SYMPHONY HALL, BOSTON HUNTINGTON and MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492

sr^/T^x^§t©M Symphony Orcheste INC.

SERGE KOUSSEVITZKY, Conductor

FORTY-FOURTH SEASON, 1924-1925

PlOi

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

THE OFFICERS AND TRUSTEES OF THE

BOSTON SYMPHONY ORCHESTRA, Inc.

P. FREDERICK CABOT President

GALEN L. STONE Vice-President

ERNEST B.DANE Treasurer

FREDERICK P. CABOT ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN ARTHUR LYMAN E. SOHIER WELCH

W. H. BRENNAN. Manager G. E. JUDD, Assatant Manage

17G5 —

THE INST%U£MENT OF THE IMMORTALS

IT IS true that Rachmaninov, Pader- Each embodies all the Steinway ewski, Hofmann—to name but a few principles and ideals. And each waits of a long list of eminent pianists only your touch upon the ivory keys have chosen the Steinway as the one to loose its matchless singing tone, perfect instrument. It is true that in to answer in glorious voice your the homes of literally thousands of quickening commands, to echo in singers, directors and musicai celebri- lingering beauty or rushing splendor ties, the Steinway is an integral part the genius of the great composers. of the household. And it is equally true that the Steinway, superlatively fine as it is, comet well within the There is a Steinway dealer in your range of the moderate income and community or near you through "whom meets all the icquirements of the you may purchase a new Steinway modest home. piano 'with a small cash deposit, and This instrument of the masters has the balance will be extended over a been brought to perfection by four period of two years. * Used pianos generations of the Steinway family. accepted in partial exchange. But they have done more than this. They have consistently sold it at the Prices: $875 and up lowest possible price. And they have Plus transportation given it to the public upon terms so convenient that the Steinway is well Steinway & Sons, Steinway Hall within your reach. Numerous styles 109 East Fourteenth St., New York and sizes are made to suit your home.

1766 Bostoi Tchestra

Forty -fourth Season, 1924-1925

SERGE KOtJSSEVITZKY, Conductor

Violins.

Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Siegl, F. Kassman, N. Cherkassky, P. Leveen, P. Mariotti, V.

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

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

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

Violoncellos.

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

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

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

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

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

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

Organ. Celesta. Librarian.

Snow, A. Fiedler, A. Rogers, L. J.

1707 Where Music Lovers Come YOU may pass our door almost daily. We are convenient to shops, theatres and hotels, so that most of busy Boston knows where we are. Many music lovers do not go by, but come in to see us from time to time. Perhaps they are planning to buy a new piano. It is a purchase to be considered carefully. They wish to be thoroughly familiar with all the good points of our pianos — tone, finish, workmanship, style and price. They buy, knowing that the pleasure of a good piano will be theirs for years to come. Perhaps they wish to know the latest Ampico recordings. They add to their Ampico library the marvelous interpretations of the famous pianists as they are made—exclusively for the Ampico. We invite you to come in as you pass by. We will play for you or let you try the different instruments yourself. We are here to serve the music lovers by showing them pianos enduring of tone, built of the finest materials by skilled workmen. You can afford a good piano. We offer you a wide range of prices, an allowance on your old piano and make satisfactory terms for payment of the balance.

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176S —

FORTY-FOURTH SEASON. NINETEEN HUNDRED TWENTY-FOUR & TWENTY-FIVE

Twenty-Second Programme

FRIDAY AFTERNOON, APRIL 17, at 2.30 o'clock

SATURDAY EVENING, APRIL 18, at 8.15 o'clock

Bax The Garden of Fand

(First time at these Concerts)

Rachmaninoff . . . Concerto No. 2 in C minor for Pianoforte with Orchestra, Op. 18 I. Moderate II. Adagio sostenuto. III. Allegro scherzando.

Strauss .... "Ein Heldenleben," ("A Hero Life"), Tone Poem, Op. 40 The Hero—The Hero's Adversaries—The Hero's Helpmate The Hero's Battlefield — The Hero's Works of Peace — The Hero's Escape from the World, and the Completion.

SOLOIST SERGEI RACHMANINOFF

STEINWAY PIANO USED

There will be an intermission of ten minutes after the concerto

City of Boston, Revised Regulation of August 5, 1898,— Chapter 3, relating to the covering of the head in places of public amusement Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn Attest: J. M. GALVIN. City Clerk'.

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

1769 Holiday Travel

Midnight Sun Cruise {Sailing June 30) To Iceland, the North Cape, Norway's Fjords, Sweden, Denmark, Holland, France and England. Reaching Boulogne and Southampton on July 30 in season for summer travel in western Europe. On the Cunard Liner "Franconia" (20,000 tons). $725 and up. A Europe Cruise (Sailing June 27) To France, England, Italy, Spain, Greece, with visits also to Morocco and Algeria and two weeks in the Near East (Constantinople, Jerusalem, and Egypt). 53 days from New York to Cherbourg. On the new 20,000 ton steamship "Oronsay." All rooms outside. $675 and up. Western Tours To the Rockies, California, the Great National Parks (Yellowstone, Yosemite, Grand Canyon and Zion), the Pacific Northwest and the Canadian Rockies, and Alaska. Tours leave frequently through the spring and summer and last from 3 to 7 weeks. Europe Tours Two or three months' travel to the great cities and the famous localities of England, France, Switzerland, Italy, Austria and Germany. Individual Travel Service Trips without escort in Europe and America planned to meet individual wishes. Complete arrangements for transportation, hotels, automobiling and local sightseeing made in advance.

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1770 "The Garden of Fand" . . . Arnold Edward Trevor Bax

(Born at London, England, November 6, 1883; living in London)

This symphonic poem was composed in 1913. When it was performed in Chicago by the Chicago Symphony Orchestra, Mr. Stock, conductor, on October 20, 1920, the Programme Book stated that the performance was the first. There were performances in Chicago on October 30, 1920, and on January 7, 8, 1921. The first performance in Boston was by the visiting Chicago Sym- phony, Mr. Stock conductor, on January 24, 1921. The programme also comprised Rachmaninoff's Symphony, No. 2, E minor, and Isolde's Prelude and Love Death from 'Tristan and Isolde." The first performance in London was on December 11, 1920. Mr. Koussevitzky produced the symphonic poem in Paris at nis concert on May 17, 1923. The programme also comprised Tansman's Symphonic Scherzo; Prokofieff's Scythian Suite; Reed's "Feu Follet," and Beethoven's Symphony No. 7. Robert Casadesus played Liszt's Pianoforte Concerto No. 1. * * * The score of "The Garden of Fand" contains this introductory note: "The Garden of Fand is the sea. The ancient Saga called 'The Sick- bed of Cuchulain' tells how that hero (the Achilles of the Greek) was lured away from the world of deeds and battles by the Lady Fand, daughter of Manannan, lord of the ocean; and how in the time of his country's direst need he forgot all but the enchantments of an immortal woman. The tale goes on to relate that Cuchulain's wife, Emer, pur-

OVER TWENTY PERFORMANCES WITHIN THE LAST SIX MONTHS

have been given in New England by IRIS ZAML "Pianist, OF kLLA remarkably successful VARIATIONS ON "MARY HAD A LITTLE LAMB"

in the Styles of Ten Composers

In these Variations Mr. Ballantine, of the Department of Music of Harvard University, has produced a work that is being universally acclaimed a masterpiece, unique in character and worthy the attention of all pianists, professional or amateur.

"The annotations give a good idea of the composer's humor, and the music is suited to them. Some of our concert players would amuse their audiences by using these bur- lesques in their recitals." MUSICAL COURIER.

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1771 sued him to that wonder-land and pleaded with the goddess for her husband's return. Then, with one of those touches of modern romanticism which are constantly occurring in the Irish pagan tales, the Saga ends with Fand's pitying renunciation of her human love, and we read that Manannan shook his 'Cloak of Forgetfulness' between Cuchulain and Fand, that the memory of each might be utterly blotted out from the mind of the other. "This tone poem has no special relation to the events of the above legend. In the earlier portion of the work the composer seeks to create the atmosphere of an enchanted Atlantic completely calm beneath the spell of the Other World. Upon its surface floats a small ship adven- turing towards the sunset from the shores of Eirinn, as St. Brandan and the sons of O'Corra are said to have sailed in later times. The little craft is borne on beneath a sky of pearl and amethyst until on the crest of an immense, slowly surging wave it is tossed on to the shore of Fand's miraculous island. Here is unhuman revelry uncyeasing between the ends of time, and the voyagers are caught away, unresist- ing, into the maze of the dance. A pause comes, and Fand sings her song of immortal love, enchaining the hearts of her hearers forever. The dancing and the feasting begin again, and, finally, the sea rising suddenly overwhelms the whole island, the immortals riding in rap- ture on the green and golden waves, and laughing carelessly amidst the foam at the fate of the over-rash mortals lost in the depths. Twi- light falls, the sea subsides, and Fand's garden fades out of sight." * * * Tempo moderato. Flowing smoothly, 6-4. The wood-wind has

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1772

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1773 , thematic fragments; "a tissue woven of shimmering harp and violin figures" represents the sea, reposing. There are "creeping" figures for solo violoncello and bassoon, and a "yearning strain in the oboe." The music gathers in speed and intensity. "A sinister horn quartet and a fantastic solo violin passage hint at the mysteries of Fand's Island." A climax leads to a gay but not hurried dance tune. The revelry has an "uncanny atmosphere of unreality—a weird aloofness from ordinary human merry-making." Clarinets set up a "gently rippling arpeggio figure to a moving bass, while the upper strings sustain soft, widely-spread chords; the whole passage directed to be played without any expression. A sequence for the celesta follows a call for muted horns. Fand's song, introduced by a short viola solo, is for flutes and English horn accompanied by divided strings. The spell is worked. Then the dance begins again. Its rhythm is combined with the conflicting measure of the song of immortal love, which is now given forth triumphantly, like an invocation to the waters to rise and engulf the island." The sea music of the opening now is powerful. The work of destruction over, this music sinks back and is soon lost to hearing.* The score calls for piccolo, three flutes, two oboes, English horn, three clarinets, bass clarinet, two bassoons, double bassoon, four horns, three trumpets, three trombones, tuba, kettledrums, Glockenspiel, cymbals, two harps, celesta, and the usual strings. * * *

*This description is abridged from Mr. Eric Bloom's programme notes for the Bax Concert in Queen's Hall, London, November 13, 1922.

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That from April 18 to June 29, Lexington and Concord, Arlington, Cambridge and Boston, with residents along the line of the famous march from Boston to Concord in 1775, are playing host to the American nation? This is the One Hundred and Fiftieth Anniversary of the colonists' first armed resistance to the mother country. The events of that memorable day are celebrated in verse, story and moving picture. It is an American epic and needs no retelling. Today Lexington and Concord are shrines of the nation, and this year thousands more will make their pilgrimage to these historic spots. It is said that the guest book of the Hancock-Clarke House at Lexington contains more signatures than any other historic place in the country.

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1775 Bax's "An Sluagh Sidhe" ("In the Fairy Hills"), a symphonic poem, was played in Boston for the first time in this country by the Boston Symphony Orchestra, Mr. Monteux conductor, on December 17, 1920. Mr. Monteux brought out in Boston Bax's "November Woods,"* a symphonic poem, on December 15, 1922. Songs by Bax have been sung in Boston. * * * Mr. Edwin Evans says in his study of Bax (Musical Times, London, March and April, 1919): "At an early age he came under the influence of the Neo-Celtic movement, and he has taken an absorbing interest in everything appertaining to Ireland—folk-lore, literature, music, and the glamour of the wonderful Atlantic coast. The Celtic influence is plainly visible in all his musical work, which has frequently been described as the equivalent in music to the poetry of W. B. Yeats. Its special quality is a paradoxical blend of musical thought, which, however evanescent its expression, is as definite as it is concise, with a sense of beauty that demands a continuous softening of outlines. The word 'atmosphere' has fallen into disrepute through being so constantly associated with nebulous writing, but here it will serve. As with most artists who have come under the fascination of the 'Celtic' fringe, Arnold Bax's musical thought is in its essence so lucid that it loses nothing by being placed in an atmosphere which would reduce ill-defined ideas to a state of solution. He can afford the luxury of surrounding it with mystic vapours because they do not obscure it,

*The first performance of "November Woods" in the United States was by the Chioago Sym- phony Orchestra at Chicago, November 3, 1922.

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1777 and because his sense of beauty is so keen that he can express it by- hyperbole when it suits him, though his method is generally more direct. In the end his inventiveness can always be relied upon to bring to the point of his pen whatever may be necessary to counterbalance the Celtic mirage. The sense of atmospheric beauty and the inventiveness are, in fact, compensating qualities in his work. Where one tempts to fuse and decentralize, the other is always at hand to supply new elements of cohesion. It is a curious beauty, eminently sane, and yet tinged with a certain wistfulness wherein resides at once its charm and its paradoxical nature, for to be wistful and at the same time robust is a combination of qualities that falls to few. In his larger works it enables him to allow his ideas to become fluid with the full confidence that they will not lose their plastic shape, and in smaller compositions, such as his pianoforte pieces, it gives him an unusual degree of liberty in dealing with the background before which the musical idea is pre- sented in motion. It is from this freedom in the background that the apparent difficulty of his music arose, but it is impossible not to notice that it has constantly tended to diminish. "With the exception of the 'Festival Overture,' composed in 1909, practically all his orchestral works have the Irish tinge, which assumes 'nationalist' aspect in the fantasy 'In the Faery Hills,' the scene of which is laid in a remote part of Kerry. . . . The general mood of the music is suggested by the sombreness of the dusky mountain side, and its activities depict the hosting of the 'Sidhe,' as the Irish faery people are called."

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1779 For a time Bax turned to Swinburne: witness his "Nympholept" and the Symphony in four connected sections "Spring Fire." 'The formal scheme of the composition was influenced in a large measure by the beautiful first chorus in 'Atlanta in Calydon' ('When the hounds of spring are on winter's traces'). Indeed, the exuberant and pagan qualities of much of the earlier writings of Swinburne color the musical content of the fantasy throughout."

* * Bax was educated musically at the Royal Academy of Music, London, which he entered in 1900. He studied the pianoforte with Tobias Matthay; composition with Frederick Corder (1900-1905). He was known as one of the most brilliant students in the history of the Acad- emy. His early works are the Pianoforte Trio (1906); "Fatherland," for tenor solo, chorus, and orchestra (1907); the orchestral poem, "Into the Twilight" (1908), which has been discarded, and a string quintet of which only an "Interlude" has been retained. The works that survive Bax's criticism are dated beginning with 1909. Leaving the Royal Academy in 1905, he went to Ireland, where he lived in the western region of that country. Later he went to Dublin, and was associated with the waiters and the artists of the "Irish Renaissance." In 1910 Bax visited Russia for a short time. The pianoforte pieces "May Night in the Ukraine," "Gopak," and the remarkable "In a Vodka Shop" were the result. Orchestral Works: "Into the Twilight" (1908); "In the Faery Hills" (1909); Festival Overture (1909); "Christmas Eve on the Moun-

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tains" (1912); Four pieces: 'Tensive Twilight," "Dance in the Sun," "From the Mountains of Home," "Dances of Wild Irravel" (1912-13); "Nympholept" (1912); "Spring Fire" (1913); Scherzo (1913); "The Garden of Fand" (1913); Variations for pianoforte and orchestra (1916); In Memoriam (1917), "Tintagel" (1917), "November Woods" (1917); "Mediterranean" Symphony,* E-flat minor (produced December 4, 1922, at London, by the London Symphony Orchestra); "The Happy Forest" (1923). Choir and Orchestra: "Fatherland" (1917); "Enchanted Sum- mer" (Shelley's text, 1909). Stage Music: Ballets, "Between Dusk and Dawn" (1917. Per- formed at the Palace Theatre, London); "The Frog Skin" (1918); music for Sir James Barrie's "The Truth about the Russian Dancers" (London Coliseum, March 15, 1920, Tamar Karsavina, dancer, the chief character); "Children's Tales" ("Contes Russes"), Russian Ballet, Covent Garden, June 10, 1920,—music by Liadov, Dance Prelude and "Lament of the Swan Princess" orchestrated by Bax. The ballet was given before on December 23, 1918—was Bax's orchestration then used? Interlude, "The Slave Girl," for Mme. Karsavina (London Coliseum, November 29, 1920), who describes it as "one of the most brutal and savage pieces of music I have ever heard." The Interlude is for a pianoforte. Chamber Music: Phantasy for viola and pianoforte (1904); Trio

for violin, viola, and pianoforte (1906) ; String quartet, G major (1907-

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1783 08); Sonata No. 1, for violin and pianoforte, E major, (1910-15)*; Pianoforte quintet, G minor (1914-15); Legend for violin and pianoforte (1915); Sonata No. 2, for violin and pianoforte, D major (1915);

Four pieces for violin and pianoforte (1915) ; Trio for flute, violin, and pianoforte, Elegy (1916); Ballade for violin and pianoforte (1917); "An Irish Elegy," for English horn, harp, and strings (1917); String quartet in G (1918); Folk-tale for violoncello and pianoforte (1918); Quintet for harp and strings (1919). Lyrical Interlude for string quintet; Sonata for viola and pianoforte; violoncello sonata. Vocal: "Now is the time of Christymas"; "This World's Joie"; "To the Name above Every Name"; "St. Patrick's Breastplate"; "Mater, ora filium," double chorus; "Of a Rose I sing" (carol for choir, harp, violoncello, double bass). Voice and Orchestra: Six poems from "The Bard of the Dim- bovitza" (1914-15). Bax has written a pianoforte concerto; a concerto for the viola, produced at the Philharmonic concert in London, November 17, 1921 (Mr. Tertis, viola), two pianoforte sonatas, and many smaller pieces for the pianoforte; also "Moy-Mill, or Happy Plain," for two pianofortes. He has composed over fifty songs, of which "Nereid" and "Whirligig" are dated 1920. *A revised edition, with practically new second and third movements, was performed for the first time in London, on November 22, 1920. The second movement, "The Grey Dancer in the Twilight, a Dance of Death," is said to have been largely influenced by the eventslof 1915 in the World War. The sonata is in four movements to be played without a break. A sort offan idie fixe permeating the work has been utilized in "November Woods."^.The sonata was performed by.Paul Kochanski, violinist, and the composer.

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COMMITTEE Mbs. George H. Monks, Chairman Mrs. Henry Andrews Mrs. I. A. Ratshbsky Mrs. Edward H. Bradford Mrs. Wm. H. Robet, Jr. Mrs. C. A. Coolidge Mrs. John Rock Mrs. Thomas M. Devlin Mrs. Milton J. Rosenau Mrs. Henry Ehrlich Mrs. Geo. L. Tobby, Jr. Mrs. Reid Hunt Mrs. Ernest B. Young Mrs. Edward M. Pickman Mb. William C. Endicott, Treasurer 71 Ames Building, Boston

1785 A concert devoted exclusively to Bax's compositions was given No- vember 13, 1922, in Queen's Hall, London, in which John Coates, tenor, Harriet Cohen, pianist, Lionel Tertis, viola, the Oriana Madrigal So- ciety, and an orchestra led by Eugene Goossens, took part. The programme included "The Garden of Fand" and "Mediter- ranean" (orchestral arrangement), the concerto for viola and orchestra, the pianoforte sonata No. 2, G major, and smaller pianoforte pieces, carols for chorus, and seven songs.

ARNOLD BAX

(Edward J. Dent in The Nation and the Athenaeum, November 25, 1922)

A generation ago, our two leading schools of music in London represented two divergent tendencies in the training of composers. It may seem curious that it was the venerable Royal Academy of Music which stood for modernity, while the comparatively youthful Royal College of Music stood for academicism. The College was the home of the Brahms-Joachim cult; the Academy produced revolutionaries who admired Wagner and composed symphonic poems. The Academy, it was in those days imagined, possessed all the young men of genius, and instead of cramping their genius in the fetters of strict counterpoint and fugue, it gave free play to their flamboyant imagination. Years pass, and revolutionaries grow elderly. Every now and then the Phil-

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The closing of the Symphony Concert season always brings a distinct feeling of regret to me. Perhaps you may have had the same feeling, too, generated from the thought that we are singularly blessed in being able to listen to such wonderful music every week. Speaking of regrets, the other day it was my duty to pay a few thousand dollars to a widow, and to be the recipient of some very intimate information as to the hopes and fears that this little woman has had for the past four or five years. Of course, after an event happens, any one can take the answer, work back, and get a solution, much the way detective stories are written. It takes, however, a great deal of vision and firmness to effect a program which will take care of all exigencies estate as they may arise — be it premature death, old age, or conservation. suggestions as to how I think perhaps I could help you with Life Insurance could fit into your estate program. EARL G. MANNING, Associate General Agent JOHN HANCOCK MUTUAL LIFE INSURANCE COMPANY 200 Devonshire Street, Boston, Mass. Telephone, Congress 7480 —

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1787 harmonic Society, from that sense of pietas which has always directed its choice, puts down one of those symphonic poems on its programmes. They frighten nobody; they have become tedious and respectable. And anyone who goes round London listening to what musicians are saying will know that the people who are most painfully shocked by the modern type of music are not the elderly academics but the elderly revolutionaries. From that throng of anti-academic composers there emerges one and only one of real distinction today—Mr. Arnold Bax. He alone has survived his early training, and it has taken him a considerable number of years to throw off its evil influences. The Brahms party "disdained the subtle seductions of color." They certainly produced some very dry and tediqus stuff. But they were taught principles. If a musician is not by nature inspired, no amount of teaching will turn him into a Beethoven. It is not reasonable to expect any music-school to turn out a fresh Beethoven every year. But the man who has natural poetic gifts, and the brains to use them properly, requires principles and benefits by them. He may, as several of our young composers have done, develop on modern lines which horrify his venerable teachers; but they will have taught him something, and that something the most valuable thing that any teacher can give to a pupil, the principles which enable him to go on teaching himself. The result of strict academic teaching is that the real leaders of English music at the present moment, however divergent their personal styles of writing may be, are almost all of them past pupils of the Royal College of Music.

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1789 At the Royal Academy, if an outsider can form a judgment, there was a laudable spirit of liberalism which hated "rules." The "rules" of harmony and what old Rockstro called the "laws" of counterpoint were a survival of old-fashioned German pedantry. Possibly they made a certain appeal to the mentality of Englishmen to whom nothing is more sacred than the rules—often called laws—of their games. The haters of rules unfortunately failed to see that rules were merely awk- ward forms of expression for principles. A musician who learns rules without understanding the principles which they disguise is probably in a worse state of salvation than the man who learns nothing at all. If he has the natural gift for music he may find himself obliged to dis- cover principles for himself. But there is a substitute both for rules and for principles which is easier to learn than the latter and more agreeable than the former—dodges. The young composers at the Royal Academy were put up to all the dodges. They learned how to write modern music straight away, out of a witty and entertaining treatise in which the emotions are listed alphabetically, with instructions complete for expressing same. The academics were burdened with a good deal of classical lumber, but classical lumber is so easily recognized as lumber that it can be dropped without much difficulty. The would-be revolutionaries were just as heavily burdened, but their lumber was romantic, and that was much harder to clear out of the way. Even Mr. Bax has not got completely free; still trailing clouds of Wagner does he come. Sys- tematic instruction in romanticism offered no sense of style, but a

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1791 selection of styles to suit all tastes. Mr. Bax, like a Chelsea artist, loves dressing up. At the concert of his works organized last week by his enterprising publishers, he appeared in various disguises—as a Russian, as a Spaniard, as a Bergerette, and even in a job lot of ecclesiastical vestments. It can at least be said that Spanish dress suits him better than it did Schumann, whose attempts in that direction suggest Mr. Tupman as a bandit. It was the pride of the Academy school that they could all write brilliantly for the orchestra. They could indeed, and have taken in many listeners by their showy substitutes for real music. But nowadays, cliches from Wagner or Liszt are recog- nizable by quite ordinary people, and this wonderful modern music is beginning to sound painfully old-fashioned. Mr. Bax has survived his training because he happens to have been supremely endowed with natural musical gifts. Of all our living composers he is the most copiously and generously endowed by nature. Ever since his student days music has poured out of him, so that he has never had much inclination to practise economy or arrangement of musical material. He has often been classed with the pictorialists, because he gives his pieces titles. But I believe this judgment to be superficial. He may receive an initial stimulus from literature or other external impressions, but he always refuses to go into details of programme, and though his musical thought is only too often rambling, it always grows out of itself. Like Schubert, he is very susceptible to

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1793 musical impressions; that is one reason for his "dressing up." He has the misfortune to be a fluent pianist and an exceptionally quick reader from orchestral scores; he absorbs everything, because nothing is any effort to him. His temperament has always led him more and more towards Celtic romanticism, and it is now fairly clear that this is the style of music which is most personal to him. Paradoxical as it may seem, the Celtic twilight has been a means of clarifying his style, for as he became more immersed in it he gradually learned to discriminate between the ideas which were his own and expressed his own thoughts, and those which he had brought with him by mistake from Tenterden Street or Macfarren Place. For years he has been deficient in sense of style, but he has always had a wonderful sense of beauty and a natural delicacy of thought; and these things should in time lead to the evolution of style, though it may take a long time. From a technical point of view much of his music seems today almost reactionary. It is too soon to begin speaking of him as an elderly

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1795 revolutionary, but his earlier works do not sound as modern as they once did. Their beauty survives. Today he contrasts oddly with the younger generation. It is not merely that he gives free play to sentiment and romance; his harmony and melody associate him defi- nitely with the past rather than with the future. But for all that his music is individual and can afford to be indifferent to passing fashions. In his latest works he is finding style. And the proof of his genuine inspiration lies in the fact that when he does achieve style and a sense of formal beauty it results from his having had to grapple with a new technical problem. His pianoforte music is diffuse, and sometimes verges on the rhetorical, though he must not be held responsible for the rhetoric of his interpretress, Miss Harriet Cohen, who in her devoted anxiety to bring out every point makes the easiest things sound incred- ibly difficult. His songs are pianoforte pieces with a voice thrown in. He himself plays the "accompaniments" with an exquisitely modest and elusive charm, but he dominates even Mr. John Coates, simply because the composer's innermost thought is expressed in the pianoforte part and not in the vocal line. Choral motets offered him new problems. They must have shocked members of Gregorian Associations, for they conformed to no musico-liturgiological conventions. Mr. Bax uses such ecclesiastical tags as he finds attractive, and decorates them with all sorts of fantastic ideas. The result on paper looks an almost unsingable jumble. In performance it was admirably calculated, full of the most adorable surprises, permeated by a rare sense of pure musical beauty. Another problem was to write a viola concerto for Mr. Tertis.

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Berlioz tackled the problem for Paganini; the result was a symphony "Harold in Italy." Mr. Bax has solved the problem: the concerto is not merely his own best work, but a concerto which should take its place as a standard example. The difficulty of writing suitably for the viola has further stimulated Mr. Bax to a sonata for viola and pianoforte; here again he is—to the surprise of all who have followed his career—tense, concentrated, clear, and logical in form. At last he has eliminated superfluities; and now we can see and value the beauty which they masked.

Concerto No. 2, in C minor, for Pianoforte with Orchestra, Op. 18 Sergei Vassilievich Rachmaninoff

(Born at Onega in the government of Novgorod, April 1, 1873; living in New York)

This concerto was performed for the first time at a concert of the Philharmonic Society of Moscow, October 14, 1901, when the composer was the pianist. Mr. Siloti played the concerto in Petrograd in April, 1902. The first performance in New York was at a concert of the Russian Symphony Society, November 18, 1905, when Raoul Pugno was the pianist. The concerto was played again at a concert of the Russian Symphony Society in New York, November 12, 1908, when Miss Tina Lerner, the pianist, made her first appearance in the United States. Ossip Gabrilowitsch played the concerto with the Boston Symphony Orchestra in New York,. December 3, 1908, and in PIEPvCE-ARROW

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1799 Brooklyn, December 4, 1908. Mr. Rachmaninoff played it with the Boston Symphony Orchestra at Philadelphia, November 8, 1909, Baltimore, November 10, 1909, New York, November 13, 1909, Hart- ford, Conn., November 15, 1909. The first performance in Boston was at a concert of the Boston Symphony Orchestra, December 17, 1909; Mr. Rachmaninoff pianist, Mr. Fiedler conductor. At the same concert Mr. Rachmaninoff conducted his symphonic poem^'The Island of the Dead" (after Bocklin), which was then played for the first time in Boston. At concerts of the Boston Symphony in Boston, November 17, 1916, the concerto was played by Ossip Gabrilowitsch; on January 31, 1919, by Mr. Rachmaninoff. Mr. Bachaus played it on January 27, 1922. This concerto gained for the composer, in 1904, the Glinka prize of five hundred roubles, founded by the publisher Belaiev.* Published in 1901, it is dedicated to N. Dahl.

*Bela!ev, who had gained a great fortune as a merchant in grain, offered to publish at his own cost the compositions of Glazounov, his intimate friend. The young musician accepted the proposi- tion, but he insisted on introducing the Maecenas to his colleagues. Thus the hypo-modern Russians found a publisher, and one that delights in handsome editions. Furthermore, Belaiev gave at his own expense, in Leningrad, concerts devoted exclusively to the works of the younger school, and it was he that in 1889 organized and paid all the cost of the concerts of Russian music at the Trocad6ro, Paris. As Bruneau said: "Nothing can discourage him, neither the indifference of the crowd, nor the hate of rivals, nor the enmity of fools, nor the inability to understand, the inability on which one stumbles and is hurt every time one tries to go out of beaten paths. I am happy to salute here this brave man, who is probably without an imitator." Mitrofan Petrowitsch Belaiev, born at Leningrad,

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A. M. Hume Music Co. 194-196 Bo^lston Street Boston I. Moderato, C minor, 2-2. II. Adagio sostenuto, E major, 4-4. III. Allegro scherzando, C minor, 4-4. The orchestral portion of the concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and bass tuba, a set of three kettledrums, bass drum, cymbals, and the usual strings. Rachmaninoff has composed three pianoforte concertos: No. 1, F-sharp minor, Op. 1; No. 2, C minor, Op. 18; No. 3, Op. 30. The first concerto has been revised by the composer. It was written when he was a pupil of Taneiev and Arensky at the Moscow Conservatory. It is dedicated to Alexander Siloti, the composer's cousin. Carlo Buonamici played it in Boston at a concert of the Boston Symphony Orchestra, December 7, 1904. The third concerto was played in New York at concerts of the Symphony Society, November 28, 30, 1909, March 2, 1925, by Mr. Rachmaninoff, and at a concert of the Phil- harmonic Society, January 16, 1910, by Mr. Rachmaninoff.

February 22, 1836, died there January 10, 1904. He founded his publishing house in 1885; in the same year the Russian Symphony Concerts, and in 1891 the Russian Chamber Music Evenings. The capital of his firm was changed by his will into a fund directed by Glazounov, Liadov, and Rimsky- Korsakov.

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1803 Tone-poem, "A Hero Life," Op. 40 ... Richard Strauss

(Born at Munich, June 11, 1864; now living at Vienna)

"Ein Heldenleben," a "Tondichtung," was first performed at the eleventh concert of the "Museumsgesellsehaft," Frankfort-on-the-

Main, March 3, 1899, when Strauss conducted from manuscript and Alfred Hess played the violin solo. The second performance was at Berlin, March 22, 1899, in the Royal Opera House, at the ninth symphony concert of the Royal Orchestra for the benefit of its Widow and Orphan Fund. Strauss conducted, and Karl Halir played the violin solo. At the third performance, at Cologne, April 18, 1899, Franz Wtillner conducted, although Strauss had been announced, and Willy Hess played the violin solo. The music excited the greater part of the audience to hissing. The fourth performance was at Diisseldorf, May 22, 1899, in the city Music Hall, at the second concert of the 76th Lower Rhenish Music Festival. Strauss conducted, and Karl Halir played the violin solo. That year "Ein Heldenleben" was also performed at Munich, Dresden (December 29), Mayence, Constance, Crefeld, Bremen. The first performance in Paris was on March 4, 1900; in Brussels, October 21, 1900. The first performance in America was by the Chicago orchestra,

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Theodore Thomas conductor, at Chicago, March 10, 1900. The first performance in New York was by the Philharmonic Society, Mr. Emil Paur conductor, December 8, 1900, when the orchestra numbered one hundred and twenty-five players. The first performance in Boston was by the Boston Symphony Orchestra, Mr. Gericke conductor, December 7, 1901. The second was at a concert of the Boston Symphony Orchestra, November 28, 1908, Mr. Fiedler conductor; the third on December 31, 1910, Mr. Fiedler, conductor. There was a performance in Boston by the New York Philharmonic and National Orchestra, Willem Mengelberg, conductor, on March 16, 1922.

Strauss began the composition of this tone-poem at Munich, August 2, 1898, and completed the score December 27, 1898, at Charlottenburg. The score and parts were published at Leipsic in March, 1899. The score calls for these instruments: sixteen first and sixteen second violins, twelve violas, twelve violoncellos, eight double- basses, two harps, a piccolo,, three flutes, three or four oboes, an English horn, one clarinet in E-flat, two clarinets in B-flat, one bass clarinet, three bassoons, one double-bassoon, eight horns, five trumpets, three trombones, a tenor tuba, a bass tuba, kettledrums, toss drum, snare-drum, side-drum, cymbals. It is dedicated to Willem Mengelberg and his orchestra in Amsterdam. Strauss has said that he wrote "A Hero Life" as a companion BOSTON SYMPHONY ORCHESTRA SERGE KOUSSEVITZKY, Conductor

Symphony Hall, Boston March 30, 1925 To Our Saturday Subscribers In compliance with the wishes of Mr Koussevitzky, the Trustees have authorized a change in the date of the last evening concert of the season from Saturday, May 2, to Friday evening,

May 1. This will enable Mr. Koussevitzky to take passage on a boat which will arrive in time for important European engagements. The Trustees are confident that in these circumstances the patrons of the Orchestra will welcome the final concert one day earlier than originally announced. Will you therefore please take the precaution to change

the date on your No. 24 ticket to read "Friday Evening, May 1, at 8.15." Yours very truly, W. H. BRENNAN, Manager

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1807 work to his "Don Quixote," Op. 35: "Having in this later work sketched the tragicomic figure of the Spanish Knight whose vain search after heroism leads to insanity, he presents in 'A Hero's Life' not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism—not the heroism to which one can apply an everyday standard of valour, with its material and exterior rewards, but that heroism which describes the inward battle of life, and which aspires through effort and re- nouncement towards the elevation of the soul."

Henry Edward Krehbiel wrote in his programme notes for a concert of the Philharmonic Society of New York: "Those who wish to understand the poetic purposes of the composer in this work must yield to him not only the right to try to express the simpler feelings, which are generally conceded to be in the prov- ince of absolute music, but to publish a great variety of emotional phases, and to do so by giving arbitrary significance to the themes out of which the work is woven. They must note significances not only in the character of the themes themselves, but also in the transformations which they go through, their combinations and their instrumental colorings. They may, if they wish, rest on the music alone, or they may take the programme of the composer and

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1809 — its amplification by sympathetic analysts, as a starting point and guide for the imagination." There are many descriptions and explanations of "Ein Helden- leben." One of the longest and deepest—and thickest—is by Fried- rich R6sch. This pamphlet contains seventy thematical illustrations, as well as a descriptive poem by Eberhard Kdnig. What is the purpose of the story, of this "tone-poem" or "poem of sounds" ? ( It has been said that Strauss is a musician who wishes to write poetry.) Is the heroic life that of a hero famous in war and dear to the people or the life of a hero who does not wrestle merely against flesh and blood? It seems to be the purpose of the composer to show the hero as one arrayed against the world, a hero of physical and mental strength, who fights to overcome the world and all that is common, low, pitiably mean, and yet perhaps dominant and accepted. Romain Holland quotes Strauss as saying: "There is no need of a programme. It is enough to know there is a hero fighting his enemies." The work is in six sections : (1) The Hero, (2) The Hero's Adversaries, (3) The Hero's Helpmate, (4) The Hero's Battlefield, (5) The Hero's Works of Peace, (6) The Hero's Escape from the World, and the Com- pletion. Mr. Rosch makes two divisions of the contents,—one of the poetic

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1811 — — — sequence of ideas, one of purely technical interest. The former is as follows : I. The Hero (first section). II. The World that enters in Opposition to the Hero. (a) The Foes of the Hero (second section). (b) The Helpmate of the Hero (third section). III. The Life-work of the Hero. (a) The Battlefield of the Hero (fourth section). (6) The Hero's Works of Peace (fifth section). IV. The Hero's Escape from the World, and the Completion, the conclusion of the whole matter (sixth section). The technical division is as follows: I. Introductory clause (introduction of themes). (a) Group of the chief themes of the whole work (first section). (6) Group of the chief contrasting themes (sections 2 and 3). II. Intermediate sentence (thematic development). Working-up of the chief themes from the preceding introduction ; and there is a

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1813 " subordinate clause with themes which in part are new (sections 4 and 5). III. Concluding clause (coda). Short development and repeti- tion of some earlier themes.

The Hero

The chief theme, which is typical of the hero, the whole and noble man, is announced at once by horn, violas, and violoncellos, and the violins soon enter. This theme, E-flat major, 4-4, is said to contain within itself four distinct motives, which collectively illus- trate the will power and self-confidence of the hero, and their characteristic features are used throughout the work in this sense. Further themes closely related follow. They portray various sides of the hero's character,—his pride, emotional nature, iron will, richness of imagination, ''inflexible and well-directed determina- tion instead of low-spirited and sullen obstinacy," etc. This section closes with pomp and brilliance, with the motive thundered out by the brass ; and it is the most symphonic section of the tone-poem.

"A pause is made on a dominant seventh : 'What has the world in store for the young dreamer ?'

The Hero's Antagonists They are jealous, they envy him, they sneer at his aims and en- deavors, they are suspicious of his sincerity, they see nothing ex-

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1814 cept for their own gain ; and through flute and oboe they mock and snarl. They are represented by about half a dozen themes, of which one is most important. Diminutions of the preceding heroic themes show their belittlement of his greatness. (It has been said that Strauss thus wished to paint the critics who had not been pru- dent enough to proclaim him great.) "Fifths in the tubas show their earthly, sluggish nature." The hero's theme appears in the minor; and his amazement, indignation, and momentary confusion are expressed by "a timid, writhing figure." Finally the foes are shaken off. The Hero's Helpmate

This is an amorous episode. The hero is shy. The solo violin represents the loved one, who at first is coy, coquettish, and dis- dains his humble suit. There is a love theme, and there are also two "thematic illustrations of feminine caprice" much used later on. At last she rewards him. The themes given to the solo violin, and basses, violoncellos, and bassoon, are developed in the love duet. A new theme is given to the oboe, and a theme played by the violins is typical of the crowning of happiness. The clamorous voices of the world do not mar the peacefulness of the lovers.

The Hero's Battlefield

There is a flourish of trumpets without. The hero rushes joy- fully to arms. The enemy sends out his challenge. The battle

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The Hero's Mission of Peace This section describes the growth of the hero's soul. The composer uses thematic material from "Don Juan," "Also sprach Zarathustra," "Tod und Verklarung," "Don Quixote," "Till Eulen- spiegel's lustige Streiche," "Guntram," "Macbeth," and his song, "Traum durch die Dammerung." Jean Marnold claims that there are twenty-three of these reminiscences, quotations, which Strauss introduces suddenly, or successively, or simultaneously, "and the hearer that has not been warned cannot at the time notice the slightest disturbance in the development. He would not think that all these themes are foreign to the work he hears, and are only souvenirs."

The Hero's Escape from the World,, and Conclusion

The world is still cold. At first the hero rages, but resignation and content soon take possession of his soul. The bluster of na-

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162 Boylston Street 35 Arch Street BOSTON, MASS. ture reminds him of his old days of war. Again he sees the beloved one, and in peace and contemplation his soul takes flight. For the last time the hero's theme is heard as it rises to a sonorous, impressive climax. And then is solemn music, such as might serve funeral rites.

It has heen said that Strauss chose the appellation "•tone-poem'' for these compositions to mark the predominate importance of the

purely musical character ; that he repudiated the word "symphonic" to show that he did not fear to abandon the guiding thread when

he plunged boldly into the tonal labyrinth ; that his musical poems are subjective, untainted by that material objectivity into which too definite programmes lead the composer. It is true that these works of Strauss have no detailed programme, and that titles and even sub-titles or quotations are used as hints to suggestions, not as maps, not even as inexorable guide-posts. On the other band, the music itself is by no means music that exists through very in- dependence of form, and is ruled by laws of development even when the subject suggests a special color or tendency. This later music of Strauss seems to be governed by a fancy that is heated by a programme which is fully and clearly in the. mind of the composer, and is not given to the hearer for his advantage.

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1819 The melody of Strauss is chiefly diatonic, and melodic invention is not his strongest characteristic. As a melodist he is nearer Brahms than Wagner, Weber, Tchaikovsky, Verdi. Yet his themes have a common physiognomy, and they are individual. Nor is it too much to say that his whole inspiration is diatonic rather than chromatic. As a developer of themes, as a polyphonist, Strauss is a virtuoso of amazing brilliance, and whatever may be thought of his aims, and—is recklessness the word?—his wildest pieces are by no means without a certain unity. His aspiration is not versatile : his thought, wherever it be directed, wears the same face. His orchestration is almost always interesting. And, after all, is his polyphony art? Is not his genius sometimes hid- den by fumes of "Dionysiac drunkenness" ? There are these thoughts, and Jean Marnold has voiced them admirably. There are others who claim that Strauss has gone beyond Wag*

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1820 VOICE AND YO (What the singer should do) By CLARA KATHLEEN ROGERS (Clara Doria) Price, $1.75 net A condensation of what Philip Hale has said: Clara Kathleen Rogers has written a book, small in size, but weighty in matter, concerning the application of psychology to singing. Her experience in operas, concerts and as a teacher, with her native mentality, leads her to lay down rules, not dogmatically, but with recognized authority! There are chapters on breath control, consonants, vowels, the legato in speech, tone-attack, resonance — liberation of consciousness. The summary of principles, Chapter XIII, is an excellent condensation of what has been said before. There are also maxims that should be pondered! There is an interesting chapter on nervous- ness and stage-fright. Young singers who might please as lyric interpreters but are bound to be dramatic at any cost, singers with pleasing voices for the gentler sentiments and emotions (who see themselves as Aidas, Bruennhildas, Isoldes and Donna Annas) should read and re-read the chapter entitled "Two Distinct Types of Voice." This new addition to Mrs. Rogers' previous works—"The Philosophy of Singing," "My Voice and I," "The Voice in Speech," "English Diction in Song and Speech, "and her "Memories of a Musical Career"—should be of service to teachers as well as singers.

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F.T. D. ner, that he is the founder not of a new school, but of a new art. Their eulogy is frenetic, nor do they hesitate to proclaim Strauss as the hero of his "Heldenleben." Some, as Achille Claude Debussy, rub their eyes and would say as he said after hearing "Till Eulenspiegel" : "This piece is like an hour of new music at the madhouse,—clarinets describe dis- tracted trajectories, trumpets are always muted, horns foresee a latent sneeze, and hurry to say politely, 'God bless you!' a big drum makes the boum-boum that italicizes the clown's kick and gesture; you burst with laughter or howl in agony, and you are surprised to find things in their usual place, for if the double-bass blew through their bows, if the trombones rubbed their tubes with an imaginary bow, and if Mr. Nikisch were found seated on the knees of an ouvreuse, all this would not surprise you. But in spite of all this the piece is full of genius in certain ways, especially in the prodigious surety of the orchestration, and the mad spirit that sweeps one along from beginning to end."

Thus are men divided, in opinion ; thus is there wrangling in

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The symphony in F minor by Strauss, which first called marked attention to the composer, was an orthodox work. It was cast in the traditional mould. It was in no wise revolutionary. Themes were conscientiously developed, the spirit was respectful and seri- ous, and there was a technical facility unusual in such a young man. Here was a composer who had been brought up on the clas- sics, knew his Brahms, and was without any pronounced individ- uality. It was the year 1885 that Strauss became intimate with a man who influenced him mightily. This man was Alexander Ritter.*

*Ritter was born at Narva, Russia, June 27, 1833 ; he died at Munich, April 12, 1S96. Although Ritter was born in Russia, be was of a German family. His for- bears had lived at Narva since the seventeenth century. In 1841, soon after the death of his father, he and his mother moved to Dresden, where he became the school- fellow of Hans von Biilow, and studied the violin with Franz Schubert (1808-78). Ritter afterward studied at the Leipsic Conservatory under David and Richter (1849- 51), and in 1852 he was betrothed to the play-actress, Franziska Wagner, a niece of Richard Wagner. He married her in 1854 and moved to Weimar, where he became intimately acquainted with Liszt, Cornelius, Raff, Bronsart, and of course saw much

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1823 ! ;

"Before I knew Hitter," says Strauss, "I had been brought up in a severely classical school. I had been nourished exclusively on

Haydn, Mozart, and Beethoven ; and then I became acquainted with Mendelssohn, Chopin, Schumann, and Brahms. It is through Ritter alone that I came to understand Liszt and Wagner." Strauss journeyed to Rome and Naples. The result of his impressions was the symphonic fantasie, "Aus Italien" (1886). The composer gave an explanatory title to each of the four movements. Yet this step toward programme music was a modest one. The

of von Biilow. He determined to devote himself to composition, but in 1856 he went to Stettin to conduct in the City Theatre, where his wife played. They lived In Dresden (1858-60), again in Stettin (1860-62), but Ritter then had no official position, and in 1863 they made Wiirzburg their home. (The winter of 1868—69 was spent in Paris and that of 1872-73 in Chemnitz.) From 1875 to 1882 he was at the head of a music shop at Wiirzburg. In 1882 he gave over the business to an agent, and in 1885 sold it, for in 1882 he became a member of the Meiningen orchestra led by von Biilow. After von Biilow resigned this position (in the fall of 1885), Ritter moved to Munich and made the town his dwelling-place. His most important works are the operas: "Der faule Hans," one act (Munich, 1885), dedicated to Li sat "Wem die Krone?" one act, Op. 15 (Weimar, June 7, 1890), dedicated to Richard

Strauss ; "Gottfried der Sanger," one act, was only partially sketched, but the poem

was completed ; orchestral : "Seraphische Phantasie" ; "Erotische Legende," composed

in 1890—91, with use of former material ; "Olaf's Hochzeitsreigen," composed in 1891—

92 ; "Charfreitag und Frohnleichman," composed in 1893 ; "Sursum Corda ! Storm

and Stress Fantasia," produced ati Munich early in 1896 ; "Kaiser Rudolf's Ritt zum Grabe" (1895), produced by Richard Strauss at Weimar (?) and at Berlin in 1902. "Olaf's Wedding Dance" was played in Boston by the Boston Symphony Orches- tra, Dr. Muck conductor, March 2, 1907. Before that Ritter was known here as the author of the poem published in the score of Strauss's "Death and Transfiguration," a poem written after the music had been composed. A life of Ritter by Sigismund von Hausegger was published at Berlin in 1908.

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1825 indications were of the nature of those inscribed by Beethoven in his "Pastoral" symphony. Suddenly Strauss began his cycle of "Tone-poems" with "Macbeth" (1886-87). There is no explana- tion or guide except the word "Macbeth," written over a theme, and later in the work the annotation "Lady Macbeth" and a quo- tation from the tragedy (Act I., scene v.). This score was dedicated to Ritter. Then followed "Don Juan" (1887-88), a musical gloss on Lenau's poem; "Tod und Verklarung" (1888-89); "Till EulenspiegePs lustige Streiche" in rondo fonn, after an old Rogue's tune (1894-95),—Strauss refused to furnish a programme for this work : "Let me leave it therefore to my hearers to crack the hard nut which the Rogue has provided for them," yet he gave a hint by pointing out the two motives, which "in the most manifold disguises, moods, and situations, pervade the whole up to the ca- tastrophe, when, after he has been condemned to death, Till is strung up to the gibbet"; "Also sprach Zarathustra" (1896), a translation into music of certain passages from Nietzsche's book THE PALM GAR

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1827 of that name; "Don Quixote" (1897), fantastical variations on a theme of a chivalric character, with themes appropriate to the Don and Sancho Panza, with thoughts of the Lady Dulcinea of Toboso and the famous sheep and windmills, and hints at "the tendency of Don Quixote toward erroneous conclusions," as the indefatiga- ble commentator, Arthur Hahn, assures us. Add to this list an opera, "Guntram" (1892-93), and pieces of smaller dimensions. Then came "Ein Heldenleben." During several of these years Strauss was exceedingly busy as a conductor, stationary and wan- dering.

Instrumental

A list of works by Richard Strauss which have been performed at these concerts in Boston:— "Aus Italien," symphonic fantasia, Op. 16: December 22, 1888; January 12, 1901; March 3, 1906; third movement, March 5, 1910; complete, November 21, 1914.

"Don Juan," tone-poem, Op. 20 : October 31, 1891 ; November 5, 1898; November 1, 1902; February 11, 1905; April 29, 1905 (by request); October 27, 1906; October 9, 1909; October 17, 1914; February 2, 1917; October 7, 1921; March 7, 1924; February 6, 1925.

Symphony in F minor, Op. 12 : November 4, 1893 ; January 6, 1900.

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1S28 ;

Prelude to Act I. of "Guntrain," Op. 25 : November 9, 1895 ; No- vember 12, 1904.

Prelude to Act II. of "Guntram," Op. 25 : November 9, 1895 March 25, 1905.

"Till Eulenspiegel's lustige Streiche," Op. 28 : February 22, 1896

November 25, 1899 ; January 6, 1906 ; January 25, 1908 ; October 30,

1909 ; December 16, 1911 ; January 18, 1913 ; May 8, 1915 ; October 13, 1916; November 12, 1920; March 30, 1923; December 12, 1924. "Tod und Verklarung," tone-poem, Op. 24: February 6, 1897; March 18, 1899; February 7, 1903; October 21, 1905; April 21, 1906;

January 2, 1909 ; November 26, 1910 ; Februarv 17, 1912 ; February 7, 1914; October 15, 1915; May 4, 1917; April 29, 1921; Februarv 8, 1924.

"Also sprach Zarathustra," tone-poem, Op. 30 : October 30, 1897 March 17, 1900; February 6, 1909; January 22, 1910; November

4, 1911 ; January 23, 1915 ; April 28, 1916 ; October 20, 1922.

"Ein Heldenleben," tone-poem, Op. 40 : December 7, 1901 ; No- vember 28, 1908 ; December 31, 1910.

"Love Scene," from the opera "Feuersnot," Op. 50 : March 8, 1902; October 10, 1908; December 16, 1911. Burleske in D minor for pianoforte and orchestra (Heinrich Gebhard, pianist): April 18, 1903; February 9, 1917 (Mr. Geb- hard). "Don Quixote," fantastic variations, Op. 35 (Rudolf Krasselt,

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277 Dartmouth Street, Boston Summer Branch at Magnolia

Studio and Residence 100 CHESTNUT STREET Telephone, Bowdoin 4049-R

1S29 W violoncello; Max Zacli, viola): February 13, 1904; April 23, 1910

(Heinrich Warlike, violoncellist; E. Ferir, viola) ; February 18,

1911 (Warnke and Ferir) ; February 11, 1916 (Warnke and Ferir) ; April 14, 1922 (Jean Bedetti and Georges Fourel). Svniphonia Domestica, Op. 53: February 16, 1907; March 30, 1907; March 19, 1910; March 16, 1912; April 25, 1924. "Macbeth" (after Shakespeare, Op. 23, March 18, 1911. Salome's Dance from "Salome," April 27, 1912; October 12, 192:5; March 6, 1925. Festliches Praludium for orchestra and organ December 13, 1913. Suite from "Der Burger als Edelmann" February 11, 1921.

Vocal

"Serenade" (Lillian Nordica), March 15, 1902; (Marcella Seni- brich) March 19, 1910. "Muttertandelei" (Muriel Foster): April 2, 1904; (Sigrid Onegin) April 18, 1924.

"Allerseelen" (Marie Rappold) : November 14, 1908.

"Heimliche Aufforderung" (Berta Morena) : March 6, 1909.

"Hymnus," with orchestra (Tilly Koenen) : January 1, 1910. "Cacelie" (Elena Gerhardt), January 4, 1913; (Elisabeth Van Endert) February 14, 1914; (Sigrid Onegin) April 18, 1924. "Morgen" (Elena Gerhardt), January 4, 1913; (Julia Culpj April 6, 1917; (Sigrid Onegin) April 18, 1924.

^IllllC^lllllliailItCaillIlllfllllC3IIIIlllllllir3IIIIIIIIIIlJC2llllllllllllC2IIIIIIIIIIl[C3l[llllllllllC2lllIlltIlllJC3Jf llllllf IIIC3II]lIIIlIIIIC3IIf IllllirilC^llllIIIIII!^ No. 19 I

As great as the fear of unemployment § is the fear of long impoverishing illness I in the mind of the industrial worker.

To teach him and his family the rules of health, and to nurse them in time of 1 sickness, is the primary object of this

without Walls" Association. COMMUNITY HEALTH ASSOCIATION j | Treasurer | 502 Park Square Building Ingersoll Bowditch, |

TilllllllMIC:illlllllllII[]l!lllll!lllir]IIIIIIIIIIIIC3l]ll!linillC3llll!!IIIMIC]lllinilllllt]IIIMIIIIIIIC]l!IM!lil!ll[]MIIIIIIIIIIC]lllllllllinC]lllllll!IIIIC]lllll^ ARY DULFER VIOLINIST Teaches exclusively at DULFER-STUDIO

20 HEMENWAY STREET Concert Management, A. H. HANDLEY

Copley 8 1 7 1 - 1 20 Boylston Street. Boston

1830 STATE STREET Boston, Mass.

Affords its depositors the advantage of three banking offices in excellent locations, each equipped with modern safe deposit vaults. MAIN OFFICE 33 STATE STREET

GOPLEY SQUARE OFFICE . 581 Boylston Street MASSACHUSETTS AVENUE OFFICE Corner Massachusetts Avenue and Boylston Street INCORPORATED 1891 MEMBER FEDERAL RESERVE SYSTEM

WESTLAND AVENUE GARAG INCORPORATED 41-43 WESTLAND AVENUE AND 32-34 ASTOR STREET ONE MINUTE FROM SYMPHONY HALL While attending concert store your car at our new and most up-to-date garage. Guard against theft. Telephones. Back Bay 8862. 8863 —

Engraving, Die Stamping and Fine Printing

Blank Book Manufacturers " quite a Johnsonian Modern Loose-leaf Devices Atmosphere" and Supplies OLDE GREY HOUSE ON BEACON HILL 8 MILK STREET Good things to eat. Good books to buy or borrow. Old South Building Private Luncheon or Dinner Parties by appointment Telephone. Main 1590 58-60 Anderson Street Tel. Hay. 0227 Bow. 0864-M

Special Notice 35 NEWBURY STREET We have just received from BOSTON G. F. Summy Co., Chicago a LUNCHEON TEA selection of music of special Try Our Hawaiian Chicken Curry interest to piano teachers. It is Saturdays GIRL SCOUT HEADQUARTERS attractively graded and was brought to our attention by Miss Eleanor Brigham, who feels teachers may find just what they FOR INVALIDS need quickly and satisfactorily. Graduate dietitians prepare and pack for delivery, food for invalids, or those on special diets, prices. C. W. Thompson &. Co. at reasonable Also sold at S. S. Pierce Co., Copley Square and 77 Providence Street Marjandy's, Charles St., near Chestnut St. (3 doors from Arlington Street) HOUSEHOLD NURSING ASSOCIATION Telephone. Back Bay 9492 222 Newbury St.. Boston. Tels. B. B. 2040. 7350

ELIAS Hi CO. 8 BOSWORTH STREET OLD VI IMS, VIOLONCELLOS VIOLAS, DOUBLE BASSES MORE THAN 600 IN STOCK

Leather Cases Fine Bows Italian Strings Gold and Silver G Strings 2.000 NEW VIOLINS IN STOCK

ELIAS HOWE CO., 8 Bosworth Street . Boston

1832 "Wiegenlied" (Elena Gerhardt), January 4, 1913; (Elisabeth Van Endert) February 14, 1914. Air of Zerbinetta from "Ariadne on Naxos" (Mabel Garrison), April 12, 1918.

Germaine Tailleferre: The date of Mile. Tailleferre's birth, April 19, 1892, published in Program Book No. 21, was taken from "a dictionary of Modern Music and Musicians" (London and New York, 1924). This date was also published in the Program Book of the Philadelphia Orchestra when her concerto was performed. Mile. Tailleferre says she was born on April 19, 1896.

Foreign Languages Easily Learned The Berlitz Conversational Method makes the study of any foreign language Home Cooking a surprisingly simple, easy and pleasant matter. Experienced native teachers. Steaks, Chops, Sea Food Day and Evening Classes and Individual Instruction. Reasonable tuition. Call, 328 MASS. AVENUE write or phone for catalogue. Trial Lesson Free Next Door to Our BERLITZ Chimes Spa SCHOOL OF Cor. Huntington and Mass. Aves. LANGUAGES Diagonally across from Symphony Hall Est. 1878 OVER 200 BRANCHES 132 Boylston Street Phone, Beach 3958

w LOlms

VIOLAS and 'CELLOS of exquisite tone and splendid condition

ITALIAN VIOLIN STRINGS MUSICIANS CCS »fW>w»f>>?>//////r////////>///M>/r//} t. 218 Tremont Street and 60 LaGrange Street, Boston, Mass. Local and Suburban Service Telephone, 1882 Beach 'fir77/rf///////////»/H.v///j////>7/77r7r; m m 1833 Cleanse Household Articles Now be satisfied only by highest quality workmanship PHONE: Sack Say 3900 Newton North 0300

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"YOU CAN RELY ON LEWANDOS"

1834 FORTY-FOURTH SEASON NINETEEN HUNDRED TWENTY-FOUR £TWENTY-FIVE

FRIDAY AFTERNOON, APRIL 24, at 2.30 o'clock

SATURDAY EVENING, APRIL 25, at 8.15 o'clock

Mozart .... Symphony in C major (Koechel No. 425) I. Adagio; Allegro spiritoso.

II. Poco adagio. III. Menuetto. IV. Presto.

Prokofieff Concerto for Violin and Orchestra, Op. 19

I. Andantino.

II. Scherzo. III. Moderato.

Loeffler Poem, "La Bonne Chanson" (after Verlaine)

Wagner Overture to "Tannhauser"

SOLOIST RICHARD BURGIN

There will be an intermission of ten minutes after the concerto

A lecture on this programme will be given by Mr. R. G. Appel on Monday, April 20, at 4.45, in the Lecture Hall, Boston Public Library.

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

of the Boston Public Library one week before the concert

1835 SYMPHONY HALL

Tuesday and Wednesday Evenings, April 21st and 22nd

Wednesday Afternoon, April 22nd

Afternoon at 2.30 Three Performances Evenings at 8.15

Mr. ALBERT STEINERT Presents

"ROXY" ai "GANG"

Mr. S. L. ROTHAFEL (Himself)

The King of Broadcasters