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B©§t@I o(C? jmpj^oiAy \jic INC. SERGE KOUSSEVITZKY, Conductor

FORTY-SEVENTH SEASON. 1927-1928

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

COPYRIGHT, 1928, BY BOSTON SYMPHONY ORCHESTRA, INC.

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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It IS possible to build a piano to beauty of line and tone, it is the sell at any given price, but it is not greatest piano value ever offered!

often possible to build a good . . . Convenient terms will be piano under such conditions. arranged, if desired. Steinway pianos are not—and There is a Steinway dealer in your com- never have been built to meet a — munity, or near you, through whom you price. They are made as well as may purchase a new Steinway piano with human skill can make them, and a small cash deposit, and the balance will the price is determined later. The be extended over a period of two years. pianos accepted result is the world's finest piano. Used in partial exchange. Such an instrument costs more Prices: an^ U than a commonplace product—yet ^O • O P in point of long life, prestige, and Plus transportation

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l'.no rcihestra

Forty-seventh Season, 1927-1928

SERGE KOUSSEVITZKY, Conductor

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

Hansen, E. Graeser, H. Fedorovsky, P. Leibovici. J. Pinfield, C. Mariotti, V. Leveen, P. Thillois. F.

Mayer, P. Zung, M. Knudsen, C. Gorodetzky, L. Tapley, R. 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. Artifires, L. Cauhap6, J. Werner, H Shirley, P.

Avierino, N. Gerhardt, S. Bernard, A. Deane, C.

Violoncellos.

Bedetti, J. Zighera, A. Langendoen, J. Stockbridge, C. Fabrizio, E. Keller, J. Barth, C. Droeghmans, H. Warnke, J. Marjollet, L.

Basses.

Kunze, M. Lemaire, J. Ludwig, 0. 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-fiat Clarinet) Piccolo. English Hobn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets. Trombones. Wendler, G. Valkenier, W. Mager, G. Rochut, J. Pogrebniak, S. Schindler, G. Perret, G. Hansotte, L. Van Den Berg, C Lannoye, M. Voisin, R. Kenfield, L. Lorbeer, H. Blot, G. Mann, J. Raichman, J. Jones, 0. Adam, E. Tubas. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Adam, E. Zighera, B. Polster, M. Sternburg, S. Seiniger, S. Organ. Piano. Celesta. Librarian.

Snow, A. Zighera, B. Fiedler, A. Rogers, L. J. 1911 ! . . .

CHICKERING HALL 3{ome of the dPCmpico

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Twenty-fourth Programme

FRIDAY AFTERNOON, APRIL 27, at 2.30 o'clock

SATURDAY EVENING, APRIL 28, at 8.15 o'clock

Beethoven Overture to Goethe's "Egmont," Op. 84

Lopatnikov Scherzo, Op. 10

(First performance)

Debussy . . . "La Mer" ("Trois Esquisses Symphoniques")

I. De l'aube a midi sur la mer (From Dawn till Noon on the Ocean). II. Jeux de Vagues (Frolic of Waves). III. Dialogue du Vent et de la Mer (Dialogue of Wind and Sea).

Brahms Symphony No. 2 in D major, Op. 73

I. Allegro non troppo. II. Adagio non troppo. III. Allegretto grazioso, quasi andantino. IV. Allegro con spirito.

There will be an intermission before the symphony .

The works to be played at these concerts may be seen in the Allen A. Brown Music Collection

of the Boston Public Library one week before the concert

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1914 Overture to "Egmont," Op. 84 . . . . Ludwig van Beethoven

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

This overture was composed in 1810; it was published in 1811. The music to Goethe's play—overture, four entr'actes, two songs sung by Clarchen, "Clarchen's Death," "Melodrama," and "Triumph Symphony" (identical with the coda of the overture) for the end of the play, nine numbers in all—was performed for the first time with the tragedy at the Hofburg Theatre, Vienna, May 24, 1810. Antonie Adamberger was the Clarchen. When Hartl took the management of the two Vienna Court thea-

tres, January 1, 1808, he produced plays by Schiller. He finally de- termined to produce plays by Goethe and Schiller with music, and he chose Schiller's "Tell" and Goethe's "Egmont." Beethoven and Gyrowetz were asked to write the music. The former was anxious

to compose the music for "Tell" ; but, as Czerny tells the story, there were intrigues and, as "Egmont" was thought to be less suggestive to a composer, the music for that play was assigned to Beethoven. Gyrowetz's music to "Tell" was performed June 14, 1810. It was described by a correspondent of a Leipsic journal of music as "char- acteristic and written with intelligence." No allusion was made at the time anywhere to Beethoven's "Egmont."

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The overture has a short, slow introduction, sostenuto ma non troppo, F minor, 3-2. The main body -of the overture is an allegro, F minor, 3-4. The first theme is in the strings; each phrase is a de- scending arpeggio in the violoncellos, closing with a sigh in the first violins ; the antithesis begins with a "sort of sigh" in the wood-wind, then in the strings, then there is a development into passage-work. The second theme has for its thesis a version of the first two meas- ures of the sarabande theme of the introduction, fortissimo (strings), in A-flat major, and the antithesis is a triplet in the wood- wind. The coda Allegro con brio, F major, 4-4, begins pianissimo. The full orchestra at last has a brilliant fanfare figure, which ends in a shouting climax, with a famous shrillness of the piccolo against fanfares of bassoons and brass and between crashes of the full orchestra. The overture is scored for two flutes (one interchangeable with piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, kettledrums and strings. Long and curious commentaries have been written in explanation of this overture. As though the masterpiece needed an explanation We remember one in which a subtle meaning was given to at least every half-dozen measures : the Netherlander are under the crushing weight of Spanish oppression; Egmont is melancholy, his blood is stagnant, but at last he shakes off his melancholy (violins), answers the cries of his country-people, rouses himself for action ; his death is portrayed by a descent of the violins from C to G ; but his country- men triumph. Spain is typified by the sarabande movement; the heavy, recurring chords portray the lean-bodied, lean-visaged Duke BOSTON CONSERVATORY OF MUSIC AGIDE JACCHIA, Director

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1917 of Alva ; "the violin theme in D-flat, to which the clarinet brings the under-third, is a picture of Clarchen," etc. One might as well il- lustrate word for word the solemn ending of Thomas Fuller's life of

Alva in "The Profane State" : "But as his life was a- mirror of cruelty, so was his death of God's patience. It was admirable that his tragical acts should have a comical end; that he that sent so many to the grave should go to his own, and die in peace. But God's justice on offenders goes not always in the same path, nor the same pace: and he is not pardoned for the fault who is for a while re- prieved from the punishment; yea, sometimes the guest in the inn goes quietly to bed before the reckoning for his supper is brought to him to discharge." The overture is at first a mighty lamentation. There are voices of an aroused and angry people, and there is at the last tumultuous rejoicing. The "Triumph Symphony" at the end of the play forms the end of the overture.

Scherzo,, Op. 10 Nikolai Lopatnikofp

(Born at Revel, Russia, in 1903; now living)

Lopatnikoff received his first musical education at Bevel. He studied at the Conservatory in Petrograd (now Leningrad) until October, 1917. After the revolution, he went to Finland. From

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1919 1920 he lived in Germany, at Carlsruhe, where he pursued his studies with Ernst Toch.* His works include compositions for pianoforte; chamber music (sonatas for violin, violoncello, a duo for violin and violoncello, two string quartets) ; orchestral com- positions (an overture, a Concerto for pianoforte, a Scherzo). His works, by the way, have been performed at G-erman festivals of modern music, as at Krefeld and Baden-Baden. This Scherzo was first composed for a mechanical piano; later scored for orchestra. The Scherzo is based on three themes. The wood-wind instruments have the most important role. The rhythmical scheme of the scherzo is announced by strings col legno.f The middle section is in the nature of a trio. After the repetition of the Scherzo section, a coda follows. It contains the thematic material of the Trio and the first theme (trumpets). The Scherzo ends in an impetuous Presto.

*Toch, born at Vienna in 1S87, studied medicine and philosophy. Self-educated in music, he took in 1909 the Mozart stipendium, in 1910 the Mendelssohn stipendium, and four times in succession the Austrian state prize for composition. In 1909 he went to Frankfort-on-Main and studied the piano with Willy Rehberg. In 1913 he went to Mannheim as teacher at the High School for Music. Among his compositions are twelve string quartets : a chamber symphony ; a symphony, "An mein Vaterland"

(solo voices, chorus, and organ) ; a pianoforte concerto; music for "Der Kinder

Neujahrstraum" ; sonatas for various instruments ; piano pieces ; violin pieces. fWith the wood or back of the bow.

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"The Sea" (Three Orchestral Sketches) : I, From Dawn till Noon on the Ocean; II, Frolics of Waves, III, Dialogue of Wind and Sea Achille Claude Debussy (Born at Saint-Germain (Seine and Oise), France, August 22, 1862; died at Paris, March 26, 1918) These orchestral pieces ("La Mer: De Faube a midi sur la mer; II, Jeux de vagues; III, Dialogue du vent et de la mer—trois esquisses symphoniques" ) were performed for the first time at a Lamoureux concert in Paris, October 15, 1905. The concert, the first of the season of 1905-06, was also the twenty-fifth anniversary of the establishment of the Concerts Lamoureux. Camille Chevillard conducted. The Sketches, dedicated to Jacques Durand, were published at Paris in 1905. Debussy first conceived the idea of writing them in 1903. The first performance in the United States was in Boston at a con- cert of the Boston Symphony Orchestra on March 2, 1907. "La Mer" was performed again that season by request on April 20, 1907. There were later performances on March 1, 1913, December 18, 1915, No- vember 16, 1917, January 14, 1921, November 21, 1924. "From Dawn till Noon on the Ocean" is scored for piccolo, two flutes, two oboes, English horn, two clarinets, three bassoons, four horns, three trumpets, three trombones, bass tuba, a set of three kettledrums, cymbals, tam-tam, two harps, and strings. "Frolics of Waves" is scored for piccolo, two flutes, two oboes, Eng-

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1923 lish horn, two clarinets, three bassoons, four horns, three trumpets, cymbals, triangle, a Glockenspiel (or celesta), two harps, and strings. "Dialogue of Wind and Sea" is scored for piccolo, two flutes, two oboes, English horn, two clarinets, three bassoons, double-bassoon, four horns, three trumpets, two cornets-a-pistons, three trombones, bass tubo, a set of three kettledrums, bass drum, cymbals, tam-tam, Glockenspiel, two harps, and strings.

These sketches are impressionistic. The titles give the cue to the hearer. As M. Jean d'Udine said of these very compositions : "When art is concerned, grammatical analyses belong to the kingdom of technical study; they have a didactic character and interest only professionals. The public demands logical analyses from the critics. But how can any one analyze logically creations that come from a dream, if not from a nightmare, and seem the fairy materialization of vague, acute sensations, which, experienced in feverish half-sleep, cannot be disentangled ? By a miracle, as strange as it is seductive, M. Debussy possesses the dangerous privilege of being able to seize the most fantastical sports of light and of fluid whirlwinds. He is cater-cousin to the sorcerer, the prestidigitator; his art rests al- most wholly on the association of musical ideas whose relations are clearly perceived only in a state of semiconsciousness, with the con- dition of not thinking about them. It is an exclusively sensual art, wholly like that of Berlioz, situated almost outside of time, floating

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o %J# ^Mii* LTD — in space with the disturbing absence of rhythm shown by the care- less, intoxicated butterfly, an art that is astonishingly French, pictorial and literary to that degree of disembodiment where sound is only a cabalistic sign." Whether one disputes or agrees to this characterization of De- bussy's art—the comparison of it with the art of Berlioz is at least surprising if not inexplicable—M. d'Udine's statement that these sketches do not submit to analysis is unanswerable. To speak of fixed tonalities would be absurd, for there is incessant modulation. To describe Debussy's thematic material without the aid of illustra- tions in notation would be futile. To speak of form and development would be to offer a stumbling-block to those who can see nothing in the saying of Plotinus, as translated by Thomas Taylor: "But the simple beauty of color arises, when light, which is something in- corporeal, in reason and form, entering the obscure involutions of matter, irradiates and forms its dark and formless nature. It is on this account that fire surpasses other bodies in beauty, because, compared with the other elements, it obtains the order of form ; for it is more eminent than the rest, and is the most subtle of all, border- ing as it were on an incorporeal nature."

* * "Debussy has not wished to confide himself indefinitely to the ram- bling of his senses: he became jealous of his instinct. In 'La Mer' one will discover an effort to substitute for sensuous spontaneity of developments, the management of the mind." Jacques Riviere.

30 ^reJs^a/ ^ymeel, ^!So6/dn

1926 No. 24

At The Close

Season 'The Hospital Of The Without Walls"

We hope as the concerts end

that you have a little better understanding

of the work of this Association — the object

of our weekly page in these programmes.

For it is to you who attend

these concerts that we largely look for

financial support. Our work must go on

each day in the year and your continued

interest and help is necessary to our service.

Send checks to:

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District Nursing Association Malcolm Donald, President

Baby Hygiene Association Richard C. Paine, Treasurer

1927 ;

Johannes Brahms Symphony No. 2, in D major, Op. 73 . . . . April 1897) (Born at Hamburg, May 7, 1833; died at Vienna, 3, had Chamber music, choral works, pianoforte pieces, and songs made Brahms famous before he allowed his first symphony to be time played. The symphony in C minor was performed for the first Dessoff as at Carlsruhe on November 4, 1876, from manuscript with conductor. Kirchner wrote in a letter to Marie Lipsius that he had talked about this symphony in 1863 or 1864 with Mme. Clara Schu- mann, who then showed him fragments of it. No one knew, it is said, of the existence of a second symphony before it was completed. The second symphony, D major, was composed, probably at P6rtschach-am-See, in the summer of 1877, the year that saw the publication of the first. Brahms wrote Dr. Billroth in September

of that year : "I do not know whether I have a pretty symphony I must inquire of skilled persons." He referred to Clara Schumann, Dessoff, and Ernst Frank. On September 19, Mme. Schumann wrote that he had written out the first movement. Early in October he played it to her, also a portion of the finale. The symphony was played by Brahms and Ignaz Briill as a pianoforte duet (arranged by the composer) to invited guests at the pianoforte house of his

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friend Ehrbar in Vienna a few days before the announced date of the orchestral performance, December 11, 1877. Through force of circumstances the symphony was played for the first time in public at the succeeding Philharmonic concert of December 30.* Hans Richter conducted. The second performance, conducted by Brahms, was at the Gewandhaus, Leipsic, on January 10, 1878. The review written by Eduard Hanslick after the performance at Vienna may reassure those who are now unwilling to trust their own judgment "It is well known that Wagner and his followers go so far as not only to deny the possibility of anything new in the symphonic form, —i.e., new after Beethoven,—but they reject the very right of abso- lute instrumental music to exist. The symphony, they saw, is now superfluous since Wagner has transplanted it into the opera: only Liszt's symphonic poems in one movement and with a determined practical programme have, in the contemplation of the modern musi- cal world, any vitality. Now if such absurd theories, which are framed solely for Wagner-Liszt household use, again need refuta- tion, there can be no more complete and brilliant refutation than

*Reimann, in his Life of Brahms, gives January 10, 1878, as the date, and says Brahms conducted. The date given in Erb's "Brahms" is December 24, 1877. Kalbeck, Deiters, and Miss May give December 30, 1877, although contemporaneous journals, as the Signale, say December 20, 1877.

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PARSIFAL: Transformation Scene, Act. I. In 2 Parts By Dr. Karl Muck and Bayreuth Festival Orchestra. Columbia Record No. 67364-D PARSIFAL: Grail Scene, Act I. In 6 Parts By Dr. Karl Muck and Bayreuth Festival Orchestra with Chorus. {In German) Columbia Records Nos. 67365-D, 67366-D, 67367-D PARSIFAL: Flower Maidens Scene, Act II. In 2 Parts By Dr. Karl Muck and Bayreuth Festival Orchestra, with Flower Maidens and Chorus. {In German) Columbia Record No. 67368- PARSIFAL: Prelude, Act III. In 2 Parts By Siegfried Wagner and Bayreuth Festival Orchestra Columbia Record No. 67369-D PARSIFAL: Good Friday Music, Act III. Parts 1 and 2 By Alexander Kipnis, Fritz Wolff; Siegfried Wagner, conducting the Bayreuth Fes- tival Orchestra. {In German) Columbia Record No. 67370- PARSIFAL: Good Friday Music, Act III. Part 3 By Alexander Kipnis; Siegfried Wagner, conducting the Bayreuth Festival Orchestra. {In German) SIEGFRIED: Forest Murmurs, Act II By Franz von Hoesslin and Bayreuth Festival Orchestra Columbia Record No. 67371-D SIEGFRIED: Prelude, Act III SIEGFRIED: Fire Music By Franz von Hoesslin and Bayreuth Festival Orchestra Columbia Record No. 67372-D DAS RHEINGOLD: Entry of the Gods into Valhalla. In 2 Parts By Franz von Hoesslin and Bayreuth Festival Orchestra with Rhinedaughrers. {In German) Columbia Record No. 67373-D DIE WALKURE: Ride of the Valkyries. In 2 Parts By Franz von Hoesslin and Bayreuth Festival Orchestra with Valkyries. {In German) Columbia Record No. 67374-I> COLUMBIA PHONOGRAPH COMPANY 1000 WASHINGTON STREET, BOSTON Columbian Records Reg. U. S. Pat. Off.

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1931 the long row of Brahms's instrumental works, and especially this second symphony. "The character of this symphony may be described concisely as peaceful, tender, but not effeminate; serenity, which on the one side is quickened to joyous humor and on the other is deepened to meditative seriousness. The first movement begins immediately with a mellow and dusky horn theme. It has something of the character of the serenade, and this impression is strengthened still further in the scherzo and the finale. The first movement, an Allegro moderato, in 3-4, immerses us in a clear wave of melody, upon which we rest, swayed, refreshed, undisturbed by two slight Mendelssohnian reminiscences which emerge before us. The last fifty measures of this movement expire in flashes of new melodic beauty. A broad singing Adagio in B major follows, which, as it appears to me, is more conspicuous for the skilful development of the themes than for the worth of the themes themselves. For this reason, undoubtedly, it makes a less profound impression upon the public than do the other movements. The scherzo is thoroughly delightful in its graceful movement in minuet tempo. It is twice interrupted by a Presto in 2-4, which flashes, spark-like, for a moment. The finale in D, 4-4, more vivacious, but always agreeable

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1933 in its golden serenity, is widely removed from the stormy finales of the modern school. Mozartian blood flows in its veins. "This symphony is a contrast rather than a companion to the first motives which, however, slumber there as flowers beneath the snow, or float as distant points of light beyond the clouds. It is true that the second symphony contains no movement of such noble pathos as the finale of the first. On the other hand, in its uniform coloring and its sunny clearness, it is an advance upon the first, and one that is not to be underestimated. "Brahms has this time fortunately repressed his noble but dan- gerous inclination to conceal his ideas under a web of polyphony or to cover them with lines of contrapuntal intersection; and if the thematic development in the second symphony appears less remarkable than that in the first, the themes themselves seem more flowing, more spontaneous, and their development seems more natural, more pellucid, and therefore more effective. We cannot, therefore, proclaim too loudly our joy that Brahms, after he had given intense expression in his first symphony to Faust-like conflicts of the soul, has now in his second returned to the earth,—the earth that laughs and blossoms in the vernal months."

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Yet some may prefer this short sketch by Hugues Imbert (1842- 1905), one of the first in France to admire Brahms "The second symphony, which was played at a Popular Concert in Paris, November 21, 1880, and at the Paris Conservatory Concert of December 19 of the same year, does not in any way deserve the reproach made against it by Victorin Joncieres,—that it is full of brushwood. Nor should it incur the reproach made by Arthur Pougin,—that it is childish! It is true that the first movement contains some dissonances which, after a first hearing, are piquant and not at all disagreeable. The peroration, the last fifty measures of this Allegro, is of a pathetic serenity, which may be compared with that of the first movement of the two sextets for strings. The Adagio is built according to the plan of adagios in the last quartets of Beethoven—an idea, tinged with the deepest melancholy, is led about in varying tonalities and rhythms. The scherzo is one of the most delightful caprices imaginable. The first trio, with its biting staccati, and the second, with its rapid movement, are only the mother-idea of the scherzo, lightened and flung at full speed. Unity, which is unjustly denied Brahms, is still more strikingly observed in the finale, an admirable masterpiece." Certain German critics in their estimate of Brahms have ex-

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1937 hausted themselves in comparison and metaphor. One claims that, as Beethoven's fourth symphony is to his "Eroica," so is Brahms's second to his first: the one in C minor is epic, the one in 1") major is a fairy-tale. When Biilow wrote that Brahms was an heir of Cherubim, he referred to the delicate filigree work shown in the finale of the second. Felix Weingartner whose "Die Symphonic nach Beethoven" (Berlin, 1898)* is a pamphlet of singularly acute and discriminative criticism, coolly says that the second is far su-

perior to the first : "The stream of invention has never flowed so fresh and spontaneous in other works by Brahms, and nowhere else has he colored his orchestration so successfully." And after a eulogy of the movements he puts the symphony among the very best of the new classic school since the death of Beethoven,—"far above all the symphonies of Schumann." This symphony was first played in Boston at a concert of the Har- vard Musical Association, January 9, 1879. It was then considered as perplexing and cryptic. John S. Dwight probably voiced the pre- vailing opinion when he declared he could conceive of Sterndale

*A second and somewhat, revised edition was published in 1901. This second edi- tion has been translated into English by Arthur Bles.

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VLADIMIR HOROWITZ, Pianist 1 who created such an unheard of sensation both at his appearance as Soloist with the Symphony Orchestra and at his recital afterwards, writes to Messrs. STEINWAY & SONS as follows: "A masterpiece always inspires silent awe and reverent admiration. Hence all I can say is that I am happy that the Steinway has been my inseparable and faithful friend in all countries since the very inception of my concert career."

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1939 Bennett writing a better symphony than the one by Brahms in D major. The symphony is scored for two flutes, two oboes, two' clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, and strings.

The second symphony was naturally more warmly received at first in Vienna than was its predecessor. "It was of 'a more attractive character,' more 'understandable/ than its predecessor. It was to be preferred, too, inasmuch as the composer had not this time 'entered the lists with Beethoven.' The third movement was especially

praised for its 'original melody . and rhythms.' The work might be appropriately termed the 'Vienna Symphony,' reflecting, as it did, 'the fresh, healthy life to be found in beautiful Vienna.' " But Florence May, in her life of Brahms,* says the second symphony was not liked: "The audience maintained an attitude of polite cordiality throughout the performance of the symphony, courteously applauding between the movements and recalling the master at the end ; but the enthusiasm of personal friends was not this time able to kindle any corresponding warmth in the bulk of the audience, or even to cover the general consciousness of the fact. The most

*"The Life of Johannes Brahms," by Florence May, in two volumes, London, 1905.

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Gold, Silver and Jewelry—Makers of Original Gifts 147 Tremonl Street Boston, Massachusetts favorable of the press notices damned the work with faint praise, and a Dorffel, whom we quote here and elsewhere, because he alone of the professional Leipsic critics of the seventies seems to have been imbued with a sense of Brahms's artistic greatness, showed himself quite angry from disappointment. "The Viennese,' he wrote, 'are much more easily satisfied than we.' We make quite different demands on Brahms and require from him music which is some- thing more than 'pretty' and 'very pretty' when he comes before us as a symphonist. Not that we do not wish to hear him in his com- plaisant moods, not that we disdain to accept from him pictures of real life, but we desire always to contemplate his genius, whether he displays it in a manner of his own or depends on that of Beet- hoven. We have not discovered genius in the new symphony, and should hardly have guessed it to be the work of Brahms had it been performed anonymously. We should have recognized the great mastery of form, the extremely skilful handling of the material, the conspicuous power of construction, in short, which it displays, but should not have described it as pre-eminently distinguished by in- ventive power. We should have pronounced the work to be one worthy of respect, but not counting for much in the domain of sym- phony. Perhaps we may be mistaken; if so, the error should be pardonable, arising as it does from the great expectations which our reverence for the composer induced us to form.".

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1943 . WORKS PERFORMED AT THE SYMPHONY CONCERTS DURING THE SEASON OF 1927-1928

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. PAQB Asioli: Concerto, A major,** for viola d'amore (Henri Casadestjs*) and orchestra, April 20, 1928 1854 Bach: Two Choral Preludes (orchestrated by Arnold Schoen- berg**), October 14, 1927 85 Concerto No. 2, F major, for violin, flute, oboe, and trumpet (edited by Felix Mottl), December 22, 1927 739

Concerto, A minor, No. 1, for violin (Paul Kochanski), March 30, 1928 .• 1668

Bartok: : Concerto for Pianoforte** (Bela Bartok), February 17, 1928 1254 Bax: Symphony in E-flat minor,* December 16, 1927 662 Beck: Symphony No. 3, for string orchestra,! February 10, 1928 1159

Beethoven: Symphony No. 5, C minor, Op. 67, April 6, 1928 . 1785 Symphony No. 7, A major, Op. 92, December 9, 1927 ... 598 Overture to "Egmont," April 27, 1928 1915 Berlioz: Overture to "Benvenuto Cellini," Op. 23 7 Royal Hunt and Tempest, Descriptive Symphony from "Les Troyens," January 20, 1928 1002

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1944 THE BUILDING OF A PIANO ia a fine art, in which perfection is attained only through years of devotion to the highest ideals of construction. The marvelous sweetness, purity and stability of the Vose Ton* are the result of over 75 years of Piano building by the Vose family, son after father. We challenge comparison. VOSe & SONS PIANO CO., 160 Boylston Street, Boston Excerpts from "The Damnation of Faust," March 16, 1928 1526 Bloch: Three Jewish Poems, November 18, 1927 422 Four Episodes for chamber orchestra,** December 29, 1927 823 Borghi: Concerto for harpsichord (Mme. Patorni-Casadestjs*) and wind orchestra,** April 20, 1928 ..'. 1850 Borodin: Aria* from "Prince Igor" (Nina Koshetz), February 10, 1928 1180

Brahms: Symphony No. 1, C minor, Op. 68, March 2, 1928 . . 1422 Symphony No. 2, April 27, 1928 1928 Symphony No. 3, F major, Op. 90, October 7, 1927 .... 28 Symphony No. 4, E minor, Op. 98, December 29, 1927 ... 854 Variations on a Theme by Haydn, Op. 56a, November 11, 1927 366

"Academic Festival" Overture, Op. 80, January 27, 1928 . 1075 Concerto for violin, D major, Op. 77 (Albert Spalding), December 1, 1927 496 Carpenter: Suite "Adventures in a Perambulator," December 9, 1927 571 "Skyscrapers, A Ballet of Modern American Life"** (Claire Mager, soprano; Rtjlon Y. Robison, tenor), December 9, 1927 586

Chertjbini: Overture to "Ali Baba," December 2, 1927 . . . . 487 Cimarosa (see Malpiero). Converse: "California," Tone-Poem, f suggested by scenes at the Fiesta in Santa Barbara (1927), April 6, 1928 .... 1772

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1946 Debussy: "Iberia": "Images," for orchestra, No. 2, October 7, 1927 52

"La Mer," April 27, 1928 ...... 1922 Two Dances: Sarabande** and Danse (orchestrated by

Ravel), January 13, 1928 . 926 De Falla: "El Amor Brujo" ("Love the Sorcerer"), October 14, 1927 92 Delius: Intermezzo, "Ihe Walk to the Paradise Garden,"**

from "A Village Romeo and Juliet," January 20, 1928 . 996 Dukas: "La Peri, Poeme Danse," January 27, 1928 1088 Gluck: Ballet Suite No. 2* (arranged by Mottl) from "Alceste," "Iphigenie en Aulide," and "Paride ed Elena," March 23, 1928 1579 Handel: Concerto Grosso, D minor, for strings, Op. 6, No. 10, October 28, 1927 247 Suite from "Teseo," "II Pastor Fido," and "Rodrigo,"** January 20, 1928 991 Concerto Grosso, No. 5, D major, for strings (ed. by Kogel), February 24, 1928 1327

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1947 Haydn: Symphony, G major (B. & H. No. 13), October 21, 1927 167 Hill: Symphony in B-flat,f Op. 34, March 30, 1928' 1663 Holst: "Ode to Death" (Walt Whitman), set to music for

chorus and orchestra, Op. 38,** February 10, 1928 . . 1160 Honegger: Incidental Music to D'Anunzio's "Fedra"f (first performance of the whole in concert form in the United States) 260 Lazar: Music for Orchestra,! March 23, 1928 1618 Liadov: From the Apocalypse, Symphonic Picture, December 16, 1927 655 Russian Folk Songs for Orchestra,* Op. 58, January 27, 1928 1082 Liszt: "Mazeppa," Symphonic Poem, No. 6 (after Victor Hugo),

December 2, 1927 . 523 Second Episode from Lenau's "Faust: Dance in the Village Tavern (Mephisto Waltz)," November 11, 1927 ... 344 Loeffler:.A Pagan Poem (after Virgil) for orchestra, piano-

i forte, English horn, and three trumpets obbligati, Op. 14, October 21, 1927 214 Lopatnikov: Scherzo for orchestra,! April 27, 1928 1918 Lorenziti: Venetian Symphonyf (Concertante for quinton (Marius Casadesus**), viola d'amore (Henri Casa- des*ts), and harpsichord (Mme. Regina Patorni-Casa-

desus*), April 20, 1928 ...... _. . . . 1846 Malipiero: Cimarosiana: Five Orchestral Pieces by Cimerosa,

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1949 Martinu: "La Bagarre" ("The Tumult," Allegro for orchestra,! November 18, 1927 416

Mason, D. G. : Symphony in C minor,** Op. 11, March 16, 1928 1506 Mendelssohn: Symphony, A major, "Italian," Op. 90, December 22, 1927 756

Mozart: Symphony, E-flat major (K. 543), November 18 . . . 407

Symphony, C major, No. 34 (K. 358), January 20, 1928 . . 1016 Piston: Symphonic Piece,t March 23, 1928 1611 Prokofieff: Suite from the Ballet "Le Pas d'Acier"** ("The Ballet of Steel"), October 21, 1927 (first time in the United States) 188 Scythian Suite, Op. 20, March 2, 1928 1418 Rachmaninoff: Concerto, D minor, No. 3, for pianoforte (Vladimir Horowitz**) and orchestra, March 16, 1928 1518

Ravel: "Ma Mere l'Oye" ("Mother Goose"), October 21, 1928 . 196 Orchestral Excerpts from "Daphnis et Chloe" (second suite), October 28, 1928 268 "Le Tombeau de Couperin," orchestral suite, January 13,

1928 . . 918 Rapsodie Espagnole, January 13, 1928 930 "La Valse" Choregraphic Poem, January 13, 1928 .... 960 "Sheherazade," Three Poems for voice (Lisa Roma**) and orchestra, to the verses of Tristan Klingsor, January 13, 1928 ' 945 "Tzigane,"* for violin (Paul Kochanski) and orchestra, March 30, 1928 1686 WOMEN'S REPUBLICAN CLUB 46 BEACON STREET Telephone, Haymarket 6400 JXCusic T^pom .'. French l^pom Available for Concerts and Lectures

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1950 See Debussy (Sarabande** and Danse, orchestrated by Ravel), January 13, 1928 926 Rimsky-Korsakov: Symphonic Suite, "Sh^herazade" (after "The Thousand Nights and a Night") Op. 35, Decem- ber 22, 1927 782 "The Russian Easter," Overture on Themes of the Russian Church, Op. 36, April 6, 1928 1747

Overture* to "A Night in May," February 10, 1928 . . . , 1176 Introduction and March from "Le Coq d'Or," February 17, 1928 1243 Saint-Saens: Symphony No. 3, C minor, April 27, 1928 .... 1874 Schmitt: Psalm XLVII for orchestra, organ, chorus, and solo voice* (Nina Koshetz), February 10, 1928 ...... 1204 Schreker: Prelude to a Drama, December 2, 1927 510 Schumann: Symphony No. 4, D minor, Op. 120, March 23, 1928 1590 Concerto, A minor, for pianoforte (Myra Hess*) and orchestra, Op. 54, December 16, 1927 676

Sibelius: Symphony, No. 1, E minor, Op. 39, January 27, 1928 . 1114

Symphony No. 5, E-flat major, Op. 82, November 1 1 , 1927 . 332 Strauss: Symphonia Domestica, Op. 53, October 14, 1927 ... 118 "Don Juan," Tone-Poem, Op. 20 (after Lenau), November 18, 1927 428

"Ein Heldenleben," Tone-Poem, Op. 40, January 20, 1928 . 1034 Stravinsky: Orchestral Suite from the Ballet "Petrouchka," October 7, 1927 42 "OEdipus Rex," opera oratorio** by J. Cocteau (after

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Sophocles). Maegaret Matzenauer, mezzo-soprano; Arthur Hackett, tenor; Fraser Gange, baritone; Paul Leyssac, narrator; The Harvard Glee Club, trained by Dr. A. T. Davison. February 24, 1928 (first time in the United States) 1334 Suite from "L'Oiseau de Feu," March 23, 1928 1622 Tansman: Second Concerto for Pianoforte (Alexander Tans-

• man**) and orchestra,! December 29, 1927 846 Tchaikovsky: Symphony No. 4, F minor, Op. 36, October 26, 1927 283 Symphony No. 6, B minor, " Pathetic," Op. 74, February

17, 1928 . 1272 "Romeo and Juliet," Overture Fantasia after Shakespeare, December 29, 1927 824 Vivaldi: "L'Estate" ("Summer") Concerto No. 2, for string orchestra with piano and organ** (ed. by B. Molinari) from "The Four Seasons" (Richard Burgin, f solo violin) March 16, 1928 1495

Wagner: Overture to "Tannhaeuser," December 16, 1927 . . . 702 Prelude and "Liebestod" from "Tristan und Isolde,"

March 30, 1928 . 1692 Prelude to "Die Meistersinger von Niirnberg," March 30, 1928 1706 Prelude to "Parsifal," April 6, 1928 ...... 1754 Walton: Sinfonia Concertante, for orchestra with pianoforte (Bernard Zighera")"), quasi obbligato,** March 2, 1928 1411

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1952 SUMMARY

The following composers were represented for the first time at these concerts: Asioli, Beck, Borghi, Lorenziti, Lopatnikov, Martinu, Piston.

Asioli . . loeffler ....

Bach . . . Lopatnikov . .

Bart6k Lorenziti . . .

Bax ... Malipiero . . .

Beck . . . Martinu ....

Beethoven Mason, D. G. . . Berlioz Mendelssohn

Bloch . . Mozart ....

Borghi . . Piston

Borodin . Prokofieff . . . Brahms Rachmaninoff Carpenter Ravel Cherubini Rimsky-Korsakov

Converse Saint-Saens . .

Debussy . SCHMITT ....

De Falla Schreker . . .

Delius . . Schumann . . .

Dukas . . Sibelius ....

Gluck . . Strauss ....

Handel . Stravinsky . . .

Haydn . . Tansman ....

Hill . . . Tchaikovsky . .

Holst . . Vivaldi .... Honegger Wagner ....

Lazar . . Walton ....

LlADOV . .

Liszt . . . 95

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1953 The Trustees

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1954 1927-1928

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1955 iG*^m@&r$iQ

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195b ORCHESTRAL WORKS PERFORMED FOR THE FIRST TIME ANYWHERE

Beck: Symphony No. 3, for string orchestra. Converse: "California/' Tone Poem. Hill: Symphony in B-flat. Lazar: Music for Orchestra. Lopatnikov: Scherzo. Lorenziti: Venetian Symphony (Concertante) for quinton, viola d'amore, and harpsichord. Martinu: "La Bagarre." Piston: Symphonic Piece.

Tansman : Second Concerto, for pianoforte and orchestra . . .

Ho

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1957 . . .

OTHER WORKS PERFORMED IN BOSTON FOR THE FIRST TIME*

Bartok : Concerto for pianoforte (first time in the United States [?]) Bloch: Four Episodes for chamber orchestra. Borghi: Concerto for harpsichord and wind orchestra (first time in the United States). Carpenter: "Skyscrapers." Debussy: Sarabande (orchestrated by Ravel). Delius: Intermezzo, "The Walk to the Paradise Garden." Handel: Suite from "Teseo"—"II Pastor Fido" and "Rodrigo" (arranged by Beecham). Holst: "Ode to Death" (Walt Whitman). Honegger: Incidental Music to D'Annunzio's "Fedra" (first time as a whole in the United States) Malipiero: Cimarosiana (first time in the United States). Mason: Symphony in C minor. Prokofieff: Suite from the Ballet "Le Pas d'Acier" (first time in the United States) Ravel: "Tzigane," for violin (first time with orchestra in Boston). Stravinsky: "(Edipus Rex" (first time in the United States). Vivaldi: "L'Estate," Concerto No. 2, for string orchestra with piano and organ. Walton: Sinfonia Concertante for orchestra with pianoforte (first time in the United States) 16

* The references to first performances in the United States are subject to correction,

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1958 WORKS PREVIOUSLY PERFORMED IN BOSTON, PLAYED FOR THE FIRST TIME AT THESE CONCERTS Bax: Symphony in E-flat minor. Borodin: Aria from "Prince Igor." Gluck-Mottl: Ballet Suite No. 2. Liadov: Russian Folk Songs for orchestra. Rimsky-Korsakov: Overture to "A Night in May." Schmitt: Psalm XLVII 6

THE FOLLOWING ARTISTS HAVE ASSISTED AS SOLOISTS THIS SEASON Bart6k,** Bela, pianist (Bartok's Concerto for pianoforte),** February 17, 1928. Sketch 1254 Hess,* Myra, pianist (Schumann's concerto), December 16, 1927 676 Horowitz,** Vladimir, pianist (Rachmaninoff's Concerto No. 3),

March 16, 1928. Sketch . 1514 Kochanski, Paul, violinist (Bach's Concerto No. 1, A minor, and Ravel's "Tzigane,"* with orchestra), March 30,

1928. Sketch . . 1666 Koshetz, Nina, soprano (Aria* from Borodin's "Prince Igor" and solo in Schmitt's Psalm*), February 10, 1928. Sketch 1178 Roma,** Lisa, singer (Ravel's "Sheherazade," January 13, 1928 945 Spalding, Albert, violinist (Brahms's Concerto), December 2, 1927. Sketch 492

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1959 Singers: Nina Koshetz and Lisa Roma** Violinists: Paul Kochanski, Albert Spalding Pianists: Bela Bartok,** Myra Hess,* Vladimir Horowitz**

THE FOLLOWING HAVE ASSISTED IN PERFORMANCES The Harvard Glee Club, drilled by Dr. Davison, in "(Edipus Rex." The Cecilia Society, drilled by Malcolm Lang in Hoist's "Hymn to Death" and Schmitt's "Psalm." Singers: Mme. Matzenauer, Arthur Hackett, Fraser Gange, in "(Edipus Rex"; Nina Koshetz in Schmitt's "Psalm"; Mme. Claire Mager and Rulon Y. Robison in Carpenter's "Skyscrapers." Bach's Concerto No. 2, F major, Messrs. BuRGiN,f violin; Laurent, f flute; GiLLET,f oboe; Mager, f trumpet. Handel, Concerto Grosso, No. 5, D major, for strings, Messrs. BuRGiNf and THEODOROWicz,f solo violins; Lefranc,! solo viola; BEDETTi,f solo violoncello. Loeffler's "Pagan Poem," Messrs. Speyer,! English horn; Bernard ZiGHERA,f piano. Vivaldi's "L'Estate," Mr. BuRGiN,f solo violin. Walton's Sinfonia Concertante, Bernard Zighera,! pianist.

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I960 GUEST CONDUCTORS

Sir Thomas Beecham,** January 20-21, 1928. Maurice Ravel,** January 13, 1928. Mr. BuRGiNf conducted the concerts of December 2-3, 1927. r ENTR'ACTES AND EXCURSIONS PAGE

Berlioz, H. : Beethoven's Symphony, No. 5 1788

Cceuroy, A. : Stravinsky's "(Edipus Rex" 1374

Daily Telegraph (London) : "Our Band Stand" 1024

Evans, E. : Arnold Bax 666

Hale, P. : Don Juan Tenorio in Life and on the Stage 448

Drums . . . . 1298 Forlane, The 920 Habanera, The '936 Haydn and the Parisian Concerts Spirituels 176 Maelzel, J. N., in America 604 Minuet, The 1580

Pavane, The .... . 200 '. Phaedra . 260 Satan as a Dancer 348 Schumann's Music in England 684 Tonalities and Color 870

Trumpets of the 17th Century . . 748

Violin, Old Music for Solo , 1672 Viols (Quinton, Viola d'Amore, etc.) 1834

Heywood, T.: (Edipus, The Story of . . . 1352

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A School for Teachers of Music, for Students and for others who wish to increase their understanding of Music. Complete course in School Music from Kindergarten to College including the teaching of History and Appreciation. Conferences on College Music. Lectures on Education, on Literature and on Art. Three Chamber Music Concerts. Choral works by Bach, Brahms, Hoist, Vaughan Williams and other modern composers. Classes in Elementary and Advanced Harmony, in Piano Interpretation and Technique. Private lessons in piano playing, singing, etc. Chorus of one hundred voices. String Orchestra. Circular on application. MASON & HAMLIN Pianos used

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Newman, E.: "The Work and the Interpreter" 102 Strauss's "Symphonia Domestica" 132 Legend and Reality 1862 Prunieres, H.: Stravinsky's "QEdipus Rex" 1374 Ravel and Diaghilev: Correspondence about "Daphnis et Chloe" .... 276 Times (London) Jews-Harps and Mouth Organs 360 Operatic Oddities: Pitfalls of Realism 1380

INDEX TO SUNDRY REFERENCES AND FOOTNOTES

Biographical (Men): iEschvlus, 1365; Abinoni, T., 1670; Allen, H. P., 1412; Altchevsky, 1244; Alva, Duke of, 1918; Anthony, St., 376; Arbos, E. F., 92. Bach, J. A., 1668; Balakirev, 832, 842; Balducci, G., 10; Bardella, 258; Bargaglia, S., 254; Barna, M., 1546; Bassani, G., 1674; BathvUus, 922; Berber, F., 1682; Berould, 1702; Bigot, P., 1212; Boni, J., 1018; Brossard, S., 1672; Bruch, 1275; Burlington, Earl of, 247; Casadesus, H. G., 1831; Castrucci, P., 256, 1844; Charles II, 1846; Cherubini, 182; Choiseul, Duke de, 922; Christian, Ludwig, Margraf, 729; Clement VII, 12; Constantine, Grand Duke, 1276; Cooper, 1244; Coppet, E. J. de, 1506; Corelli, A., 1676. Danfodio, 1298; Dante (a German!), 1533; Delacroix, 1533; De la Haye, 176; Dessoff, 1436; Dietrich, A., 1426; Ducrot, 920; Duponehel, 18; Dupont, A., 20; Duprez, G., 20 et seq.; Dvorak, 418. Ehrbar, F., 28; Erdmansdoerfer, 356; Eulenstein, C, 360. Faber, A., 30; Farrant, D., 1844; Feuerbach, A., 376; Fleury, L., 362; Fonteski, 180; Frederick the Great, 361. Geminiani, 1332; Gentili, G., 1670; Gluck, 407; Gregori, G. L., 1670; Grieg, 1275; Guiraud, E., 1100. Haywood, S., 360; Hensel, 772; Herschel, Lord, 1275; Hippolytus, 262; Hogarth, 258; Hoist, A., 1170; Hubermann, B., 504; Humieres, R. d', 1210. Imbert, H., 1936. Jackson, J. P., 434; Joachim, 32; Joseph II, 407. Kapsberger, J., 258; Klingsor, T., 945; Kodaly, 3, 1264; Koessler, 1260; Kogel, G. F., 1327; Kosleck, J., 750; Kotek, 286; Krehl, S., 1618; Leclere (see Klingsor), 945; Legouve, 8; Legrenzi, A., 1670; Legros, 182; Lenau, 344, 428; Leopold of Anhalt- Coethen, 1668; Levi, H., 1440; Liadov, C, 656, 1082; Lindbergh, 416;

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95 ST. JAMES AVENUE - - BOSTON Louis XIV, 924, 1580; Louis XV, 924. Maelzel, L., 605; Maelzel, J. P., 604 Maharadja of Bhonnaggor, 1275; Mahillon, C, 120; Manzia, L. de, 1670 Marcel, 1582; Mazeppa, 523; Meyerbeer, 609; Michellette, 254, 1676; Molinari 1495; Mollenhauer, E., 1600; Monn, G. M., 1020, 1588; Monteux, 1244, 1804 Morrow, W., 750; Mottl, F., 1579. Napoleon, 1860; Nero, 1365; Nini, A. 618. Oberge, E. von, 1702; Ogny, Baron d', 176; Ondricek, F., 30. Padilla 832; Pecourt, 920-922; Perrault, C, 206; Philip of Hesse, 1498; Polus, 1365 Puchberg, 408; Pylades of Cilicia, 922. Quevedo, T. Y., 606. Raaff, 174 Rak6czy II, Franz, 1546; Reisenauer, 354; Rigaud, 926; Roberts, General 1275; Ruzsicksa, W., 1550. Sammartini, 1588; Saint-Saens, 1275; Sargent 1844, 952; Schneider, L., 710; SchoU, 1552; Seiffert, M., 252; Seghers, 1891 Sert, M., 960; Shakespeare (a German!), 1544; Silcher, F., 1078; Siloti, A., 624 Silvani, 1762; Simrock, 1438; Sitwell, O., 1414; Soubisse, Prince of, 176; Sopho cles, 1365; Stassov, V., 1184; Straram, W., 1159; Suk, J., 418. Taglietti, 1670 Tellez, G., 438; Tenorio, Don Juan, 448; Theseus, 260; Thoman, S., 1260 Thomas, T., 34; Thuille, L., 430; Tiorba, 258; Toch, E., 1920; ToreUi, G., 1670 Vaczek, K, 1548; Valleriano, 992; Vanfried of Hesse, Duke of, 1546. Watts- Dunton, 1162; Weissheimer, W., 1708; Wittgenstein, P., 140; Wuellner, F., 32. Zichy, G., 140.

Biographical (Women) : Abadie, J. d', 350; Ahna, P. de (Mme. Strauss), 114; Amalie Karoline (daughter of Duke Vanfried of Hesse), 1546; Artot, M. J. D., 832; Aulnoy, M. C. d', 210. Borodin, Mme., 1188; Brociner, A. E., 848. Catherine de Medicis, 920. Duncan, I., 618; Dvorak, O., 418. Enclos, Ninon de 1', 922. FeUinger, 856; Frere, J. M. (Hatto), 945. Hall, Mrs. R. J., 58; Hatto (see Frere); Herzog, E., 114; Hippolyte, 260. Jaell, M., 358; Jeritza, 1380; Joachim, Mme., 32. Kotchoubey, Princess, 523. Laurinski, Ohnska, 523; Lopokova, L., 1634. Maclezova, X., 1634; Marguerite de Valois, 203; Marie Louise, 1860; Martibalserena, 350; Meek, Mme. v. 286 et seq., 1292; Medicis, C. de, 203; Menken, A. I., 540; Milioukov, A. I. (Mme. Tchaikovsky), 292. Ninon de l'Enclos, 922. Panna, C., 1548; Pavlova, A., 1096. Rimsky-

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1965 Korsakov, Mme., 840. Salle, M., 994; Savne-Wittgenstein, Princess, 1012; Schumann, C, 686; Schumann, M., 1951; Sitwell, E., 1414; Stoltz, R., 20. Tarquini, V., 994; Tchaikovsky, Mme., 292; Tesi, V., 994. Ursula of Leybach, 350.

Musical and Poetical Forms: Amen, Dresden, 1752. Basso continuo, 1680. Canzone, 1672; Capricio, 1672; Chamber sonata, 1672; Ciacona, 876; Col legno, 1S20; Concertino, 250, 1330; Concerto, 254; Continuo, 1680. Dirges in symphonies, 1303; Dresden Amen, 1752. E minor, tonality of, 870. Fan- tasia, 1672; Finale, 1303. Locrian mode, 1256. Minuet, 1020, 1588; Modus Locritus, 1256; Musicadi camera, 1674; Musica di chiesa, 1674. Ricercare, 1672. Simfonia, 1672; Sonata, chamber, 1672; Symphony, *412. Toccata, 1672; Tonality of E minor, 870.

Dances: Aimable Vainqueur, 922; Balletto, 920; Bourgogne, La, 922; Bourree d'Achille, 920; Brando, 920. Canary a deux, 922; Ciacona, 876; Contradanza, 938; Contredanse, 920; Conty, La, 922; Court Minuet, 1586. Dancing- Satan—Sin, 348; Dauphin's Minuet, 1586; Duncan, I., 618. Exaudet, Minuet d', 1586. Fandango, 932; Flamenco, 932; Forlane, 920. Habanera, 936. Malaguena, 922; Mariee, 920; Matelot, 996; Menuet; (see Court, Dauphin's, Exaudet), 924; Menuet de la Cour, 1586; Minuet in London, 1584. Passa- caglia, 876; Pavane, 200. Rigaudon, 924; Rodena, 932. Saltarello, 772; Sarabande, 926; Satan as a Dancer, 348; Savoye, La, 922; Syrian dancing girls, 704. Instruments: Alpenhorn, 1432; Alto violoncello, 1836; Archlute, 1846. Bagpipe, 350; Basso da Camera, 1836; Bassoon, small, 1432; Bell, 352. Caisse claire, 270; Chittarone, 258, 1846; Corneto, 1674; Crotal, 962; Crotales, 962. Drums, 1296. Fiddle, 352; Flute, 352. Handhassel, 1836; Harpsichord, 1682; Heckel- phone piccolo, 746. Jew's-harp, 360. Lyra-Viol, 1840; Lyre, 352. Mechanical Instruments Musical, 604 et seq.; Metronome, 604; Mouth-organ, 360. Oboe d'amore, 120; Oktargeige, 1836; Orchestra (concert des Amateurs), 178; Organ, mouth, 360. Pan pipes, 272; Piccolo, Heckelphone, 746. Quinton, 1834. Saranzi, 1844; Strings sym., 1840; Syrinx, 361. Tambour, 270; Tambourine, 350; Tenoroon, 1432; theorbo, 258, 1846; Trumpet, 350, >748; Trumpeter, Austrian, 605. Viola d'amore, 1838; Viola bastarda, 1844; Viola da braccio, 1834; Viola da gamba, 1834; Viola da spalla, 1834; Viola marina, 1844; Violet, 1840; Violetta marina, 256; Violetta piccolo, 256; Violoncello alto, 1836; Viols, 1834. Legends, etc.: Ala, 1418; Antigone, 1360; Antiope, 260; Apia, 1422; Apollo, 1422; Artemis, 262; Artimposa, 1422. Beauty and the Beast, 212. Creon, 1356. Don Juan, 448. Egeria, 262; Eureginea, 1360; Evil-God, 1420. Fire-Bird, The, 1627. Hercules, 1422; Hippolvte, 260; Hop o' My Thumb, 206. Ismene, 1360. Jocasta, 1354, 1360; Jupiter, 1422. Katschei, 638, 646, 1627. Laideron-

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1967 nette, 206; Laius, 1354; Lolli, 1420. Mars, 1422. Neptune, 1422. (Edipus, 1358; Oetosyrus, 1422; Oiseau de Feu, 1627. Pan, 272; Papaeus, 1422; Pasi- phea, 260; Periboea, 1354; Polybus, 1354; Polyphontes, 1354; Poseidon, 260. Sphinx, The, 1358; Stromkarl, 620; Syrinx, 272. Thamimasadas, 1422. Veles, 1418; Venus Urania, 1422; Vesta, 1422. Zhar-Ptitsa, 1627. oongs: Ach, du lieber Augustin, 580; Adieu, mon bon Homme, 912; Aennchen von Tharau, 1078; Ah! perfido, 1786; A tous pech6s pleine indulgence, 14; Auf dem Kirchhofe, 868. Behold and see, 872; Belle, qui tiens ma vie, 202; Bluebells of Scotland, 1384. Cape Cod Chanty, 1778; Capotin, El, 1780; Chata cara de Bale, 1778; Crowned Tone, 1712. Dem Goo-Goo Eyes, 596. Entre et le devoir, 8. Forelle, 1596. Gaudeamus igitur, 1080; Grab im Busento, 1710. Histoires Naturelles, 908. In the fields there stood a birch tree, 301; Integer Vitae, 1078. Komm Gott, Schopfer, 88. La-bas vers l'eglise, 912; Landesvater, 1078; Lobet den Vater, 1078; Loreley, 1078; Lost Chord, The, 1030. Madecasses Chansons, 912; Marseillaise, 1832; Massa's in the Cold Ground, 596; Musique sur l'eau, 1219. Noel des Enfants qui n'ont plus de maison, 1832; Nora Creina, 600; Nur wer die Sehnsucht kennt, 826. Passionate Shepherd, 1414. Quel Galant, 912. Reiselied, 1596. Sainte, 912; Salve Regina, 248, 1328; Schmucke dich, 88; Sheherazade, 908; Sich a gettin' up stairs, 688; Skylark, The, 766; Star-Spangled Banner, 1387. Tout gai! 912; Tristesse au jardin, 1219; Tritous, 1414; Two Grenadiers, The, 1592. Unconstant Lovyer, The, 1780. Vom Himmel Hoch, 756. Was kommt dort, 1078; Where, oh where, is my little dog gone? 580; Whitsuntide Hymn, 90; Winds, The, 1404; Wir hatten gebauet, 1078. Yankee Doodle, 596. Zu Strassburg auf, 1078.

Opeea House and Theatke: A. Achille a Scyros, 487; Acis and Galatea, 407; Alceste, 1579; Alcestis, 1174; Amadis, 922; Amor Brujo, El, 92; Antigone, 266; Antony and Cleopatra, 1216; Apres-midi d'un Faune, 276; Arbre de Science, L', 1106; Ariane et Barbe-Bleuei 1098, 1106; Astarte, 945; Ateista Fulminado, 450; Atenaide, 1018; At the Boar's Head, 1172; Attila, 1600; Atys, 922. B. Ballet Sextuor, 848; Barbares, Les, 945, 1876; Bastien et Bastienne, 504; Bellerophon, 922; Belohnte Treue, 180; Benvenuto Cellini, 7 (play), 10; Between Dusk and Dawn, 672; Birthday of the Infanta, 582; Blanc et Noir, 1919; Boris Godunov, 1196; Boyerina Vera Sheloga, 1252; Bride of Messina, 658, 838, 1084, 1196; Burg des Herzogs Blaubart, 1268; Burlador de Sevilla, 438. C. Cadmus et Hermione, 922; Carmen, 1274; Cavalleria Rusticana, 1274; Cephale et Procris, 662; Children's Tales, 672; Christmas Eve, 1252; Cimarosi-

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1968 ana, 88, 328; Cinna, I860; Clandestine Marriage, 330; Contadina Vivace, 1858; Contes d'Hoffmann, 1100; Convitato di Pietra, 456, 458; Convito di Pietra, 456, 458; Coq d'Or, 1243; Corsaro, 618; Corsican Bride, The, 1600; Cosl fan tutte, 407; Cristiria di Suezia, 618. D. Damnation of Faust, 1536; Danae, 1018; Dance in Place Congo, 1246; Daphnis et Chloe, 268, 908; Devil in the Belfry, 60; Discordia teatrale, 1858; Dissolute Punito, 456; Don Giovanni, 417, 444, 454, 456, 1592; Don Giovanni Tenorio, 456; Don Juan de Fantasie, 456; Don Juan et Hayd6e, 458; Don Juan Fin de Siecle, 458; Don Juan's letztes Abenteuer, 458. E. Egmont, 203, 1915; Elektra, 991; Emperor Jones, The, 1296; Enfant et les Sortileges, 914; Entfuhrung aus dem Serail, 502; Ernani, 1536; Eroe Cinese, L', 1018; Eugene Oniegin, 303; Euryanthe, 1450; Ezio, 1018. F. Facade, 1414; Fair of Sorotchinsk, 1178; Fall of the House of Usher, 60; False Concord, 330; Fanatico Burlato, 330; Faniska, 487; Faust, 512, 1919,

1526, ' 1600; Faust (Beancourt's), 1533; Faust (Marlowe's), 1544; Faust (Stapfer's), 1533; Fedelta premiata, 180; Fedra, 260; Fennimore and Garda, 1000; Feme Klang, 512; Festin de Pierre, 454; Festa d'Alessandro, 1858; Fetes de Ramire, 1107; Fidelio, 1785; Fils des Etoiles, 907; Fire Bird, 194, 1622; Flamenca, 934; Flight of Bela, 1550; Forty Thieves, The, 490; Frede- gonde, 1102; Frogskin, The, 672. G. Geburtstag der Infanten, 512; Gezeichneten, 512, 514; Giaconda, 924; Goettin der Vernunft, 866; Goetz von Berlichingen, 1102; Grandissimes, The, 1000; Griselda, 1500; Guillaume Tell, 7, 1432; Guntram, 114, 1049; Gustavo, 1860. H. Habanera, 938; Hannele, 1618; Hary Janos, 1264; Henri IV, 750; Heure Espagnole, 912; Histoire du Soldat, 1374; Holzgeschnitze Prinz, 1268; Horn et Rimenheld, 1104; Huguenots, 7, 1840; Huon de Bordeaux, 848. I. Ida delle Torre, 618; Idomeneo, 1284, 1579; Imperatrice aux Rochers, 266; Indes Galantes, 1107; Intermezzo, 116; Iphigenie en Aulide, 945; Irrelohe, 512; Ms, 922; Isola disabitata, 180, 1018. J. Jardin du Paradis, 848; Jeunesse du Roi Henry, 203. K. Kamjennyi Gost, 456; Katschei, 1254, 1624; Kinder Neujahrstraum, 1920;

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1969 King Christian II, 1122; King Lear, 834, 1102; Kleiner Don Juan, 458; Koanga, 1000; Koukourgi, 488; Krazy Kat, 582; Kuolema, 1122. L. Legend of Joseph, 960; Leila and Adelai, 658, 1084; Life for the Tsar, 1338; Liluli, 266; Lohengrin, 696, 1708, 1754, 1878; Love for Three Oranges, 1178; Lucia di Lammermoor, 766, 1384; Lucrezia Borgia, 766; Lysistrata, 848. M. Madama Butterfly, 1387; Magic Flute, 114, 616, 766, 1579; Magic Fountain, 1000; Maid of Pskof, 1252; Ma Mere l'Oye, 196; Manfred, 1424; Marescialla d'Ancre, 618; Margherita di York, 618; Margot la Rouge, 1000; Matrimonio Segreto, 88, 328; Mavra, 1376; Mazeppa, 540, 542; Meistersinger von Nurn- berg, 1706; Mille Neuf Cent Douze, 1216; Mireille, 1030; Mlada, 1186, 1252, 1624; Mozart and Salieri, 1250. N. Natale di Giova, 1018; Nelee et Myrthis, 1107; Night in May, 1176, 1197, 1252; Noces, Les, 1374; Nozze di Figaro, 412; Nuovo Convitato di Pietra, 456; Nuovo Don Giovanni, 458; Nuit Kurde, 848. O. Odelisca, 618; (Edipe a Thebes, 1370; (Edipe Roi, 1368; (Edipus Coloneus, 868; (Edipus Tyrannus, 1366; Oiseau de Feu, 1336, 1374, 1622; Orlando, 256, 1844; Othello, 283; Ourvaci, 1216. P. Panstaenzen, 512; Pan Voyevoda, 1254; Paride ed Helena, 1580; Parsifal, 1754; Pas d'Acier, 188; Pastorale, 194; Pastor Fido, 991; Patrie, 203; Pelleas et Melisande, 928, 991, 1416; Perfect Fool, The, 1177; Peri, La, 1088; Persee, 922; Petit elfe ferme Pceil, 1216; Petrouchka, 42, 192, 1374; Phedre, 266; Pimmaglione, 1858; Polyeucte, 1098, 1102; Prince Igor, 1180; Prise de Troie, 1002, 1014; Pulcinella, 1374; Pupazzi, 1216. Q. Quaker, The, 1583. R. Renard, 1374; Revoke, The, 1172; Robert le Diable, 724; Rodrigo, 994; Roi d'Ys, 930; Roi s'amuse, 203; Roi, son Vizir et son Medecin, Le, 266; Romeo and Juliet, 1544; Romeo und Julia auf dem Dorfe, 996; Rosiere de Salency, 1586; Rote Tod, 512; Russian and Ludmilla, 840, 1632. S. Sacre du Printemps, 192, 1374; Salome, 991; Samson et Dalila, 1107; Savitri, 1172; Schatzgraeber, 512; Schwanengesang, 512; Semiramis, 1600; Servilia, 1254; Siege de Corinth, 24; Siegfried, 1708; Sigurd, 945; Sita, 1172; Skyscrapers,

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1970 586; Slave Girl, The, 672; Snegourotschka, 930; Snow Maiden, 1252; Soeur Beatrice. 658, 1086; Sonnambula, La, 766; Sosarme, 1844; Spielrnann unci Prinzessin, 512; Statue du Commandeur, 458; Stepney Pageant, 1174; Stone Guest, The, 456; Sunken Bell, The, 916; Sybarites, Les, 922. T. Tale of the Invisible City, 1254; Tale of Tsar Saltana, 1254; Tannhaeuser, 38, 702, 930, 1536; Teseo, 992; Thdsce, 922; Tosca, 1387; Tragedie de Salome 1210; Tragedy of the Violoncello, 848; Train Bleue, 194; Traviata, La, 1384 Tristan und Isolde, 536, 1384, 1416, 1692, 1770; Troilus and Cressida, 1456 Trojan Women, 1174; Troyens, Les, 1002, 1014; Troyens a Carthage, 1002 Truth about the Russian Dancers, 672; Tsar's Bride, The, 1178, 11S4, 1252. V. Vero Omaggio, II, 1018; Village Romeo and Juliet, 996; Virginia, 618; Vision of Dame Christian, 1174; Volubile, La, 1858. W. Walkuerie, Die, 1108, 1708; William Tell, 1432; Wind, Der, 512; Wunderbare Prinz, Der, 1268. Y. Youth's Choice, The, 1172. Z. Zampa, 42.

Miscellaneous: Ames des pieds, 1584; Audition, colored, 876 et seq. Bagarre, 416. Cambridge University and Brahms, 1430; Chess-Player, Automatic, 606 et seq.; Choragus, 1360; Cimento, 1495; Commentators, German, 1426. Dresden Amen, 1760, 1762. Enraged Musician, Hogarth's, 258; Entrados de Pavane, 203. "Finger" in piano playing, 688. Handel's House in London, 247, 1327; Hogarth's Enraged Musician, 258. Laideron, 208; Leningrad, 1272. Marriage a la mode, 330; Mother Goose, 196; Mus. Doc. (Brahms and Cam- bridge University), 1430. Prete Rosso (Vivaldi's nickname), 1498. Scythia and Scythians, 1420; Success is hideous (V. Hugo), 300. Telemann Verein, 1686. Critical and Literary: A. Abraham a Sancta-Clara, Satan and musical instruments, 350. Academy, The, Saint-Saens, Sym. No. 3, 1876. Adam, A., on Ali Baba, 487. Adventures Of (Edipus, 1360. Alberti, Beethoven's Sym. No. 7, 618. Aldrich, R., Strauss's Sym. "Domestica," 122. Allg. Mus. Zt., Schumann, Sym. No. 4, 1594, 1594.

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1971 Allen, G., Maelzel, 607. Annunzio, His "Fedra," 260 et seq. Antcliffe, H., Ravel's "Tzigane," 1690. Apel, Mozart's Sym. E-flat, 412. Apthorp, W. F., Brahms, Sym. No. 1, 1460; Brahms, Sym. No. 3, 38, 42; Rimsky's Russian Easter, 1752; Viola d'amour, 1838. Artusi, Cornets, 1674. Athenaeum, Saint- Saens, Sym. No. 3, 1876. Aurevilly, Dandyisme, 432. Augsburg Abendzeitung, Brahms, Sym. No. 1, 1442. B. Bach, Brandenburg concertos, 740. Balakirev, on Tchaikovsky's "Romeo and Juliet," 828. Barthel, Don Juan, 452. Bart6k, on his music, 1266. Bax, on his symphony, 664. Becker, Schumann, Sym. No. 4, 1596. Beecham, Beethoven, 1866. Beethoven, Sym. No. 5, 1788; Sym. No. 7, 610 et seq., 622. Berliner Tageblatt, Schreker, 514. Berlioz, Benvenuto Cellini, 7 et seq.; Clement VII, 12; Haydn, 170; Les Troyens, 1610; Rak6czy March, 1540; viole d'amour, 1842. Billroth, Brahms, Sym. No. 1, 1466. Blackburn, Tchaikovsky, Sym. No. 6, 1300. Bleuler and Lehmann, Colored Audition, 878. Bloch, on his Jewish Poems, 422. Blom, E., Sibelius, Sym. No. 5, 338. Bonnerot, Saint- Saens, Sym. No. 3, 1888, 1891. Bord, G., Rosina Stoltz, 22. Borodin, on his "Prince Igor," 1188. Borowski, Brahms, Sym. No. 3, 34; Story of "Prince Igor," 1182; Schumann, Sym. No. 4, 1604. Boschot, "Benvenuto Cellini," 14; "Les Troyens," 1004; Rak6czy March, 1542. Boutarel, Debussy's "Iberia," 56. Brahms, Sym. No. 1, 1424; Sym. No. 2, 1928; Sym. No. 3, 27 et seq.; Sym. No. 4, 861; Violin Concerto, 496. Brancour, R. Ravel's Pavane, 204. Brantome, Catherine de Medicis, 920. Breqcueville, viola d'amore, 1844; Breslau Degree for Brahms, 1075. Breton, A., Colored Audition, 881. Brewster, Automatic Chess Player, 608. Bruneau, Ravel's Daphnis and Chloe, 274; Ravel, 910. Buelow, Brahms, Sym. No. 1, 1456; on Schindler, 1788. Bulgarin, Mazeppa, 540. Burgin, R., Sibelius, Sym. No. 5, 332. Burney, Paris Concerts, 174; Handel's trumpets, 752; Vivaldi, 1504. Burton, R. F., 1001 Nights, 488. Byron, Mazeppa, 540. C. Calvocoressi, F. Schmitt, 1214; Bart6k, 1270. Cambridge Mus. Doc. degrees (Tchaikovsky), 1274. Canning, University of Goettingen, 1076. Carpenter, his Perambulator Suite, 576, 578; Skyscrapers, 590, 592. Carse, A., Trumpets, 756. Casella, Ravel's Valse, 965. Castil-Blaze, Moliere's Don Juan, 452. Cellini, on Balducci, 10. Christian Science Monitor, Walton's symphony, 1411. Chrysostom on dancing, 348. Cincinnati Programme Book, Schreker, 518. Clouston, W. A., Ah Baba, 488. Cceuroy, Dukas, 1108; Stravinsky's CEdipus Rex, 1374. Converse, on his "California," 1772. Cortot, Debussy's piano music, 928. Cox, J. E., Clara Schumann in England, 686. Cummins, Handel's London house, 247. Cunningham, Handel's house in London, 247. D. Daily News, Strauss, Sym. Domestica, 126. Daily Post, Handel's concertos, 247, 1327. Daily Telegraph, Sibelius, Sym. No. 5, 334; Bart6k, 1262. Davillier, L'Entrados de Pavana, 203. Debussy, on his "Iberia," 58. Deiters, Brahms, Sym. No. 2, 1930. Delitala, C, tr. Vivaldi's Sonnets, 1496. Desrat, Forlane, 920; Minuet, 1588. Destranges, Royal Chase from "Les Troyens a Carthage," 1010. Diaghilev, Pas d'acier, 192; Daphnis and Chloe, 276. Doerffel, Brahms, Sym. No. 2, 1942; violin concerto, 502. Durand, Daphnis and Chloe, 268. Duprez, G., Benvenuto Cellini, 22. Dwight, Liszt's Mephisto Waltz, 352; Schumann, Sym. No. 4, 1600; Brahms, Sym. No. 2, 1938. E. Eckermann, Goethe and Nerval, 1526. Eckhart, "Human voluptuousness

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1973 mixed with bitterness," 1378. Ehlert, Color Audition, 880. Eichborn, Clarin- blasen, 754; Trumpets, 756. Eliot, G., Rev. Mr. Barton, 1276. Erb, Brahms at Cambridge, 1430; Sym. No. 2, 1930. Euripides, Hippolytus, 260 et seq. Evans, E., Sax's Sym., 666. Evelyn, J., viola d'amore, 1844. Evening Post (N.Y.), Tannhaeuser, 708. F. Feuerbach, A., St. Anthony, 376. Figaro, Nerval's "Faust," 1528. Ford, R., Malaguena, 932. Forkel, Bach's Concertos, 1668. Forsyth, Trumpets, 754, 756; tenoroon in "William Tell" Ov., 1432; viols, 1840. Frankl, Lenau, 432. Freisauff, Don Juan, 452. Fuller, F., Duke of Alva, 1918. G. Galland, Ah Baba, 488. Galpin, Ancient Trumpets, 756. Gautier, Berlioz's Benvenuto Cellini, 20. Geraude, Haydn, 184. Gerber, Mozart's Symphonies, 408; Vivaldi, 1500; Monn, 1588. Gericke, W., Brahms, Sym. No. 4, 854. Gevaert, Sympathetic strings, 1840. Gilman, L., El Amor Brujo, 94; Bart6k concerto, 1254; Bartok, 1270. Gloag, Beethoven, Sym. No. 7, 612. Goethe and Berlioz, 1534; and Nerval, 1526. Gogol, Comrade Kunz, 836. Goldoni, Vivaldi, 1498. Gottschall, Mazeppa, 540. Gounod, on Franck's Sym., 1879; on Saint-Saens's Sym. No. 3, 1879. Gray, C, Bart6k, 1270. Grenerin, Livre de Theorbe, 258. Gretry, Haydn, 184. Grimm and Diderot on Legros, 182. Grove, Mendelssohn's Italian Sym., 768. H. Habet, Borodin, 1188. Hadley, A. T., Sibelius at Yale, 1126. Hamilton, H. V., Habanera, 938. Hanslick, Brahms Sym. No. 1, 1443; Brahms Sym. No. 2, 1930; Brahms Sym. No. 3, 34; Saint-Saens, Sym. No. 3, 1878. Hawkins, J., Tiorba, 258; Vivaldi, 1496. Haydn, Paris, 180; the minuet in London, 1584. Hayem, Don Juanisme, 432. Heine, on Benvenuto Cellini, 16. Henry, L., El Amor Brujo, 98. Hensel, Mendelssohn's Italian Sym., 772. Herald- Tribune (N.Y.), Skyscrapers, 588, 592. Herbeck, J., Prelude to "Tristan and Isolde," 1694. Herbeck, L., Brahms Sym. No. 1, 1443. Herbert, T., Pago- ethaes, 208. Herodotus, Scythians, 1420. Herzogenberg, E., Brahms Sym. No. 1, 1449; Violin Concerto, 500. Heuss, Use of harpsichord, 1682. Hey- wood, T., (Edipus, 1352. Hilliard, G. S., Automaton Chess Player, 607. Hol- land, P., tr. of Suetonius, 1365. Holmes, O. W., Rigadoon, 926. Horace, Hippolytus, 262. Hugo, Mazeppa, 524; "Success is hideous," 1300. I. Iken, Beethoven Sym. No. 7, 620. Imbert, Brahms Sym. No. 2, 1936. Indy, V. d', Beethoven Sym. No. 7, 626. J. Jackson, J. P., tr. of Ritter's "Death and Transfiguration" poem, 434. Jahn, O., Don Juan, 452; Mozart, 1870. Jean-Aubry, Hoist, 1172; Ravel, 916, 1688. Joachim, Brahms Sym. No. 3, 36; Violin Concerto, 500. Jones, R. E., Carpenter's "Skyscrapers," 588. K. Kalbeck, Brahms Sym. No. 1, 1424; Brahms Sym. No. 2, 1930; Brahms Sym. No. 3, 30, 36; Haydn Variations, 369; Violin Concerto, 502; Brahms, 459, 856; Academic Ov., 1076. Kashkin, Tchaikovsky, "Romeo and Juliet," 824; Sym. No. 6, 1282, 1292. Keller, G., "Romeo and Julia of the Village," 998. Kinkeldey, Rachmaninoff Concerto No. 3, 1518. Kirchner, Brahms

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1975 S3rm. No. 1, 1434. Klatterer, Strauss, Sym. Domestica, 126. Klinger, "Pro- metheus Unbound" and Brahms Sym. No. 1, 1466. Kodaly, Bart6k, 1270. Koenig, E. Strauss, "Heldenleben," 1038. Kufferath, "Parsifal," 1758. L. Laforgue, J., Pan et Syrinx, 272. Lamb, C, T. Heywood, 1354. Lampe, De Cymbahs Veterum, 962. Lampradius, Mendelssohn, Italian Sym., 770. Laurencie, Haydn, 184. Lavoix, Jr., H., Trumpets, 756; Chamber Music, Development of, 1676. Laszl6, Rak6czky March, 1546. Lecomte, L. H., Beancourt's Faust, 1533. Lenau, Faust, 346. Levi, Brahms Sym. No. 1, 1440. Liszt, his Mazeppa, 528, 538; Mephisto Waltz, 354; C. Panna, 1552. Longfellow, Fuchslied in Hyperion, 1080. Lowell, A., Lilacs, 1664. Lummis, Mesa, Canon and Pueblo, 1772. M. MacClintock, D'Annuzio's Fedra, 264. Mace, T., Pavane, 203; Viols and Violins, 1846. Mackail, F. W., tr. of Virgil's Eclogue, 216. Magnabel, Don Juan, 452. Mahillon, Violetta Marina, 256; Trumpets, 756. Marlowe, Faust quoted, 1544. Martinu, his Bagarre, 416. Marx, Beethoven Sym. No. 7, 620. Mason, D. G., on his Sym., 1508. Mason, H. L., Schreker's Der Gezeich- neten, 514. Mauke, Strauss's Don Juan, 440. May, F., Brahms Sym. No. 2, 1930; Sym. No. 3, 28; Sym. No. 4, 856. Mendelssohn, on his Italian Sym., 756. Mey, C, The Mastersingers, 1712. Meziriac, Sieur de, Phaedra, 262. Milner Mazeppa, 523, 540. Mistral, Rigaud, 926. Mitteldeutsche Volkzeitung, Meister- singer Prelude, 1711. Molinari, Vivaldi, 1498. Montagu-Nathan, Oiseau de Feu, 1624, 1630; Petrouchka, 43; Russian Easter, 1752. Moroni, Minuet, 1582. Mottl, Bach, Brand, Concerto No. 2, 744. Mozart, on performance of one of his symphonies, 410; minuet, German and Italian taste in the, 1586. Musical Courier, Bach, Brand. Concerto No. 2, 744; Strauss's Intermezzo, 116. Musik, Die, Strauss, Sym. Domestica, 123. N. Neumann, Saint-Saens in Germany, 1878. Nerval, G. de, tr. of Goethe's Faust, 1526. Newman, E., Strauss Sym. Dom., 132; Walton's Facade, 1414. Newmarch, Coq d'Or, 1248. Nicholson, H., How to tell a good pianist, 700. Ndhl, Beethoven Sym. No. 7, 620. O. Ortigue, Beethoven Sym. No. 7, 620. Ovid, Pan and Syrinx, 272; Phaedra, 262. P. Parry, Bach's Brand. Concertos, 742; Vivaldi, 1504. Pausanias, Children of (Edipus, The, 1360; Sphinx, The, 1358. Perry, B., Whitman's Burial Hymn of Lincoln, 1162. Philharmonic Society of London, Mendelssohn's Italian Sym., 760. Poe, Fall of the House of Usher, 1664; Maelzel and Kempelen, 608; Masque of the Red Death, 1296. Pohl, C. F., Brahms, Haydn Variations, 368. Pontecoulant, Maelzel, 605. Prod'homme, Beethoven, 757, 624. Prout, Ancient Trumpets. Psalm LXVII, 1206. Prunieres, Dukas's Peri, 1096; Dukas, 1112; Stravinsky's (Edipus Rex, 1334, 1374. R. Racine, Phedre, 262. Raff, Color Audition, 878. Ralston, Fire-Bird, The, 1627. Ramann, Liszt's Mazeppa, 534. Ramayana, 1215. Rauber, Don Juan, 452. Ravel, on his Daphnis and Chloe, 278; his Tzigane, 1688; on music, 916.

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1977 Reade, W. W., African Drums, 1298. Reboux and Muller, Phaedra, 262. Reich- ardt, Haydn in Paris, 186. Reimann, Brahms Sym. No. 1, 1466; Sym. No. 2, 1930; Sym. No. 4, 872; Akad. Ov., 1075; Strauss, Don Juan, 444. Reismann, Mendelssohn's Italian Sym., 768. Revelations, Book of, 655. Richardson, S., Pamela, 688. Richter, H., Brahms Sym. No. 3, 34. Richter, J. P., Titan, 780. Riemann, Brahms Sym. No. 3, 38; Sym. No. 4, 871; Castrucci, 258. Ries, Beethoven Sym. No. 5, 1788. Rig-Veda, 1174. Rimsky-Korsakov, on his Scheherazade, 786; Night of May, 1176; Russian Easter, 1748; Borodin's "Prince Igor," 1196. Riviere, Debussy's Mer., 1926. Roesch, Strauss's- Heldenleben, 1038. Rolland, Handel's Concertos, 250, 256, 1330; Strauss's Heldenleben, 1040; Beethoven, 1864. Rosenfeld, Bart6k, 1270; Sibelius, 1120, 1133. Rousseau, Quinte, 1836. Rowbotham, Drums, 1298; Pan-pipe, 272; Syrian Dancing Girls, 704. S. Sabancev, Stravinsky's CEdipus Rex, 1336. Sacy, L. de, Psalm 46, 1206. Saint-Saens, his Sym. No. 3, 1879; Liszt's Mazeppa, 536. Sala, Hogarth and Handel, 258. Samazerulh, Dukas, 1108. Sayne-Wittgenstein, Berlioz's Troyens, 1012. Schindler, Beethoven Sym. No. 5, 1788. Schoelcher, Handel, 243, 1328. Scholz, Brahms, Akad. Ov., 1076. Schreker, to Monteux, 522. Schubart, C. F. D., Tonalities, 878. Schultz, Mozart's early symphonies, 1590. Schumann, C, her husband's piano concerto, 678; his Sym. No. 4, 1590; Brahms, 1428, 1434; Brahms Sym. No. 2, 1928. Schumann, R., his Sym. No. 4, 1590; on Brahms, 1422; his piano concerto, 678; Bach Chorales, 90; Mendelssohn's Italian Sym., 780; Beethoven Sym. No. 7, 620. Schwab, Ravel's Waltz, 965. Schweitzer, Bach Concertos, 1684. Senec de Meilhac, Minuet, 1582. Seyfried, Beethoven Sym. No. 7, 612. Shakespeare, Othello quoted, 38; Troilus and Cressida quoted, 1456. Shaw, G. B., Don Juan, 432. Shelley, Adonais quoted, 1300. Sibelius, on himself, 340, 1128. Signale, Prelude to "Die Meistersinger," 711. Siloti, Tchaikovsky, 1290; Beethoven Sym. No. 7, 624. Slowacki, Mazeppa, 540. Smith, S., Maelzel's Panorama,

607. Sophocles, read by Brahms, 866; his CEdipus Rex, 1334. . Soubies, Hun- garian music, 1550. Spazier, Minuet in Symphonies, 1020, 1588. Speidel, Brahms Sym. No. 4, 868. Spitta, Bach's Brand. Concertos, 740. Spohr, Beethoven Sym. No. 7, 612. Stadler, Beethoven Sym. No. 7, 622. Stassov, Prince Igor, 1184. Stevenson, R. L., 1664. Stoullig, Daphnis and Chloe, 276. Stravinsky, on his CEdipus Rex, 1336. Suetonius, Nero, 1365. Swinburne on Whitman's Lincoln's Burial Hymn, 1162. Symonds, tr. Cellini's Memoirs, 12. T. Tallement des Reaux, Ninon L'Enclos, 922. Tchaikovsky, M., Peter's "Romeo and Juliet," 830; his Sym. No. 6, 1284. Tchaikovsky, P., on his "Romeo and Juliet," 842; his Sym. No. 4, 288 et seq.; his Sym. No. 6, 1272; Balakirev, 832, 842. Teibler, Tchaikovsky's "Romeo and Juliet," 824. Tenny-

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1979 son, "Enoch Arden," 114. Thackeray, "Finger" in piano playing, 688. Thayer, Beethoven Sym. No. 7, 600; his "Beethoven," 1864. Theocritus, his second Idyll, 216. Thoinot-Arbeau, Pavane, 202. Thompson, O., Carpenter's "Sky- scrapers," 596. Thousand and One Nights, 784 et seq., 1294. Tiersot, J., Prelude to "Die Meistersinger," 1720. Times (London), Prokofieff's "Pas d'Acier," 190; Ravel's "Tzigane," 1190; Ravel vs. Diaghilev, 281. Tirso de Molina, 452. Turgeniev, Balakirev, 832. Turina, De Falla, 100. U. Udine J. d', Debussy's "La Mer," 1924. Ulibichev, Beethoven Sym. No. 7, 620. V. Van Vechten, Music of Spain—De Falla, 92. Vernet, H., Mazeppa, 540. Vienna All. Musk. Zt., 1552. Vignv, A. de, Benvenuto Cellini, 16. Virgil, Eclogue, 8, 216; Dido in the Cave, 1004, 1008. Vuillermoz, Schmitt's Psalm, 1208. W. Wagner, L., Mazeppa, 536. Wagner, R., His "Tannhaeuser," 704; "Tristan and Isolde," 1692, 1694, 1701; "Die Meistersinger," 1716; Beethoven Sym. No. 7, 620. Walton, His story of his life, 1412. Weingartner, Brahms, Sym. No. 2, 1938. Weissheimer, Wagner, Liszt, et al., 1711. Weissmann, Bart6k, 1260. Wendt, G., tr. of Sophocles, 866. White, R. G., German Commentators, 1426. Whitman, W., Beat! Drums, 1299; Lincoln's Burial Hymn, 1160. Willing, C, Beethoven and Chess, 608. Wolf, H, Brahms Sym. No. 4, 814. Wolfram, Bach, Brand. Concerto No. 2, 746. Wuellner, Brahms, Sym. No. 4, 861. Z. Zamminer, Tonalities, 881. Zelter and Berlioz, 1534.

Comments on Composers: Bach: Bach, Kosleck, Musical Courier, Parry, Prout, Schweitzer, Spitta, Wolfram (see "trumpets" and "piccolo heckelphone"). Bart6k: Bart6k, Calvocoressi, Daily Telegraph, Dent, Gilman, Gray, Saminsky, Weissmann. Beethoven: Alberti, Beethoven, Berlioz, Buelow, Durenberg, George IV, Gloeggl, Iken, d'lndy, Maelzel, Marx, Meyerbeer, Nohl d'Ortigue, Prod'homme, Ries, Rolland, Schindler, Schumann, Siloti, Seyfried, Spohr, Stadler, Thayer. Berlioz: Barna, Berlioz, Bond, Boschot, Cellini, Chorley, Clementi, Destranges, Duponchel, Duprez, Figaro, Goethe, Heine, Hoffmann, Lazlo, Legouve, Nerval, Panna, Ruzsicksa, Sayne-Wittgenstein, Scholl, Stoltz, Vaczek, Vigny. Borodin: Borodin, Borowski, Habet, Rimsky-Korsakov, Stassov. Brahms: Apthorp, Borowski, Brahms, Breslau University, Buelow, Damrosch, Dessoff, Dietrich, Doerfell, Dwight, Ehrbar, Erb, Faber, Feurebach, Gericke, Hanslick, Herbeck (J.), Herbeck (L.), Herzogenberg, E. Joachim, Kalbeck, Kirchner, Khnger, Kretzschmar, Levi, Longfellow, May. Pohl, Reimann, Richter, Riemann, Scholz, Schumann (C), Schumann (R.), Shakespeare, Simrock, Sophocles, Speidel, Thomas, Weingartner, Wuellner. Carpenter: Carpenter, Herald-Tribune (N.Y.), Thompson. Debussy: Debussy, Durand, Riviere. Dtjkas: Cceuroy, Durand, Prunieres, Samazeuilh. Handel: Cummins, Cunningham, Daily Post, Hogarth, Rolland, Sala, Schoelcher. Haydn: Berlioz, Cherubini, Fonteski, Geraude, Gretry, Haydn, Laurencie, Raaff. Liszt: Dwight, Liszt, Ramann, Saint-Saens, Strauss, Wagner.

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19S0 Mendelssohn: Grove, Hensel, Lampadius, Mendelssohn, Philharmonic Society, Reismann, Schumann (R.). Mozart: Apel, Gerber, Hoffmann, Krehbiel, Schultz, Spazier. Ravel: Antcliffe, Bruneau, Casella, Diaghilev, Durand, Jean-Aubry, Stoullig, Times (London). Rimsky-Korsakov: Apthorp, Mark (Gospel of), Montagu-Nathan, Newman, Psalm LXIII, Rimsky-Korsakov. Saint-Saens: Academy (The), Athenoeum (The), Bonnerot, Gounod, Hanslick, Neumann, Saint-Saens, Servieres. Schreker: Berlin Tageblatt, Cincinnati Programme Book, Mason (H. L.), Schreker. Schumann: All. Musik. Zt., Athenoeum,, Becker, Borowski, Cox, Davison, Dwight, Schumann (C), Schumann (R.). Sibelius: Blom, Burgin, Daily Telegraph, Hadley (A. T.), Rosenfeld, Sibelius. Strauss: Ahna (P. d'Ahna), Barbey d'Aurevilly, Daily News, Frankel, Hayem, Jackson, Klatte, Koenig, Lenau, Mauke, Reimann, Roesch, Rolland, Shaw, Strauss. Stravinsky: Cceuroy, Montagu-Nathan, Prunieres, Ralston, Sabaniev, Stra- vinsky. Tchaikovsky: Artot, Balakirev, Blackburn, Cambridge University, Constantine (Grand Duke), Eliot, Hugo, Kashkin, Meek, Poe, Reade (W. W.), Rimsky- Korsakov, Rowbotham, Shelley, Siloti, Tchaikovsky (M.), Tchaikovsky (P.), Teibler, Thousand Nights and a Night, Whitman (W.). Vivaldi: Burney, Delitala, Gerber, Goldoni, Hawkins, Molinari, Parry. Wagner: Evening Post (N.Y.), Herbeck, Kufferath, Mitteldeutsche Volkzeitung, Signale, Tiersot, Wagner, Weissheimer.

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

1. November 14, 1927. Berlioz, Overture to "Benvenuto Cellini"; Brahms, Symphony No. 3, F major; Ravel, "Ma Mere FOye"; Tchaikovsky, Fantasia, "Francesca da Rimini." 2. December 12, 1927. Haydn, Symphony, G major (B. & H., No. 13); Strauss, Tone Poem, "Don Juan"; Martinu, "La Bagarre"; Honegger, Incidental Music to D'Annunzio's "Fedra"; Stravinsky, Suite from the Ballet "Petrouchka." 3. January 23, 1928. Rimsky-Korsakov, "Scheherazade"; Chopin, Pianoforte Concerto No. 2, F minor (Dai Buell, pianist); Wagner, Overture to "Tannhaeuser." 4. February 20, 1928. Bach, Concerto No. 2, F major, for violin, flute, oboe, and trumpet (Mottl, editor); Liszt, Pianoforte Concerto No. 1, E-flat major (George Liebling, pianist); "Sibelius, Symphony No. 1, E minor. 5. March 26, 1928. Gluck-Mottl, Ballet Suite, No. 2; Mozart, Violin Concerto, D major, No. 4 (K. 218) (Samuel Dushkin, violinist); Tchaikovsky, Sym- phony, B minor, No. 6.

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1981 Five symphony concerts were given in Symphony Hall, Tuesday afternoons, Mr. Koussevitzky, conductor:

1. February 7, 1928. Bach, Concerto No. 2, F major, for violin, flute, oboe, and trumpet (Mottl, editor); Haydn, Symphony, G major (B. & H. No. 13); Beethoven, Symphony, A major, No. 7. 2. February 28, 1928. Handel, Concerto Grosso, D major, for strings (Kogel, editor); Tchaikovsky, Symphony, B minor, No. 6. 3. March 13, 1928. Rimsky-Korsakov, "Scheherazade"; Wagner, Prelude to "Lohengrin," "The Ride of The Valkyries," "Forest Murmurs" from "Sieg- fried," Overture to "Tannhaeuser." 4. April 3, 1928. Berlioz, Overture to "Benvenuto Cellini"; Schubert, Symphony in B minor ("Unfinished"); Strauss, "Don Juan"; Debussy, Prelude to "The Afternoon of a Faun"; Stravinsky, Suite from the Ballet "Petrouchka." 5. April 24, 1928. Mendelssohn, Overture to "A Midsummer Night's Dream"; Bach, Two Choral Preludes (orchestrated by Schoenberg); Ravel, Excerpts from "Daphnis et Chlo6" (Second Suite); Brahms, Symphony, C minor, No. 1. * * * Young People's Concerts The orchestra gave three pairs of concerts for young people in Symphony Hall, Richard Burgin, concertmaster of the orchestra, conducting:

1. November 29-30, 1927. Lalo, Overture to "Le Roi d'Ys"; Beethoven, Second Movement from Symphony, C major, No. 1; Wagner, Prelude to Act III of "Lohengrin"; Tchaikovsky, Andante Cantabile for strings; Rimsky-Korsakov, Scherzo, "The Flight of the Bumble-Bee"; Saint-Saens, "The Animals' Carnival" (Mr. Amerena, solo flute; Mr. Bedetti, solo violoncello; Mr. Vondrak, solo double-bass; Messrs. B. Zighera and A. Fiedler, pianos); Berlioz, Rak6czy March. 2. January 25-26, 1928. Rimsky-Korsakov, Overture to "A Night in May"; Schubert, Andante from String Quartet in D minor (Variations on the Song "Death and the Maiden"); Mozart, Minuet and Finale from Symphony, E-flat major (K. 543); Grieg, Suite No. 2 from Incidental Music to "Peer Gynt"; Liadov, "Baba Yaga"; Sowerby, "The Irish Washerwoman"; Wagner, "The Ride of the Valkyries." 3. March 21-22, 1928. Weber, Overture to "Oberon"; Glazounov, Scherzo

from Symphony in B-flat major, No. 5; Schumann, "Traeumerei" ; Beethoven, Turkish March from "The Ruins of" Athens", Sibelius, "Finlandia"; Pierne, "March of the Little Lead Soldiers"; Skilton, "Indian War Dance" from the "Suite Primeval"; Tchaikovsky, Ouverture Solennelle, "1812." * * * Pension Fund Concerts Handel's "Messiah" was performed in aid of the Pension Fund of the orchestra on December 18, 19, 1927. Mr. Koussevitzky conducted the performances. The Handel and Haydn Society had been prepared by its conductor, Thompson Stone. The solo singers were Frieda Hempel, soprano; Kathryn Meisle, contralto; Arthur Hackett, tenor; Fraser Gange, bass. William Burbank was the organist. At the second concert in aid of the Pension Fund, on April 1, 1928, Mr. Kous- sevitzky brought out Arthur Honegger's Symphonic Psalm, "King David." The performance was the first in Boston. The Harvard Glee Club and the Radcliffe Choral Society had been prepared by their conductor, Dr. Archibald T. Davison. E. C. SCHIRMER MUSIC CO. 221 COLUMBUS AVENUE, BOSTON, MASS. Telephone ken in ore 1772 Publishers of Depot for PETERS, EDITION thf rnnrnpn HARVARD UNIVERSITY GLEE CLUB CURWEN. GRAY ft NOVELLO PUBLICATIONS COLLECTION OF PART SONGS Sofa Agmu for FOR MEN'S VOICES COMPOSITIONS OF PAUL JUON RADCLIFFE CHORAL MUSIC AND VASSAR HONEGGER "KING DAVID" CHORAL MUSIC FOR WOMEN'S VOICES THE COWLEY CAROL BOOKS

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1984 The solo singers were Ethyl Hayden, soprano; Viola Silva, contralto; Tudor Davies, tenor; Paul Leyskac, of the Civic Repertory Theatre, New York, through the courtesy of Eva Le Gallienne, was the Narrator. John P. Mahhhall was the organist. * * * Sundry Notes Mr. Koussevitzky on October 24, 1927, gave a double-bass recital in Symphony Hall for the benefit of needy Russian students in Europe, the United States, and the Holy Land. He was assisted by Messrs. Burgin, violin; Lefranc, viola; Bedetti, violoncello; Rudolph Ganz, piano, and Bernard Zighera, piano; Schubert, Variations and Finale from the "Forellen" Quintet; Koussevitzky, Concerto for the double-bass; Liszt, "St. Francis' Sermon to the Birds" and "St. Francis of Paul Walking on the Waves (Mr. Ganz); Bruch, "Kol Nidrei," transcribed by Kous- sevitzky for double bass and piano. These members of the Soci6te des Instruments Anciens of Paris took part in the symphony concerts of April 20, 21, 1928: Mme. Regina Patorni-Casadesus (harpsichord); Marius Casadesus (quinton); Henri Casadesus (viola d'amore).

Errata in Programme Books Programme Book, November 11, 12, 1927. Page 338. First line at the top. For "Bloom" read "Blom." Programme Book, November 18, 19, 1927. Page 416. In title of "La Bagarre," for "Maritnu" read "Martinu." Programme Book, December 9, 10, 1927. Page 624. Sixth line from the top. For "A minor, 2-4" read "A major, 6-8." Programme Book, January 20, 21, 1928. Title-page. Add "Garden" to Delius' "The Walk to the Paradise." The same addition on pages 996 and 1000. Programme Book, January 27, 28, 1928. Page 1108. Fifth line from the bottom.

For "Cceurcy" read "Cceuroy." . Programme Book, February 24, 25, 1928. Page 1366. Fifth and sixth line from the top. For "OEdipus Roi" read "(Edipe Roi." Programme Book, March 2, 3, 1928. Page 1412. Fifth line from the top. For "Rowland's" read "Rowlandson's." Programme Book, March 30, 31, 1928. Page 1688. Seventh line from the top. For "Mengelberg" read "Monteux." Programme Book, April 20, 21, 1928. Page 1844. First line at the top. For "Marini" read "Marina." Programme Book, April 20, 21, 1928. Page 1848. Seventh line from the bottom. For "Marseilles" read "Versailles." Addendum Programme Book, December 29, 30, 1928. Insert on the title-page, for third number: Tchaikovsky, "Romeo and Juliet," Overture-Fantasia, after Shakespeare.

SEASON 1928-29

:CHESTIRAL CLUB

CARLOS E. PINFIELD. Conductor

(Exclusively members of the Boston Symphony Orchestra)

GLADYS RUSSELL COOK, Soprano

Management: CARLOS E. PINFIELD, 24 Warwick Road, Brookline, Mass.

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1986 NOTICE TO SUBSCRIBERS

FORTY-EIGHTH SEASON (1928-1929) OF THE BOSTON SYMPHONY ORCHESTRA

SERGE KOUSSEVITZKY, Conductor

24 Friday Afternoon Concerts

24 Saturday Evening Concerts

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

Please note that the option for renewal expires May I

W. H. BRENNAN, Manager,

Symphony Hall, Boston.

1987 The Massachusetts Division of University Extension in cooperation with The Public Library of the City of Boston OFFERS A Series of Lectures, with Music ON THE toe Symp on the Thursdays preceding the Concerts at 5.15 p.m.

in the Lecture Hall, Boston Public Library (Boylston Street Entrance)

First Lecture, Thursday, October 4, 1928, at 5.15

Dr. John P. Marshall of Boston University will be the regular lecturer assisted by Richard G. Appel of the Music Division of the Boston Public Library and others including artists and composers as they may be available. The lectures are intended for all those who wish to gain a keener enjoyment and appreciation of symphonic music whether attending the concerts, "listening in," or following phonograph recordings.

Among those who have assisted during the past three seasons are: Richard G. Appel Alfred H. Meyer Edward Ballantine Darius Milhaud Sir Thomas Beecham John A. O'Shea John N. Burk Ottorino Respighi Alfredo Casella Penfield Roberts Frederick Converse Roger Huntington Sessions Aaron Copland Nicolas Slonimsky Helene Diedrichs Catherine Smith Edward Burlingame Hill Warren Storey Smith Malcolm Lang Timothy Mather Spelman Henry Levine Walter R. Spalding Leo Rich Lewis Alexander Lang Steinert Henry Gideon Otto G. T. Straub Henry F. Gilbert Thomas Whitney Surette William C. Heilman Alexander Tansman Hamilton C. Macdougall Joseph F. Wagner Stuart Mason Frank Waller

Gaston Bladet, flute Paul Mimart, clarinet Arthur Fiedler, piano Alessandro Niccoli, violin Jean Lefranc, viola Boaz Piller, bassoon Margaret Starr McClain, Elsa Respighi, soprano piano Jesus Sanroma, piano

The course is offered in two parts of twelve lectures each. Charge for each part, $\ for enrollment; $1 additional for mail notices; $5 for credit students. James A. Moyer, Director, The Division of University Extension. Charles F. D. Belden, Director, The Public Library of the City of Boston. : :: :

/Ht CONCERT JT\ DIRECTION. . . mCffotvm Mdkmon^

Now booking in the New England Territory FOR SEASON 1928-1929

Sopranos: MARIA CONDE (Coloratura) POVLA FRIJSH* ETHEL HAYDEN* GLAUDINE LEEVE ISABEL RICHARDSON MOLTER (Dramatic) Contraltos: DOROTHY GEORGE (Mezzo) MARGARET MATZENAUER,* Leading Contralto, Metropolitan Opera Company Tenors TUDOR DAVIES* JOSEPH LAUTNER Baritones ROYAL DADMUN* (Victor artist) EARLE SPICER (English baritone) REINALD WERRENRATHf Pianists: FELIX FOX MISCHA LEVITSKI** GUY MAIER and LEE PATTISON** (Two piano recitals) BENNO MOISEIWITSCH* Violinists RICHARD BURGIN ALBERT SPALDING t 'Cellist: JEAN BEDETTI Ensembles: BOSTON SINFONIETTA, Arthur Fiedler, Conductor FOX-BURGIN-BEDETTI TRIO DURRELL STRING QUARTET LONDON STRING QUARTET t RUSSIAN SYMPHONIC CHOIR** (Farewell Tour) Special Attractions FISK UNIVERSITY JUBILEE SINGERS ft JOHNSON and GORDON,* Negro Spirituals DAISY JEAN, ft 'Cellist and Soprano NINA TARASOVA, Russian Folk Songs in Costume THEATRE GUILD,** Company of Distinguished Players.

By arrangement with Richard Copley, N. Y. C. * " " Daniel Mayer, Inc., N.Y.C. " Wolfsohn Musical Bureau of N. Y. " " t " Jean Wiswell, N.Y.C.

Committees desiring detailed information are requested to communicate with Aaron Richmond, 208 Pierce Bldg., Boston

1989 GERTRUDE

H R H R

SOPRANO * AT JORDAN HALL THIS SATURDAY AFTERNOON, APRIL 28TH, WITH THE CHAMBER ORCHESTRA OF BOSTON. Nicolas Slonimsky, conducting

Miss Ehrhart will sing, for the first time here, the voice part of "Offrandes" (Offerings) by Edgar Varese, a French composer now residing in New York, and a notable figure in modern music. "Offrandes" is scored for chamber orchestra and voice. The voice part contains quarter tones indicated as half flats (% 6) Excerpts from reviews of prominent BOSTON newspapers on the GERTRUDE EHRHART Recital of April 12th last, at Jordan Hall Boston Transcript: "Her voice is now one of singular liquid purity, which she shades down to the merest whispering pianissimo or swells for larger effects without loss of quality. The beauty of her sustained tones is one not often met with in concert halls. The finest niceties of expression, within it, she explores. The melodic line is always supple, always intelligently phrased and as intelli- gently modulated. Her rhythm is always pliant, always at the service of the expressive purpose of the moment." Christian Science Monitor: "Miss Ehrhart sings with warmth and brilliance, with delicacy and deftness, with a keen sense of dramatic values, and an even keener sense of whimsical humor. Her voice has grown and deepened until it owns a fine evenness of texture and a smooth luster. Her enunciation is nearly faultless." Boston Post: "Musicianship, intelligence, youthful charm, a voice decidedly pleasing, animation and expressiveness are qualities which served Gertrude Ehrhart well in her recital at Jordan Hall last evening. Add to these a pro- gramme widely ranging, well diversified and rich in songs intrinsically interest- ing, together with the rarely skillful accompaniments of Nicolas Slonimsky, and the recital became one of more than usual attractiveness." Boston Globe: "Miss Ehrhart, in choosing her program had not spared herself. Out of a list pf more than twenty songs there were not more than three or four that are commonly seen upon recital programs. There were several, notably among the modern songs, which had made large demands upon both musician- ship and vocal skill. Throughout the concert, Miss Ehrhart sang with spirit, intelligence and musical insight. Throughout last night's program she constantly held the interest and gave pleasure. Mr. Slonimsky's accompaniments, all played excellently from memory, deserve special commendation." Pianoforte by Mason and Hamlin Management, A. H. HANDLEY, 162 Boylston Street, Boston

1990 — — —

Boston Sinfonietta Enthusiastically Reviewed At Its Last Boston Concert! NOW BOOKING FOR A SERIES OF THIRTY ENGAGEMENTS IN THE NEW ENGLAND TERRITORY 1928-i:9

Boston

Sinfonietta

ARTHUR FIEDLER Conductor

"By and large, a fortunate occasion ! . . . First. last and all the time, the players gave a good account of themselves ; Mr. Fiedler no less. For here was music that he understands and feels : than he can disclose, character and heighten. His ear and his hand are quick to it and to his orchestra. By the it' evidence of yesterday . . . 'he knows what he wants and gets —which the wise say, is the gist, of all conducting. He is also springy, flexible, keen, in the gaining ; while to him his orchestra answers on the instant. It was a pleasure to see him and it standing, more than once, in the applauded half-circle." Boston Transcript (H. T. P.) "Thanks to the initiative, the courage and the abilities of Arthur Fiedler, who led his Boston Sinfonietta through a programme of modernist music at Jordan Hall last evening, an audience musically and socially representative was treated to one of the most stimulating concerts that, this town has heard in many a day."- Boston Post (Warren Storey Smith) "It was high time these works were set before a Boston audience. Mr. Fiedler has earned the gratitude of the town by making them heard. With them out of the way, with the ground thus laid, he is now in a position to go on to modern works of greater importance. His enterprise deserves encourage- ment." Christian Science Monitor. "Each number was applauded heartily. The size and enthusiasm of the audience should encourage Mr. Fiedler and the management to venture other similar concerts." Boston Globe (P. R.) "One of the most interesting events of a musical season that has had many headlights was the concert of modern music by Arthur Fiedler and his Boston Sinfonietta. This organization has been heard here previously to great ad- vantage, but never in so ambitious a program as that set. for last evening's concert at .Tordan Hall." FOR TERMS AND DATES COMMITTEES ARE TO COMMUNI- CATE WITH AARON RICHMOND, Mgr., PIERCE BLDG., BOSTON

1991 ^turning from bis Tour of Europe ROLAND HAYES

will give his only Recital

in America this season

Symphony Hall - - Boston

Sunday Afternoon, April 29 at 3.30

PROGRAMME

I. Si Mostra (17th Century) Mozart An Chloe Mozart

II. Ihr Bild Schubert Die Forelle Schubert Dein blatjes Atjge Brahms O Komme holde Sommer Nacht Brahms

III. Fbom Songs of Georgia Rachmaninoff

Over the Mountains ( Old English ) Roger Quilter She comes not Henschel

Sakura . Matsuyama

IV. NEGRO SPIRITUALS You'd better mind Arranged by " New boen again " Wm. C. Heilman " What a mourning " Wm. L. Dawson Ride on " " Roland Hayes

The Closing Concert of the Sunday Afternoon Series

1992 SYMPHONY HALL

O PENING NIGHT 43rd Season POPS Monday, April 30

Orchestra of 80 Symphony Players

ALFREDO CASELLA, Conductor

Tickets now on sale for the opening night

Table seats $1, First balcony $1 and 75 cents Admission 50 cents, no tax

1993 3CEENE CHORUS CL KEENE, N.H.

Twenty-sixth Annual Festival CHORUS OF 300 VOICES THE BOSTON ORCHESTRAL PLAYERS GEORGE SAWYER DUNHAM, Conductor

Thursday Evening, May 24 - Gounod's "Faust" in Concert Form Corleen Wells, Viola Silva, Alexander Kisselburgh RICHARD CROOKS

Friday Afternoon, May 25 Orchestral Matinee ETHEL LEG1NSKA, Conductor and Pianist

Friday Evening, May 25 Artists' Night ROSA PONSELLE and RICHARD CROOKS

For tickets and furthur information, Keene Chorus Club Keene, N.H., Phone 1880

YEUS ULL3A

Pianist .:. Teacher

Available for

CONCERTS and RECITALS

17 ENGLEWOOD AVENUE BROOKLINE

Concert Management: NATHAN SNYDER

12 HUNTINGTON AVENUE BOSTON EL ENDICOTT

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

Studio: 6 NEWBURY STREET

MUSICAL INSTRUCTION

TEACHER OF SINGING

1111 Boylston Street ACCOMPANIST Telephone Boston COACH Copley 4345-M

Mrs. HALL McALLISTER TEACHER OF SINGING

384 COMMONWEALTH AVENUE Kenmore 0384 BOSTON, MASS

"It if a pleasure to hear a singer to whom all songs are not alike."—PHILIP HALE in the Boston Herald Management: WENDELL H. LUCE 175 Dartmouth Street, Boston STUDIO 13 JACKSON HALL. TRINITY COURT BARITONE B.B. 10756 Residence. PORTER 2926 Bldg..Lowel] TEACHER OF SINGING Tuesdays and Fridays, 41 1 Enterprise

®ijp iOflimg &ttyaal of ilustr DESIRES TO ANNOUNCE THAT Mr. GASTON ELCUS OF THE BOSTON SYMPHONY ORCHESTRA. HAS BECOME A MEMBER OF ITS FACULTY AS TEACHER OF VIOLIN APPOINTMENTS MAY BE MADE BY CALLING KENMORE 1328 103 HEMENWAY STREET, BOSTON. MASS. CONSTANCE RULISON SUMMER INSTRUCTION IN PIANO, SOLFEGE, THEORY

ANNISQUAM, MASS. JUNE 15—OCTOBER 1 1995 MUSICAL INSTRUCTION

Summer Ihstruchon in Piahoforre Playing HELENE DIEDRICHS

Professor of the Tobias Matthay Pianoforte School London, England

will teach at her studio, 477 COMMONWEALTH AVENUE during the summer months

TELEPHONE COPLEY 2685-W

of ARTI

(of Ithaca Conservatory Faculty)

Bach St. Matthew Passion, Toronto, April 3. Toronto Star, April 4th. "Of chief interest to many was the beautiful work of the silver-toned narrator, who gave great variety of color to music one hears often done with monotony. Mr. Lautner has A MARVELOUSLY EXPRES- SIVE VOICE." Toronto Telegram, April 4th. "Joseph Lautner is A GREAT BACH TENOR. Not a word of his narration was lost and Bach's formidable intervals held no terrors for him." Immediately after this performance, Mr. Lautner was engaged for the part of the Narrator at Rochester next season.

RESS - - 905 BOYLSTON STREET

announce a programme of songs

by the advanced pupils from their studio in the salon of the Copley-Plaza, Saturday morning, May 5th

at 1 1 o'clock

SUMMER SCHOOL, ASHBURNHAM, MASS., JULY 6 -AUGUST 17 ADDRESS. 105 REVERE STREET, BOSTON

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

PIANIST and TEACHER Miss MARY INGRAHA! Lang Studios 6 NEWBURY STREET

1996 MUSICAL INSTRUCTION The Vocal Studio of VINCENT V. HUBBARD, 246 Huntington Avenue First Assistant, Dr. George L. Dwyeb Assistants: Anita Dale Seymour Georgina Shaylob George Hackett Coach-Accompanists Mrs. Vincent V. Hubbabd Fbances Weeks

ARISTO MIZZI, Tenor, in Italy "Aristo Mizzi, the tenor, as the Duke in 'Rigoletto,' ho happily surpassed the ex- pectations which were sufficiently worthy of his strong and beautifully placed voice, that from the very first scene, he aroused the admiration of the public." La Nazione, Rome, December 31, 1927. "Last, evening in 'Traviata' at. the Politeama. the tenor, Mizzi, sang with warmth and passion the part, of Alfredo. Happy fortune and success to him." Bassegna Melodrammatica, Palermo, October 20. "The tenor, Aristo Mizzi, in the role of Cavaradossi in 'Tosca' wonderfully displayed his powerful voice, awakening the emotions of the audience, which showed him to be a worthy artist. He was recalled with frantic applause at. the end of the aria, 'B " lucevan le Stelle.' Mezzogiorno, Naples. BARBARA GRACE Formerly of New York VOICE CULTURE specializing in voice placement and technique Immediate relief to tired aching throau Tremolo and false vocal chord interference eliminated Worn and much used voice* freshened

Te,e hone. j^lO^A^BAY^, 70 HUNTINGTON AVENUE P AUGUSTO VANNINI MAESTRO DI BEL CANTO THE ART OF SINGING IN ALL ITS BRANCHES CLASSES IN SOLFEGGIO CANTATO

1 16 ST. STEPHEN STREET Telephone Kenmore 0397 ALICE BATES RICE SOPRANO VOICE PLACING COACHING LANG STUDIO: 6 NEWBURY STREET GERTRUDE TINGLEY MEZZO-CONTRALTO TEACHER OF SINGING Exponent of the teaching of Percy Rector Stevens w Studios: 83 NEWBURY STREET Telephone ^' __ ) gg; J(>SEpHINE KNJGHT SOPRANO SOLOIST TEACHER OF SINGING 4 HAVILAND STREET Kenmore 1047 BOSTON In Worcester, Tuesdays, Wednesdays and Friday Afternoons, 317 Day Building

All that Singing can demand in Technique and above all. TONE Building GIORGIO KANAKES OPERATIC TENOR AND VOICE SPECIALIST VOICE CULTURE—OPERA COACH 216 West 99th Street, New York Boston: 18 Huntington Avenue Phone. Riverside 8421 Phone. Copley 9689-W MILANO. ITALY. 52 VIA TORINO 1997 MUSICAL INSTRUCTION

. ELMA IGELMAN t^cher^singInc FORMERLY WITH WM. L. WHITNEY SCHOOL FOR VOCALISTS Address: 27 ST. STEPHEN STREET, BOSTON, MASS. Telephone Copley 5675-R

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

PIANIST AND TEACHER 405 PIERCE BUILDING COPLEY SQUARE BALDWIN PIANO Telephone Bowdoin 1553-W

PIANIST TEACHER CLASSES IN PIANO ENSEMBLE PRIVATE STUDIO, 110 GAINSBOROUGH STREET, BOSTON. MASS. Tuesdays and Fridays Telephone Copley 0898-R ARY DULFER VIOLINIST Concert Management: STUDIO: 17 FORSYTH STREET BECKHARD & MacFARLANE. INC. Copley 7795-W NEW YORK — BOSTON — CHICAGO OF DALCROZE EURYTHMICS Announces that its SUMMER COURSE of 1928 is to be held under the auspices of the WHARF THEATRE, PROVINCETOWN, MASS., from August first to thirty-first The School year 1927-1928 closes on June fifteenth New address-31 NEWBURY STREET—31 Tel. Back Bay 591

TEACHER OF SINGING 610 PIERCE BUILDING, BOSTON DANA HALL GRADUATE SCHOOL OF MUSIC, WELLESLEY. MASS. OXFORD SCHOOL. HARTFORD. CONN WALTER ROLFE, American Composer Is now located in Boston and will accept pupils in Piano and Harmony

Eclectic Methods designed to fill the individual needs of each pupil Studio, 235 BEACON STREET, BOSTON Tel. Back Bay 2013 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-Boekelman, Works in colors AGENTS FOR. AND PUBLISHERS OF. H. GERMER'S INSTRUCTIVE EDITIONS SEND FOR A FREE THEMATIC CATALOG

1998 MUSICAL INSTRUCTION FRANK ERNESTO LA FO! STUDIOS Coaching, Repertoire, Voice Building, Piano (Leschetizky) and Accompanying Teacher of Nannette Guilford, Lawrence Tibbett, Arthur Kraft, Gil Valeriano and many otheri Voice Culture, Concerts and Oratorio, Recitals — ARTHUR KRAFT, Tenor Ellsworth Bell, Secretary Phone Trafalgar 8993 14 West 68th Street, New York City TILLOTSON PIANIST 106 ST. STEPHEN STREET Copley 8873-R BALDWIN PIANO •

FRANK E. MORSE Joseph Emile Daudelin AND ASSOCIATE TEACHERS Former pupil of the famous Paris Conservatory LESSONS IN SINGING VIOLIN LESSONS STUDIOS, STEINERT HALL, BOSTON 30 STEINERT HALL In Manchester, N.H.. 939 Elm St., Tuesdays and Fridays JOHN ORTH KARL DOERING PIANIST AND TEACHER Pupil of Jachman-Wagner, Berlin, and Galliera, Italy Liszt Lecture Recitals WITH PERSONAL REMINISCENCES TEACHER OF SINGING STEINERT HALL, BOSTON 27 STEINERT HALL Hancock 5337

VIOLIN SOLOIST AND TEACHER Studio, Lang Studios, 6 Newbury Street Telephone Back Bay 10556 Violin Instructor Bradford Academy and Home Address, 34 Parkman Street, Brookline Abbot Academy Telephone Aspinwall 6687

TEACHER OF SINGING

37 COMMONWEALTH AVENUE. BOSTON Telephone Back Bay 7040

Teacher of Singing and Correct Placement m m. **•*-•*<•, & . xv.*.?.- «. fi m >^vm. MlSS GERALDINE DAMON of the Speaking Voice CONTRALTO SOLOIST ^ Abbottsford Road Brookline, Maw. Telephone Aspinwall 2470

OTTO G. T. STRAUB THEORY. HARMONY. COUNTERPOINT. COMPOSITION. ORCHESTRATION Special Courses in Musicianship start October 18 STUDIO: 23 Steinert Hall. 162 Boylston Street, Tuesdays. Wednesdays and Fridays Telephone. University 9488-W

Learn to Speak and Sing Without Interference CHARLES H. WESTON VOICE RELEASE AND DEVELOPMENT 25 HUNTINGTON AVENUE BOSTON

1999 MUSICAL INSTRUCTION VIOLIN STUDIO BORIS KREIMSM TEACHER AND SOLO VIOLINIST Member Boston Symphony Orchestra 112 JERSEY STREET Telephone Kenmore 6337

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

TEACHER OF SINGING VOICE PRODUCTION REPERTOIRE MUSICIANSHIP FOR SINGERS 270 HUNTINGTON AVENUE Telephone Back Bay 3181 Miss ROSE ST HARRIS S. SHAW PIANO. ORGAN AND INTERPRETATION TEACHER OF SINGING Coaching in Songs and Ensemble Special attention given to singers in Study of Solfeggio PIERCE BUILDING, BOSTON Harmony and Analysis Studio: 175 DARTMOUTH ST.. BOSTON. MASS. STUDIO 517 (Copley 969 1-R) MI§§ Harriet £

(offtcier de 1' Instruction publique) Vocal Instruction, Breathing, Tone Production. TEACHER OF SINGING Phonetics, French Diction, Interpretation of TECHNIQUE and REPERTOIRE v French Songs STUDIO, 327 HUNTINGTON AVENUE 25 BICKERSTAFF ST.. Room 7 Copley 7474-R Mondays. Manchester. N.H. BERNARD FIEDLER TEACHER OF SINGING VIOLINIST and TEACHER STEINERT HALL Member Boston Symphony Orchestra STUDIO, 61 WESTLAND AVENUE 162 BOYLSTON STREET . . . BOSTON Telephone Copley 0532-M Telephone Hubbard 6677 GERTRUDE BELCHER TEACHER OF SINGING TEACHER OF PIANO 318 Pierce Building, Copley Square TRINITY COURT Tuesday and Friday, Wednesday afternoon Telephone Kenmore 6888 Residence Telephone Haymarket 0158 A SURVEY DECORATION TOUR SUZA DOANE Bookings are now being taken for Survey Travel Course to Art centres of Europe: England, Lon- PIANIST and TEACHER don; France, Paris; Italy, Rome. July and August. Entire cost of tour (including tuition) $600.00. TALKS Sailing from New York, S. S. New Amsterdam, OPERA June 23d, BOSTON SCHOOL OF INTERIOR (Musical Illustrations) DECORATION AND ARCHITECTURAL DESIGN, 234 Clarendon Street, BoBton, Mass. 25 ST. STEPHEN STREET Tel. Copley 5957-J Copley 4009-M.

Pauline Hammond Clark New Piano Pieces by TEACHER OF SINGING, MANAGER THE COPLEY CLUB SINGERS, ENSEMBLE (25> CHARLES REPPER BIRD TRIO IWHISTLERS CHINESE RED THE ORIGINAL DESERT STARS Gertrude Gibson. Pianist THE FEATHER FAN SPECIALIST IN UNIQUE. ARTISTIC PROGRAMS 5A3 BOYLSTON STREET For sale at music stores I? I WRITE C TELEPHONE) KEN. 5156 2000 W

MUSICAL INSTRUCTION Miss LILA M. HOLMES Ruth Thayer Burnham TEACHER OF PIANO TEACHER OF SINGING Member Guild of Vocal Teaehera. Inc.. New York City 25 Terrace. Westbourne Brookline Boiton Faculty Abbot Academy 64 Commonwealth Are.. Tel. Aipinwall 8584 Andover Stud.os«...j: _ 5 Huntington Chambers j Mi , ton A£ademyf MiIton Back Bay 6060 Man ROSALIE THORNTON Mrs. Mabel Mann Jordan Pupil of SILVESTRI. Naples. Italy TEACHER OF PIANO TEACHER OF 282 DARTMOUTH STREET MANDOLIN. GUITAR. BANJO AND UKULELE Telephone Copley 1075-M Foreign and American Instruments For Sale Mason & Hamlin Piano used 206 COMMONWEALTH AVE. Back Bay 0760 EDMUND SEVERN CORINNE HARMON (Formerly oi New York) PIANIST and TEACHER VIOLIN STUDIO Studio: 15 NORWAY STREET 1063 Franklin St., Melrose Highlands, Maw. Telephone Copley 7664-W

LAURA E. MORRILL SUSAN WILLIAMS TEACHER OF SINGING AND Available for concert engagements PIANIST SPEAKING VOICE "She plays in a style of her own, with a sense of style in the composer." —H. T. P.. Boston Transcript Specializes in tone production and diction Mason St Hamlin Piano 84 FENWAY. Monday. Tuesday. Wednesday. Thursday Teaching in Boston Thursdays and Fridays NEW YORK. Friday and Saturday 112 JERSEY STREET Telephone Copley 4352- ALENA G. EMERSON TEACHER OF SINGING MARION KINGSBURY SOLOIST TEACHER Formerly with Wm. L. Whitney SOPRANO AND Tuesdays and Fridays at Musicals and Vespers 411 GAINSBORO BLDG.. opp. N. E. Conservatory Boylston Straet Also studio at 28 King Street. Worcester HOTEL FRITZ CARLETON. 1138 Write for appointment Telephone Kenmore 2673 Mrs. H. Carlefon Slack EVELYN LIGHT, Soprano SCIENCE OF VOCAL ART TEACHER OF SINGING and

BOSTON STUDIO : 726 COMMONWEALTH AVE. FRENCH DICTION for SINGERS HAVERHILL STUDIO : DAGGETT BLDG.

WINCHENDON STUDIO : 42 SPRUCE ST Address: GERTRUDE TINGLEY STUDIOS Telephone Ken. 3490 83 NEWBURY STREET - - - BOSTON William Ellis Weston KATE FRISKIN VOCAL COACH AND ACCOMPANIST PIANIST and TEACHER Lang Studios Faculty: Abbot Academy 6 NEWBURY STREET - - BOSTON. MASS. Andover PRISCILLA WHITE ROSALIND RISSI TEACHER OF SINGING TEACHER of SINGING SPECIAL ATTENTION TO CHILDREN'S VOICES THE COPLEY. 18 HUNTINGTON AVENUE 610 PIERCE BUILDING . . BOSTON Telephone Kenmore 2973 FREDERICK TROCCOLI EDITH WARMAN TEACHER OF VIOLIN. MANDOLIN. HARMONY. ETC. DICTION SPECIALIZING IN COMPOSITION (TAUGHT ON A SCIENTIFIC PHONETIC BASIS) Terms reasonable The LELAND POWERS SCHOOL 6 NEWBURY STREET Telephone Regent 1038 31 EVANSWAY !

^s^^m^^^^^^m^sm^^^s&^m:

The

PIANOFORTE

Unique in Tone Quality

HHHE rare beauty of the Mason & Hamlin -- Pianoforte lies in its tone, a tone definitely distinctive, different from that of any other piano, a tone embodying characteristics of

the human voice at its best. Indeed, in the creation of the Mason & Hamlin Piano- forte, its makers originally chose the human voice as their Ideal, and to this Ideal they have ever remained unswervingly steadfast.

What wonder, then, that the tone of the Mason & Jtlamlin is warm, sympathetic and at all times musical — what wonder that itsmgs, as it bears its message to the lover of beauty

MASON & HAMLIN CO.

146 BOYLSTON STREET

!*ai^*»g™ressftMatf^mi