PHILHARMONIC ORCHESTRA of Los ANGELES W. A. Clark, Jr. George Founder Leslie Smith Tour ^MLanager ALFRED HERTZ, Conductor SECOND NORTHWEST TOUR - Program - MUNICIPAL AUDITORIUM PORTLAND, OREGON May 2, 1929 Extra Comforts \ on the V", X "North Coast Limited" By C. L. McCULLOUGH Observation Car Porter "Yes, sir, North Coast Limited is built for serv• ice. You can have a bath, hair-cut, manicure, clothes press, just as you can in a club or hotel. How the ladies do enjoy their lounge and dress• ing rooms! These extra comforts make us new friends every day." Travel "North Coast Limited" Leaves Portland 11:00 A. M. Daily When Planning a Trip Anywhere, Let Us Help You A. D. CHARLTON, General Passenger Agent 531 American Bank Building Northern Pacific Railway First of the Northern Transcontinentals New Stocks of Oriental Rugs Important additions to our stocks of Oriental Rugs have been made just recently. 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A finer train for those whose demands for luxury are exacting. "The time was when people looked to the East for fast, luxurious trains. The 'Cascade' has given the Pacific Coast a train second to none" . "In all all my travels I have never found finer appointments or finer meals," are some of the com• ments experienced travelers have made. Drawing rooms or compartments (en suite if desired) providing greatest comfort and privacy. Club car, barber, valet, shower; ladies' lounge with maid and shower. Phone or coll upon us at any time for travel information Southern Pacific BEacon 7171 J. A. Ormandy City Ticket Office: 4th St. at Stark Asst. Passenger Traffic Mgr. Union Station Portland, Oregon East Morrison St. Station 6 PROGRAM NOTES By FREDERICK W. GOODRICH WEBER ' Overture to "Oberon" In the early days of the history of the opera the German race seemed to have but little aptitude for composition in that line. For the entire period of the seventeenth and eighteenth centuries the Italians had been complete masters of the field. Even Handel, though by birth a German, had become a disciple of the Italion school; and Gluck, after beginning in the same line, carried on his reforms not in Germany at all but in Paris. Mozart, in his turn, had experimented with a German opera early in his career at the in• stigation of the Empress of Austria, but it was an Eastern, and not a na• tional subject, and after writing it he was driven by force of circumstances to resume the Italian line again, and made only one more attempt at Ger• man opera at the end if his life in the shape of "The Magic Flute". In many respects this opera was characteristically German, although much of the music was anything but Teutonic. Then came Beethoven with "Fi- delio", a work which in many respects was thoroughly German, but still lacked various essentials to make it a complete example of that school. At last Weber comes into the field and puts the final touch to the efforts and aspirations of generations of composers by producing a work which is Ger• man in music and in story; in which the characters are essentially German, and the poetry is infused with such thoughts as are dearest to the German mind. This masterpiece was Der Freischiitz, the success of which placed Weber at once in the forefront of living composers. Weber's success as an exponent of German opera produced for him an invitation from England to write an opera in English for performance at Convent Garden, London. This commission he accepted and in spite of poor health he set to work immediately. The subject chosen was "Oberon", which was made into an opera book by J. R. Planche, who had considerable reputation in England as a writer of theatrical pieces. The first perform• ance of the new opera took place on April 12, 1826. The house was crowded and the audience was completely wrapt in delighted attention throughout. The excitement was too much for the composer's already enfeebled consti• tution and gradually his health took a turn for the worse. He never again returned to his homeland, and died in London on June 5, 1826. His requiem was solemnly chanted in the old Catholic cathedral of St. Mary, Moor- fields, now torn down to make way for business blocks. Through the exer• tions of Richard Wagner his body wTas exhumed in 1844 and solemnly re- interred at Dresden. The overture is scored for flutes, oboes, clarinets, bassoons, horns, trumpets, trombones, drums and the usual strings. The work opens Adagio sosenuto with the horn phrase of three notes echoed by the muted strings and fairy-like notes of flutes and clarinets suggesting Oberon the elf-king with his magic horn and Little Puck, the most devoted servant. The Short introduction, only 22 measures in length, leads to the brilliant first subject announced on the first violins with soft string, brass and drum accompaniment. This subject gradually increases in power and brilliancy and after a recurrence of the horn phrase repeated with fairy• like passages of strings, flutes and clarinets. A beautiful theme enters as a clarinet solo in the middle register of the instrument, accompanied 7 Otto Wedemeyer MARJORIE EDA Exponent of Yeatman Griffith Trotter Baritone Soloist PIANO HARMONY Focal Teacher 408 FINE ARTS BUILDING Choral Director BRoadway 1957 Professional pupils: Louise Jacobsen, Maegly-Tichner Stephen Whitford, Viola Lindquist, Gene• Bids. vieve Atofsky, Helen Trogren Roberts, Helen PORTLAND Hale, Juanita Hughes, Elizabeth Howard OREGON Steinway Piano Everything Musical SEIBERLING-LUCAS MUSIC CO. 151 FOURTH, NEAR MORRISON SEALY DRESSER CO. Caterers and Fancy Grocers BROADWAY 6201 :: THIRD AND ALDER STS. ELLISON-WHITE CONSERVATORY (Eleventh Season) FRANCES STRIEGEL BURKE, Director School of Music, Dancing and Dramatic Art For the Beginner, Advanced Student and Teacher FACULTY FRANCES STRIEGEL BURKE, Head DORIS SMITH, Dramatic Art of Piano Department T FT A ct ATRR P;»*« WINIFRED WILLSON QUINLAN, LJiLA aLA 1 JiK, Piano Voice FRANCES MULKEY, Piano and •EDOUARD HURLIMANN, Violin Musical Kindergarten MAXINE TELFORD, Violin DOROTHY CORNELL PRICE, Piano, tBRUNO COLETTI, Cello Dunning System VIRGINIA MULHOLLAND, Harp GERTRUDE LACHNER, Piano EDNA WHITMAN CHITTICK, HELEN ERNST, Theatre Organ Theory and Harmony, Organ RADKA IVANAKOVA, French and ELIZABETH WOODBURY, German Expression ELIZABETH TALBOT, Dancing •Concert Master, Portland Symphony Orchestra; tFirst Cellist, Portland Symphony Orchestra TEACHERS ACCREDITED Complete courses lead to Teacher's Certificate and Graduating Diploma. Pupils may enter at any time. EAST 10TH ST. N. AT WEIDLER TRINITY 1218 8 PROGRAM NOTES—Continued by sustained strings. This is repeated by the first violins and is immedi• ately followed by the second subject proper, a graceful theme enunciated upon the strings with woodwind and horn accompaniment. The develop• ment is short and full of life, and use is made of the clarinet solo theme heard earlier in the work. The first subject at length reappears and is followed in its turn by the second theme, somewhat modified. A few rapid fully scored measures brings the work to a close. WAGNER "Forest Murmurs" from "Siegfried" "Siegfried", a Music Drama in three acts, is the second opera of the group which make up the Rhinegold Triology. It is considered by many to be the most beautiful of the Ring Cycle, for in it there is little of tragedy and much of lightness and the joy of youth and love. The story tells of the young Siegfried—impetuous, brave, joyful and handsome; and Brunnhilde, the god-like maid—unselfish, innocent, who finds she is but a woman after all. This music is an excerpt from the second act. "Forest Murmurs" or "Waldweben" was arranged by the composer for concert use. The young hero alone, sits down under a tree and meditates about his mother, whom he pictures as gentle and beautiful. His dreaming is ended by the song of the birds, and he regrets that he cannot understand their language. He answers their Song with a blast of his horn, which disturbs Fafner and the Dragon makes an awful roar, which, however, only makes the youth laugh.