattened." You w -S can hardly wait to start on Miss Arden's

blood-stirring, youth-bringing exercises . . . And your face ... it must be even more young and glowing than the slender body beneath it. Smooth, fine-pored skin over firm tissues and taut muscles these are youth, these Miss Arden gives you unerringly. For an appointment at your convenience, please telephone Kenmore 4784 ELIZABETH ARDEN 24 NEWBURY STREET, BOSTON

New York . Paris . London . Berlin . Rome . Madrid

1584 ! !

T. D. WHITNEY COMPANY

This Is a Year of Chintz

. . . and quaintly . . . lovelier grow the patterns with the trend toward these Colonial type draperies. In glazed, semi-glazed and plain finish

Chintzes our stock is more complete and varied than ever before

Inspect them at your early convenience.

50c. yard and up

T. D. WHITNEY COMPANY

Temple Place and West Street

1585 Gottfried Galston; composition with Philipp Riifer and Engelbert Humperdinek. He gave private lessons in Berlin. Returning to the United States, he became in 1907 the teacher of music at the Hackley School for Roys at Tarrytown, and he gave private lessons in New York. When he came to Boston for the rehearsal of "Kubla Khan/' he was a sick man. He had overworked. As he could not afford to have the orchestral parts written by a copyist, he made them himself at night and attended to his school duties by day. This labor was largely responsible for his death from pneumonia. It is said that he drew well with pen and ink; that he had "a

talent for water-color landscapes" ; that later in his all too short life he worked in etchings. It was at the Elmira School that he decided

to be a musician ; at first a concert pianist, studying with Humper- dinck, he turned to composition. "His works fall into three distinct periods. First, the student period, when he was definitely under the influence of his German teachers. In his second style he leaned toward the Frenchmen, and also showed his fondness for the Russian Orientalism that was to appear as the mysticism of his later works. . . . The third period

Garden Accessories

Wrought iron gates, grilles, bal- conies and stone fountains and

benches from Spain and Italy. Also lead ornaments from

England are among the many in-

teresting and attractive garden

decorations now on display.

rffittufc^

, NINE CHAMPS CON fi ^BEA BOSTON MASS iL s&±/^^ ^T~

1586 ^^Ty^TT^^y^^/^^/s^gva*

8n Gayest Plumage

APRIL, and our feathered friends come winging shrilly home. The gentle mid-spring moisture

brings sweetness and freshness to the soil, and

pleasing scents pervade the air. It is the time of year when birds bedeck themselves in gayest

plumage, to look their romantic best.

ag S£ 2£

In every plan of which printing is a part no details should be overlooked that can be expected to & contribute to best appearance. Even the most >*

conservative efforts can be clothed in type and ornament ideally suited to this purpose.

9£ 9£ 2£

As printers, we have always maintained a policy

of surrounding our craftsmanship with the finest

materials for tasteful and practical expression.

Geo. H. Ellis Co. INCORPORATED Printers 111 CONGRESS STREET, BOSTON ^27X\5£/T\5E7^\5E7^W^^n5H7^\5^ 1587 rigid shows his modern trend ; a grasping for something less than the tempered scale, a medium to sound the overtones he wanted us

7 * to hear.'

"Cut is the branch that might have grown full straight, And burned is Apollo's laurel bough."

* * "Clouds" and "The White Peacock," both suggested to Griffes by poems of William Sharp, were performed in Boston at a concert of the Boston Symphony Orchestra on November 3, 1922. The former (1916) was first performed by the Philadelphia Symphony Orchestra on December 19, 1919. The latter (1915) was also played at this concert in Philadelphia, as were the "Bacchanale" and "Notturno," but "The White Peacock" had been performed in June, 1919, at the Rivoli Theatre, New York, with stage setting and action. It was performed at the Shubert Theatre in Boston on March 27, 1922, at an entertainment by the Adolph Bolm Ballet Intime for the re- building of the Municipal School of Music in Rheims. Enid Brunova mimed the Peacock. The orchestra was led by Carlos Salzedo. *

The list of Griffes's compositions includes : "The Karin of Korid-

* John Tasker Howard in "Our American Music : Three Hundred Years of It" (New York, 1931).

A SMALL STORE WITH BIG IDEALS

It is our desire to give personal attention to the wants of our customers and to offer them merchandise of Good Quality, Skilled Workmanship, at Reasonable Prices in

Corsets Brassieres Lingerie Pajamas Negligees Hosiery

Dresses * Hats

They Tell Us We Are Successful

§Ji& Cora Chandler Shop (handler} Corset Store) JO Temple Place. Boston, Mass.

1588 !

DK. OLIVER WENDELL HOLMES once said that com- pliments affected him as oats did a young colt : —they went to his head.

Very much that effect was produced on

The Department of Social Work Boston City Hospital when Kali Fez, a Turk, appeared at the office (with a leg and a stump) to ask the Department to take charge of one hundred dollars which he had scraped together for the purchase of an artificial leg. A stranger in a strange land, he heard that our Social Workers "gave a man a square deal" and he confidently entrusted to them the precious sum which he did not wish to pay out until he was sure that he had got a good leg, worth his hard-earned money. To be dubbed honest would not "go to the head" under ordinary circumstances, but that tribute, paid by a denizen of the world which breeds suspicion and in which confidence is all-important for the success of our work, did act as a stimulant amid many discouragements. We had won the reputation of trustworthy friends. Highly do we prize it

COMMITTEE IN CHARGE OF WORK AND SUBSCRIPTIONS

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

Treasurer, Mr. WILLIAM C. ENDICOTT. 71 Ames Building Executive Director, Miss GERTRUDE L. FARMER

1589 B

Operating Deficit estimated fq Subscriptions to date Balance unsubscribed

It is quite evident that the deficii m

beginning of the season will be full aou

It is therefore important that the fc if SI be provided, and the trustees hop|iir before the close of the season.

FREDERICK P. CABOT JOHN Eft ERNEST B. DANE FREDERLO

N. PENROSE HALLOWELL ARTHU IN

M. A. DE WOLFE HOWE WILLIA QP$

The Officers and Trustees oj n ]

Subscriptions should but 6 Beacon St

1590 April 17, 1931

10 ORCHESTRA, Inc

". li| 1930*31 ; $100,000.00

. 77,87533 $22,124.67 iitwas estimated at $100,000 at the ful Iriount when the books are closed, helf $22,124.67 unsubscribed should

hop i iuch that this may be forthcoming

XE »N LODGE EDWARD M. PICKMAN B LOWELL HENRY B. SAWYER

'HI \N BENTLEY W. WARREN

LIA UPS

£5 m Symphony Orchestra, Inc.

fcf) E. B. Dane, Treasurer,

1S1 )ston, Mass.

1591 —;

wen," a dance-drama for five wind instruments, celesta, harp, and pianoforte (Neighborhood Playhouse, New York, 1917) ; "Schojo," Japanese mime-play (performed by Michio Itow at A. Bolm's Ballet

Intime Booth Theatre, New York, 1917) ; Poem for flute and orchestra (New York Symphony Society, November 16, 1919

Georges Barrere, flutist) ; a set of orchestral pieces rearranged from pianoforte works; a set of Japanese folk-songs harmonized and provided with an accompaniment for miniature orchestra; Three Songs for soprano and orchestra, Op. 11 (Philadelphia Sym- phony Orchestra with Marcia Van Dresser, March 24, 1919) ; Two Pieces for string quartet (played by the Flonzaley Quartet, season of 1918-19) ; Sonata for pianoforte, Three Tone Images, for voice and pianoforte, Op. 3 ; Two Bondels for voice and pianoforte, Op. 4 Three Tone Pictures for pianoforte, Op. 5; Three Fantasy Pieces for pianoforte, Op. 6; Boman Sketches for pianoforte, Op. 7; "The Pleasure Dome of Kubla Khan" for orchestra, Op. 8; Three Songs,

Op. 9 ; Five Poems of Ancient China and Japan for voice and pianoforte, Op. 10; Salut au Monde (Walt Whitman)*; Festival Dances;

Left unfinished at the death of Griffes. Manuscript deciphered and revised by Edmund Rickett. Produced April 22, 1922, at the Neighborhood Playhouse. Wind instruments, harps, percussion, and pianoforte conducted by Georges Barr&re. Ian Maclaren read the poem of Walt Whitman. Hunter Sawyer, Sol Friedman, Basante Koomar Roy, Mr. Bakhtiar sang or performed rituals. The Festival Dancers took part.

STATE STREET COPLEY SQUARE MASSACHUSETTS AVENUE

affords its depositors the advantage of three banking offices in excellent locations, each equipped with modern safe deposit vaults MAIN OFFICE: Corner State and Congress Streets COPLEY SQUARE OFFICE: 581 Boylston Street MASSACHUSETTS AVE. OFFICE Corner of Massachusetts Avenue and Boylston Street Boston, Mass. SAVINGS DEPARTMENT

Member Federal Reserve System

1592 TOWN TOWN AXI AXI

LOWEST RATE OF FARE IN BOSTON

AT SYMPHONY HALL AFTER ALL CONCERTS

Notify the usher or taxi agent at entrance

LOURING CARS LIMOUSINES

Low Rates Quality Service TOWN TAXI INCORPORATED KENMORE 5000

LOWEST RATE OF FARE IN BOSTON

TOWN TOWN AXI AXI

1593 : two posthumous songs (poems by John Masefield), "And Old Song Resung" and "Sorrow of Mydath."

* •

The "Poem" for flute and orchestra was played at a concert of the Boston Musical Association, March 24, 1920 (Marion Jordan, flute; Georges Longy conductor). Notes about other performances of Griffes's music in Boston Music for Mr. Itow's Japanese Dances, December 7, 1917, at the third of the entertainments given by Roshanara, Mr. Itow, Miss Lin- dahl, Mr. Rector, and others at the Wilbur Theatre. Rosalie Miller sang one of his Rondels on January 9, 1918. His "Lake at Evening," and Scherzo, Op. 6, No. 3, were played by Mr. Gebhard, December

10, 1918 ; his "The Fountain of the Aqua Paola" and "Nightfall" by Winifred Christie, February 7, 1919; a Fantasy Piece by Rudolph

Reuter, February 15, 1919 ; "The Fountain of the Aqua Paola," by Mr. Reuter January 24, 1920. "The White Peacock" has also been performed as a piano piece. There have been later performances of the piano pieces. Songs: "So-fei gathering Flowers" (poem by Wang Chang-Ling)

Our Tremont Street office,

144 Tremont Street

makes banking in town very convenient for the thousands of greater Boston

residents who use the Park Street subway station.

Women who come downtown to do their shopping are invited to use the comfortable reception room at the 144 Tremont Street office as a place to rest and meet friends.

c&he ATLANTIC NATIONAL BANK OF BOSTON

1594 and "The Old Temple among the Mountains," sung at a Dramatic Recital of the New England Conservatory of Music, by Minerva Blanchard, December 12 and 13, 1919; Three Indian Songs from

"The Garden of Kama," sung by Theo Karle, April 1, 1920; Two Songs sung by Eva Gauthier at a Cecilia concert, April 22, 1920; "Waikiki," sung by Eva Gauthier, December 8, 1920.

* *

A few remarks concerning the revised edition of Griffes' "The Pleasure- Dome of Kubla Khan" might be both welcome and appropriate. I performed this work in Chicago in January, 1920. In the autumn of that

The The SAVOY -PLAZA PLAZA

Ideally located on Fifth The Savoy-Plaza, Avenue at the entrance to newer associate of Central Park, The Plaza Plaza, faces Cen- The offers the highest standards tral Park and offers of hospitality and cuisine. the same excellence Near business . . . transpor- of hospitality and tation. . .theatres. . .shops cuisine that distin- . . . yet away from the noise guishes The Plaza. and confusion of the city. Henry A. Rost John D.Owen President Manager

Recognized as one of the finest hotels in the world

. . . richly furnished . • . modern in every respect

. . . located in historic Copley Square, probably the most accessible and

attractive spot in Boston. | ill j i

Arthur L. Race <.< Managing Director in] Ell

HOT€LS OF 'SflVOY-PLflZfl

1595 :

year, I had an opportunity of meeting Mr. Griffes* during a festival of chamber music, at Pittsfield, Mass., when I suggested to him that the scoring of his work, in some places, could be improved upon. This he readily admitted, and we arranged to meet again in order to go over the score together. The results of this very careful scrutiny are faithfully embodied in this revised version. Nothing has been added that would not have been sanctioned by the composer. I have no doubt that with these changes and amplifications the orchestration will "sound" more readily, and present this very fine work to its very best advantage. I hope that in the improved form it will soon become one of the most useful compositions in the regular working repertory of every Symphony Orchestra, in this country as well as abroad. Frederick A. Stock.

"The Rio Grande," Poem by Sachiwerell Sitwell, set for Chorus.

Orchestra, and Solo Pianoforte . . Constant Lambert

(Born at London, England, on August 23, 1905; living in London)

The first performance was at Manchester, England, by the Halle Orchestra and Choir on December 12, 1929. "The Rio Grande" was performed for the first time in Queen's Hall, London, on December 13, 1929. The chorus was composed of thirty-two members of the Halle Chorus, Manchester; the solo pianoforte part was played by

*But Griffes died in April, 1920. Should not "that year" read "1919" ?—P. H.

Into 75 cities and towns . ^ our 100 delivery cars carry Service to 25,000 homes

New England [aundrics,|nc.

Executive Offices: Winchester, Mass.

Plants at Dorchester, Lowell, Newton, Springfield, L Winchester and Somerville 1596 THE CARRY-ON-SHOP 65 CHARLES STREET BOSTON HAYMARKET 6290

WEARCLEAN GLOVES GARDEN HATS COTTON DRESSES

BEFORE AND AFTER THE CONCERT DINE AT

216 HUNTINGTON AVENUE One block from Symphony Hall

Famous for good food and service at moderate prices MINERVA CAFETERIA The best of the kind. Under management of the

HARRY C. DEMETER Established 1905 Phone Kenmore 6380

Viewer Qoffee MADE AN EASIER WAY!

No one is ever disappointed with cup is perfect because every cup coffee made the new G. Washing- is fresh-made, instantly, in exactly ton way. G.Washington's the same way. Economical is real coffee with the because each can makes as

grounds removed . . . many cups as a large can coffee specially prepared "ccgj&mgstrt^ of ground coffee. INSTANT to be made in the cup by COEFEE merely adding hot water. G.Washington's is served No pots to clean and no in the Boston Symphony

worry over results ! Every Hall Cafeteria.

1597 "

there Sir Hamilton Harty, conductor of the Halle" Orchestra ; was a small orchestra of strings, brass, and percussion instruments. Lambert conducted. The first public performance in the United States was on Jan- uary 29, 1931^ at a concert of the Schola Cantorum, in Carnegie Hall, New York. The short alto solo at the end was sung by Genevieve Reynolds. The pianoforte part was played by Colin McPhee. Hugh Ross conducted. The score calls for strings, two trumpets in C, two cornets-a- pistons in A, three trombones, one bass tuba, a set of three kettledrums, side drum (with wire brush), tenor drum, bass drum, cymbals, Turkish crash,* tam-tam, tambourine, castanets, triangle, Chinese tom-tom, small cow-bell without clapper, Chinese block, xylophone, glockenspiel. The composer requires five players for the percussion instruments. The score is dedicated to Angus Morrison, who at later performances of the work played the pianoforte part, as at the Promenade concert, London, on September 4, 1930.

* * One large suspended cymbal.

"HuruntctiBros.

Twenty Newbury Street, Boston

a Light Above and Dark Below

— a light jacket and a dark skirt is a smart

new theme — and our interpretations of silk or

woolen street costumes for spring are all important —

1 Practically every LIBERTY kind of Insurance SQUARE except Life including Fidelity BOSTON and Surety Bonds

1598 New arrivals of Imported Neckwear Imported Sweaters Imported Hose

//fW/A/S & //OL US

SHIRT-MAKERS SINCE 1845 (Workroom on the premises) 24 PROVINCE STREET

tlUJ&uL 0/f~- invites all lovers of modern music LEO REISMAM'S Bradford Orchestra EVERY NIGHT LUNCHEON ted ROY DINNER 65c—85c — $1.25 Directing $1.50— $2.50 Daily organ concert # Dancing 6:30-2 a. m. Convenient— near theatres—opposite the Metropolitan TREMONT ST. at HOLLIS ...LC PRIOR, Manager FELIX FOX SCHOOL OF PIANOFORTE PLAYING FELIX FOX, Director

PIANOFORTE from elementary to most advanced grade; THEORY; SOLFEGGIO; HARMONY; COUNTERPOINT; SIGHT Qraciousness and Charm PLAYING; HISTORY OF MUSIC; APPRECIATION OF MUSIC; NORMAL Your house should reflect your per- COURSE; ASSEMBLIES; PUBLIC sonality and your tastes. It should PUPILS' CONCERTS. give you comfort as well as beauty. Let us help you develop such harmony in your home. Address THE SECRETARY, 403 Marlborough St., Boston FLORA MacDONALD, inc. Telephone, KENmore 0716 ELEANOR FRAZER Interior Decoration and Furnishings Mason &. Hamlin Pianoforte 39 Newbury Street » Boston, Mass.

1599 ; ; ; ;

SitwelFs poem is reprinted in the score by the "kind permission of Gerald Duckworth & Co." The score is published by the Oxford University Press. There is a German version of the poem made by Beryl de Zoete.

By the Rio Grande They dance no sarabande On level banks like lawns above the glassy, lolling tide Nor sing they forlorn madrigals Whose sad note stirs the sleeping gales Till they wake among the trees and shake the boughs, And fright the nightingales But they dance in the city, down the public squares, On the marble pavers with each color laid in shares, At the open church doors loud with light within, At the bell's huge tolling, By the river music, gurgling, thin Through the soft Brazilian air. The Oommendador and Alguacil are there On horseback, hid with feathers, loud and shrill Blowing orders on their trumpets like a bird's sharp bill Through boughs, like a bitter wind, calling They shine like steady starlight while those other sparks are falling In burnished armor, with their plumes of fire, Tireless while all others tire. The noisy streets are empty and hushed is the town To where, in the square, they dance and the band is playing Such a space of silence through the town to the river That the water murmurs loud Above the band and crowd together And the strains of the sarabande, More lively than a madrigal, Go hand in hand Like the river and its waterfall As the great Rio Grande rolls down to the sea. Loud is the marimba's note Above these half-salt waves,

^SM^MM^M^^WMm EDWARD K PERRY 1is 774 COMPANYAVE "^Commonwealth - BOXTON ^ PAINTING^ 1 DECORDECORATIVE FINISHES ww m. us—a—c— PM1ME1HSPE1S1

1600 And louder still the tympanon, The plectrum, and the kettledrum, Sullen and menacing Do these brazen voices ring. They ride outside, Above the salt-sea's tide, Till the ships at anchore there Hear this enchantment Of the soft Brazilian air, By those Southern winds wafted, Slow and gentle, Their fierceness tempered By the air that flows between.

When "The Rio Grande" was first played in London, a programme note by Hubert Foss for this "atmospheric picture of the

Rio Grande" made this statement : "The words are used as a back- ground of atmosphere. They are something for the chorus to sing in the musical part it plays in the work. They are even subjected sometimes to word painting. Their picture is the picture the music gives: that is their whole connection, a very close one, with the music."

Lambert's grandfather established the first locomotive factory in

(T^OWELL BROTHERS, INC. ^f 422 Bovlston Street, Boston, Mass.

HO 4

Trousseau, bedding and cPCnniversary (jifts

" Elegance with Restraint" typify Theodore (jorums and Crocks Theodore ITsTC.

557 Boylston Street Opposite Copley Plaza

1601 Leningrad) the Kussia; his son grew up in St. Petersburg (now ; family emigrated to Australia. Constant's father George won a New South Wales scholarship by a life-size portrait and went to Paris for further study. The eldest son, Maurice, is a sculptor. Constant, at the age of eleven, underwent a series of operations from which it took him two years to recover. He was interested in engineering; he won a gold medal at the age of sixteen; but he entered the Royal College of Music, where he studied composition with Vaughan Williams and R. O. Morris ; conducting with Adrian Boult and Malcolm Sargent. His chief works are as follows: Ballet: "Romeo and Juliet," produced at Monte Carlo, May 4, 1926: Romeo, Lifar; Juliet, Mme. Karsavina; the Nurse, Mme. Sokolova; Peter, Woizikovsky; the Master rehearsing Tybalt, Thadee Slavinsky; Paris, Tcherkas. Mme. Nijinska arranged the choreography; Scobito conducted. The ballet was afterwards performed in London and Paris. Ballet: "Pomona," first produced at Buenos Aires, by Mme.

Nijinska's dancers, in 1928 or 1929 ; at London on October 19, 1930, when the chief dancers were Anna Ludmilla and Anton Dolin. Music for Orchestra: broadcast in London, July 28, 1929; performed for the first time in concert on August 29, 1929. Also for the Stage: "Prize Fight," 1923; 1925 for Music Hall

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

KAKAS BROS., Inc. Custom Furriers — Importers

"Honest Furs at Honest Prices"

72 Chauncy Street Hubbard 1740

1602 —

Orchestras, "ten minutes of sheer rowdiness rescued by Mme.

Nijinska" ; Overture for "Bird" Actors (Sacheverell Sitwell). Music for "Dover Street to Dixie"; "Blackbirds." Dances arranged from Dowland's music. Dances, on a Scotch theme, music by Boyce (danced by Mme. Lopokova in London in December, 1930). Miscellaneous: Piano Sonata (March, 1930, played by Angus

Morrison) ; "Elegiac Blues," in memory of Florence Mills; "White Nightingale" (S. Sitwell), for voice, flute, and harp; "Queen of Chenias's Daughter," for voice and xylophone; symphonic poem, "Argonaut and Juggernaut". Seven Poems by Li-Po: A Summer Day, Nocturne, With a Man of Leisure, The Ruin of the Ku-Su Palace, The Long-Departed Lover, The Intruder, On the City Street: for medium voice, flute, oboe, clarinet, string quartet, and double bass. Shigeyoshi Obata, translator ; the score dedicated to Miss Anna May Wong.

Mr. Lambert has edited the symphonies of William Boyce. He conducts for the Camargo Society, London, whose object, 1930-31, is the production of ballets. He conducted a festival of British music at Bad Homburg, July 15, 16, 17, 1930. This festival was devoted chiefly to orchestral and chamber music by contemporary composers.

for the . . . ^Portraits of their dreams—

r astioious jDnoes LJioose

IBiictvrath

(rlioio^uifiki' ofyDJsiuiciiiyn .

647IBOYL5TON STREET—KENmore 4730 Newton Quincy Lynn

ROCK of AGES

^Jramie \f I lemon a Is

STONE AND TAYLOR 122A NEWBURY STREET .*. BOSTON Commonwealth 1585

1603 Suite derived from the Danced Story, "The Fire-Bird" Igor Fedorovitch Stravinsky

(Born at Oranienbaum near Leningrad on June 5, 1882; living at Nice)

In the summer of 1909 Diaghilev asked Stravinsky to write a ballet founded on the old Russian legend of the Fire-Bird. The score was ready in May, 1910. The scenario was the work of Fokine. The first performance of the "Oiseau de Feu" a "Conte dansS" in two scenes, was at the Paris Opera on June 25, 1910. The Fire-Bird, Tamara Karsavina; The Beautiful Tsarevna, Mme. Fokina; Ivan

Tsarevitch, Fokine ; Katschei, Boulgakov. Gabriel Pierne conducted. The stage settings were by Golovine and Bakst. Balakirev had sketched an opera in which the Fire-Bird was the central figure, but nothing came of it. Katschei (or Kotsche'i) is the hero of Rimsky-Korsakov's opera "Katscheii the Immortal: an Autumn Legend," produced at the Private Opera, Moscow, in 1902. He also figures as "the man-skeleton" in Rimsky-Korsakov's "Mlada,"* a fairy opera-ballet (Leningrad, 1893) and, by implication, in Mous- sorgsky's symphonic poem, "A Night on Bald Mountain."! Mr. Montagu-Nathan says in his sketch of Stravinsky—"Contem- porary Russian Composers": "In identifying the literary basis of 'The Fire-Bird' with that of Korsakoff's 'Katschei,' it should be pointed out that the latter work is but a pastiche of episodes derived from legendary lore, with the monster as a central figure. In Stravinsky's ballet, the ogre is an accessory character, so far as concerns the dramatic action, but his presence in the scheme is nevertheless vital to it."

The third act "Night on the Mount Triglav," arranged for concert use, was played in Boston by the Boston Symphony Orchestra on December 23, 1921. tThis symphonic poem was produced in Boston by the Orchestral Club, Mr. Longy conductor, on January 4, 1905.

1604 Fokine's scenario may thus be described : After a short prelude, the curtain rises and the grounds of an old castle are seen. Ivan Tsarevitch, the hero of many tales, in the course of hunting at night, comes to the enchanted garden and sees a beautiful bird with flaming golden plumage. She attempts to pluck fruit of gold from a silver tree. He captures her, but, heeding her entreaties, frees her. In gratitude, she gives him one of her feathers which has magic prop- erties. The dawn breaks. Thirteen enchanted princesses appear, com- ing from the castle. Ivan, hidden, watches them playing with golden apples, and dancing. Fascinated by them, he finally discloses himself. They tell him that the castle belongs to the terrible Katschei, who turns decoyed travellers into stone. The princesses warn Ivan of his fate, but he resolves to enter the castle. Opening the gate, he sees Katschei with his train of grotesque and deformed subjects marching towards him in pompous procession. Katschei attempts to work his spell on Ivan, who is protected by the feather. Ivan summons the Fire-Bird, who causes Katschei and his retinue to dance until they drop exhausted. The secret of Katschei's immor- tality is disclosed to Ivan : the sorcerer keeps an egg in a casket ; if

Flowers By Wire . . QUARANTEED SERVICE

CABLES "SYMFLO" 240 HUNTINGTON AVE., BOSTON Phone Kenmore 2076-77

INC. BOOKS PRINTS IMPORTATIONS

149 NEWBURY STREET BOSTON

Publishers of gdit/onWbod. cAnd the Largest Catalog of Easy Educational Music in the World. To be had through your Local Dealer 88 ST. STEPHEN STREET BOSTON, 17

1605 this egg should be broken or even injured, he would die. Ivan swings the egg backwards and forwards. Katschei and his crew sway with it. At last the egg is dashed to the ground ; Katschei dies ; his palace vanishes; the petrified knights come to life; and Ivan re- ceives, amid great rejoicing, the hand of the beautiful princess. * * •

According to Ralston's "Kussian Folk Tales," Katschei is one of the many incarnations of the Dark Spirit. "Sometimes he is described as altogether serpent-like in form; sometimes he seems to be of a mixed nature, partly human and partly ophidian, but in some stories he is apparently framed after the fashion of a man ... he is called 'immortal' or 'deathless' because of his superiority to the ordinary laws of existence. . . . Sometimes his 'death'—that is, the object with which his life is indissolubly connected—does not exist within his body." The same author says that the Fire-Bird is known in its native haunts as the Zhar-Ptitsa. Its name indicates its close connection with flame or light. Zhar means 'glowing heart' as of a furnace"; Zhcvr-Ptitsa means literally "the Glow-Bird"; "its appearance cor- responds with its designation. Its feathers blaze with golden or silvery sheen, its eyes shine like crystal, it dwells in a golden cage. In the depth of night, it flies into a garden and lights it up as brilliantly as could a thousand burning fires. A single feather from

CORSETRY AND UNDERWEAR LATEST MODELS FITTED TO INDIVIDUAL REQUIREMENTS BEST QUALITY REASONABLE PRICE 420 BOYLSTON ST.

GRACE HORNE'S GALLERIES WATERCOLOURS BY AGNES A. ABBOT AQUATINTS BY PRESCOTT DRYPOINTS BY HARRY VINCENT WATERCOLOUR SKETCHES BY GRACE KENTON 446 STUART STREET AT DARTMOUTH BOSTON, MASS.

THE SHETLAND SHOP 40 RIVER STREET, BOSTON

. . . EARLY SPRING MODELS . . . IN DRESSES AND THE NEW KNIT BLOUSES TENNIS DRESSES AND COTTON MESH JERSEYS SPORT COATS AND SKIRTS MADE TO ORDER FOR MISSES AND WOMEN TWEEDS AND SWEATERS IN PASTEL SHADES

1606 its tail illuminates a dark room. It feeds upon golden apples, which have the power of bestowing youth and beauty—or, according to a Croatian version, on magic grasses."

I. Introduction. Enchanted Garden of Katschei, and the dance of the Fire-Bird. II. Entreaties of the Fire-Bird. III. The Princesses playing with the Golden Apples. Ilia. Berceuse. (This was not in the Suite as first published.) IV. Dance (Konde) of the Princesses. V. Infernal Dance of Katschei's subjects. No movement of the Suite depends for its musical effect on the stage setting or a dramatic situation. The score calls for piccolo, 3 flutes (one interchangeable with a second piccolo), 3 oboes, English horn, 3 clarinets in A (one interchangeable with a small clarinet in D), bass clarinet, 3 bassoons (one interchangeable with a second double-bassoon), double bassoon, 4 horns, 3 trumpets, bass tuba, kettledrums, bass drum, cymbals, triangle, bells, tambourine, xylophone, celesta, pianoforte, 3 harps, 16 first violins, 16 second violins, 14 violas, 8 violoncellos, 6 double-basses.

E. C. SCHIRMER MUSIC CO. 221 COLUMBUS AVENUE, BOSTON, MASS. Telephone Ken more 1772 D0 l T Publisher, of P° f° PETERS EDITION THE CONCORD SERIES AUGENER'S EDITION THE COMMONWEALTH SERIES SCHIRMER LIBRARY OF MUSICAL CLASSICS HARVARD UNIVERSITY GLEE CLUB CURWEN. GRAY ft NOVELL© PUBLICATIONS COLLECTION OF PART SONGS So*« Agmnta for FOR MEN'S VOICES COMPOSITIONS OF PAUL JUON RADCLIFFE CHORAL MUSIC AND VASSAR HONEGGER "KING DAVID" CHORAL MUSIC FOR WOMEN'S VOICES THE COWLEY CAROL BOOKS

PENNELL, GIBBS & QUIRING CO. DECORATORS and PAINTERS

DRAPERIES, FURNITURE and WALL PAPER

203-05 CLARENDON ST., BOSTON

HARLOW & HOWLAND INTERIOR DECORATORS Announce the opening of their NEW SHOP, 164 NEWBURY STREET

1607 "

Mr. Montagu-Nathan says of this ballet music that the orchestra supplies the usual musical commentary upon the dramatic action, and on occasion takes upon itself a function which renders it something more than an accessory. "The music describes with an exn traordinary wealth of suggestion the various weird figures of the drama, and is of a nature never allowing us to forget that it is fantasy and not life that we are witnessing. The flight of the Fire- Bird, its dance, and its vain resistance are rendered in music whose primary purpose is the description of movement and not descriptive- ness itself, while the quarry's pleading is brought to our ears through a veil of make-believe; her supplication is in accents that suggest the conventional posturing of the ballerina and not of a real bird ensnared. Throughout the ballet the music serves as a prepara- tion, by means of the ear, for what the eye is to witness. Even the graceful nocturnal dance of the captive maidens has a note that suggests the dominion of their villainous jailer, and the episodic theme of their play with the apples is that which later heralds their liberation through the good graces of the Fire-Bird. Ere the delight- ful melody of the Rhorovode* has died away, we are aware that we shall soon have something less dainty to contemplate, and, with the approach of the monster and his awful satellites, it is clear that another musical picture is to be added to the gallery inaugurated by Glinka with his march of Chernomov in 'Russian and Ludmilla.' The first performance of this ballet in the United States was by Serge Diaghilev's Ballet Russe Company at the Century Theatre, New York, January 17, 1916. The ballet was chosen for the opening of the season. The dancers were Mile. Xenia Maclezova,f The Fire- Bird; Mme. Labow Tchernicheva, La Belle Tsarevna; L. Massine, Ivan Tsarevitch; Cecchetti, Katschei. Ernest Ansermet conducted. The same dancers were seen at the Boston Opera House in "The Fire-Bird" on January 31, 1916.

*The lullaby that rocks the Tsarevna into "a sleep that will protect her from Katschei." tShe quarrelled in Boston with the management, and was replaced on February 2, 1916, by Lydia Lopokova.

Opposite Old State House 52 DEVONSHIRE STREET, BOSTON

DEPOSITS GO ON INTEREST MAY 1st VACATION CLUB SAVINGS BANK LIFE INSURANCE CHRISTMAS CLUB

DOLL & RICHARDS IMPORTANT PAINTINGS AND WATER COLORS FINE AND RARE PRINTS EXPERT RESTORATION AND CORRECT FRAMING 138 NEWBURY STREET BOSTON, MASS,

1608 ;

The Suite was performed in New York, by the New York Sym- phony Society on December 31, 1916 ; in Philadelphia, by the Phila- delphia Symphony Orchestra on November 2, 1917 ; in Boston, by the Boston Symphony Orchestra for the first time on October 31, 1919 (Mr. Monteux conductor). When the Suite was conducted in Boston by Dr. Koussevitzky (January 23, 24, 1925), the programme also comprised these pieces by Stravinsky: Song of the Volga Boatman (arranged for wind instruments and percussion) ; Suite from "Petrouchka" ; and Concerto for piano and wind instruments with double basses ( Mr. Stravinsky, pianist; first performance of the Concerto in America). Stravinsky in 1919 rescored this Suite to make it more available for an orchestra of ordinary size: two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, bass drum, cymbals, triangle, xylophone, harp, piano, and strings. He also rearranged and added from material in the original ballet. He retained from the first suite the Introduction, the "Dance of the Fire-Bird," the "Dance of the Princesses," and "Katschefs Infernal Dance," but omitted "The Enchanted Garden," "The Sup- plications of the Fire-Bird," and "The Princesses Playing with the Golden Apples." He added two numbers from the ballet: the Berceuse and the Finale. The revised suite, published in 1920, was played in Philadelphia by the Philadelphia Orchestra on October 17, 1924. At the performance in Boston by the Boston Symphony Orchestra, Dr. Koussevitzky, conductor, on December 10, 1926, the programme read:

a. Introduction ; Katschei's Enchanted Garden and Dance of the Fire-Bird

6. Supplication of the Fire-Bird ; c. The Princesses Play with the Golden

Apples ; d. Dance of the Princesses ; e. Infernal Dance of all the Subjects of and Finale. Katschei ; /. Berceuse

JOHN R. PERRY HOWARD R. PERRY

IG AND DECOR. 248 BOYLSTON STREET, BOSTON Telephone: Ken. 4550 Decorators of Symphony Hall

. . IMPORTERS . .

Violins, Fittings and Repairs

564 Washington Street, Rooms 527-528 Telephone Connection BOSTON

1609 MADAME ET Study Foreign Languages For your cultural well-being, for a FILLE, Inc. greater enjoyment of • literature, art LA JEUNE and music, you should know several foreign languages. The easy way to 130 Newbury Street, Boston learn is the Berlitz Conversational Method—taught by native teachers, Mrs. John. A. Tuckerman thus assuring a cultured accent and perfect pronunciation. SPORT COSTUMES, PRIVATE OR CLASS LESSONS SUCCESSFUL 52 YEARS DAY and EVENING DRESSES

Also SCHOOL. O Ready-to-wear and made to order LAN Or UAG E.S girls years clothes for 14 and up 140 NEWBURY STREET COMMONWEALTH 1614 553 Madison Avenue, New York City TEL.

Boston University Travel College of Music Consultants JOHN P. MARSHALL, D. Mus., Dean

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

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

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

SALARIED POSITIONS BOUND COPIES of the FOR Il00t0tt &gmpfj0ttg (§rt^tBtmB PROGRAMME BOOKS in Educational Institutions Containing Mr Philip Hale's analytical and de- Also for CHURCH MUSICIANS, scriptive notes on all works performed during the GUIDANCE, COUNSELLING season ("musically speaking, the greatest art Address, HENRY C. LAHEE annual of to-day"—W. J. Henderson, New York Boston Musical and Educational Bureau Sun), may be obtained by addressing 513 Pierce Building, Copley Square, Boston, Mass. PRICE. $6.00 SYMPHONY HALL

1610 ANNOUNCEMENT A NEW BOOK—

BOSTON SYMPHONY ORCHESTRA: I88I.1931" By M. A. De WOLFE HOWE

SemUCentennial Edition

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

The Semi-Centennial Edition of "The Boston Symphony Orchestra" will be issued at a retail price of $2.50. A re- duction will be made, however, to patrons of the Boston Symphony Orchestra. Upon receipt of a mail order for $1.50, the book will be sent to you, postpaid, immediately on its publication, the latter part of this month.

Address—W. H. BRENNAN, Symphony Hall, Boston

1611 1 |i' 'Hi' [ 'i|i' 'i|i' 'i|i' 'm ! ! 'iipTI Lewandos CLEANSERS- LAUNDERERS - FUR STORAGE

Men ! Ever have a thought to your wardrobe? Some of the things Lewandos can clean and refresh for you are Neckties Spats Dress Vests Dressing Gowns Sweaters Hats from plug to felt from cap to "Christy" Coats Flannel Trousers How many of these services do YOU use?

TELEPHONES

COM monwealth 3900 MIDdlesex 5700

ESTABLISHED '8Q»

"YOU CAN RELY ON LEWANDOS"

ISm !! illli illli illli illli illli illli iIIIp mli »

1612 FIFTIETH SEASON, NINETEEN HUNDRED THIRTY AND THIRTY-ONE

FRIDAY AFTERNOON, MAY 1, at 2.30 o'clock

SATURDAY EVENING, MAY 2, at 8.15 o'clock

Wagner Prelude to "The Mastersingers of Nuremberg"

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

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

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

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

There will be an intermission before the symphony

A lecture on this programme will be given on Thursday, April 30, at 5.15 o'clock in the Lecture Hall, Boston Public Library

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

1613 SYMPHONY HALL SEASON 1931-1932 TWO CONCERT COURSES

c^ive Sunday c oAfttternoons o>%t 3.30 Svenings c5%t 8.30 Oct. 25 Nov. 22 Nov. 10 Jan. 9 Jan. 3 Mar. 13 Apr. 3 Feb. 16 Mar. i Apr. 12

ROSA LILY PONSELLE PONS Soprano Soprano

YEHUDI LA MENUHIN ARGENTINA Violin Spanish Dancer

LAWRENCE ROLAND TIBBETT HAYES Baritone Tenor

JESUS MARIA WALTER SANROMA GIESEKING Piano Piano

The DON LONDON SINGERS COSSACKS WITH SERGE JAROFF, Leader JOHN GOSS

Season Tickets for each Series, #5, #7.50, #10, #12.50

Choose your own locations now, from the AUTOMATIC SUBSCRIPTION BOARD in the Huntington Avenue Lobby

1614