Boston Symphony Orchestra Concert Programs, Season 49,1929-1930

Home , Fortunio (opera), Kankles, Undina (Tchaikovsky)

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INC = FORTY-NINTH SEASON 1929-1930

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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492

INC. Dr. SERGE KOUSSEVITZKY, Conductor

FORTY-NINTH SEASON, 1929-1930

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. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN

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

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Forty-ninth Season, 1929-1930

Dr. SERGE KOUSSEVITZKY, Conductor

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. Van Wynbergen, C. Grover, H. Fiedler, A. Artieres, L. Cauhap6, J. Bernard, A. Werner, H. 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. Kelley, A. Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Demetrides, L.

Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Hamelin, G. Laus, A. Bladet, G. Devergie, J. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Allegra, E. Bettoney, F. (E-flat Clarinet)

Piccolo. English Horn. Bass Clarinet. CONTRA-BASSOON Battles, A. Speyer, L. Mimart, P. Piller, B.

Horns. Horns. Trumpets. Trombones.

Boettcher, G. Valkenier, W. Mager, G. Raichman, J. Pogrebniak, S. Schindler, G. Voisin, R. Rochut, J. Van Den Berg, C, Lannoye, M. Lafosse, M. Hansotte, L. Lorbeer, H. Blot, G. Perret, G. Kenfield, L. Mann, J. Adam, E.

Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Ludwig, C. Adam, E. Caughey, E. Polster, M. Sternburg, S. White, L. Organ. Celesta. Librarian.

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SATURDAY EVENING, MAY 3, at 8.15 o'clock

Weber Overture to "Oberon"

HiU . "Lilacs," Poem for Orchestra, Op. 33 (after Amy Lowell)

Ravel Rapsodie Espagnole

I. Prelude a la Nuit. II. Malaguena. III. Habanera. IV. Feria.

Brahms Symphony No. 1 in C minor, Op. 68

I. Un poco sostenuto; Allegro. II. Andante sostenuto. HI. Un poco allegretto e grazioso. IV. Adagio; Allegro non troppo, ma con brio.

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There will be an intermission before the symphony

A series of lectures on these programmes will be given next season at the Boston Public Library on Thursday afternoons beginning October 9. 1897 RA YMOND-WHITCOMB announce—

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1898 Overture to the Opera "Oberon" . . Carl Maria von Weber

(Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826)

"Oberon; or, the Elf-King's Oath," a romantic opera in three acts, book by James Robinson Planche, music by Carl Maria von Weber, was first performed at Covent Garden, London, on April 12, 1826. Weber conducted. The cast was as follows: Rezia, Mary Anne Paton; Mermaid, Mary Anne Goward; Fatima, Mme. Vestris; Puck, Harriet Cawse; Huon, John Braham; Oberon, Mr. Gownell; Scherasmin, acted by Mr. Fawcett, "but a bass singer, named Isaacs, was lugged in head and shoulders to eke out the charming quatuor, 'Over the Dark Blue " Waters.' The first performance in Boston was in Music Hall by the Parepa- Rosa Company, May 23, 1870.* Weber received for the opera £500. William Thomas Parke, the first oboist of Covent Garden at the time of the production, wrote in his entertaining "Musical Memoirs": "The music of this opera is a refined, scientific and characteristic composition and the overture is an ingenious and masterly production. It was loudly encored. This " opera, however, did not become as popular as that of 'Der Freischutz.'

The story of the opera was founded by Planche on Wieland's "Oberon," which in turn was derived from an old French romance, "Huon of Bordeaux." Oberon and Titania have vowed never to be reconciled until they find lovers faithful in *The cast was as follows: Rezia, Mme. Parepa-Rosa; Fatima, Mrs. E. Seguin; Puck, Miss Geraldine Warden; Sir Huon, William Castle; Scherasmin, A. Laurence (sic); Oberon, G. F. Hall; Mermaid, Miss Isaacson (?). Carl Rosa conducted. A song "Where Love is, there is Home," arranged by Howard Glover, from a theme in one of Weber's pianoforte sonatas, was introduced. The audience was not large, and it was cool.

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School version (unison, two part, or S.A.B.) - - - 10 cents net Performed by Newton Centre Women's Chorus Women's Republican Club Chorus, Boston Friday Club Chorus, of Everett Groton School Princeton Girls' School Northfield Seminary and Mt. Herman School Fall River Schools, Americanization Department Boston Public Schools in Symphony Hall, Washington and Lincoln Birthday Celebration. Mme. Rose Zulalian, at the D. A- R. National Convention and C. A. R. Annual Con- vention, Washington, D.C. League of American Pen Women, Celebrity Breakfast. Boston Physical Education Society of America Convention, Boston Etc.

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1899 adversity. Puck resolves to serve Oberon, his master, by bringing together Huon and Rezia. Huon has been ordered by Charlemagne to kill the favorite at Baghdad and to wed the Caliph's daughter, Rezia. The lovers, having met, in a vision, are in love. At Baghdad, Huon being sent there because he had slain a son of Charlemagne, kills Babekan, bethrothed to Rezia, and escapes with lier, by the aid of a magic horn given to him and blown by Scherasmin, Huon's shield-bearer. The horn compels the Caliph's court to dance. Oberon appears and makes the lovers swear to be faithful in spite of all temptation. They are shipwrecked. Rezia is captured by pirates; Huon is wounded. The Emir Tunis has Rezia in his harem; his wife Roschana is enamored of Huon. The Emir orders the wife and Huon to be burned; but again the magic horn is blown. Oberon, reconciled to Titania, brings the lovers to Charlemagne's court, where they are welcomed with pomp and ceremony. There is another pair of lovers in the opera: Scherasmin and Rezia's Arabian maid, Fatima.

The overture, scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings, begins with an introduction (Adagio sostenuto ed il tutto pianissimo possibile, D major, 4-4). The horn of Oberon is answered by muted strings. The figure for flutes and clarinets is taken from the first scene of the opera (Oberon's palace; introduction and chorus of elfs). After a pianissimo little march, there is a short dreamy passage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (Allegro con fuoco in D major, 4-4). The brilliant opening measures are taken from the accompaniment figure of the quartet, "Over the Dark Blue Waters," sung by Rezia, Fatima, Huon, Scherasmin (act ii., scene x.). The horn of Oberon is heard again; it is answered by the skipping fairy figure. The second theme (A major, sung first by the clarinet, then by the first violins) is taken from the first measures of the second part

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of Huon's air (act i., No. 5). And then a theme taken from the pero- ration, presto con fuoco, of Rezia's air "Ocean! Thou mighty monster" (act ii., No. 13), is given as a conclusion to the violins. This theme ends the first part of the overture. The free fantasia begins with soft repeated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods; a new theme is introduced and treated in fugato against a running contrapuntal counter-theme in the strings. The second theme is treated, but not elaborately; and then the Rezia motive brings the spirited end. At the first performance of the opera the overture was repeated.

* * Weber was asked by Charles Kemble in 1824 to write an opera for the Theatre Royal, Covent Garden. Weber chose "Oberon" for the subject. Planche was selected to furnish the libretto. In a letter to him, Weber wrote that the fashion of it was foreign to his ideas: "The intermixing of so many principal actors who do not sing—the omission of the music in the most important moments—all these things deprive our 'Oberon' of the title of an opera, and will make him (sic) unfit for all other theatres in Europe, which is a very bad thing for me, but passons la-dessous." Weber, a sick and discouraged man, buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously. Planche sent the libretto to Dresden an act at a time. Weber made his first sketch on January 23, 1825. The autograph score contains this note at the end

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1903 — of the overture: "Finished April 9, 1826, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria! ! ! C. M. V. Weber." This entry was made at London. Weber received for the opera £500. He was so feeble that he could scarcely stand without support, but he rehearsed and directed the performance seated at the piano. He died of consumption about two months after the production. Planche gives a lively account of the genesis and production of "Oberon."* He describes the London public as unmusical. "A dramatic situation in music was ' caviare to the general,' and inevitably received with cries of 'Cut it short!' from the gallery, and obstinate coughing or other significant signs of impatience from the pit. Nothing but the Huntsmen's (Chorus and the diablerie in 'Der Freischutz' saved that fine work from immediate condemnation in England; and I remem- ber perfectly well the exquisite melodies in it being compared by English

Musical critics to 'wind through a keyhole !'f . . . None of our actors could sing, and but one singer could act, Madame Vestris, who made a charming Fatima. . . . My great object was to land Weber safe amidst an unmusical public, and I therefore wrote a melodrama with songs, instead of an opera such as would be required at the present day."t The first performance in Germany of "Oberon" in "its original shape" was at Leipsic, December 23, 1826.

*"Recollections and Reflections," by J. R. Planche, Vol. I, pp. 74-86 (London, 1872). fPlanche cites a writer in the Quarterly Musical Magazine and Review for June, 1875: "Nearly all that was not irresistibly ridiculous was supremely dull." {There was a performance in London with German text by Th. Hell in 1841 (Rezia, Mme. Heine- fitter; Huon, Haizinger; in Italian, on July 3, 1860 (Rezia, Mme. Tietjens; Fatima, Mme. Alboni). Benedict furnished recitatives, partly his own, partly from other works of Weber's.

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1 'Lilacs," Poem for Orchestra, Op. 33 (after Amy Lowell) Edward Burlingame Hill

(Born in Cambridge, Mass., September 9, 1872; now living there)

"Lilacs" was performed for the first time at a concert of the Boston Symphony Orchestra in Boston on April 1, 1927. Mr. Hill contributed the following notes to the Orchestra's programme back of that date: "Long an admirer of Miss Lowell's poetry, it one day struck me forcibly that 'Lilacs' * was an excellent 'subject' for musical treatment by one of New England ancestry. On reflection, I soon saw the impracticability of attempting to follow the poem in detail, and the present work is the result of impressions connected with portions of the poem, chiefly the beginning and the end. "After a brief introduction, the principal theme is heard in the wood- wind, later in the strings, and at last in the full orchestra. From this grows a contrasting episode, after which the material of the first part returns with a varied development and closes with a reference to the introduction. "'Lilacs' is scored for three flutes (third interchangeable with piccolo), two oboes, English horn, two clarinets in B-flat, bass clarinet in B-flat, two^bassoons, contrabassoon, six horns, three trumpets, three trombones and tuba, kettledrums, triangle, cymbals, bass-drum, celesta, harp, piano, and the usual strings. The score is inscribed In Memoriam A. L.

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Rapsodie Espagnole Joseph Maurice Ravel

(Born at Ciboure, Basses-Pyrenees, March 7, 1875; at home at Montfort-l'Amaury and Paris) The "Rapsodie Espagnole/' dedicated to "Mon cher Maitre, Charles de Beriot," was completed in 1907 and published in the following year. It was performed for the first time at a Colonne concert in Paris, March 15, 1908. The Rha sody was enthusiastically received; the second movement was repeated. The enthusiasm was manifested chiefly in the gallery, where some perfervid student shouted to the conductor after the malaguefia had been repeated: "Play it once more for those downstairs who have not understood it." At the end of the Rhapsody the same person shouted to the occupants of subcribers' seats: "If it had been something by Wagner you would have found it very beautiful." The first performance of the Rhapsody in Boston was by the Boston Orchestral Club on January 26, 1910. Ravel conducted it when he was guest conductor of the Boston Symphony Orchestra on January 13, 14, 1928. Mr. Longy conducted. The Rhapsody was performed by the Theodore Thomas Orchestra in Chicago on November 12, 13, 1909. The' first performance by the

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1910 Symphony No. 1, C Minor, Opus 68 ... • Brahms VICTOR-RECORDED By Leopold Stokowski and the Philadelphia Symphony Orchestra

Brahms approached the task of writing for the symphony orchestra with great seriousness, and with a consciousness of the importance of the work, the dignity of it, and the exacting requirements which it makes of the composer. How different his attitude from that of many of our modern composers, who must, perforce, have not only the complete symphony orchestra, but many strange sound-making devices as well, for the elucidation, if such it may be called, of their primordial musical impulses. Brahms was a composer of established merit and fame, before he undertook the task of writing a symphony—the largest, most beautiful and most important form which instrumental music can take. He realized that even genius must attain the stature that is achieved only after years of experience, experiment, and thorough comprehension of the small musical forms, before exacting of itself the exigent requirements of the symphonic form.

The result of Brahms' accurate self-estimate, as well of his very great musical gift, is the First Symphony—the greatest "first" symphony ever written. Mature, finished, plethoric with melody and with orchestral color, as vigorous and vital as Beethoven, as song-like as Schubert, as perfectly formed as Bach—and as subtle as Brahms!—this wonderful symphony, though it be the first from his hand, represents the genius of the composer in its most splendid development.

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VICTOR DIVISION RCA -VICTOR COMPANY, Inc. Camden, New Jersey, U.S.A. 1911 Boston Symphony Orchestra was on November 21, 1914. Ravel conducted it when he was guest conductor of the Boston Symphony Orchestra on January 13, 14, 1928. The Rhapsody is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, sarruso- phone, four horns, three trumpets, three trombones, bass tuba, a set of four kettledrums, bass drum, cymbals, side drum, triangle, tambourine, gong, xylophone, celesta, two harps, and the usual strings.

It is really a suite in four movements : Prelude a la Nuit, Malaguena, Habanera, Feria. I. Prelude a la Nuit. Tres modere, A minor, 3-4. The movement as a whole is based on a figure given at the beginning to muted violins and violas. The clarinets have a short subject, and this is repeated at the end by solo strings. Cadenzas, now for two clarinets and now for two bassoons, interrupt the movement. The cadenza for bassoons is accompanied by arpeggios in harmonics for a solo violin and trills for three other violins. The movement ends with a chord in harmonics for divided violoncellos and double-basses. The second movement follows immediately. II. Malaguena. Assez vif, A minor, 3-4. The Malaguena, with the Rodefia, is classed with the Fandango: "A Spanish dance in 3-8 time, of moderate movement (allegretto), with accompaniment of guitar and castanets. It is performed between rhymed verses, during the singing of which the dance stops". The castanet rhythm may be described as on a scheme of two measures, 3-8 time; the first of each couple of measures consisting of an eighth, four thirty-seconds, and an eighth; and the second, of four thirty-seconds and two eighths. The

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1913 word itself is applied to a popular air characteristic of Malaga, but Richard Ford described the women of Malaga, "las Malaguenas," as "very bewitching.'' Mrs. Grove says the dance shares with the Fandango the rank of the principal dance of Andalusia. "It is sometimes called the Flamenco, a term which in Spain signifies gay and lively when applied to song or dance. It is said to have originated with the Spanish occupation of Flanders. Spanish soldiers who had been quartered in the Netherlands were styled Flamencos. When they returned to their native land, it was usually with a full purse; generous entertainment and jollity followed as a matter of course." In Ravel's Malaguena there is at the beginning a figure for the double-basses repeated as though it were a ground bass. The key changes to D major, and there is a new musical thought expressed by muted trumpet accompanied by the tambourine and pizzicato chords. After a climax there is a pause. The English horn has a solo in recitative. The rhythmic figure of the opening movement is suggested by the celesta and solo strings. The figure in the basses returns with chromatic figures for flutes and clarinets. III. Habanera. Assez lent et d'un rythme las, 2-4. Ravel wrote in 1895 a Habanera for two pianofortes, four hands. This was utilized in the composition of the Habanera in the Rhapsody. The chief subject enters in the wood-wind after a short introduction in which the clarinet has an important syncopated figure. The solo viola continues the theme; the strings repeat the opening section. To wood-wind instruments and the first harp is given a new idea rhythmed by the tambourine, while the strings are busied with the syncopated figure. This theme is

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1915 worked out till nearly the end,~whicrTis brought by harmonics for the harp, with the syncopated rhythm in the first violins and at last for the celesta.

Few histories or encyclopaedias of the dance mention the Habanera. Mr. H. V. Hamilton contributed the article about this dance to Grove's Dictionary of Music and Musicians (Revised Edition). He says that it is a Spanish song and dance of an older origin than its name implies; that it was introduced into Cuba by negroes from Africa, and from Cuba went to Spain. "It is sometimes called 'con-

tradanza criolla' (Creole country-dance). . . . An Habanera usually consists of a short introduction and two parts of eight or sixteen bars, of which the second, should the first be in a minor key, will be in the major, and will answer the purpose of a refrain; but these rules are by no means strictly adhered to. There are many forms of the melody, a marked feature being that two triplets of semiquavers, or one such triplet and two semiquavers, are often written against the figure which occupies one whole bar in the bass of the above example." (This example is given in notation.) "The performers opposite to each other, one of either sex, generally dance to the introduction, and accompany their singing of several 'copias' (stanzas) with gestures, and the whole of the music is repeated for the final dance, which is slow and stately, and of a decidedly Oriental character, the feet being scarcely lifted from the ground (though an occasional pirouette is sometimes introduced), while the most voluptuous movements of the arms, hips, head, and eyes are employed to lure and fascinate each other—and the spectator. The dance, if well done, can be extremely graceful." "La Habenera," a lyric drama in three acts, libretto and music by Rabul Laparra, was produced at the Opera-Comique, Paris, on February 26, 1908. The chief singers were Salignac, Pedro; Seveilhac, Ramon; Mile. Demellier, La Pilar; Vieuille, Un Vieux. Ruhlmann conducted the first performance in the United States at the Boston Opera House on December 14, 1910: Robert Lassalle, Pedro; Ramon Blanc hart, Ramon; Fely Dereyne, La Pilar; Jose Mardones Un Vieux. Andre Caplet conducted. Later performances were on December 23, 1910; and on March 22, 25, 1912, when the chief singers were Mme. Gay and Messrs. De Potter and Riddez. Aubert's "Habanera" for orchestra (Paris, 1919) was played in Boston by the Boston Symphony Orchestra on October 19, 1923, and April 29, 1927.

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IV. Feria ("The Fair"). Assez anime, C major, 6-8. The movement is in three parts: The first is based on two musical ideas—the first two measures for flute; the second by muted trumpets rhythmed by a tambourine; later, oboes and English horn, rhythmed by xylophone; then full orchestra ff. The second opens with a solo for the English horn. The solo is continued by the clarinet. The material of the third section is that of the opening part of the movement.

Symphony in C minor, No. 1, Op. 68 ... . Johannes Brahms

(Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897)

Brahms was not in a hurry to write a symphony. He heeded not the wishes or demands of his friends, he was not disturbed by their impatience. As far back as 1854 Schumann wrote to Joachim: "But where is Johannes? Is he flying high or only under the flowers? Is he not yet ready to let drums and trumpets sound? He should always keep in mind the beginning of the Beethoven symphonies: he should try to make something like them. The beginning is the main thing; if only one makes a beginning, then the end comes of itself.' Max Kalbeck, of Vienna, the author of a life of Brahms in 2,138 pages, is of the opinion that the beginning, or rather the germ, of the Symphony in C minor is to be dated 1855. In 1854 Brahmsdieard in

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Cologne for the first time Beethoven's Ninth Symphony. It impressed him greatly, so that he resolved to write a symphony in the same tonality. That year he was living in Hanover. The madness of Schumann and his attempt to commit suicide by throwing himself into the Rhine (February 27, 1854) had deeply affected him. He wrote to Joachim in January, 1855, from Diisseldorf: "I have been trying my hand at a symphony during the past summer, have even orchestrated the first movement, and have composed the second and third." . This symphony was never completed. The work as it stood was turned into a sonata for two pianofortes. The first two movements became later the first and the second of the pianoforte concerto in D minor, and the third is the movement "Behold all flesh' in "A German Requiem." A performance of Schumann's "Manfred" also excited him when he was twenty-two. Kalbeck has much to say about the influence of these works and the tragedy in the Schumann family over Brahms, as the composer of the C minor Symphony. The contents of the symphony, according to Kalbeck, portray the relationship between Brahms and Robert and Clara Schumann. The biographer finds significance in the first measures poco sostenuto that serve as introduction to the first Allegro. It was Richard Grant White who said of the German commentator on Shakespeare that the deeper he dived the muddier he came up. Just when Brahms began to make the first sketches of this symphony is not exactly known. He was in the habit, as a young man, of jotting down his musical thoughts when they occurred to him. Later he

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1920 CHAS. M. STIEFF, Inc. 114 Boylston Street 1921 worked on several compositions at the same time and let them grow under his hand. There are instances where this growth was of very long duration. He destroyed the great majority of his sketches. The few that he did not destroy are, or were recently, in the Library of the Gesellschaft der Musikfreunde at Vienna. In 1862 Brahms showed his friend Albert Dietrich an early version of the first movement of the symphony. It was then without the introduction. The first movement was afterwards greatly changed. The symphony was produced at Carlsruhe by the grand duke's orchestra on November 4, 1876. Dessoff conducted from manuscript. Brahms was present. There was a performance a few days later at Mannheim, where Brahms conducted. The first performance in Boston was by the Harvard Musical Associ- ation, January 3, 1878. Carl Zerrahn conducted. The programme was as follows: Weber, Overture to "Euryanthe"; Grieg, Pianoforte concerto (William H. Sherwood, pianist); Gade, Allegretto from the Third Symphony; Pianoforte solos; Handel, Fugue in E minor; Chopin, Nocturne in F sharp, Op. 15, No. 2; Bargiel, Scherzo from Suite, Op. 31; Brahms, Symphony in C minor, No. 1. John S. Dwight wrote in his Journal of Music that the total impression made on him was "as something depressing and unedifying, a work coldy elaborated, artificial; earnest to be sure, in some sense great, and far more satisfactory than any symphony by Raff, or any others of the day, which we have heard; but not to be mentioned in the same day with any symphony by Schumann, Mendelssohn, or the great one by Schubert, not to speak of

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The first movement opens with a short introduction, Un poco sostenuto, C minor, 6-8, which leads without a pause into the first movement proper, Allegro, C minor. Second movement, Andante sostenuto, E major, 3-4. The place of the traditional Scherzo is supplied by a movement. Un poco allegretto e grazioso, A-flat major, 2-4. The finale begins with an Adagio, C minor, 4-4, in which there are hints of the themes of the allegro which follows. Here Mr. Apthorp should be quoted: "With the thirtieth measure the tempo changes to piu andante, and we come upon one of the most poetic episodes in all Brahms. Amid hushed, tremulous harmonies in the strings, the horn and after- ward the flute pour forth an utterly original melody, the character of which ranges from passionate pleading to a sort of wild exultation, according to the instrument that plays it. The coloring is enriched by the solemn tones of the trombones, which appear for the first time in this movement. It is ticklish work trying to dive down into a composer's brain, and surmise what special outside source his inspiration may have had; but one cannot help feeling that this whole wonderful episode may have been suggested to Brahms by the tones of the Alpine horn, as it awakens the echoes from mountain after mountain on some

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1925 of the high passes in the Bernese Oberland. This is certainly what the episode recalls to any one who has ever heard those poetic tones and their echoes. A short, solemn, even ecclesiastical interruption by the trombones and bassoons is of more thematic importance. As the horn-tones gradually die away, and the cloudlike harmonies in the strings sink lower and lower—like mist veiling the landscape—an impressive pause ushers in the Allegro non troppo, ma con brio (in C major, 4-4 time). The introductory Adagio has already given us mysterious hints at what is to come; and now there bursts forth in the strings the most joyous, exuberant Volkslied melody, a very Hymn to Joy, which in some of its phrases, as it were unconsciously and by sheer affinity of nature, flows into strains from the similar melody in the Finale of Beethoven's Ninth Symphony. One cannot call it plagiarism: it is two men saying the same thing." This melody is repeated by horns and wood-wind with a pizzicato string accompaniment, and is finally taken up by the whole orchestra fortissimo (without trombones). The second theme is announced softly by the strings. In the rondo finale the themes hinted at in the introduction are brought in and developed with some new ones. The coda is based chiefly on the first theme. Dr. Heinrich Reimann finds Max Klinger's picture of "Prometheus Unbound" "the true parallel" to this symphony.

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Works marked with an asterisk were performed for the first time at these concerts. Works marked with a double asterisk were performed for the first time in Boston. Works marked with a dagger were performed for the first time anywhere. Artists marked with an asterisk appeared at these concerts for the first time. Artists marked with a double asterisk appeared for the first time in Boston. Artists marked with a dagger are members of the Boston Symphony Orchestra. PAGE

Bach, J. S. : Brandenburg Concerto, No. 3, G major, for strings, December 6, 1929 511 Prelude and Fugue in E-flat (for organ) (arranged by

SchonbebgV February 28, 1930, March 28, 1930 . 1337, 1630 Bax: Symphony No. 2, E minor and C,t December 13, 1929, January 3, 1930 610, 864 Beethoven: Symphony No. 4, B-flat major, Op. 60, December 27, 1929 782 Symphony No. 5, C minor, Op. 67, October 11, 1929 ... 44 Symphony No. 6, F major, Op. 68, April 4, 1930 1659 Concerto for pianoforte, No. 4, G major, Op. 58 (Artur Schnabel), April 4, 1930. Sketch 1680

Overture to "Leonore," No. 3, Op. 72, April 4, 1930 . . . 1690

Overture to Goethe's "Egmont," Op. 84, October 11, 1929 . 7 Bloch ^"Schelomo" ("Solomon") Hebrew Rhapsody for violoncello (Felix Salmond*) and orchestra, December 27, * 1929 796 Borodin: Symphony No. 2, B minor, Op. 5, November 29, 1929 438

Brahms: Symphony No. 2, D major, Op. 73, March 21, 1930 . 1552 Symphony No. 1, C minor, May 2, 1930 1918

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1928 VARIATIONS on a theme * * • *

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1929 Symphony No. 3, F major, Op. 90, March 21, 1930 .... 1508

Academic Festival Overture, Op. 80, March 21, 1930 . . . 1499 Chadwick: Sinfonietta in F major, April 25, 1930 1824 Debussy: "La Mer," October 11, 1929 30 "La Damoiselle Elue" (Mme. Ritter-Ciampi**; Jean Macdonald*; Radcliffe Choral Society), February 14,

1930 . . . . 1180 "Le Martyre de Saint-Sebastien"* (as a whole) (Mme. Ritter-Ciampi; The Cecilia Society), February 14, 1930 1204 DeFalla: Three Dances from "El Sombrero de Tres Picos,"

January 31, 1930 . . 1148 "Nights in the Gardens of Spain," for piano (Mr. Sanroma) and orchestra, February 21, 1930 1272 Dvorak: Symphony No. 5, E minor, "From the New World," December 20, 1929 724

Dukelsky: Symphony No. 2,f D-flat major, April 25, 1930 . . 1836 Eichheim: "Java,"** November 15, 1929 348

-. "Burma,"** November 15, 1929 . . 352 Fairchild: "Chants Negres,"f December 6, 1929 522

Galliard : Sonata, G major (freely transcribed for small orchestra by Steinberg), March 14, 1930 1419 Gardner: "Broadway," f April 18, 1930 .]....' 1752 Glazounov: Symphony No. 6, C minor, Op. 58, January 17, 1930 958 Concerto for violin, Op. 82 (Benno Rabinoff**), January 17 1930 970

17,' '. "Stenka Razin," Op. 13,' January 1930 . . . . . \ 982

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1931 Goossens: Concertino for Double String Orchestra,** January 24, 1930 1076 "The Enchanted Isle,"** Gruenberg: November 8, 1929 . . 276 "Jazz Suite,"** February 21, 1930 1306 Handel: Concerto Grosso for string orchestra, Op. 6, No. 10 October 18, 1929 91 Haydn: Symphony, D major (with the Horn Call)—B. & H., No. 31, February 21, 1930, March 28, 1930 .... 1259 1579 Hill: "Lilacs," May 2, 1930 1906 Josten: "Jungle, "f symphonic poem, October 25, 1929 .... 184 Lazar: Concerto Grosso, No. 1, for orchestra, in the Old Style,! February 21, 1930 1264 Liszt: Concerto for piano, E-flat major, No. 1 (Jose Ittjrbi,* pianist), December 13, 1929 638 Loeffler: Canticum Fratris Solis** (after St. Francis of Assisi) for voice (Povla Frijsh) and orchestra, January 3, 1930 882 Martelli: Assyrian Bas-Reliefs (first time in the United States) March 14, 1930 1446 Moussorgsky: Prelude to the opera "Khovanstchina," December 20, 1929 679 Symphony, E-flat major (K. Mozart: 543), November 8, 1929 . 259 major, No. 34 (K. April Symphony, C 338), 25, 1930 . . . 1819 to Flute," '. Overture "The Magic December 27, 1929 . . 763 Kleine Nachtmusik" (K. "Eine 525), January 31, 1930 . . 1099 Prelude and Fugue,** Pick-Mangiagalli: October 11, 1929 . . 28 Piston: Suite for Orchestra, f March 28, 1930 1584

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1933 Prokofieff: Scythian Suite, Op. 20, January 31, 1930 .... 1126 Piano Concerto, No. 2, G minor, Op. 16 (Serge Prokofieff, pianist) (first time in the United States), January 31, 1930 1136 Ravel: "Ma Mere POye," November 8, 1929 282

"Bolero,"** December 6, 1929, January 3, 1930 . . . 526-894 Orchestral Excerpts from "Daphnis et Chloe" (Second

. Suite), December 20, 1929 716 Rapsodie Espagnole, May 2, 1930 1910 Respighi: Symphonic Poem, "The Pines of Rome," December 13, 1929 648 "FesteRomane,"** January 24, 1930 1077 Rimsky-Korsakov: Suite from "Le Coq d'Or," November 29, 1929 427 "Sadko,"- Op. 5, December 20, 1929 686 Saint-Saens: Symphony No. 3, C minor, Op. 78, April 18, 1930 1787 Concerto, B minor, for violin (Jacques Thibatjd) and orchestra, No. 3, Op. 61, November 29, 1929 462 Schumann: Symphony No. 1, B-flat major, Op. 38, January 24,

. . 1930 v 1056

Symphony No. 2, C major, Op. 61, December 6, 1929 . . . 556 Sibelius: Symphony No. 2, D major, Op. 43, October 18, 1929 138 Symphony No. 6,** Op. 104, February 28, 1930, March 28, 1930 1380, 1590 Concerto, D minor, for violin (Richard Burginj) and orchestra, Op. 47, February 28, 1930 1368

TRINITY COURT, 175

Mme. Cerutti is internationally known for her specialty of reconstructing the ritual dances of ancient Egypt, Greece and Alexandria. She was the first ever to dance in^the Louvre Museum in Paris. Her Ancient Dances have been sponsored by the Boston Museum of Fine Arts and the Brooklyn Museum in America, by the Conservatoire Royale in Liege, Belgium, by the Musee Guimet the Amis du Louvre and the Societe Archeologique de France in Paris, and others.

Mme. Cerutti will conduct classes next season and also give a series of dancing recitals, further details of which will be given in this programme early in October. WRITE FOR FOLDER

By Teresa Cerutti ANCIENT-DRAMATIC GYPSY GROUPS HOTEL STATLER Friday Morning, May 9th, at 11 presented by Mrs. Mary G. Reed, Honorary Member of the Massachusetts Federation of Music Clubs Qmbev smeT Tickets, 2.00 e| ^TnmS^ J9 Student Tickets, 1.00 1934 1935 The trustees thank all those who by their s

Abbott, Gordon Brewer, Robert Curtis, Miss Mary Adams, Miss Clara A. Briggs, Miss Helen S. Curtiss, Mr. and Mrs. Adams, Mrs. E. C. Brigham, Mrs. D. S. Frederic H. Adams, Mrs. Karl Brook, Harry C, Hartford,Conn. Curtis, Miss Frances G. Alford, Miss Martha A. Brown, Miss Edith B. Curtis, Mrs. Greeley S. Allen, Mrs. Thomas Bruzza, Leo, Brooklyn, N. Y. Cushing, Miss Sarah P. Ames, Dr. and Mrs. John L. Buckingham, Miss Mary H. Cushing, Mrs. W. E. Ames, Mrs. Hobart Buff, Miss A. E. Cutter, Mr. and Mrs. R. Am Ames, Mrs. John S. Bullard, Miss Ellen T. Cutler, Mrs. Charles H. Ames, Mr. and Mrs. J. W. Bullard, Mrs. W. N. Cutler, Miss Elisabeth A. Ames, Mrs. William H. Newport, R. I. In Memory of C. S. D. Anderson, Mrs. C. S. Burgess, Mrs. George Sargent Andrews, Mr. and Mrs. E. A. Burgess, Mrs. H. R. Dabney, Mr. and Mrs. George

Anthony, Miss Margaret Burnham, Miss Helen C. Dane, Mr. and Mrs. Ernest 1! Appleton, Miss Mary Burnham, Mrs. Henry D. Dana, Richard H. Appleton, Mrs. Burnham, Miss M. C. Daniels, Miss Mabel W. Atherton, Percy L. Burnham, Mrs. W. A. Davenport, Mr. and Mrs. Atkinson, Edward W. Burr, I. Tucker George H. Davis, Mrs. Charles H. Babcock, Mrs. D. M. Cabot, Miss Amy W. Day, Mrs. Frank A. Bacon, Mr. and Mrs. Charles E. Cabot, Mrs. Arthur T. Day, Mrs. Henry B. Bacon, William Cabot, Frederick P. Dean, Paul Dudley Baker, G. B. Cabot, Mrs. Godfrey L. Derr, Thomas S. Bancroft, Mrs. Hugh Cabot, Mr. and Mrs. Henry B. Dexter, Miss Rose L. Barlow, R. S. Cabot, Stephen P. Donald, Mrs. Malcolm Barnard, Mrs. William L. Carter, Mrs. Albert P. Duff, John Duncan, Mrs. Barnard, William L. Carter, Mrs. J. W. Barnes, Miss Anne Hampton Carter, Miss Nina Eager, Miss Mabel T. Barnet, Mr. and Mrs. S. J. Case, Miss Louise W. Barr, Miss Laura M. Champlin, Mrs. George P. Earle, Miss Mabel L. Barrett, Mrs. William E., Sr. Chapin, Horace D. Eaton, Miss L. H. Bartlett, Mrs. John b. Chard, Mrs. Walter G. Edwards, Miss Grace M. Bartlett, Mrs. Matthew Cheever, Mrs. David Edwards, Miss Hannah M. Bartlett, Mrs. Nelson S. Clark, Mrs. Myron H. Edwards, Mrs. L. F. Bartol, Miss Dorothy Coale, Mrs. George O. G. Edwards, Mrs. Levi F. Bartol, Mrs. John W. Cochran, Mrs. Edwin Paul Ehrlich, Mrs. Henry Bayley, Edward B. New Haven, Conn. Eisemann, Julius Beal, Mrs. Boylston A. Codman, Miss C. A. Ellery, Mr. and Mrs William Beal, Miss Ida G. Codman, Mrs. Russell S. Ely, Miss Elizabeth B. Bearse, Mrs. Horace L. Coffin, Winthrop Emery, Mr. and Mrs. Beckwith, Mrs. Daniel Colt, Mr. and Mrs. James D. Frederick L. Providence, R. I. Conant, Mrs. William C. Endicott, S. C. Beebe, Miss Sylenda Converse, Miss Luna B. Ernst, Mrs. Harold C. Bell, Mrs. Jaffrey de Hauteville Woodstock, Vt. Bemis, Mr. and Mrs. A. Farwell Coolidge, Mrs. Algernon Farlow, Dr. and Mrs. John W Bemis, Frank B. Coolidge, Miss Ellen W. Farnsworth, William Best, Mrs. Edward H. Coolidge, Miss Elsie W. Fay, Mrs. D. B. Bird, Mrs. Frances A. M. Coolidge, Mrs. J. G. Fay, Mrs. Henry H. Blake. Mrs. Arthur W. Coolidge, Julian L. Fenollosa, William S. Blake, Miss M. L. Coonley, Mr. and Mrs. Howard Field, Edward B. Bliss, Henry W. Coriat, Mrs. Isador H. Ferris, Miss Ida J. Bowden, Mrs. Herbert L. Crehore, Miss Lucy C. Fish, Frederick P. Boyden, Charles Crosby, Mrs. S. V. R. Fitch, Miss Carrie T. Bradlee, Mr. and Mrs.Thomas S. Cross,Mr. and Mrs. GrosvenorM. Fletcher, Mrs. Arthur W. Bradley, Mrs. J. D. Cameron Cotton, Miss Rachael E. Foote, Arthur Bradley, Mr. and Mrs. J. Cummings, Charles K. Foote, George L. Gardner Curnmings, Miss Margaret Forbes, Allyn B. Brandegee, Mrs. E. D. Curtis, Charles P. Forbes, Edward W. Bray, Robert C. Curtis, Miss Harriot S. Forbes, Mrs. Ralph E. Brewer, F. R. Curtis, Mrs. Louis Forbes, Mrs. Waldo E.

i 1936 -

scriptions have made these concerts possible.

,'ox, Walter S. Jr. Higginson, F. L. Koshland, Mr. and Mrs. Jesse 'redericks, Mrs. B. W. Hill, Arthur D. 'rench, Miss Katharine Hill, Mrs. John F. Lamb, Miss Aimee 'rost, Mr. and Mrs. Donald Holbrook, Miss Mary S. Lane, Chester T. McKay Holmes, Alice Marion Lang, Miss Margaret Ruthven rost, Horace W. Holmes, Mr. and Mrs. E. J. Lapham, Mrs. Henry G. 'rothingham, Dr. and Mrs. Holmes, Miss Lasell, Miss Elizabeth Langdon Homans, Miss Katharine A. Laughlin, Henry A. Louis A. Hopkins, L. rothingham, Mrs. Mrs. A. Lauriat, Mrs. C. E. Hornblower, Henry Lawrence, Mrs. John Jage, Mrs. Hornblower, Mrs. Homer Henry Lawrence, Miss M. B. Gardner, Roy R. Hood, Miss Helen Lee, Mr. and Airs. George C. iiarritt, Mrs. Walter G. Houghton, Mr. and Mrs. Lee, Joseph William A. S. aston, Mrs. Clement Leland, Mrs. Lester iay, E. Howard Houghton, Miss Elizabeth G. Leman, J. Howard jilchrist, Miss Olive B. Houser, Mrs. H. M. Lewis, Mrs. George Gilbert, Helen Miss C. Howe, Henry S. Lewis, Mr. and Mrs. Leo Rich jilmore, Mrs. G. L. Howe, Mrs. Henry S. Little, Mrs. David M. jibson, Mrs. Kirkland H. Howe, Miss Katharine Littell, Miss Lucy jinn, Mrs. Edwin McPherson Loeffler, Mrs. C. M. Golden, Edward I. Howe, Mrs. Murray J. Longfellow, Estate Alice M. joodwin, Miss Frances Howe, M. A. DeWolfe Lord, Mrs. W. H. joulston, Leopold Morse Hunnewell, Mrs. Henry S. Loring, Miss Marjorie C. iray, Mrs. John Chipman Hunt, Mr. and Mrs. Albert W Lothrop, Mrs. Thornton K. "ray, Morris Hunt, Miss Abby W. Lothrop, Mrs. W. S. H. ray, Mrs. Russell Hutchins, Mrs. Edward W. Lowell, Miss Lucy Greene, Mrs. E. Farnham Luce, Stephen B. Greene, Edwin Farnham Ivers, Miss Ella F. Lucas, Mrs. William Henry rreene, Mrs. Kathleen T. Lyman, Arthur reenough, Mrs. Henry V. Herbert Jacobs, Miss May Lyman, ^reenslet, Ferris Lyon, Mrs. George Armstrong Grrifhth, Miss Josephine Jackson, Mr. and Mrs. James Srover, Mrs. Frances L. Jackson, Dr. Delbert L. Grozier, Mrs. E. A. Jack, Dr. Edwin E. Machin, Joseph Jack, Dr. Frederick L. Manning, Mr. and Mrs. Earl G Jackson, Miss Annie H. Hall, Gordon Rexford Mason, Miss Fanny P. Jackson, Dr. Henry Lewis S. Hall, Mrs. H. S. McCreary, Mrs. Jackson, Mrs. James, Sr. Hallowell, Mr. and Mrs. N. McGinley, Mrs. Holden Jackson, Miss Margaret Penrose McKee, Mrs. William L. Jamieson, Mrs. B., Hamlin, Miss Jenny L. J. Jr. McKibbin, Miss Emily W. Jaques, Miss H. L. Harmon, Miss Lilian McMichael, Mrs. L. G. Johnson, Arthur S. Merrill, H. S. Harriman, Mrs. Henry I. Mr. and Mrs. C. Johnson, Mrs. E. Harrington, Mrs. Francis B. J. Miller, Miss Mildred A. Johnson, Miss Edith Morse Harris, Miss Frances K. Milliken, Arthur N. Johnson, Mrs. Otis S. |j)Hartwell, Miss Mary A. Moir, Mrs. John Jones, Miss Margaret H. Harvey, Mrs. Elbert A. Moore, Mrs. Edward C. Harwood, Mrs. John H. Moors, Mr. and Mrs. Arthur W. Hatfield, Dr. and Mrs. Hugh K Kaffenburgh, Mr. and Mrs. Morey, Mrs. Edwin Morison, Samuel Eliot i Haughton, Miss Alison Albert W, Haughton, Mrs. M. G. Kaffenburgh, Mrs. Donald Morse, Miss J. G. Hawley, Mr. and Mrs. George Kaufman, M. B. Morse, Miss Leonice S. j Hayden, Mrs. Harold B. Keeler, Mrs. L. M. Morse, Miss Velma M. J Hayden, Sherman S. Kent, Mrs. Edward L. Morss, Mrs. Charles A. Mrs. Frederick S. Hayward, Miss Emily H. Kibrick, I. S. Moseley, Heilman, William C. King, Mrs. Henry P. Motley, Mrs. E. Preble Herman, Mrs. Joseph M. King, The Misses Mower, Penfield Hicks, Mrs. John Jay Kinsley, James D. Mumford, Mrs. George S. Higginson, Charles Kittredge, Edward H. Murdock, Mrs. Hareld Higginson, Mrs. F. L. Koshland, Mr. and Mrs. Higginson, Mrs. Henry L. Abraham (Continued on following page)

1937 Nash, F. H. Rogers, Mr. and Mrs. Henry M. Taintor, Mrs. Charles W. Neilson, Mrs. W. LaCoste Rogers, Mr. and Mrs. Howard L. Tapley, Miss Alice P. Nichols, Mrs. Henry G. Rosenthal, Mrs. Louis Tappan, Mrs. Frederick H. Nickerson, William E. Rosenau, Dr. M. J. Tappan, Miss Mary A. Nickerson, Mrs. William G. Rothwell, Bernard J. Taussig, F, W. Nourse, Miss Annie Endicott Rubenstein, Philip Thaw, Mrs. Edward Nutter, George R. Russell, Mr. and Mrs. H. B. Thayer, Mrs. William H. Thomas, Mrs. Giles W. Sachs, Prof. Paul Osgood, Miss Emily L. J. Thomas, Mrs. W. B. Sampson, Mrs. Robert deW. Thorndike, Albert Sampson, Mrs. W. R. Thoron, Mr. and Mrs. Ward Paine, Rev. George L. Sanger, Mrs. Charles R. Thorndike, Dr. Augustus Paine. R. T. 2d. Sanger, Mrs. George P. Thurber, Miss Elizabeth Palmer, Mrs. L. C. Saville, Mrs. William Thorp, Miss Alice A. Parker, Haven Sawyer, Mr. and Mrs. Henry B. Thorp, J. G. Parkman, Mrs. Henry Schneider, Miss Elizabeth Tozzer, Mr. and Mrs. Alfred M. Patton, James E. Scott, Mrs. Arnold Tower, Miss Florence E. Peabody, Mrs. W. Rodman Scranton, Mrs. Gilmore G. Tufts, Miss Ida H. Peabody, Mrs. Endicott Sears , Miss Annie L. Tuckerman, Mrs. L. S. Perera, G. L. Sears, Mrs. Francis B. Pfaelzer, Mrs. Franklin T. Sears, Mr. and Mrs. Henry F. Underwood, Miss Sophia A Pickman, Dudley L. Sears, Miss Mary C. Pickman, Edward Sears, Mrs. Montgomery M f Vaillant, Mrs. George W. Pierce, Mrs. Edgar Mrs. Richard Sears, Vaughan, Miss Bertha H. Pierce, Mrs. M. V. Richard D. Sears, Vaughan, Mrs. W. W. Pitman, Mrs. Harold Shaw, Miss Miriam Post, Mrs. John R. Sigourney, Miss Edith Potter, Mrs. John Briggs Silsbee, Mrs. George S. Wade, Mrs. Winthrop H. F. Potter, Mrs. Murray A. Slattery, Mrs. Charles Lewis Wadsworth, Mrs. Alexander Pratt, Mrs. Walter M. Slocum, William H. Wadsworth, Eliot Prendergast, Miss Julia C. Siocum, Mrs. Winfield S. Wallace, Charles F. Mrs. A. Putnam, Mrs. James J. Smith, Mr. and Mrs. F. Morton Walter, W. Putnam, Mrs. F. Delano Smith, Louis C. Ware, Henry Putnam, Mrs. George Smith, Mrs. S. Abbot Ware, Miss Mary Lee Putnam, Miss Louisa H. Sortwell, Mrs. Alvin F. Waring, Mrs. Guy Putnam, Miss Marian C. Sonnabend, A. M. Warren, Bentley W. Putnam, Mrs. William Lowell Spalding, Mr. and Mrs. Walter R .Warren, Mrs. George E. Spaulding, Miss Emma F. Watson, Mrs. Thomas R. Sprague, Mrs. Charles Webster, Mr. and Mrs. Edwin S. Robert S. Rackliffe, Mrs. John B. Stackpole, Miss Alice Weeks, Mr. and, Mrs. Rand, Mr. and Mrs. E. K. Stackpole, Mrs. Frederick D. Weidhorn, Leo Sohier Ranney, Miss Helen M. Stackpole, Mr. and Mrs. Welch, Mr. and Mrs. E. Rantoul, The Misses Pierpont L. Weld, Mrs. C. Minot Rantoul, Mrs. Neal Staniford, Mrs. Daniel Weston, Charles H. Ratshesky, Mr. and Mrs. A. C, Stanton, Miss Katharine Wetherbee, Miss Martha Raymond, Mr. and Mrs. Steinert, Mr. and Mrs. Alexander Wheelwright, A. W. Franklin F. Stevens, Moses T. Wheelwright, Miss Mary C. R. Remick, Mrs. Frank W. Stevenson, Mrs. Robert H. Jr. White, Miss Gertrude F. G. Rice, Miss Ellen P. Stone, Mrs. Galen L. Whitney, Mrs. Margaret Wilder, Mrs. Edward F. Richards, Mrs. J. L. Stone, Miss Katharine H. Richardson, Nicholas Streeter, Mrs. E. C. Winsor, Mrs. Frederick Richardson, Mrs. Charles F Sturgis, John H. Winsor, Mrs. Kennard Richardson, W. K. Sturgis, The Misses Williams, Moses Riley, Miss Mabel Louise Sumner, Mrs. Charles P. Willson, Donald B. Robb, Mrs. Russell Swain, Mrs. Howard T. Wood, Miss Charlotte Edith Christiana Roberts, Mrs. Coolidge S. Swift, Miss Lucy W. Woolley, Mrs. Robinson, Miss Katherine Wolcott, Mrs. Roger Rogers, Miss Bertha F. Taft, Edward A. Wrenn, Philip W.

Subscribers to Endowment Fund for the season 1929-30

Bancroft, Mrs. Hugh Harding, Emor H. Spaulding, Mrs. Huntley W. Dowse, Mrs. W. B. H. Hall, Mrs. Frederick G. Rochester, N. H. B. Fay, A. D. Willson, Miss Alice

1938 Estimated deficit for the season 1929-1930 $100,000.07 Subscriptions to date 85,735.60

Balance required to meet estimate 14,264.33

Endowment Fund 311,807.41 Endowment Fund, in memory of Henry L. Higginson 70,310.18 Endowment Fund, in memory of Richard G. and Ellen Sturgis Dixey 5,000.00 Endowment Fund, The Adele Wentworth Jones Trust Income dedicated to purposes other than running expenses 10,000.00

Subscriptions are applicable to deductions from the Federal Income Tax

Subscriptions to annual deficit and to the Endowment Fund should be sent to E. B. Dane, Treasurer, 6 Beacon Street, Boston, Mass.

A Practical Gift .... Why Not?

Something he can wear and enjoy and get some good out of. At Hew ins and Hollis' store are

practical gifts . . . gifts-to-wear . . . imported in large variety ... at a wide range of prices.

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1939 Spohr: Notturno for Wind Instruments and Janissaries Music,** Op. 34, November 15, 1929 343 Strauss: Interlude from " Intermezzo,"** Op. 72, October 18, 1929 104 "Till Eulenspiegel's Merry Pranks," Op. 28, November 8, 1929 288 Symphonia Domestica, Op. 53, November 15, 1929 .... 370 An Alpine Symphony, Op. 64, March 14, 1930 1462 "Don Juan," Tone Poem, Op. 20, April 25, 1930 1868

Stravinsky: Suite from "L'Oiseau de Feu," October 18, 1929 . 112 "Apollon Musagete," April 18, 1930 1739 Tchaikovsky: Symphony No. 6, B minor, "Pathetic," October

' 25, 1929 : . . 208 Ouverture Solennelle, 1812, December 27, 1929 761 Totjrnier: "Feerie," Prelude and Dance for harp (Bernard ZigheraI) with orchestra (first time with orchestra), December 20, 1929 708 Vivaldi: Concerto in D minor for orchestra, with organ (edited by Siloti), October 25, 1929 175 Wagner: A Faust Overture, January 24, 1930 1015 Prelude and "Liebestod" from "Tristan und Isolde," Febru- ary 28, 1930 1394

Walton: Overture, "Portsmouth Point," January 3, 1930 . . 847 Weber: Overture to "Euryanthe," December 13, 1929 .... 595 Overture to "Oberon," May 2, 1930 1899 Wetzler: Symphonic Dance in Basque Style, from the opera

"The Basque Venus," Op. 14, November 29, 1929 . . 470

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1941 SUMMARY The following composers were represented for the first time at these concerts: Fairchild, Gruenberg, Martelli, Pick-Mangiagalli, Tournier, Wetzler.

v Bach .... 3 Martelli 1 Bax .... 2 moussorgsky 1

* Beethoven . 6 Mozart . . . . y . . . 4

Bloch . . . 1 Pick-Mangiagelli . . . . 1

Borodin . . 1 Piston 1

Brahms . . 4 Prokofieff 2

Chadwick . 1 Ravel 4

Debussy . . 3 Respighi 2 Falla ^ De . 2 RiMSKY-KoRSAKOV . . . 2

Dukelsky . 1 Saint-Saens 2

Dvorak . . 1' •. Schumann . .

Eichheim . . 2 Sibelius . . . .*/. . . . 4 Fairchild 1 Spohr 1 Galliard . . 1 Strauss ...... 5

Gardner . . 1 Stravinsky 2

Glazounov . 3 Tchaikovsky . .k . . . 2

Goossens . . 1 Tournier . 1

Gruenberg . 2 Vivaldi 1

Handel . . 1' Wagner . . . . s . . . 2

Haydn . . . 2 Walton 1 Hill .... 1 Weber v . . . 2

JOSTEN . . . 1 Wetzler 1

Lazar . . . 1 Liszt .... V 88 LOEFFLER .... 1*

Bach's Organ Prelude and 1?ugue, orchestrated by Schonberg; Bax's Symphony No. 2; Haydn's Syitnphony in D major (with the Horn Call), and Sibelius's 6th Symphony » were each performed twice.

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1943 ORCHESTRAL WORKS PERFORMED FOR THE FIRST TIME ANYWHERE Bax: Symphony No. 2, E minor and C. Dukelsky: Symphony No. 2, D-flat major. Fairchild: Chants Negres. Gardner: "Broadway." Josten: "Jungle."

Lazar: Concerto Grosso, No. 1, for orchestra. Piston: Suite for Orchestra.

Tournier: "F£erie," Prelude and Dance, for harp and orchestra . 8

OTHER WORKS PERFORMED IN BOSTON FOR THE FIRST TIME Bach-Schonberg: Prelude and Fugue in E-flat major, for organ (arranged by A. Schonberg). Eichheim: "Java." "Burma." Goossens: Concerto for Double String"Orchestra. Gruenberg: "The Enchanted Isle." Jazz Suite. Haydn: Symphony, D major (with the Horn Call). Loeffler: Canticum Fratris Solis. Martelli: Assyrian Bas-Reliefs.

Pick-Mangiagalli : Prelude and Fugue. Prokofieff: Piano Concerto, No. 2, G minor, Op. 16. Ravel: Bolero.

Respighi : Feste Romane. Sibelius: Symphony No. 6. Spohr: Notturno for Wind Instruments. Strauss: Interlude from "Intermezzo." Wetzler: Symphonic Dance in Basque Style from "The Basque Venus" 17

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MikMUMyM 7iiii ;ii;uiiiUi|iU^iLWil^l^lMlMl^ 1945 WORKS PREVIOUSLY PERFORMED IN BOSTON, PLAYED FOR THE FIRST TIME AT THESE CONCERTS Debussy: "Martyrdom of Saint Sebastian" (as a whole, with solo and choral parts).

THE FOLLOWING ARTISTS HAVE APPEARED AS SOLOISTS THIS SEASON BuRGiN,t Richard, concert master (Sibelius's Violin Concerto),

February 28, 1930. Sketch . . 1362 ^ ^ Frijsh, Povla, soprano (Loeffler's "Canticum Fratris Solis**), January 3, 1930 845 Iturbi,* Jose, pianist (Liszt's Concerto in E-flat major, No. 1)

1929. . . . December 13, Sketch _ 636 Prokofieff, Serge, pianist (Prokofieff's Piano Concerto, G minor, No. 2**—first time in the United States), Janu- ary 31, 1930. Sketch 1108 Rabinoff,** Benno, violinist (Glazounov's Violin Concerto), January 17, 1930 929 Salmond,* Felix, violoncellist (Bloch's "Schelomo"), December 27, 1929 761 Sanroma, Jesus Maria, pianist ("Nights in the Gardens of Spain"), February 21, 1930. Sketch 1270 Schnabel, Artur, pianist (Beethoven's Piano Concerto, G major, No. 4), April 4, 1930. Sketch 1680 Thibaud, Jacques, violinist (Saint-Saens's Concerto in B minor, No. 3), November 29, 1929. Sketch 458 ZiGHERA,f* Bernard, harpist (Tournier's Prelude and Dance,

for harp with orchestra), December 20, 1929. Sketch . 708

Singers: Soprano, Povla Frijsh 1 Violinists: Richard Burgin,f Benno Rabinoff,** Jacques Thibaud 3 Pianists: Jose Iturbi,* Serge Prokofieff, Jesus Maria Sanroma, Artur Schnabel 4 Violoncellist: Felix Salmond 1 Harpist: Bernard Zigheraf _1 10

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1946 THE FOLLOWING HAVE ASSISTED IN PERFORMANCES

February 14, 15, 1930. Mme. Ritter-Ciampi,** soprano; Jean Macdonald, contralto, and the Radcliffe Choral Society, in Debussy's "La Damoiselle Elue." Mme. Ritter-Ciampi u and the Cecilia Society in Debussy's Le Martyr de Saint- Sebastien."* The Radcliffe Society trained by its conductor, G. Wallace Woodworth; the Cecilia by its conductor, Arthur Fiedler. j April 18, 1930. Albert Snow,! organist, Saint-Saens's^Symphony No. 3, C minor.

Fi t c h - B rya nt

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1947 GUEST CONDUCTORS BuRGiN,t Richard, conducted the concerts of November 29, 30, 1929: Rimsky-Korsakov, Suite from "Le Coq d'Or"; Borodin, Symphony No. 2, B minor; Saint-Saens, Violin Concerto, B minor, No. 3 (Jacques Thibaud); Wetzler, Symphonic Dance in Basque Style,** from "The Basque Venus." Eichheim, Henry, conducted his symphonic poems, "Java"** and "Burma,"** at the concerts of November 15, 16, 1929. Gardner, Samuel,* conducted his "Broadway" f on April 18, 19, 1930. Glazounov,** Alexander, conducted the concerts of January 17, 18, 1930: Glazounov's Symphony No. 6, Violin Concerto (Benno Rabinoff,** violinist), and "Stenka Razin." Goossens, Eugene, conducted the concerts of January 24, 25, 1930:

Wagner, a Faust Symphony; Schumann, Symphony No. 1, B-flat major; Goossens, Concertino for Double String Orches- tra**; Respighi, "Feste Romane."** Piston, * Walter, at the concerts of March 28, 29, 1930, conducted his lite for Orchestra.!

ENTR'ACTES AND EXCURSIONS Page Ashmead-Bartlett, E.: Opera in Moscow 809 Belaiev, V.rProkofieff intheU. S. S. R 1140

Berlioz, H. : Beethoven's Fourth Symphony . 792 Beethoven's Fifth Symphony 48 Calvocoressi, M. D.: Rimsky-Korsakov and Stassov 696

Daily Telegraph (London) : Gliere's Soviet Ballet, "The Red Poppy" . ... 814

Dent, E. J. : Arnold Bax 618

Evans, E. : Arnold Bax 870

Fox-Strangways, A. H. : The New System 546 Terminology 1860

Guiterman, A. : Traps (Poem) . 809

Hale, P. : Beethoven an d Goethe 10 Bolero, The 530 Brahms, The Man 1520 Brahms, The Youth of 1540 Criticism, A Note on 190 Galliard and Tosi 1430 Glazounov, with Borodin and Others 974

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OPEN EVENINGS. SUNDAYS AND HOLIDAYS CABLE ADDRESS "SYMFLO" 240 HUNTINGTON AVENUE PHONE KENMORE 2076

1949 Handel's Instrumentation 100 Saint-Saens 1756 Serenade and Aubade 1099 Trumpets of the 18th Century 1354 Volga Bargemen, Song of the 989

Kautz, John : Adolph Bottger 1063 Kerst: Beethoven and Performances 1854 Maine, Basil: Critics and the Amateur 1604

Mason, A. : Concerning Jazz 1620

Newman, E. : Berlioz Critic 62 Sitwell and Walton's "Facade" 854 Virtuous and the Virtuoso, The 128

Newmarch, R. : Sibelius 146

Parker, H. T. : Eichheim's "Burma" in New York 360

Rodzinski, A. : Jazz on the Symphony Programme 1290

Rowbotham, J. F. : Assyrian Music 1450

Trent, J. B. : The Zambra 1280

Vuillermoz, E. : ProkofiefTs Ballet, "Le Fils Prodigue" •. . . . 1114

INDEX TO SUNDRY REFERENCES AND FOOTNOTES Biographical (Men): A. iEsop, 1860; Alarc6n, P. de, 1150; Alexis, Tsar, 987; Allen, H. P., 850; Altchevsky, 428; Alva, Duke of, 10; Archbishop of Paris, 1206, 1237; Ashurbanipal, 1448; Ashurnazirbal, 1446. B. Bahr, H., 104; Balakirev, 980; Bargaglia, S., 98; Barnby, J., 1637; Bartolini, 1704; Belaiev, 936, 958; Beutler, 1712; Blow, J., 1637; Blumenfeld, F., 962; Blumenfeld, Sig., 962; Blumenfeld, St., 962; Boettger, A., 1064; Bono, J., 1819; Borodin, 978, 980; Bouilly, J. N., 1712; Breuning, S., 1702; Brodsky, A., 1370; Bruch, M., 210; Burleigh, H. T., 739. C. Cabezon, A. de, 1288; Camelford, 1637; Campotejar, Marquis, 1272; Castrucci, 102; Chadwick, G. W., 1824; Chabrier, E., 544; Christian Ludwig, 511, 1339; Ciampi, 1179; Clementi, 776; Constantine, Grand Duke, 212; Cooper, E., 428; Corder, F., 612; Corelli, A., 100; Cossel, 1544; Croft, W., 1636. D. Danfodio, 226; DeRibas, 1674; Despreaux, J. E., 1714; Diocletian, 1216; Dosifei, 679; Draghi, B., 1420. E. Ehrbar, 1508; Eichheim, M., 364; Elman, M., 972; Elyenovsky, N., 931; Esterhazy, N. J., 1259; Esterhazy, P. A., 1579; Eulenspiegel, 310. F. Frederick William the Second, 218. G. Gaveaux, P., 1716; Gawlikoski, 466; Geminiani, 94; George of Denmark, Prince, 1420; Gieseke,763; Gladstone, 1637; Gliere, 976; Gluck,259; Goossens, A., 1015; Goossens, E., 1015; Goossens, L., 1015; Gossec, 1820; Grieg, 210; Griepenkerl, 1632.

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1951 H. Haslinger, C., 1684; Hasselmans, A. J., 714; Hauptmann, 1659, 1698; Hazlitt, 1637; Heckel, W., 1348, 1464; Heller, R. (see Palmer), 1688; Hlavac, W. J., 944; Hofmannsthal, 104; Holzbauer, 778; Hrimely, 820; Hummel, 20.

I. Ibycus, 645; Ippolitov-Ivanov, 820.

J. Jackson, J. P., 1874; Jaques-Dalcroze, 186; Joseph, Emperor of Austria, 262. K. Kassberger, J., 104; Kautz, J., 1063; Khovansky Bros., 680; Klinger, 1926; Koenig, 1700; Kontski, A. de, 931; Kosheck, J., 1356; Koussevitzky, S., 134, 1848; Krahl, S., 1266; Kreisler, F., 856. L. Labarre, T., 714; Lamb, C, 1637; Langford, S., 190; Lenau, 1868; Leopold, Prince, 511, 1339; Lichnowsky, 786; Lobkowitz, 782, 790. M. Macaulay, 1369; Mahomet IV, 818; Marbach, G. O., 1030; Marcellianus* 1218; Marcellus, 1216; Marxen, E., 1546; Mayr, S., 1719; Miaskovsky, 976, 1124; Michellatti, 98; Molinari, 38; Mongini, 1458; Monn, G. M., 1820; Morrow, W., 1356; Mueller, W., 768; Murner, T., 292. N. Naderman, 714; Napier, C., 1758; Napoleon, 20; Noussane, H. de, 1272. O. Oppendorf, F., 786; Oscar L, 566; Otten, G. D., 560. P. Padilla, 528; Paer, F., 1719; Palmer, R. (see Heller), 1688; Perera, G., 882; Perkins, C. C, 1710; Peter the Great, 680; Peterborough, Earl of, 1438; Philip of Hesse, 175; Pilpay, 1860; Po Sein, 356; Prumier, A., 714; Prumier, A. C., 714; Pschorr, G., 1477. R. Razin, 986; Remenyi, E., 1548; Reynolds, Sir Joshua, 1637; Riera, 708; Ritter, 1179; Roqueplan, 202; Rousseau, H., 184; Rowlandson, T., 847. S. Salieri, 218; Sammartini, 1106; Samuels, 1466; Sarjent, 1358; Schenk, J., 766; Schikaneder, 763, 770; Schneevoight, G., 140; Schroeter, J. S., 1520; Schwind, M. V., 608; Scio, E., 1716; Scribe, E., 202; Sebastian, St., 1206, 1216, 1218; Seiffert, M., 96; Shestakovich, 976; Siegel, R., 186; Silcher, F., 1502; Siloti, A., 182; Smith, S., 91; Solar, De, 1714; Solomon, 800; Sorko, 818; Spazier, 1820; Spendiarev, 976; Stassov, V., 679, 706; Staub, V. H., 636; Steinberg, M., 1426; Stenhammer, W., 1380, 1590; Stoeckel, C., 1386; Suppe, F., 1500. T. Tchaikovsky, A., 208; Tchaikovsky, M., 210; Terezo, S., 530; Thayer, A. W., 1684; Theodore of Corsica, 1637; Thibaud, H. B., 460; Thibaud, J. C., 460; Thuille, L., 1870; Tiorba, 102; Tomaschek, J. W., 1856; Torelli, G., 98; Tosi, P., 344, 1436, 1444; Treitschke, F., 26. U. Urban, 1101. V. Verhulst, J. J. H., 560; Vines, R., 1274. W. Warlamov, 216; Werner, G. J., 1259; Whiteman, P., 856; Wieland, 762; Wittgenstein, P., 401; Wolfrum, P., 1346; Worcester, S., 1639; Worcester, S. M., 1639. X. Ximenes, Cardinal, 1280. Z. Zichy, G., 401; Zumpe, 1707. Upholsterin

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1952 Biographical (Women): A. Adamberger, A., 7; Allan, M., 1236; Amalie, Princess, 514; Anne of England, 1420; Aulnoy, M. C.

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1953 Campi, A^6», 1682; CSieay, H. yon, 395; Oari, J., 1660; Cleopatra, i i Cohen, H-, 628; Cofeon I . rioiie, 1198; C^uveffi, 532, 1767.

G. Gambara. V., 1206; Gerl, 768; OawunoT, Mme., 931; Grenvffle, L., 1156. 1288 r-uimari 1714, - Z;:i-r_^ir; " ^

r ."--i.ri^i. a . : :_ K. Karmalma Mme ^-zl KarsaYi^. 534 Zlieekhoffer, 16SS: Kilitxky, J.,

1 Lopokova. L-, 122: Lacy, Saint. 1220.

M. MacIeioTa, 122; MarieAntom^tte, 262; Mann«i«^ The, 276: Meek, Mme. v.. 220; Matter, S-, 614; Milder, IN . P., 1659, 1678. O. Qssana, Duchess of, 536.

? f ^rtJL M. ? 137S- P. Pdmsky-KorsakoT, Xadja, 1428; Bitter, C. 1179: Robinson, A., 1438;

trs., 1533: Schumann, 3., 133 134 153S; Schumann, M., 1069; Sealey. C, 1637; Strauss, P., 106, 368. -:~~ :~:: 1 : r:~. a. o3$.

~ _~--^- .". ?. ::;: j":L;.- _ Mrs ffleteler, L ... 470; Wieck. C. - - — = ^:j_iziir_z 1":: :r:es*fr. Z.. 1'

Mts::,ll J:?.:;- ; A-: sir : ; ; ;;-;:-; sation. 1102: Concertino, 94: - -^": ^ Ii-rrrizir-:: 11~2 J z: =~'-1t ::L:r zr~ r. _:"_!' ± :nn. PIo*imsoii,38- Gigae,li:^ Zini- 12 20. Xottarno, li02. Parthien,

c 1 - - :i Arlri-Ariz: .-. ::^ ;. ^>! : ^"r -_[ 31, 894: Bonrree. 1104. Can- z z-:z.r~.i. ±rA '.'.ztz^-z^ul^ ::: :'_:. i\_ ite, 1104. Dancing in Vienna, -"- "iiz::: t -jzltz.. : . c-SS. ri-:-i :::4 :;^r-. i::a h---! Malagueni 1914 M^^ Ihe 271 ifinnef 1296, 1S20T 1838. ssaeagna, 1104; Pwe, 35C

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GRACE HORDE'S GALLERIES Paintixigs—Mural Studies and Lithographs By Jose Cieme>te Orozco through May 10th rn Prints ^atercolouxs £46 STUART STREET AT DARTMOUTH Instruments: Aerophor, 1466; Alpenhorn, 1468; archlute, 102. Balaleika, Orches" tra, 146; Baron, 352; Basso Corno, 344; Bonang, 352; Buccina, 648; Buzine, 1356. Caisseclaire,71S:Chittarone,102: Cithern, 146; Clarion, 1356: Clavichord. 146; Cornu (Roman), 648. Demong, 352; Drums, 226. 228 [see "Reade,"

"Rowbotham," "The Emperor Jonas'", ; Dulcimer, 1448. Flicorno, 648; Flute, Cross-, and Flute-a-bec, 344. Gamalang, 352: Gender. 352: Gusla, 146; Gusli, 146, 448. Heckelphone-piccolo, 1348; Horn, bass, 344; Horn, Post, 344; Horns in Bach's time, 1344; Horns in Haydn's time. 1260. Janitzschan - Musik, 343. Kankles, 146; Kannel, 146; Kantale, 146; Kuakles, 146. Melo- phone, 1069. Oboe d'amore, 374; Orchestra of Women in 16th century, 1100. Pandero, 146; Panpipes, 718; Posthorn, 344. Raita, 1320: Recorder, 1208. Sistrum, 645. Tambour, 718; Tarogato, 1464: Tenoroon, 1470; Theorbo, 102; Triangle, 645; Tromba du Tirarsi, 1356; Trumpet ir> Bach's time. 1344; Tuba (Roman), 648. Viola da gamba, 102; Viola marina, 102; Violetta marina, 102; Violetta piccola, 102.

Legends and Folklore: .Ala, 1126. Beautv and the Beast. 2S6: Buslajev, 690. Fire Bird, The, 116. Hop o' My Thumb. 284. Katschei. 114. 118. Lolli, 1128. Sadko, 690: Sindbad, 694: Sleeping Beautv. The, 2S4. TiU Eulenspiegel, 292. Veles, 1126.

Soxgs : A. Aennchen v. Tharau, 1502: Afternoon, 1022: Ah! Perfido. 46, 16S2: Am Strande, 1069; Anathema of Fata Morgana, 1124: Appeal. The. 1015: As it fell upon a day, 1588; Asturiana, 1157; Aubepin, L'. 1450: A une Madone, 188. B. Ballad of Trees, A, 1824: Barberine. Song of, 1022: Brander's Sons, 1028: Burlatzkia, 989; Bylenin, 690. C. Cancion, 1157; Captive, The, 638: Chinoiserie, 1156. 1288: Christ 1st erstanden, 1079; Cloches, Les, 1182: CoLombes, 1156. 1288; Cowls, 1022: Cranes and Gnats, 1854; Curse, The, 1015. D. Deo Gratias, 884. E. Eastern Romance, 94S; Epigram, 1015. F. Fantoches, 1182: Festival Sons. 946: Foret de Gastine, 1450: Fortunio, Song of, 1022. G. Gaudeamus igitur, 1504; Grav-eved king. 1504. H. Hopak, SS0. I. Ich bau auf Gott, 600: Ich hor ein Voglein locken, 1066: In des Lebens Frulingstagen, 170S; Indian Serenade, 188; In my Beloved's Eyes, 1824; Invitation au vovage, 880. J. John Brown's Body, 944; John Peel. 1S52; Joto, 1157. K. Kyrie Eleison, SS6. L. Lament, 1124; Landesvater, 1502: Lowenbraut, 1069: Loreley. 1502. M. Mandoline, 1182; Many are the Lovely Roses, 1854: Marienlieder. 1312; Medeia, 1196; Meine Ruh'ist hin Wagner'. 1028: Melancholv, 1015: Melodie, 1124; Mulberry Tree, The, 1124; MusTque, La, 188. N. Xana, 1157; Xereid, 634. « O. Old Folks at Home, 728: Ocean. Thou Mishtv Monster. 1902: Our God. our Help, 1639. P. Pario moruno, El, 1157: Persian Idylls, 1022: Philomel, 1015: Phvdile. 1196; Polo, 1157; Prose Lyrics, 1022; Psalms 137 and 114. 880.

J Mrs. Ribert Nathan Gram No. 21 Joy Street, Boston

An old house on the top of Beacon Hill overlooking the new Capitoline Garden contains ANTIQUES from Italy, France, England, Spain and other countries. The collection includes

FURNITURE OF ALL PERIODS RICH BROCADES AND HANGINGS OLD PEWTER, WROUGHT IRON, CARVED WOOD, PICTURES SMALL OBJECTS SUITABLE FOR GIFTS

1955 R. Resurrexi, 886; Rois dont vous vantez la Gloire, 880; Romance, 1182; Rosary, The, 1864; Rose, La, 1450. S. Salve Regina, 92; Seguidille, 1156, 1288; Seguidilla murciana, 1157; Silversky, 946; Song of the Flea, 1618; Song Without Words, 1135; Stormy Petrel, The, 1674; Stornelli-Toscani, 524; Strophes Petrarque, 948; Sunlight Streaming, 1124; Sur la Reine de Navarre, 1450; Swing low, sweet chariot, 739. T. Tea Time, 1015; Temyra, 1854; Thou art to me, 1824; Thoughts of Sunlight, 1124; Tramonto, II, 655; Tritons, 852. U. Ugly Duckling, The, 1110. V. Vanneur de Ble, 1450; Voelzhskia, 989; Vogelfanger bin ich, ja, 770; Volga Ballad of the, 990; Volga Bargemen's Song, 990. W. Was kommt dort von der Hoh', 1504; Wehen mir Lufte Run', 600; When the Flowers of Hope, 1674; Whirligig, 634; Widmung, 1069; Winds, The, 852; Wirhat- tengebauet, 1502. Z. Zu Strassburg, 1502.

Opeka House and Theatre : A. Abbe de l'Epee, 1714; Abraham and Isaac, 188; Abu Hassan, 1682; Acis and Galatea, 259; Alceste, 1698; Almanzor, 1194; Amor Brujo, El, 1154, 1156, 1157; Amour conjugal, 1719; Ancetre, L', 1764; Angel of Fire, 1140; Apollo and Daphne, 1424; Apollo e Dafne, 188; Apotheke, Der, 354; Ariadne, 1472; Ariane et Barbe Bleue, 1476; Armide, 1698; Ascanio, 1764; As You Like It, 485; Atenaide, 1819; Auberge Rouge, 1156, 1288. B. Barbares, Les, 1788; Barber of Seville, 1099; Basie e Bote, 30; Baskische Venus, Die, 470; Belfagor, 655; Belle Helene, 204, 1760; Benvenuto Cellini, 638; Berceuse, La, 28; Between Dusk and Dawn, 632; Blessed Damozel, The, 1198; Boccaccio, 1500; Boite a Joujoux, 1198; Bonhomme Jadis, 186; Boris Gudunov, 682, 702; Botruocephale, 1770; Boyarina vera Sheloga, 436; Bride of the Gods, 287, 314; Brutus, 1424; Burgunde, La, 1464; Burlador de Sevilla, 1876; Burma, 352. C. Calypso and Telemachus, 1424; Carillon, II Magico, 30; Carmen, 1179; Chanson de Roland, 1450; Children's Tales, 632; Chinese Legend, 366; Chout, 1112, 1136, 1142, 1144; Christmas Eve, 436; Chrysis, 823; Cimarosiana, 1740; Circe, 1426; Combattimento di Tancredi e Clorinda, 188; Comedie de celui qui epousa une femme muette, 280, 1312; Coq d'Or, 427; Coriolanus, 788; Corregidor, 1150; Cos! fan tutte, 259, 780; Crampe des Ecrivains, 1770. D. Dame Libellule, 524; Dance in Place Congo, 430; Daniel Jazz, 280; Daphnis et Chloe, 716; Dea Risorta Danae, 1819, 1179; Decius and Paulina, 1426; Dejanire, 1764; Demoiselle-Paysanne, 1848; Deserted Islands, 1108; Deux Aveugles de Tolede, 532; Deux Distraits, 931; Deux Journees, 1674, 1712; Don Giovanni, 259, 262, 266, 268, 782, 1180, 1770; Dorfbarbier, Der, 766. E. East of Suez, 1020; Ecole en Crinolin, 1020; Ecolier, L', 186; Egmont, 7, 28, 1076; Elektra, 1472; Emperor Jones, 224; Enfant Prodigue, 1194, 1196; Eroe Cinese, 1819; Escape from the Seraglio, 1024; Etoile du Nord, 1179; Eulen- spiegel, 310; Euryanthe, 558, 595; Ezio, 1819. F. Facade, 852; Facheux, Les, 1120; Fair at Sorotchintzy, 682; Fanchon la Vielleuse, 1714; Fatinitza, 1500; Faust (Spohr's), 346; Feast, The, 1108; Fest auf Solhaug, 1382, 1590; Fidelio, 26, 44, 268, 784, 788, 1690; Fils Prodigue, 1114; Flamenca, La, 538; Flying Dutchman, 1038, 1042; Fortunio, 1156, 1288; Four Seasons, The, 952; Frau ohne Schatten, 116; Freischuetz, Der, 595, 1016, 1034; Frogskin, 632. G. Gabriella di Vergi, 1760; Gambler, The, 1112; Geschoepfe d. Prometheus,

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1956 ;

1704; Giant, The, 1108; Gondla, 1840; Griselda, 176; Guenther v. Schwarzburg, 776; Guide- et Ginevra, 1069; Guntram, 318, 1474. H. Habanera, La, 1916; Hamlet (opera), 1179; Hannele, 1266; Harlequin Sorcerer, 1424; Henri IV, 1356; Henry VIII, 1764, 1784; Herr Dandolo, 186. I. Idomeneo, 214; Incoronazion di Poppea, 188; Intermezzo, 104, 370; Iphigenia in Tauris, 1698; Iphigenie, 1068; Isola disabitata, 1819. J. Janie, 186; Jessonda, 346; Jezabel, 798; Judith, 1020, 1034; Julius Caesar (Buckingham's), 1422; Jumeaux di Bergame, 186; Jupiter and Europa, 1424. K. Katschei the Immortal, 112, 436, 940; Khamma, 1236; King Christian II, 1387, 1596; King Lear, 700; King of the Jews, 952; Kleopatra, 823; Komoedi- anten, 823; Kuan Yiu, 354. L. Lachtaune, Die, 1150; Laura, 1156, 1288; Legend of Joseph, 1472, 1748; Leonora, 1719; Leonore, 1690; Life's a Dream, 1285; Lohengrin, 268, 1179, 1790, 1792; Love for Three Oranges, 24, 1136, 1140, 1142, 1144; Lulu, 763; Lysistrata, 823. M. Madama Butterfly, 816; Maddelena, 1110; Magic Flute, 368 (788, see Mysteres d'lsis), 1180; Maid of Pskov, 436, 704; Ma Mere l'Oye, 282; Marcella, 1156; Margitta, 1150; Marianne, 1179; Mariage de Figaro, 823; Martyrdom of Saint Sebastian, 1204, 1208; Masaniello, 1674 {see Muette de Portici, 532); Midas, 1428; Mignon, 1179; Mlada, 112, 436, 440, 446; Moon, My Shadow and I, 366; Moses, 1069; Mozart and Salieri, 436. N. Natale di Giova, 1819; Natoma, 1156, 1288; Necromancer, The, 1424; Nightingale, The, 1742; Night in May, 436; Norma, 1674; Nozze di Figaro, 262, 266, 276 (see Mariage di Figaro). O. Ode, 1739; GEdipus, 823, 1424; Oiseau de Feu, 112, 1740; Onkel Dazumals, 186; Oreste e Pylade, 1420; Oresteia, 960; Orfeo, 188; Orlando, 102. P. Pan and Svrinx, 1424; Pantagruel, 714; Pan Voya voda, 436; Par les Bois, 186; Parsifal," 268, 1239, 1672; Pas d'Acier, 1112, 1136; Paul et Virginie, 1179; Pelleas et Melisande, 862; Petrouchka, 124; Phoebus and Pan, 1026; Phryne, 1764; Pierre le Grand, 1714; Pisanella, La, 1204; Polichinelles, 1272; Preciosa, 532; Prince Igor, 442, 446, 458, 700, 952, 980, 1130; Puritani, I., 1179. Q. Quo Vadis, 1156, 1288. R. Rape of Proserpine, 1424; Ratcliffe, 982; Raymonda, 952; Red Poppy 810, 814; Renard, Le, 1120; Re Pastore, 1819; Respect pour nous, 186; Retablo di Maese Pedro, 1157; Rheingold, 1476, 1670; Richter v. Grenada, 1150; Ring d. Niblungen, 554; Riquet a la Houppe, 186; Rivals (Chinese), 366; Roi Apepi, 1770; Rosamunde, 596; Rosenkavalier, Der, 1472, 1742; Royal Chase, The, 1424; Ruins of Athens, 1704; Ruses d' Amour, 952. S. Sacre du Printemps, 1752; Sadko, 436, 696; Sakach-Ssenem, 823; Salome (play), 952, opera, 1464, 1472; Samson et Dalila, 1762; Servilia, 436; Sieben Raben, 608; Siegfried, 1672; Skyscrapers, 1300; Slave Girl, The, 634; Snow Maiden, The, 436; Spiegel v. Arkadien, 1678; Sultan of Zanzibar, 931; Sumitra, 30. T. Tale of the Invisible City of Kitezh and the Maiden Fevronia, 436; Tale of Tsar Saltana, 436; Tannhaeuser, 534, 1079, 1518; Three-Cornered Hat, 1150; Thyl Eulenspiegel, 308, 310; Till Eulenspiegel, 308, 310 {see Eulenspiegel) Timbre d' Argent, 1762; Tirfing, 1382, 1590; Tristan u. Isolde, 134, 862, 1464; Truth about the Russian Dancers, 632; Tsar's Bride, The, 436, 438; Tschan- Hai-Tang, 823. U. Undina, 1110. V. Vepres Siciliennes, 532; Violon maudit, 186.

^Interior decorators

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20 NEWBURY STREET BOSTON

1957 W. Walkuere, Die, 1476; William Tell (play), 7, opera, 558, 1468. X. Xerxes, 188. Y. Yellow Mask, 1850; Yvonne, 1848. Z. Zampa, 1518; Zephyr et Flore, 1842.

Miscellaneous : A. "Anstand," 1259, 1579; "Auf den Anstand," 1259, 1579. B. Bargemen, Volga, 989; Basso corno, 344; Bolero, origin of word, 532; Bylenia, 690. C. Cante Andaluz and cante bondo, 1284; "China," 814; Corno alto, 344; Cossacks-Saporoger, 818. D. Dama-juanas, 1280; David's Serment des Horaces," 1116; Debussy's Christian names, 1180. F. Finnish temperament, 147; Flamenco, character of, 538. G. Generalife, 1272; Gypsies in Spain, 1282. H. Handel's London house, 91; Hogarth's "Enraged Musician," 102. J. Jazz, 1290, 1620; Klinger's Prometheus Unbound, 1926. L. Laideron, 284; Leylas, 1282. M. Masonry and Mozart, 774; Moriscos, 1282. P. Pagode, 284; Portsmouth Point, 847-8; Pwe, 358. R. Ramla, 1282; Ranz des vaches, 1468; Reynolds, Sir Joshua, picture of Lord Ligonier, 1637. S. Saint Anne's church in London, 1637; Samira, 1280; Saporeger Cossacks, 818; "Schelmenweise," 270; Scythia, 1120. T. Tourisme of Germans, 1666. V. Vienna, Dancing in, 264; Volga bargemen, 989. W. Wagner's lodgings in Paris, 1026; Wardour Street in London 1637. Z. Zamara, 1282; Zambra, 1280; Zhar-Ptitsa, 116. Critical and Literary:*

A. Academy, The, St. Saens's Sym. No. 3, 1788. .Esop's Fables, 1860. Aldrich, R., Strauss's Sym. Domestica 376, 382. Allgem.-Mus.-Zt., Beethoven's Sym. No. 4, 790. Ambros, Beethoven, Sym. No. 6, 1676. Annunzio, St. Sebastian, 1206. Apfel, A., Mozart, Sym. E-flat, 274. Appel, R. G., Respighi's Roman Festivals, 1079. Apthorp, Beethoven, Sym. No. 3, 1516; p. c. No. 4, 1688; Brahms, Sym. No. 1, 1924; Schumann, Sym. No. 2, 562; Strauss, "Till," 290. Anim, B. v., Beethoven and Goethe, 18. Arnold, M., translator, 882. Athenoeum, Saint-Saens, Sym. No. 3, 1790. Athenaeus, quoted, about music, 1106.

B. Bach, J. S., Letter of dedication concertos, 512. Backa, E., Till Eulenspiegel, 314. Banville, T., and music, 202. Barber, H. H., text for E. Goossens, 1024. Baretti, Spanish-English Dictionary, 1280. Barry, C. A., translator. Bax, his Sym. No. 2, 610. Beckford, W., The Bolero, 536. Beethoven, on his Sym. No. 5, 46; Sym. No. 6, 1662, 1672; p. c. No. 4, 1687; "Egmont" Ov., 32; "Fidelio'" 1608, 1704; Goethe, 12; on piano playing, 1854. Belaiev, Prokofieff, 1140. Benedict, J., "Euryanthe" Ov., 604. Bennett, A., quoted, 652. Berlioz,

*P. C. —piano concerto; V. C.—violin concerto; Sym. —Symphony.

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1958 Beethoven, Sym. No. 4, 792; Sym. No. 5, 48; "Fidelio," 1718, 1721; Gaveaux, 1718; Saint-Saens, 1760. Bezsonov, Sadko, 694. Blackburn, V., Tchaikovsky, Sym. No. 6, 230; Wagner in London, 1048. Blanchard, Wagner's "Columbus" Ov., 1032. Blasis, The Bolero, 530. Bloch, on his own music, 798. Boccaccio ("Euryanthe" story), 595. Boesendorfer, Liszt, p. c. No. 1, 644; Boettger, Till Eulenspiegel, 317. Boettger, A., poem, and Schumann's Sym. No. 1, 1062. Bonavia, F., Stravinsky's "Apollo," 1742. Bonnerot, Saint-Saens, 1799. Borodin, on his Sym. No. 2, 442. Borowski, F., Brahms, Sym. No. 3, 1514; translator, 1208. Brahms, on his Academic Ov., 1500; his Svm. No. 1, 1920; Sym. No. 2, 1552; No. 3, 1508; on his youth, 1542. Brenet, "Serenades, 1102. Brentano, B. v., Beethoven and Goethe, 12, 18. Brooks, C. T., translator, 1044. Broune, Sir T., on women, 1538. Bruneau, on Belaiev, 936, 958; on Ravel's "Daphnis et Chloe," 720. Buelow, Beethoven, Leonore Ov., 1707; Brahms, Sym. No. 2, 1558; Saint-Saens, Sym. No. 3, 1760; on Schindler, 46; A. Topp, 638. Bulliet H. on H. Rousseau, 184. Burleigh, Dvorak's "New World" Svm., 739. Burnev, C, Handel Festival, 1358; Vivaldi, 178. Burton, R. F., Negro music, 729; Sindbad, 696. Byron, The Bolero, 534. C. Caine, H., "Blessed Damozel," 1182. Calderon, E., Spanish; Dancing, 546.

Calvocoressi, Glazounov, 974; Rimsky-Korsakov and Stassov, 696. - Canning, G., quoted, 1500. Caplet, "St. Sebastian," 1220. Cardus, N., Langford, 192. Carraud, G., on Debussy, 1198= Carse, Strauss and orchestration, 1477; Trumpets, 1362. Castiglione, quoted, female wood-wind, 1100. Caxton, tr. Golden Legend, 1218. Chabrier, Spanish Dancing, 544. Chezy, H. v., Librettist, 596. Chorley, Schumann, 1078. Christian Science Monitor, Prokofieff's "Fils Prodigue," 1114. Chrvsander, Handel and Galliard, 1420. Clementi, Mozart, 776. Cocteau, Sacre du Printemps, 1752. Cceuroy's "Appels d'Orphee," 200. Costar, Thyl Eulenspiegel, 310. Courtney, Ecclesiastes, 806. Cummins, Handel's London house, 91. Cunningham, Handel's London house, 91. Czerny, "Egmont," 7. Czerwinski, Bolero, 530. D. Daily News, Strauss, Sym. Domestica, 382. Daily Telegraph, De Falla, 1152; Respighi, Pines of Rome, 651; Walton's Facade, 852. Dante, quoted, 794. Debussy, on his "Saint Sebastian," 1206, 1236. De Falla, on his "Nights in Spain," 1274, 1278. Deiters, Brahms, Sym. No. 2, 1554. Deldevez, Haydn Sym. (horn call), 1264, 1584. Dent, E. J., Bax, 609. Diaghilev, Dukelsky, 1854; Kovanstchina, 682. Doerffel, Brahms, Sym. No. 2, 1559. Dole, translator, 987. Downey, F., "The Grande Turke" quoted, 343. Dresel, O., Schumann, Sym. No. 2, 562. Dukelskv, about himself, 1836, 1842. Durand, J., "Daphnis et Chloe," 716, 724; "St. Sebastian," 1237. Dwight, Brahms, Sym. No. 1, 1922; Sym. No. 2, 1558; Liszt, p. c. No. 1, 640; "Magic Flute" in Boston, 778. Schumann, Sym. No. 1, 1075; A. Topp, 640; Wagner's Faust Ov., 1054.

E. Ecclesiastes, 802, 806. Eichborn, H. L., Clarinblasen, etc., 1360. Eichheim, on "Burma" and "Java," 350, 358. Eliot, G., Rev. Mr. Barton, 212. Ellis, H., Spanish Dancing, 538, 546. Erb, Brahms, Sym. No. 2, 1554. Euripides, 806. Evans, E., Bax, 614.

F. Fairchild, B., his Chants Negres, 526. Faminzin, The Gusli, 146. Felber, R., Strauss's "Intermezzo," 104. Fenelon and music, 200. Figaro (Berlin), Wagner, Faust Ov., 1034. Finck, H. T., Strauss, Alpine Sym., 1474, 1476. Flodin, critic, 151. Ford, Spanish Dancing, 540; women of Malaga, 1914. Forkel, Bach, 1632. Forsyth, C, Old Trumpet Music, 1360, 1362; William Tell Ov., 1470. Fowler, "If Wishes Were Horses," 1862, 1866. Francis d'Assisi, Hymn of the Sun, 882. Franc isque-Michel, Basque country, 482. Freimuthigen, Beethoven, Leonore Ov., 1710. Friedenthal, Negro music, 730. Fuller, T., Duke of Alva, 16. Fuller-Maitland, Bach's Concertos, 516,518.

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1959 G. Galliard, Tosi, 1432. Galpin, Bach's Trumpets, 1356, 1632. Gautier,|T., Spanish Dancing, 546. Gautier de Coinsi, Basque Venus, 472. Gerber, Galliard, 1410, 1426; Mozart's Syms., 270; Vivaldi, 176. Germ, The, Blessed Damozel, 1180. Gevaert, Trumpeters, 1360. Gide, A., Congo music, 730. Gifford, transl. Juvenal, 1758. Gilman, Dvorak, Sym. New World, 734; Loeffler's Hymn of the Sun, 884; Respighi, Pines of Rome, 650, 652; Sibelius, Sym. No. 6, 1384, 1590. Glazounov in an interview, 974. Goethe, quoted, 1306. Goldoni, Vivaldi, 176. Goossens, on his critics, 1076. Gounod, Cesar Franck, 1792; Saint-Saens, 1760, 1792. Gray, C., "St. Sebastian," 1239. Grenerin, The Theorbo, 104. Gretry, Gaveaux, 1714. Griepenkerl, Bach's "St. Anne's" Fugue, 1632. Grove, L., Fandango, 476; Malaguena, 1914. Grove's Diet., Glazounov, 946.

H. Hadley, A. T., Sibelius, 1388, 1590. Hanslick, Beethoven, Sym. No. 3, 1678; Brahms, Sym. No. 2, 1554; No. 3, 1514; Liszt, p. c. No. 1, 644; Saint- Saens, 1790. Hamilton, Habanera, 1916. Harper, Portsmouth Point, 848. Hawkins, J., Theorbo, 102; Vivaldi, 180. Haydn, tells of Mrs. Schroeter, 1520. Hayem, Don Juanisme, 1872. Heller, J. G., Gruenberg's Jazz Suite, 1307. Herodotus, Scythians, 1130. Herriot, E., "Beethoven," 204. Hippeau, Saint- Saens, 1784. Hoby, translator, 1100. Hoffmann, E. T. A., Mozart, Sym. E-flat, 274. Hole, Sindbad, 696. Hood, T., Bolero, 532. Hopkins, R. Heller, 1690. Horace quoted, 48. Hueffer, Francis translator correspondence Liszt, Wagner, 1036. Hugo, V., "Success," 230. Hughes, Rolland's "Beethoven," 206.

I. Imbert, Brahms, Sym. No. 2, 1557; Saint-Saens, 1762. Indy, V. d', Beethoven, Sym. No. 6, 1664; "Fidelio," 1719. Ivanov, Borodin, Sym. No. 2, 444.

J. Jackson, J. P., translator, 1874. Jahn, O., Mozart and Hofdaemmel, 768; "Magic Flute," 772. Jahns, F. W., "Euryanthe," 604. Jean-Aubrey, DeFalla, 1272, 1286. Joachim, Brahms, Sym. No. 3, 1516. Johnson, Dr., quoted, 1758. Johnstone, G. H., translator, 473. Joncieres, Brahms, Sym. No. 2, 1557. Juvenal quoted, 1756.

K. Kahn, G., Saint-Saens, 1766. Kalbeck, Brahms, Sym. No. 1, 1920; Sym. No. 3, 1510, 1516; Academic Ov., 1500. Kalevala, 146. Kanteletar, 141. Karenin, Rimsky-Korsakov, 698. Kashkin, with Tchaikovsky, 212, 220. Kastner, G., Serenade, 1100. Kautz, J., Boettger the poet, 1063. Kelly, E. S., Strauss, Alpine Sym., 1467. Kelly, M., Dancing in Vienna, 262. Kipling, quoted, 1032. Klatte, Strauss, "Till," 296; Sym. Domestica, 382. Kolle, H., Rousseau (H), the painter, 184. Koechlin, "Saint Sebastian," 1239. Koheleth, 806. Krehbiel, Dvorak, Sym. "New World," 726; Haydn's Love in London, 1520; "Magic Flute," 775; "Till Eulenspiegel," 290. Kuhac, Carinthian Folk Songs, 1672, Kullak, Beethoven, p. c. No. 4, 1684.

L. Laforgue, J., Pan and Syrinx, 720. Lampe, De Cymbalis, 645. Lappenberg, Till Eulenspiegel, 312. Laube, Wagner's "Columbus" Ov., 1032.. Lavoix, H., Jr., "Magic Flute," 774; Trumpets, 1362. Lazare, Diet, of Paris Streets, 1026. Lenau, "Don Juan," 1870. Leopardi, 806. Lewisohn, I., the Pwe, 356. Liebich, Debussy, 1192. Liszt, Borodin, 450; his p. c. No. 1, 641; on percussion instruments, 642; Clara Schumann, 136; Wagner's Faust Ov., 1036 et seq. Litzmann, Schumann, Sym. No. 1, 1058. Longfellow, "Hiawatha," 739; "Hyperion," 1504. Longus, Daphnis and Chloe, 720. Ludwig, C, German- English Diet., 1579.

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1960 M. McClintock, Debussy's Saint Sebastian, 1236. MacDowell, the virtuoso arope dancer, 1550. Mahillon, Javanese Instruments, 352; Trumpets, 1362; Violetta marina, 162. Mahler, Leonore Ov., 1707; "Magic Flute," 770. Mahomet IV., Letter to the Cossacks, 819. Malayan Song, A, 350. Malherbe, Saint-Saens, 1782. Martelli, His Assyrian Bas-Reliefs, 1446. Mason, W., Schumann, Svm. No. 1, 1075. Mattheson, Serenades, 1104. Mauke, Strauss, Don Juan, 1876; Till Eulenspiegel, 294. May, F., Brahms, Sym. No. 2, 1559; Sym. No. 3, 1508. Melville, H., on Ecclesiastes. Mendelssohn, Bettina and Goethe, 20; Schumann, Sym. No. 2, 564. Merimee, Venus dTlle, 472. Molinari, Vivaldi, 176. Montague, C. E., The Critic, 196. Montague-Nathan, Oiseau de Feu, 114, 120. Montreuil, "Euryanthe," 596. Moore, T., The Ring (Venus dTlle), 472. Mooser, St. Petersburg Conservatory, 942. Morales, Vifies, 1274. Mottl, Bach's Trumpets, 1346; Leonore Ov., 1706. Mozart, on his poverty, 260; his "Night Music," 1106; on Holzbauer, 776; on Masonry, 772. Murner, Till Eulenspiegel, 294. Musical Times, Glazounov, 946; St. Anne's Tune, 1636. Musical World, Schumann's music, 1070; Wagner, 1069. Musik, Strauss, Sym. Domestica, 378.

N. Neitzel, Saint-Saens, v. c. No. 3, 468. Nerval, Music, 200. Neumann. Saint-Saens, Sym. No. 3, 1790. Newman, E., Berlioz, critic, 62; "Facade," 854; Langford, 190; "Pines of Rome," 651; Strauss, Sym. Domestica, 390. Newmarch, R., "Coq d'or," 432; Glazounov, 946; Sibelius, 146, v. c, 1368, Niemann, Brahms, the man, 1528 et seq., Brahms, Academic Ov., 1506. Notte- bohm, Beethoven, Sym. No. 4, 782. Nouvelles Litteraires, Prokofieff's "Fils Prodigue," 1116.

O. OdeU, G. C. D., "Fidelio" in New York, 1712; "Magic Flute" in New York, 780. Odyssey, 694. "Olympe de Cleves" (Dumas) quoted, 1716. Omar Khayyam, 806. Ossovsky, Glazounov, 931. Ovid, Bucina, 648; Pan and Syrinx, 718. Oxford and Cambridge Magazine, Blessed Damozel, 1182.

P. Pall Mall Gazette, Wagner, "Columbus" Ov., 1032. Pantachantra, 1860. Parker, H. T., Eichheim's "Burma," 360. Parry Bach concertos, 1354; ; Fugue, 1634; Vivaldi, 180; Wagner's "Ring," 554. Parville, Till Eulenspiegel, 310. Pater, Mona Lisa, 196. Perrault, Mother Goose, 284. Pierne, Trumpets (Bach\ 1362. Pirro, Bach, 1632. Piston, on his Suite, 1588. Planche, Der Freischuetz, 1904; Oberon, 1904. Plotinus, Fire, the perfect form, 38. Poe, Masque of Red Death, 224; The Raven, 1182. Poiree, F major, pastoral key, 1670. Pougin, Brahms, Svm. No. 2, 1559. Praetorius, Chittarone, 102; Triangle, 645. Prod'homme, Berlioz, 638; T. V. Brunsvik, 784. Prokofieff, in an interview 1120. Prout, Bach's trumpets, 1354. Prunieres, on Ravel's Bolero, 528. Pushkin, "Coq d'Or," 427.

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1961 R. Ralston, Fire Bird, The, 116; Katschei, 118. Ravel, his "Daphnis et ChloS/' 722. Reade, W. W., Drums, African, 226. Red Riding Hood, 816. Reimann, Brahms, Sym. No. 2, 1554. Reinhold, Bylenia, 690. Reimann, Brahms, Sym. No. 1, 1926; Sym. No. 3, 1518. Ries, Beethoven Sym. No. 4, 796; Sym. No. 5, 46; Sym. No. 6, 1678. Riesseman, Khovanstchina, 680. Rimsky- Korsakov, Glazounov, 932; Sadko, 704. Ritter, W., Dvorak's New World Sym., 732. Riviere, Debussy's "La Mer," 38. Rolland, Beethoven, 204; Handel, 92; Saint-Saens, 1786. Rosenfeld, Sibelius, Sym. No. 2, 144; in general, 1392, 1602. Rossini, "Magic Flute," 772. Rousseau, Serenades, 1100. Rowbotham, Assyrian music, 1450; drums, 226; Pan and Syrinx, 718. Rubinstein, Beethoven, Syms. 5 and 6, 1678; on music, 554. Runciman, Mozart, 266. Rybak, Dvorak, Sym. New World, 755.

S. Saint-Saens, Ov. Magic Flute, 780; Sym. No. 3, 1792; his books, 1770 Djamileh, 1778; C. Franck, 772. Sala, Hogarth (Handel), 102. Salillas, The Flamenco, 538; Spanish Dancing, 546. Samuel, 2d Chap., Hebrew instruments 645. Sand, G., and music, 202. Sarrasin, translator of Rossetti, 1182 Schindler, A., Beethoven, 18, 46, 55; Sym. No. 5, 46; Leonore Ov., 1704 Schindler, K., Saint Sebastian, 1216; Volga Bargemen's Song, 989. Schloezer Prokofieff, 1108. Schoelcher, Handel, 92. Scholz, B., Brahms, Academic Ov. 1500. Schultes, Till Eulenspiegel, 317. Schumann, C, Brahms, Sym. No. 2 1552; Schumann's Sym. No. 1, 1058. Schumann, R., Brahms-Liszt, 134 Clara's playing, 1066; on his health, 557; Joachim, 134; Wagner and Beethoven Sym. 9, 136; his own Sym. No. 1, 1036; Sym. No. 2, 560; Ov. Magic Flute, 780. his death, 557. Schure, Saint-Saens, 1782. Schwerik, Dvorak, Sym. New World, 735. Seghers, Saint-Saens, 1799. Segur, Joseph II and Marie Antoi- nette, 262. Servieres, Saint-Saens, 1799; Wagner, 1030. Shakespeare quoted (Iago), 1518. Shaw, G. B., Don Juan, 1872. Shelley, quoted, 230. Ship- wrecked Mariner, The, 694. Sibelius, on his life, 1388, 1598; Sym. No. 6, 1382, 1592. Signale, Conductors in St. Petersburg, 942. Siloti, Tchaikovsky, 218. Simrock, Till Eulenspiegel, 316. Smith, T., Sir Joshua Reynolds, 1637. Sonneck, T. von Brunsvik, 84. Spazier, minuet, 1296. Specht, Wagner's "Columbus" Ov., 1032. Spitta, Bach, concertos, 514, 518, 1350. Squire, Stravinsky's Apollon, 1746. Stassov, and Borodin, 438; Khovanstchina, 679, Steinitzer, Strauss, Alpine Sym., 1476. Strauss, Till Eulenspiegel, 294; Sym. Domestica, 370. Studien f. Tonkuenstler, Mozart, 768; Mozart's death, 266. Sturm Lehr u. Erbauungs Buch, 1666. Swift, quoted, 1438.

T. Taylor, T., translator, 38. Tchaikovsky, on Bruch, 210; posthumous work, 960; Sym. No. 6, 208. Tenger, T. v. Brunsvik, 784. Terence, quoted, 1306. Terry, Bach, Clavieruebung, 1632; Bach, concertos, 1844. Thayer, Beethoven, Sym. No. 4, 7S6, 790. Thousand Nights and a Night, 224. Tieck and Music,

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200. Tiersot, Javanese music, 352. Times (London), Fils Prodigue (Troko- fieff), 1118; Apollon (Stravinsky), 1740. Times (New York), Strauss's Inter- mezzo, 110. Timofeiev, Rimskv-Korsakov, 698. Tosi, Dedication of book to Earl Peterborough, 1442. Trent, De Falla, 1276, 1280. Tschabuschnigg, Till Eulenspiegel, 317. Turgeniev, "Visions," 986. Turina, De Falla, 1150.

U. Udine, J. d', Debussy's "La Mer," 36.

V. Verhulst, Schumann, Sym. Xo. 2, 560. Villemain, Gregoire VII, 472. Virgil quoted, 646. Volkmann, H., his "Robert Volkmann," 1106. Voragine, Golden Legend (Saint Sebastian^, 1218. Vuillermoz, Fils Prodigue (Proko- fieff), 1114; Saint Sebastian (Debussy), 1237.

W. Wagner, R., Brahms and Liszt, 136; his Faust Ov., 1028 et seq. Walsh, Handel, 91. Walther, Siciliana, 466. Walton, his Portsmouth Point Ov:, 847, 850. Watts, I., "Our God, Our Help," 1639; "Watts and Select," 1639. Weber, C. M. his "Euryanthe," 596. Weber, M., "Euryanthe," 3 598; "Oberon." 1902. Weingartner, Beethoven, Leonore Ov., 1706; Brahms, Svm. Xo. 2, 1558.

Wesley, J. : Fin^erer of I. Watts, 1639. Whitman, W., Beat! Beat! Drums, 228; quoted, 1352, 1472, 1770. Wilhourski, Beethoven, Svm. Xo. 6, 1662. Wilson. H. L., quoted, 652. Wolff, J., Till Eulenspiegel, 317. Wotton, T. S., Horns, 344, Z. Zola, Schumann, 1074.

Comments ox Composers (Biographical and Literary Sections) Bach: Bach, Heckel, Leopold (Prince), Mottl, Parry, Prout, Spitta, Terry, Wolfrum. Bax: Bax, Dent, Evans. Beethovex: All. Mas. Zt., Apthorp, Bartolini, Beethoven, Berlioz, Bettina, Brentano, Breuning, Brunsvik (T. v.), Buelow, Freimuthigen, Gardiner, Goethe, Hanslick, Haslinger, Hauptmann, Herriot, Hughes, d'Indy, Journal des Luxus, Koenig, Krehbiel, Kullak, Lichnowsky, Lobkowitz, Mahler, Mendel- ssohn, Milder, Mottl, Xottebohm, Oppendorf, Poiree, Prod'homme, Reichardt, Reeve, Ries, Rolland, Rubinstein, Schaefer, Schindler, Sonneck, Sturm, Tenger, Thayer, Treitschke, Weingartner, Zumpe. Borodix: Borodin, Mme. Borodin, Daily Telegraph, Ivanov, Liszt, Stassov. Brahms: Apthorp, Borowski, Brahms, Buelow, Cossel, Deiters, Doerffel, Dwight, Erb, Hanshck, Imbert, Joachim, Joncieres, Kalbeck, Marxen, May, Xiemann, Pougin, Reimann, Remenyi, Riemann, Scholz, Weingartner. Debussy: Annunzio, Archbishop of Paris, Caine, Caplet, Carraud, Debussy, Durand, Germ (The), Gray, Koechlin, Liebich, Oxford and Cambridge Magazine, Poe, Riviere, Rossetti, Sarrasin, Schindler (K.), d'Udine, Voragine, Vuillermoz. De Falla: De Falla, Jean-Aubry, Trent, Turina. Dvorak: Burleigh, Burton, Dvorak, Friedenthal, Gide, Gilman, Krehbiel, Long- fellow, Ritter, Rj-bak. Haxdel: Cummins, Cunningham, Daily Journal, Daily Post, Rolland, Sala, Schoelcher, Smith, Walsh. Liszt: Boesendorfer, Dwight, Hanslick, Liszt, M enter, Raff, Rubinstein. Motjssorgsky: Diaghilev, Moussorgsky, Riesemann, Stassov. Mozart: Apel, Clementi, Dwight, Gerber, Gerl, Gieseke, Goethe, Hegel, Hof- daemmel, Hoffmann, Holzbauer, Jahn, Kelly, Krehbiel,^Lavoix the Younger,

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1963 Mozart, Odell, Puchberg, Rossini, Runciman, Saint-Saens, Schenck, Schika- neder, Schumann, Segur, Studien f. Tonkuenstler, Wieland. Prokofieff: Belaiev, Downes, Nouvelles Litteraires, Prokofieff, Schloezer, Times (London), Vuillermoz. Ravel: Bruneau, Diaghilev, Durand, Laforgue, Ovid, Ravel, Rowbotham. Respighi: Daily Telegraph, Gilman, Newman. Rimsky-Korsakov: Bezsonov, Burton, Calvocoressi, Hole, Karenin, Reinholdt, Rimsky-Korsakov, Sadko, Sindbad, Stassov, Timofeiev. Saint-Saens: Academy, Athenoeum, Berlioz, Bonnerot, Buelow, Gounod, Hanslick, Hippeau, Imbert, Kahn, Malherbe, Neumann, Rolland, Saint-Saens, Schure, Seghers, Servieres. Schumann: Apthorp, Boettger, Chorley, Dresel, Dwight, Kautz, Litzmann, Mason (W.), Mendelssohn, Musical World, Schumann (C), Schumann (R)., Verhulst, Zola. Sibelius: Gilman, Hadley, Newmarch, Rosenfeld, Sibelius. Strauss: Aldrich, Apthorp, Bahr, Carse, Daily News, Debussy, Felber, Finck, Hofmannsthal, Kelley, Klatte, Krehbiel, Mauke, Murner, Musik, {Die), New- man, Pschorr, Reimann, Shaw, Steinitzer, Strauss, Times (New York).

Stravinsky : Bonivia, Cocteau, Montagu-Nathan, Ralston, Squire, Times (London). Tchaikovsky: Blackburn, Constantine (Grand Duke), Eliot, Hugo, Kashkin, Poe, Reade, Rowbotham, Shelley, Siloti, Warlamov, Whitman. Wagner: Blanchard, Brooks, Dwight, Figaro (Berlin), Gazette Musicale, Laube, Liszt, Pall Mall Gazette, Servieres, Specht, Wagner. Weber: Benedict, Boccaccio, Chezy, jaehns, Montreuil, Moser, Plane he, Weber (C. M.), Weber (M).

Extra Symphony Concerts Six symphony concerts were given in Symphony Hall on Monday evenings, Dr. Koussevitzky, conductor:

1929. November 11. Beethoven, Overture to "Egmont"; Strauss, Interlude from "Intermezzo"; Stravinsky, Suite from "L'Oiseau de Feu"; Beethoven, Symphony, C minor, No. 5. 1929. December 2. Handel, Concerto Grosso, for Strings, Op. 6, No. 10; Schumann, Concerto for piano (Martha Baird) and orchestra, A minor; Tchaikovsky, Symphony No. 6, B minor, "Pathetic." 1930. January 27. Vivaldi-Siloti, Concerto, D minor, for orchestra with organ;

Moussorgsky, Prelude to "Khovanstchina" ; Ravel, Bolero; Sibelius, Sym- phony No. 2, D major.

1964 1930. February 17. Mozart, "Erne Kleine Nachtmusik" (K. 525); Strauss, "Till Eulenspiegel's Merry Pranks"; Honegger, Concerto for violoncello (Henri Marechal, violoncellist; first time in Boston); Dvorak, Symphony, "From the New World," E minor. 1930. March 17. Bach, Prelude and Fugue, E-flat major, for organ, arranged for orchestra by A. Schoenberg; Mozart, Concerto for piano (K. 466j, D minor (Renee Longy Miquelle, pianist).; Strauss, An Alpine Symphony. 1930. April 28. Stravinsky, Apollon Musegete; Wagner, Prelude and Love Death from "Tristan and Isolde"; Brahms, Symphony, D major, No. 2.

Six symphnny concerts were given in Symphony Hall on Tuesday afternoons, Dr. Koussevitzky, conductor:

1929. December 10. Bach, Brandenburg Concerto, No. 3, G major, for Strings; Mozart, Symphony, E-flat major (K. 543); Beethoven, Symphony No. 5, C minor. 1930. January 7. Schumann, Overture to "Manfred"; Symphony No. 2, C major; Wagner, Prelude to "Lohengrin"; Ride of The Valkyries; Introduction to Act III of "The Mastersingers of Nuremberg"; Prelude to 'The Mastersingers of Nuremberg." 1930. February 11. Schubert, Overture and First Ballet from "Rosamunde"; Symphony, B minor, 'Unfinished"; Strauss, "Death and Transfiguration"; "Till Eulenspiegel's Merry Pranks." 1930. February 25. Handel, Concerto Grosso for Strings, Op. 6, No. 10; Haydn, Symphony, D major (with the Horn Call) (B. & H., No. 31); Tchaikovsky, Symphony No. 6, B minor, "Pathetic." 1930. March 11. Beethoven, Funeral March from the "Eroica" Symphony, in memoriam William Howard Taft; Debussy, "The Sea"; Ravel, Bolero; Franck, Symphony, D minor. 1930. April 22. Beethoven, Overture, "Leonore" No. 3; Symphony No. 6, F major, "Pastorale"; Brahms, Symphony No. 4, E minor.

Pension Fund Coxceets 1929. December 29. All-Wagner programme: Dr. Koussevitzky, conductor; Florence Austral, soprano. Overture to "The Flying Dutchman"; Senta's Ballad; Bacchanale from "Tannhaeuser"; Air of Elisabeth, "Dich, theure Halle"; Introduction to Act III of '•'The Mastersingers of Nuremberg"; Ride of the Valkyries; Prelude and Love-Death from ''Tristan and Isolde."

The first concert of the Brahms Festival, March 21, 1930, was given partly in aid of the Pension Fund.

Booking Now for Season 1930-1931 Trio Instrumental de Paris GEORGES LAURENT, ALFRED ZIGHERA, Flute Viola di Gamba BERNARD ZIGHERA, Harp

An unusual programme of solo and concerted numbers

Exclusive Direction: AARON RICHMOND

208 PIERCE BUILDING : BOSTON, MASS.

1965 Young People's Concerts

1930. January 28, 29. Rameau-Kretzschmar, Ballet Suite from "Acante et Cephisse"; Tournier, "Fairie," for harp (Bernard Zighera) and orchestra; Prokofieff, March from "The Love for Three Oranges"; Saint-Saens, "The Animals' Carnival"—Cocks and Hens, the Elephant (M. Kunze, double-bass), Aquarium, Personages with long ears, the Cuckoo in the depth of the Forest

(G. Laurent, solo flute) ; the Swan (solo violoncello, Jean Bedetti) —pianos, Messrs. Sanroma and Fiedler; Wagner, The Ride of the Valkyries. Dr. Koussevitzky and Richard Burgin, conductors. Alfred H. Meyer explained the pieces. 1930. April 23, 24. Beethoven, 1st Movement from Symphony No. 5; Haydn, Finale from the Symphony, D major (with the Horn Call); Ravel, "Beauty and the Beast," from "Mother Goose" (Boaz Piller, double-bassoon); Strauss, "Till Eulenspiegel's Merry Pranks"; Wagner, The Ride of the Valkyries.

* * *

Brahms Festival

1930. March 21, 22. Academic Festival Overture; Symphony, F major, No. 3; Symphony, D major, No. 2. 1930. March 23. "Song of Destiny," for chorus and orchestra, Op. 54; Piano Concerto, B-flat major, No. 2, Op. 83 (Artur Schnabel, pianist); Symphony, E minor, Op. 98. Harvard and Radcliffe choruses. 1930. March 24. A German Requiem, Op. 45. Harvard Glee Club; Rad- cliffe Choral Society; Jeannette Vreeland, soprano; Fraser Gange, baritone. 1930. March 25. Liebeslieder Waltzes, Op. 52 and 65 (small chorus from the Harvard Glee Club and the Radcliffe Choral Society; Dr. Davison and Mr. Woodworth, pianists). Piano pieces, Op. 119—Intermezzi, B minor, E minor, C major; Rhapsody, E-flat major (Artur Schnabel, pianist); Songs with piano: Sapphische Ode, Von ewiger Liebe, Immer leiser wird mein Schlummer, ist Mein Liebe gruen (Margaret Matzenauer and Mr. Schnabel) ; Piano Quintet, F minor, Op. 34a (Mr. Schnabel and the Burgin String Quartet (Messrs. Burgin, Gunderson, Lefranc, Bedetti). 1930. March 26. Rhapsody, Op. 53 (Mme. Matzenauer, and chorus from the Harvard Glee Club); Piano Concerto, D minor, No. 1, Op. 15 (Mr. Schnabel; Symphony, C minor, No. 1, Op. 68.

* *

The Russian Shop 63 Charles Street, BOSTON, Massachusetts T,,ef R^oiNr^ PICTURESQUE RUSSIAN METAL TRAYS just rxeceivea lacquer boxes. embroidered linens VERY APPROPRIATE FOR WEDDING PRESENTS

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

1966 Dr. Koussevitzky's Concert

Dr. Koussevitzky on October 22, 1929, gave a concert in Symphony Hall in aid of the Elizabeth Peabody House Association and the Travelers' Aid Society. He played the double-bass and was assisted by Fraser Gange, baritone, a small orchestra of Symphony players led by Richard Burgin, and Pierre Luboshutz pianist. The programme included Mozart's concerto for bassoon (double-bass), Bruch's "Kol Nidrei" (double-bass), and Dr. Koussevitzky's concerto for the double- bass. Mr. Gange sang Mozart's aria "Per questa bella mano" and Brahms's 'Tour Serious Songs." * * Errata Programme Book of November 15, 16, 1929. Page 346. Fourth line from top. For "Notturo" read "Notturno." Programme Book of December 6, 7, 1929. Page 558. In footnote, for "Eurante" read "Euryanthe." Page 528, 10th and 11th lines from the top. For "drums" read "side drum." For "muted trumpet" read "flute." Programme Book of December 27, 28. Page 818, ninth line from the bottom. For "Serko" read "Sorko." Page 798, fifth line from the top. For "Block" read "Bloch." Programme Book of January 3, 4, 1930. Title-page. For Loeffler, "Cantitum Fratris Solis" read "Canticum Fratris Solis." Page 847, 13th line from the bottom. For "the programme of that concert" read "The programme of the Zurich concert." Page 888, eighth line from the top: For "his Tranciscus' " read "Tinel's " 'Franciscus.' Programme Book of February 14, 15. Page 1182, fourth line from the bottom. For "Fantoche, La Cloche" read "Fantoches, Les Cloches." Programme Book of February 28, March 1. Page 1354, sixth line from top. Read "Trumpets of the 18th Century." Programme Book of March 21, 22. Page 1499, footnote, next to last line. For "had received" read "was offered." Title-page. Symphony No. 3, Op. 00 should read Op. 90. Programme Book of April 4, 5. Page 1698, second footnote, 12th line from the bottom. For "Der Spiege von Arkadien" read "Der Spiegel von Arkadien." Programme Book of April 18, 19. Page 1754, 7th line from the bottom. For "obliged to escape from Russia on account of the programs," read "on account of the pogroms"—a mistake so amusing that it should not be corrected.

APPLICATIONS FOR ADVERTISING SPACE IN THIS PROGRAMME SHOULD BE

MADE TO L. S. B. JEFFERDS, ADVERTISING MANAGER, SYMPHONY HALL, BOSTON

1967 Study Foreign Languages MADAME ET For your cultural well-being, for a greater enjoyment of literature, art and music, you LA JEUNE FILLE, Inc. should know several foreign languages. The easy way to learn is the Berlitz Conversa- 130 Newbury St., Boston, Mass. tional Method —taught by native teachers, thus assuring a cultured accent and perfect Mrs. A. Tuckerman, John "Manager pronunciation. PRIVATE OR CLASS LESSONS IMPORTED SUCCESSFUL 52 YEARS SPORT CLOTHES SOUTHERN WEAR LANGUAGEschool, o: Mrs. E. N. Potter, Jr., President 553 Madison Ave., New York City 140 NEWBURY STREET TEL. BACK BAY 7021

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

1968 SYMPHONY HALL

Wednesday, May 7 O PENING NIGHT 45th Season

Orchestra of 80 Symphony Players

ARTHUR FIEDLER, Conductor

PROGRAMME

i. POMP and CIRCUMSTANCE ...... Elgar

2. OVERTURE to "Mignon" ...... Thomas

3. ROSENKAVALIER WALTZES R. Strauss

4. FANTASIA "Aida" Verdi

5. SIEGFRIED'S RHINE JOURNEY from "Gotterdammerung" . . . Wagner

' 6. TAMBOURIN CHINOIS . Ejeisler

7. BOLERO Ravel

8. SELECTION, "New Moon" Romberg

9. WHISPERING FLOWERS Blon io. AMERICAN FANTASY . ." . . . . . Herbert

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1970 NOTICE TO SUBSCRIBERS

FIFTIETH SEASON 1930-1931 BOSTON SYMPHONY ORCHESTRA

Dr. SERGE KOUSSEVITZKY, Conductor

24 Friday Afternoon Concerts

24 Saturday Evening Concerts

BEGINNING OCTOBER 10-11, 1930

RENEWAL CARDS HAVE BEEN MAILED TO ALL FRIDAY AND SATURDAY SUBSCRIBERS. IF ANY SUBSCRIBER HAS NOT RECEIVED HIS NOTICE, HE IS REQUESTED TO ADVISE THE SUBSCRIPTION OFFICE TODAY.

W. H. BRENNAN, Manager,

Symphony Hall, Boston

1971 SYMPHONY HALL SEASON 193 0-1 931

COURSE of SIX SUNDAY AFTERNOON CONCERTS

at 3.30

Nov. 23 Dec. 14 Feb. 1 Feb. 22

Mar. 15 Apr. 12

Jascha Heifetz Florence Austral John Charles Thomas Violin Soprano Baritone

Walter Gieseking Roland Hayes Piano Tenor Yelli D'Aranyi Pauline Danforth Violin Piano

SEASON TICKETS for the Series are now being subscribed by means of the AUTOMATIC SUBSCRIPTION BOARD in the Symphony Hall Lobby.

Tickets for the Six Concerts, $5, $7.50, $10, $12..

1972 J. H. HANDLEY, Jnnounces

Gertrude Ehrhart Soprano

Soloist Maine

Music Festival Bangor, Maine, Friday Evening, May 16th Photo by Bachrach A voice of alluring tenderness enables Gertrude Ehrhart to sing exquisite music with artistic and poetic justice. It is a voice with the fragility and strength one always associates with matters of fine art—a natural, unforced voice, as agreeable in its quality as in its spontaneity—a voice of true intonation and one capable of every dynamic nuance. In hearing her sing, one realizes that it is her art that makes a complete trilogy of the poet—the composer—and the singer. Miss Ehrhart sings with faultless enunciation in many languages, and sings as if each song were distinctly Her song. She brings to her singing an interpretation that places her offerings on a plane not often reached on the concert stage. She makes an indelible impression on her audiences, approach- ing them serenely and quietly, winning them with the dignity of her poise, the distinction of her personality and the enthusiasm she gives to her art itself.

Boston Evening Transcript: "She burnished her melodies with silver." Boston Herald: "Singularly skillful at enunciation." Boston Qlobe: "She sang with spirit, intelligence, and musical insight." Christian Science "Monitor: "Miss Ehrhart sings ivith warmth and orilliance and a keen sense of dramatic values." Boston Post: "Musicianship, intelligence, youthful charm and a voice decidedly pleasing." PIANOFORTE BY MASON AND HAMLIN

Management: A. H. Handley, 162 Boylston Street, Boston.

1973 Concert Direction: AARON RICHMOND

Now Booking for Season 1930-31 New England and Eastern Canada

Sopranos Pianists DuSOLINA GlANNINI Ignace Jan Paderewski Povla Fkijsh (Song Interpreter) F^lix Fox Dorothy George (Mezzo) Mischa Levitzki Maier and Pattison (Two Piano Contraltos Recital) Schumann-Heink Margaret Matzenaxjer Instrumental Ensembles Tenors Boston Sinfonietta (16 Boston Sym- phony Orchestra Players—Arthur Lauri-Volpi Fiedler, Conductor) Charles Hackett Gordon String Quartet Baritones Grandjany and Leroy (Harp and Flute) Reinald Werrenrath Musical Art Quartet Royal Dadmun Society of Ancient Instruments (February) Cellists Trio ) G. Laurent, Flute Jean Bedetti Instrumental > A. Zighera, Viola di Gamba Beatrice Harrison de Paris ) B. Zighera, Harp Violinists Fox-Burgin-Bedetti Trio Piano Richard Burgin Compinsky Trio Violin Paul Kochanski 'Cello

Special Attractions Russian Symphonic Choir Martha Graham, Dancer (Company o* Walter Damrosch (Lecture-Recitals, Five) Piano) Johnson & Gordon (Singers of Negro The Goldman Band of 60 Spirituals) Victor Chenkin (Baritone-Diseur) Fania Lurie (Folk Songs in Costume) SCHEIXING CONCERTS 1930 SEASON 1931

Saturday Mornings at 11 STERE0PTIG0N SLIDES DELIGHTFUL TALKS SYMPHONY ORCHESTRA ERNEST SCHEIXING, Director

" The musical godfather of America's younger generation. " —JOHN ERSKINE. NOTE.—Present subscribers are asked to inform the management no later than May 15 if they wish to retain their present seat locations.

COURSE TICKETS: $12.50, $10.00, $8.00, $6.00, $4.00 and $2.00 Apply to AARON RICHMOND, Pierce Building

1974 :

KEENE, N. H. Twenty -eighth Annual Festival CHORUS of 300 VOICES THE BOSTON ORCHESTRAL PLAYERS GEORGE SAWYER DUNHAM, Conductor

Thursday Evening, May 15 Mendelssohn's Elijah RUTH RODGERS MARION WISE GEORGE BOYNTON ALEXANDER KISSELBURGH

Friday Afternoon, May 16 . Orchestral Matinee DOROTHY SPEARE

Friday Evening, May 16 Artists* Night ROLAND HAYES

For tickets and further information KEENE CHORUS CLUB, Keene, N. H. Phone, 1111

DICTION AND PRONUNCIATION FOR SINGERS, IN FRENCH, ITALIAN, GERMAN, SPANISH AND RUSSIAN SONG COACHING

Studio: 402 PIERCE BUILDING

MUSICAL INSTRUCTION

MRl TEACHER OF SINGING

384 COMMONWEALTH AVENUE Kenmore 0384 BOSTON, MASS.

announces a new member of its faculty FREDERIC TILLOTSON Teacher of the Pianoforte Mr. Tillotson has received his training from Heinrich Gebhard, Boston, and Tobiaa Makthay, London. He conducts Master Classes at the Lamont School, Denver, during the summer The Longy School is now using exclusively the Catalogue sent upon request Baldwin Piano 103 Hemenway Street, Boston, Mass. 1975 MUSICAL INSTRUCTION

PIANIST and TEACHER During the season 1930-31, Miss Cox will teach in Boston one day each week. Address: Care of Smith College, Northampton, Mass.

SOPRANO TEACHER OF SINGING STUDIO: Home Address: 41 Commonwealth Ave LANG STUDIOS: Chestnut Hill 6 NEWBURY ST.. BOSTON T'l. Newton Center 3850

"Miss Diedrichsis a most valued professor of my school for she is TVUC««. lV^n 4-l-L n «» > MmAu not only a splendid teacher but a fine pianist of whom I am proud" 1 ODlaS lVltttUiay LONDON

Studio: 121 BEACON STREET M«<>n a"d Hamlin Piano TeL Back Bay 9575

Will rent studio Wednesdays and Thursdays next season, commencing October first

PIANOFORTE THEORY Interpretation of Songs

6 NEWBURY STREET BOSTON SINGERS! Do you wish to add to your Range of Voice in a short time ? Eliminate that great hug-hear of Singing—Breath, and learn how to make use of the Body Resonance* Anyone possessing a Normal Speaking Voice should sing

Auditions will be given free of charge _ KENMORE 7873 , , Studio: 30 HUNTINGTON AVENUE Telephones: COLUMBIA 2041

PIANIST TEACHER CLASSES IN PIANO ENSEMBLE PRIVATE STUDIO, 110 GAINSBOROUGH STREET. BOSTON, MASS. Tuesdays and Fridays Tel. Commonwealth 4289

PIANIST AND TEACHER BALDWIN PIANO 405 PIERCE BUILDING. COPLEY SQUARE Telephone Bowdoin J553-W

EXPERT PIANO TUNING DO NOT NEGLECT YOUR PIANO HIGH GRADE WORK SOLICITED. REBUILDING, REGULATING and VOICING Formerly with Mason & Hamlin 28 years 68 Langdon Ave., Watertown, Mass. Middlesex 1379-R PIANIST ORGANIST Studio, Kenmore 0491 TEACHER Residence. N. N. 2500-W Lang Studios 6 NEWBURY ST. 1976 — — MUSICAL INSTRUCTION 908 BEACON ST. The Arthur Wilson Studio of Singing BOSTON BEN REDDEN, Tenor JOHN PERCIVAL, Baritone Taking the parts respectively of The Evangelist and of Jesus in Bach's "St. Matthew" Passion, at Portland, April 17 and 18.

Mr. Redden. ". . .tenor of wide experience . . . sings with assurance and dramatic instinct . . . proved himself capable of singing these very difficult and fatiguing passages with style." Press-Herald. Mr. Percival. "... glorious voice . . . clean cut diction . . . rare to hear a voice of such depth capable of its mellow, velvety texture and of rising to such in- tense dramatic heights." Press-Herald. Both artists are re-engaged for appearances next season. TEACHER OF PIANOFORTE COURSES FOR SOLOISTS and TEACHERS F. PRIVATE INSTRUCTION ARTIST CLASS 512 Pierce Building, Copley Square. Boston PIANIST LITERARY I NTERPRETER RECITALS "In Word and Tone" Programmes of Poetry, Drama and Pianoforte Music 26 EVANS WAY. BOSTON. MASS.

>s TEACHER OF SINGING 6 VAN BUREN HALL TRINITY COURT 175 DARTMOUTH STREET

CONCERT PIANIST AND TEACHER Pupil of Busoni Duo-Art Recording Artist Studio: Steinert Hall, 162 Boylston Street By appointment only call Hancock 1900 STEINWAY PIANO USED EXCLUSIVELY

TEACHER OF SINGING 77A CHARLES STREET HOME: HAYMARKET 6634 STUDIO: HAYMARKET 1465

VOICE >^4h&c/ SINGING DEVELOPMENT "^A^^/^^W [V BARITONE KENmore 3763 Studio: 138 Newburv Street, Boston SUZA DOANE PIANIST TEACHER CLASSES IN MUSIC APPRECIATION

25 ST. STEPHEN STREET. BOSTON TELEPHONE COPLEY 5957-J

1977 — — — ; MUSICAL INSTRUCTION VINCENT V. HUBBARD Successor to the late Arthur J. Hubbard VOCAL STUDIO .... 246 Huntington Avenue First Assistant, Dr. George L. Dwybr EDWARD MATTHEWS IN JORDAN HALL DEBUT, FEBRUARY 17, 1930 "Not in a long time has a young singer with a reputation still to make proved so well equipped vocally, so expert technically, so careful of details, so sensitive to musical and poetic values." Boston Post. "The sincerity and simplicity of his performance, the warmth and intensity of his feeling, the deft grace of his phrasing, make his songs delightful. It is his power to give musical audiences glimpses of fresh beauty in the songs so often heard in concert halls." Boston Herald. "His diction is remarkably clear. ... He has no difficulties with that bugbear breath control." Boston Globe. PIANO DEPARTMENT Hans Ebell, Director Boston Transcript: "Mr. Ebell plays in large, warm and emphatic fashions as one who would strike fire out of his music, his STUDIOS instrument and himself and kindle it into ardent eloquence. His tone is ample and

sturdy ; he courts the declaimed phrase ; the OF MUSIC outpoured, sustained and expanded song IN COR PORATED the sharp modulation ; the telling contrast the vigorous and mounting march toward GRADUATESCHOOL broad and firm climax." 246 Huntington Ave., Boston, Massachusetts Courses for Soloists and Teachers. Classes

Kcnmore 6608 in Pianoforte Technique ; Interpretation Classes.

PIANIST

PUPIL OF ALEXANDER SILOTI

Steinway Piano Duo-Art Records

90 COMMONWEALTH AVE. Commonwealth 6348

Studio, 25 Huntington Ave. Kenmore 3673

ALL BRANCHES OF SINGING VOCAL TECHNIQUE OPERA SCHOOL CLASSES IN VOCAL SIGHT READING. SPECIAL INSTRUCTION FOR TEACHERS MME. MARY LAMB. Assistant 1069 BOYLSTON STREET. Corner MASSACHUSETTS AVENUE. Telephone Kenmore 0564 FRANK E. MORSE AND ASSOCIATE TEACHERS Former pupil of the famous Paris Conservatory LESSONS IN SINGING 31 STEINERT HALL. BOSTON VIOLIN LESSONS Tuesdays, Wednesdays and Saturdays 30 STEINERT HALL Manchester. N.H., 939 Elm St.. Thursdays and Fridays FRANK ERNESTO r

VOICE PIANO La Forge voice method used and endorsed by: Mmes. Alda. Matzenauer, Miss Emma Otero, Messrs. Lawrence Tibbett, Harrington van Hoesen. etc. Also endorsed by Dr. W. J. Henderson. 8" 8" 3 ffEttSftSZSS YoTt.'-.W Summer School, June 1st to Aug. 15th 1978 MUSICAL INSTRUCTION

SOPRANO SOLOIST TEACHER OF SINGING 4 HAVILAND STREET Kenmore 1047 BOSTON In Worcester, Tuesdays, Wednesdays and Friday Afternoons, 317 Day Building

SINGER AND TEACHER OF SINGING

STUDIOS, 83 NEWBURY STREET Telephones J jjjjjjf 'jfjjj

ACCOMPANIST and COACH 74 THE FENWAY Telephone BOSTON Copley 4259-W

TEACHER OF SINGING 610 PIERCE BUILDING. BOSTON DANA HALL GRADUATE SCHOOL OF MUSIC. WELLESLEY. MASS. OXFORD SCHOOL. HARTFORD. CONN.

TEACHER OF SINGING

37 COMMONWEALTH AVENUE. BOSTON Telephone KENmore 9330

TEACHER OF SINGING

33 Abbottsford Road, Brookline, Mass. 902 Carnegie Hall, New York City Tel. Aspinwall 2470 Tel. Circle 1350

THEORY, HARMONY, COUNTERPOINT, COMPOSITION. ORCHESTRATION COURSES IN MUSICIANSHIP EAR TRAINING CLASSES STUDIO: 23 Steinert Hall, 162 Boylston Street, Tuesdays, Wednesdays and Fridays Telephone, University 9488

will devote FRIDAYS TI_TC' ART f\C QT\Tf*, TMf, Repertoire building, style to instruction in . 1 FIE* AJA 1 Ur OllNLillNLi and interpretation 83 NEWBURY STREET, BOSTON

Auditions by appointment $5.00 Instruction periods 35 minutes $7.00 EDWARD SCHUBERTH & COMPANY Importers, Music Publishers and Dealers, 11 East 22nd Street, New York PUBLISHERS' AGENTS IN THE UNITED STATES FOR Steingraeber Edition, Leipzig Gould & Bolttler, London J. B. Cramer & Co., London Cotta Edition, Stuttgart Forsyth Bros.. Ltd., London Cary & Co.. London Practical Pianoforte School Beal, Stuttard & Co., London F. Hofmeister.-Germer Works, Leipzig Banks & Co., York Joseph Williams, Ltd., London Bach-Boekelmar Works in colors AGENTS FOR AND PUBLISHERS OF. H. GERMER'S INSTRUCTIVE EDITIONS SEND FOR A FREE THEMATIC CATALOG

1979 MUSICAL INSTRUCTION

VIOLIN STUDIO 103 Hemenway Street Phone Kenmore 6337 HARRIS S TEACHER OF SINGING PIANO, ORGAN," COACHING Studio: TRINITY COURT 66 FENWAY 175 DARTMOUTH STREET . BOSTON Tuesdays and Fridays at Lasell Seminary (Kenmore 8431)

Vocal Coaching, Voice Production Artist -pupil Leschetizky, Joseffy. R. A. M. London Lecturer Piano-playing University Exten. Boston Programme Building NEW YORK BOSTON (Thurs. only) MONDAYS STUDIO 902 Steinway Hall 26 Steinert Hall Steinway Hall Pierce Building 2-Piano Sight-reading Classes New York City Copley Square. Boston Coaching Lessons to Pianists and Teachers

iss KUDU 2>I1 . H. Carleton Slack TEACHER OF SINGING SCIENCE OF VOCAL ART BOSTON STUDIO: PIERCE BUILDING. Room 317 PIERCE BUILDING, BOSTON HAVERHILL STUDIO: DAGGETT BUILDING STUDIO 517 WINCHENDON STUDIO: 42 SPRUCE STREET Telephone Kenmore 3490 M. HOLMES (officier de l'lnstruction publique) PIANO Vocal Instruction, Breathing, Tone Production TEACHER OF Phonetics, French Diction, Interpretation of 25 Westbourne Terrace Brcokline

French Songs ,-. 64 Commonwealth Ave , Tel. Aspinwall 8584 Studiosc \ 25 BICKERSTAFF ST.. Room 7 KEN. 9896 J Milton Academy. Milton SUSAN WILLIAMS PIANIST AND TEACHER TEACHER OF SINGING AVAILABLE FOR CONCERTS AND MUSICALS STEINERT HALL Home Studio New England Conservatory 61 Foster Street. Cambridge Thursdays and Saturdays 162 BOYLSTON STREET . BOSTON Telephone Porter 5728 Telephone Hubbard 6677 Mason & Hamlin Piano

SOPRANO VOICE TEACHER VOICE TRAINING An origins method based on scientific analysis of early STUDIO. 83 NEWBURY STREET Italian principles Home Address. 330 CLINTON ROAD. BROOKLINE Telephone Aspinwall 9504 Tel. Commonwealth 3181 270 HUNTINGTON AVE.

MEZZO SOPRANO

208 Commonwealth Ave. Tel. Kenmore 4260

amiammroimiiaimtijuniiiiimiimmuii Pauline Hammond Clark TEACHER OF SINGING. MANAGER THE COPLEY CLUB SINGERS. ENSEMBLE (25 CHARLES REPPER I — Pianist THE ORIGINAL BIRD TRIO (WHISTLERS) Composer Rodriguez. Pianist INSTRUCTION in HARMONY and PIANO I Dolores Program of Original Composition* SPECIALIST IN UNIQUE. ARTISTIC PROGRAMS with Informal Comments 543 BOYLSTON STREET Trinity Court. Boston Ken. 6520 I (WRITE OR TELEPHONE) KBN. S1SS 1980 MUSICAL INSTRUCTION AUG FEIRCE Mrs. Mabel Mann Jordan TEACHER OF PIANOFORTE Pupil of SILVESTRI, Naples. Italy CLASSES IN TWO PIANO PLAYING TEACHER OF Interpretative talks on the Great Composers MANDOLIN. GUITAR. BANJO AND UKULELE Symphony Programmes followed Foreign and American Instruments For Sale Studio, 405 PIFRCE BUII DING. Tel. Kenmore 7850 206 COMMONWEALTH AVE. Back Bay 0760

Boston Huntington Chambers Room 516 TEACHER OF SINGING

30 HUNTINGTON AVENUE Faculty, Abbot Academy Andover, "Mass. Room 406 Member of Guild of Vocal Teachers, Inc., New York tRINNE HARMON TEACHER OF VIOLIN PIANIST, TEACHER and ENSEMBLE PLAYING ACCOMPANIST CHOATE SCHOOL 1600 BEACON STREET Studios, Boston and Wellesley Studio: 49 NORWAY STREET Telephone Stadium 6217 Telephone Kenmore 9589 ROSALIE THORNTON PIANO STUDIOS 282 Dartmouth Street, Boston 68 Cheney St., ROXBURY, MASS. 41 Concord Avenue, Cambridge Tel: Maiden, 3558 or Garrison 5545 Telephone: Commonwealth 4994

TEACHER OF SINGING CONTRALTO Formerly with W. L. Whitney TEACHER OF SINGING FRIDAYS at 311 Pierce Building Also studio at 28 King Street. Worcester 701 PIERCE BLDG. Telephone Kenmore 6520 Write for appointment

ACCOMPANIST. COACH. TEACHER OF SINGING

TEACHER of SINGING Formerly assistant to 246 Huntington Avenue Arthur J. Hubbard Boston 610 PIERCE BUILDING -- BOSTON Kenmore 8345

THE ART OF SINGING AND SPEAKING PIANIST and TEACHER For circular apply to EDITH E. TORREY 536 Commonwealth Ave. Faculty: Abbot Academy Boston Studio Andover Wednesdays Tel. Kenmore 1445 LTRUDE BELCH CONCERT ORGANIST AND TEACHER TEACHER OF PIANO Organ, Piano and Harmony TRINITY COURT Master class for advanced pupils on modern, four-manual organ with 83 speaking stops Telephone Kenmore 6520 295 HUNTINGTON AVENUE ELISE Rl IR-KELLY VIOLIN TEACHER SOLO AND ENSEMBLE WORK Professionals a Specially 541 BOYLSTON STREET. BOSTON Tel. Circle 5149 mornings Creative work with children a specialty - 806 Steinway Hall New York Ear training. Solfege, Dalcroze Tel. Ken. 6123 Investment Management

to Build Your Estate

AN INVESTMENT Management Account with the Lee, Higginson Trust Company, will:

. . I Give you investment counsel founded upon eighty years investment experience.

. . 2 Transferto a permanent organization the responsibility for the investment and reinvestment of your funds. request, Upon we o x> t <• • • 3 Relieve you of routine investment shall beglad to send you our booklet duties. "Investment Man- Give property the benefit a agement" 4 your of group of experts continually watching financial and industrial condi- tions.

LEE, HIGGINSON TRUST CO- 50 FEDERAL STREET, BOSTON AND AT COPLEY SQUARE - CORNER OF CLARENDON