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THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
FACULTY RECITAL
by
MR EFREM ZIMBALIST, Violinist
MR VLADIMIR SOKOLOFF at the Piano Wednesday Evening, January 24, 1940, at 8:30 o'clock
PROGRAMME I
Suite in A minor Christian Sinding
Presto Adagio Tempo giusto
Sonata in A major Max Reger
(For violin alone)
Allegro
Andantino
Presto
Sonata in G minor Efrem Zimbalist
Adagio sostenuto — Allegro moderato Andante amoroso Allegro vivo
II
Concerto Gregoriano Ottorino Respighi
Andante tranquillo
Andante espressivo e sostenuto
Allegro energico
III
Dance of the reed flutes |
Arab dance \ Tschaikowsky-Thare
Chinese dance )
Concert phantasy on
Rimsky-KorsakofPs "Le coq d'or" Efrem Zimbalist
Stein1* ay Piano
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
FACULTY RECITAL
MR STEUART WILSON, Tenor MR HARRY KAUFMAN, Pianist
Collaborating Monday Evening, February 12, 1940, at 8:30 o'clock
PROGRAMME
Arias with violoncello obbligato Johann Sebastian Bach
"Woferne Du," from Cantata 41
"O Seelen-Paradies," from Cantata 172
Mary Wilson, Violoncello
II
Total eclipse George Frederick Handel
Evening hymn (on a ground bass) Henry Purcell
Momus to Mars William Boyce
III
L'amour de moi XV century, edited by Tiersot
Le papillon et la fleur ) ^ t
, f , \ Gabriel Faure
Clair de lune J
Comment, disaient-ils Franz Liszt
Schwanengesang
Auflosung
Die Forelle
Das verlassne Magdelein Auftrage
IV
Franz Schubert
Robert Schumann
V Lutenist songs (1600-1620)
Come away, come sweet love
Farewell, unkind!
Weep you no more, sad fountains
Farewell to arms
When from my love
Whither runneth my sweetheart
Steinway Piano
John Dowland
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John Bartlett
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THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season — 1939-40
FACULTY RECITAL
MADAME ELISABETH SCHUMANN, Soprano MR LEO ROSENEK, at the Piano
Thursday Evening, February 15, 1940. at 8.30 o'clock
PROGRAMME
Ridente la calma
Oiseaux, si tous les ans
Das Veilchen
Meine Wiinsche
Wolfgang Amadeus Mozart
An Silvia
Der Schmetterling
Erlafsee
Fischerweise
II
Franz Schubert
III Auch kleine Dinge konnen uns entziicken
Frage und Antwort
Friihling ubers Jahr
Du denskt mit einem Fadchen mich zu faneen .
> Hugo Wolf
IV
Ich atmet' einen linden Duft ....) Gustav Mi
Wer hat dies Liedlein erdacht?' Frieden ) Gretel ..)"
STEINTTAY PIANO
AHLER
Hans Erich Pfitzner
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
FACULTY RECITAL DR ALEXANDER A/cCURDY, Onanist
Wednesday Evening, February 21, 1940.. at 8:30 o'clock
PROGRAMME I
Prelude and Fugue in E minor
Vivace from Second Trio-Sonata
Three Chorale Preludes
Alle Menschen miissen sterben Vater unser im Himmelreich Erbarm' dich mein, O Herre Gott
Prelude and Fugue in A minor
JOHANN SEBASTL\N BaCH
II
Canon in B minor, Opus 5 6, No. 5
Robert Schumann
Three Chorale Preludes, Opus 122 Johannes Brahms
Es ist ein' Ros' entsprungen, No. 8 O Welt, ich muss dich lassen, No. 1 1 O Welt, ich muss dich lassen, No. 3
The Tumult in the Praetorium
from the Passion Symphony Paul de Maleingreau
III
Communion Richard Purvis
Veni Emmanuel Arthur Egerton
AEOLIAN-SKTNNER ORGAN
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THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season — 1939-1940
FACULTY RECITAL
Madame EUFEMIA GIANNINI GREGORY, Soprano Mr LEO ROSENEK, at the Piano
Tuesday Evening, March 5, 1940, at 8:30 o'clock
PROGRAMME
I
"Casta Diva" from "Norma" Yixcenzo Believe
n
O kuhler TTald j Johannes Brahms
Ach, wende diesen Blick )
Lob des Leidens i Richard Strauss
^Tiegenlied '
ni
"Green" from "Aquarelles" j Claude Debussy
"Fantoches" from "Fetes galantes" |
Sleep now Samuel Barber
Love went a-riding : Frank Bridge
IV
Nana Manuel de Falla
Al amor Fernando Obradors
Poesie persiane, No. 3 .) Francesco Santoliqutdo
Biflessi |
SXBNWAT PLVNO
—
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season — 1939-40
FACULTY RECITAL
by
DAVID SAPERTON, Pianist
Tuesday Evening, March 26, 1940, at 8:30 o'clock
PROGRAMME OF COMPOSITIONS BY LEOPOLD GODOWSKY
PassacagUa
Composed as a tribute to the memory of Franz Schubert on the eve of the hundredth anniversary of his death. The theme is based on the first eight bars of the Unfinished Symphony.
II
Four selections from Phonoramas — Java
Gamelan
The gardens of Buitenzorg
Chattering monkeys at the sacred Lake of 'VTendit
In the streets of old Batavia
III
Ten studies on Chopin's Etudes
Opus 2 5. No. 1 in A flat major, third version
Opus 10, No. 2 in A minor, second version — Ignis jatuus
Posthumous etude in E major, first version. Originally in A flat major
Opus 2 5, No. 6 in G sharp minor
Opus 25, No. 5 in E minor, first version
Opus 10, No. 5 and Opus 25, No. 9 combined, in G flat major — Badinage
Opus 10, No. 6 in E flat minor for the left hand alone
Opus 10, No. 11 and Opus 2*. No. 3 combined, in F major
Opus 10, No. 7 in G flat major, second version. Originally in C major — Nocturne
Opus 10, No. 7 in C major, first version — Toccata
IV
Triana (transcribed from Albeniz)
Symphonic metamorphosis on theme from the "Artist-Life" waltz of Johann Strauss
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
C A SI MIR HALL, SIXTEEN' TH SEA SOX IQ3Q-4O
FACULTY RECITAL BY MR JORGE BOLET, PIANIST
SATURDAY AFTERNOON, APRIL 27, 1940, AT 4:00 O'CLOCK
PROGRAMME
I Prelude, Aria and Finale Cesar Franck
II Sonata in A Major Franz Schubert
Allegro
Andantino
Scherzo. Allegro vivace
Rondo. Allegretto
in
Seven etudes
C major, Opus 10, No. 1
E major, Opus 10, No. 5
C major, Opus 10, No. 7
F major, Opus 2 5, No. 5 FREDERIC CHOPIX
C minor, Opus 10, No. 12
F minor (Posthumous)
F major, Opus 10, No. 8
Ballade in G minor, Opus 23
Mr Bolet is a graduate of Mr Saperton in Piano
STEEWTAY PL\NO
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THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
GRADUATION RECITAL
of
ZADEL SKOLOVSKY, Pianist Student of ISABELLE VENGEROVA
Sunday Afternoon, December 3, 1939, at 4:00 o'clock
PROGRAMME I
Toccata in C major Bach-Busoxi
Prelude
Intermezzo
Fugue
Variations serieuses in D minor. Opus 54 Mexdelssohn
Sonata in B minor. Opus 58 Chopix
Allegro maestoso
Scherzo: Molto vivace
Largo
Finale: Presto non tanto
II
Intermezzo in E flat major. Opus 117, No. 1 Brahms
Jeux d'eau Ravel
La terrasse des audiences du clair de lune
}
Debussy Feux d'artifice
Ballet music from "Rosamunde" Schubert-Godc* sky
Devotion Godottsky
Mephisto Walzer Liszt
The Steixway is the official piano of The Curtis Institute of Music
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THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
GRADUATION RECITAL
of
LYNNE WAINWRIGHT,
Harpist Student of CARLOS SALZEDO
Tuesday Evening, December 5, 1939, at 8.30 o'clock
PROGRAMME
I
Sonata in C minor Giovanni Battista Pescetti
1704-1766
Allegro vigoroso Andantino espressivo Presto
Gavotte from "Iphegenia in Aulis" Christopher W. von Gluck
1714-1787
Theme and Variations Josef Haydn
1732-1809
Bourree Johann Sebastian Bach
1685-1750
II
Chorale and Variations Charles M. "Wtdor
Vith piano accompaniment reduced from the orchestra score
Carlos Salzedo at the piano
III
Concert Variations on Adeste Fideles (1938) Carlos Salzedo
Divertissements Andre Caplet
a la franchise a l'espagnole
IV Scintillation (1936) Carlos Salzedo
Lyon- & Healy Harp The Steix\fay is the official piano of The Curtis Institute of Music
^
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
RECITAL OF MUSIC FOR THE HARP
by Students of Carlos Salzedo
Tuesday Evening, December 12, 1939, at 8:30 o'clock
PROGRAMME
I
Lamentation Quietude /
Iridescence (1917) Carlos Salzedo
Introspection \ Whirlwind /
Janet Putnam
II Short Stories in Music (1934) Carlos Salzedo
On Donkey-back Rain Drops Madonna and Child Night Breeze Pirouetting Music Box At Church Goldfish
The Mermaid's Chimes Behind the Barracks
Ruth Dean
III
Prelude in C major Serge Prokofieff
Brahms' Lullaby transcribed by Carlos Salzedo
Scintillation (1936) Carlos Salzedo
AXX XlSBET Lyon 2c Healy Harps
sr
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
Wednesday Evening, January 31, 1940, at 8:30 o'clock
AN EVENING OF OPERA
by
STUDENTS OF DR. WOHLMUTH
JOSEPH S. LEVINE) EZRARACHLIN } dt the Piano
PROGRAMME
I IMPROVISATIONS
II
FRAGMENTS FROM MOZART OPERAS, sung in English
"the abduction from the seraglio"
Osmin James Cosmos
Belmonte Donald Hultgren
"DON GIOVANNI"
Giovanni Howard Vanderburg
Donna Anna Muriel Robertson
Leporello Gordon S ayre
Commendatore Robert Grooters
"THE MAGIC FLUTE"
Papageno Thomas Perkins
Papagena Margaret Lily
First Boy Helen Worrilow
Second Boy Hilda Morse
Third Boy Velm a Caldwell
Mr. Levine graduated in 193 J under Dr. Josef Hofmann Mr. Rachlin graduated in 193 7 under Mr. David Saperton
Steixvay Piano
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season — 1939-40
Thursday Evening, February 8, 1940, at 8:30 o'clock
RECITAL
by
SOL KAPLAN, Pianist
Graduate Pupil of Madame Isabelle Vengerova
PROGRAMME
I
Variations and fugue on a theme by Handel, Opus 24 Brahms
II
Sonata in A flat major, Opus 110 Beethoven
Moderato cantabile molto espressivo
Allegro molto
Adagio, ma non troppo; Allegro, ma non troppo
Impromptu in F sharp major, Opus 36 /J Chopin
Three etudes, Opus 25 j
No. 8 in D flat major No. 4 in C sharp minor No. 12 in C minor
III
Etude in C minor, Opus 2, No. 4 ~)
Vision fugitive, Opus 22, No. 16 V Prokofiev
Suggestion diabolique, Opus 4, No. 4 )
Nine preludes Shostakovich
C sharp minor, E major, F sharp major E flat minor, D flat major, A flat major F minor, D major, D minor
Islamey Balakirev
Steinvay Piano
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THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-1940
GRADUATION RECITAL
of
NOAH BIELSKI, Violin Student of Mr Zimbalist
VLADIMIR SOKOLOFF, at the Piano Monday Evening, March 4, 1940, at 8:30 o'clock
PROGRAMME
I
Sonata No. 2 in A major, Opus 100 Johannes Brahms
Allegro amabile Andante tranquillo Allegretto grazioso
II
Concerto in D major (K. 218) Tolfgang Amadeus Mozart
Allegro
Andante cantabile
Rondeau
III
Concerto in D major Pagan ini-Kreisler
(an original transcription)
IV
La plus que lente Claude Debussy
Tzigane .Maurice Ravel
Mr Sokoloff was graduated in 1936 under Mr Harry Kaufman Stein-stay Piano
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season — 1939-40
GRADUATION RECITAL
of
Abbey Simon, Pianist Student of Mr Saperton
Thursday Evening, March 14, 1940, at S:3 0 o'clock
PROGRAMME
I
Toccata, Adagio and Fugue in C major Bach-Busoni
Abegg variations Robert Schumann
n
Sonata in E major, Opus 109 Ludttig van Beethoven
Vivace
Prestissimo
Andante molto cantabile ed espressivo
HI
Nocturne in F sharp minor, Opus 48, No. 2\ Etudes: I
D flat major, Opus 25, No. 8 Frederic Chopin
F major, Opus 25, No. 3
F minor (Posthumous)
C sharp minor, Opus 10, No. 4
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Prelude in E flat major, Opus 23, No. 6 Sergei Rachmantnov
Alborada del gracioso Maubicb Ravel
Music box Leopold Godo^sky
Islamey Mily Balakxrev
STEINUWY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season — 1939-40
RECITAL OF MUSIC FOR THE VIOLIN
by Students of Mr Zimbalist Vladimir Sokoloff at the Piano
Wednesday Evening. March 27, 1940, at 8:30 o'clock
PROGRAMME
I Prelude in E major Bach-Kreisler
Diana Steixer
II Rcndo capriccioso, Opus 2S Camille Saixt-Saexs
Eugene Campioxe
III
Tzigane Maurice Ravel
Laura Archera
IV
Variations on a theme by Corelli Tartixi-Kreisler
Scherzo — Tarentelle Hexri ^Tiexlvstski
Sauxdra Maazel
V
Concerto Xo. 1 in D major, Opus 6 Niccolo Pagaxixi
Allegro maestoso
Elliott Fisher
VI First movement from
Concerto in D major, Opus 3 5 Peter Ilich Tschaikovskv
Allegro moderato
Marguerite Kuehxe
VII
Poeme, Opus 25 ... Erxest Chaussox
Caprice, d'apres l'etude en forme de valse
Opus 5 2. Xo. 6 Saixt-Saexs- Ysa Ye
Veda Reyxolds
VIII Concerto Xo. 2 in D minor. Opus 44 Max Bruch
Adagio, ma non troppo Recitativo: Allegro moderato Finale: Allegro molto
Rafael Drulax
steixvay pl\xo
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL
Sixteenth Season — 1939-40
RECITAL OF MUSIC FOR THE DOUBLE BASS
by
Students of Mr Torello
Leonard Bernstein at the Piano
Friday Evening, March 29, 1940, at 8:30 o'clock
PROGRAMME
I Sonate Jean Baptiste Loeillet
Largo Allemande Gavotte Gigue
Harmonized by E. Meriz (First Performance)
Jake Tyre
II Sonate in G major Johann Ernst Galliard
Lento
Allegro
Andante teneramente
Allegro spiritoso
Harmonized by E. Meriz (First Performance)
Roger Scott III
Per questo bella mano — Aria for bass
with contrabass obbligato Wolfgang Amadeus Mozart
James Cosmos, Baritone Harry Safstrom
IV
Chanson triste Serge Koussevttzky
Elegia Giovanni Bottesini
Roger Scott
V
Concerto, Opus 3 Koussevttzky
Allegro Andante Allegro
Henry Portnoi
VI
Tarentella in A minor Bottesini
Ferdinand Maresh
Mr Bernstein is a student of Mme Vengerova Mr Cosmos is a student of Mr Wilson
STEINVAY PIANO
L
THE CURTIS INSTITUTE OF MUSIC
CASLMIR HALL Sixteenth Season — 1939-40
RECITAL OF MUSIC FOR THE PIANO
by
Students of Mr Saperton
Monday Evening, April 8, 1940, at 8:30 o'clock
PROGRAMME
I
Toccata and Fugue in D minor Bach-Tausig
EDNA LARSON
II
Second and third movements of Concerto
in D major, Opus 21 Joseph Haydx
Larghetto
Rondo all' ongarese. Allegro assai
(Second piano part played by Margot Ros) RUDOLF FAVALORO
III First movement of Sonata in E flat,
Opus 31, No. 3 Lud-wtg van Beethoven
Allegro
Reflets dans l'eau Claude Debussy
Andaluza Manuel de Falla
FLORENCE CAPLAN
IV
Variations serieuses, Opus 54 Felly. Mendelssohn
MARGOT ROS
V
32 Variations in C minor Beethovex
SEYMOUR LEPKLN
VI
Nocturne in B major, Opus 62, No. 1 j Frederic Chopin
Scherzo in C sharp minor, Opus 39 j
JOHN SIMMS
VII
Capriccio in G minor, Opus 116, No. 3 Tohannes Brahms
Intermezzo in B flat minor,
is 116, No. 3 ) Johannes
:, Opus 117, No. 2 )
Etude in G sharp minor, Opus 2>, No. 6 ^ Chopin
Etude in E flat major, Opus 10, No. 11 j
Ondine, from Gaspard de la mat Maurice Ravel
ROBERT CORNMAN
STEIXTAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season — 1939-40
RECITAL OF VOCAL MUSIC
by
Students of Mme Schumann
Miss Elizabeth Westmoreland at the Piano Tuesday Afternoon, April 9, 1940, at 4:00 o'clock
PROGRAMME
I
Vo' cercando in queste valli Emanuele D'Astorga
Shepherd! Thy demeanour vary Old English
(Arranged by H. Lane Wilson)
Helen Worrilow
II
Rugiadose odorose Allesandro Scarlatti
La pastorella Franz Schubert
Maria Manski
III
Se tu m'ami se sospiri Giovanni Battista Pergolesi
Spirate pur, spirate Stefano Donaudy
Margarette Godwin
IV Leise, leise, fromme Weise,
from Der Frehchiitz Carl Maria von Weber
Barbara Troxell
V
He shall feed His flock, from The Messiah George Frederick Handel
Deh, contentatevi Giacomo Carisslmi
Velma Caldwell
VI
Saper vorreste, from Un hallo in maschera Giuseppe Verdi
Bra vour- Variations, on a theme from Mozart Adam-Schmidt
(Flute obbligato by Burnett Atkinson) Margaret Lilly
VII
Ah, mai non cessate Donaudy
Sommi Dei, from Kadamisto Handel
Ancora un passo or via, from Madam Butterfly Giacomo Puccini
Willa Stewart
VIII
Wer rief dich denn. \ Hugo Wolf
Nun lass uns Frieden schliessen. J
Spleen Claude Debussy
Nicolette Maurice Ravel
I hear an army Samuel Barber
Hilda Morse
Mr Atkinson is a student of Mr Kincaid Miss Westmoreland was graduated in 1934 under Mr Kaufman
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASLMIR HALL Sixteenth Season — 1939-40
GRADUATION RECITAL
of Frederick Vogelgesang, Violin
Student of Mr Zimbalist Vladimir Sokoloff at the Piano
Thursday Evening, April 11, 1940, at 8:50 o'clock
PROGRAMME
I
Chaconne in G minor Tommaso Yitali
n
Fugue from Sonata No. 5 in C major Johanx Sebastian Bach
III Concerto in D major, Opus 5 5 Peter Llyttch Tchaikovsky
Allegro moderato Canzonet ta Allegro vivacissimo
IV
Moto perpetuo, Opus 11 Niccolo Pagaxest
Tango Efrem Ztmbalist
Fantasv on airs from Bizet's Carmen Sarasate-Zembalist
Mr Sokoloff was graduated in 193 6 under Mr Kaufman
STEEWAY PIAXO
THE CURTIS INSTITUTE OF MUSIC
C A SI MIR HALL, SIXTEENTH SEASON7" I939-40
RECITAL OF MUSIC FOR THE VIOLONCELLO
BY STUDENTS OF MR SALMOXD
Ralph Berkowitz at the Piano
TUESDAY EVENING, APRIL 16, 194c, at 8:33 O'CLOCK
♦
PROGRAM M E I
Two movements from the Sonata in A minor, Opus 36 Edvard Grieg
Andante molto tranquillo Allegro agitato
Esther Gruhn
II
Arioso Johaxn Sebastian Bach
Siciliana Francesco Veracint
(arranged by Joseph Salmon)
Vivace Jban Baptiste Senaiixe
(arranged by Jostpb Salmon) True Chappell
III
Requiem for three violoncellos, Opus 66 David Popper
True Chappell, Esther Gruhn and Winifred Schaeffer
IV
Variations symphoniques, Opus 2.3 Leon Boellmann
W ini Fred Schaeffer
V
String trio in C minor, Opus 3, No. 3 Ludwig van Beethoven
Allegro con spirito Adagio con espressione Scherzo. Allegro molto e vivace Finale. Presto Herbert Baumel, Violin Julius Weissman, Viola
Nathan Stutch, Violoncello
VI
First movement from the Double Concerto in A minor, Opus 101 Johannes Brahms
Allegro Herbert Baumel, Violin Nathan Stutch, Violoncello
STEIXWAY PIAXO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEASON 1939-40
RECITAL OF MUSIC FOR THE VIOLA BY STUDENTS OF DR LOUIS BAILLY
Genia Robinor at the Piano WEDNESDAY EVENING, APRIL 17, 1940, AT 8:30 O'CLOCK
♦
PROGRAMME I
Concerto No. 3 George Frederick Handel
(transcribed by William Strasser)
Grave Allegro Sarabande Allegro
Stanley Solomon
II
Sonata in E flat major, Opus 110, No. 1 Johannes Brahms
Allegro amabile Allegro appassionato Andante con moto
Philip Goldberg
III
Concerto in D major Joseph Haydn
Allegro moderato
Adagio
Allegro
Bernard Milofsky
IV
Suite Joseph Jongen
Poeme elegiaque Final
Albert Falkove
V
Concerto Tibor Serly
(first performance)
Risoluto
Andante sostenuto Allegro vivace
Bernard Milofsky
Miss Robinor is a graduate of Dr Louis Bailly in Chamber Music
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEASON 1939-40
RECITAL OF MUSIC FOR THE VIOLIN
BY STUDENTS OF MR HILSBERG
Louis Shub at the Piano
THURSDAY EVENING, APRIL 18, 1940, AT 8:30 O'CLOCK
PROGRAMME
I
Sonata in G minor — Devil's trill Giuseppe Tartini
Larghetto Allegro energico Grave — allegro assai
Baruch Altman
II
Concerto in A minor, Opus 53 Anton DvoXak
Allegro ma non troppo Adagio ma non troppo Finale. Allegro giocoso, ma non troppo
Jacob Krachmalnick
III
Tzigane Maurice Ravel
Paul Shure
IV
Concerto in D minor, Opus 47 Jean Sibblius
Allegro moderato Adagio di molto Allegro, ma non tanto
Baruch Altman
V
Concerto in E minor Jules Conus
Allegro molto Andante espressivo Allegro subito
Paul Shure Mr Shub is a student of Mr Kaufman in Accompanying
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEEXTH SEASOX 1939-40
RECITAL OF MUSIC FOR WOODWIND ENSEMBLE
CONDUCTED BY MR TABUTEAU
assisted by Mr Jorge Bolet, Pianist
FRIDAY EVENING, APRIL 19, 1940, AT 8:30 O'CLOCK:
♦
PROGRAMME
I
Fuga William Strasser
Britton Johnson \ptm^s Charles Gilbert. English Horn Sanford Sharoff, Bassoon Eleanor Mitchel James King David Hall
John Krell. Piccolo Nathan Brvsilow -Clarinets Jambs Chambers v _ u r,
John DeLancie \ohoes Jambs Rettew Joseph White >tTencn "orns
Ralph Gomberg Manuel Zegler. Bassoon Joseph Eger
Walter Maciejewicz. Contrabassoon
II
Quintet in E flat (K452) Wolfgang Amadeus Mozart
Largo. Allegro moderato Larghetto Rondo. Allegretto
Jorge Bolet, Piano John DeLancie, Oboe James King. Clarinet
Manuel Zegler. Bassoon David Hall, French Horn
III Variations on the theme, La ci darcm la mano,
from Mozart's Don Juan Ludwig van Beethoven- John DeLancie, Oboe Perry Bavman, Oboe Charles Gilbert, English Horn
IV
Allegro scherzoso, Opus 92 Luigi Hugues
Eleanor Mitchel \piuU. John DeLancie. Oboe Nathan Brvsilow, Clarinet
John Krell primes Sanford Sharoff, Bassoon
Aubade Paul De Wailly
Britton Johnson, Flute John DeLancie, Oboe James King, Clarinet
V
Sonata Vittorio Rieti
Allegretto Adagio doloroso Vivace ed energico
Jorge Bolet, Piano John DeLancie, Oboe
Eleanor Mitchel, Flute Manuel Zegler, Bassoon
VI La gitane amoureuse, Opus 73, No. 1 Joaquin Turina
(transcribed for wind instruments by William Strasser) Britton Johnson I piutf. Charles Gilbert. English Horn Walter Maciejewicz, Contrabassoon Eleanor Mitchel tiules James King \— ■ . David Hall \j7._-t w^.,-
John Krell. Piccolo Nathan Brvsilow ^tartne^s j.^MES Chambers tTencn aorns
John DeLancie ,-,, Mr Manuel Zegler 'h,,,^.. Perry Bavman . °"" Sanford Sharoff j5*"00'"
Menuet, from Sonatine Maurice Ravel
(transcribed for vrind instruments by Hershy Kay) Britton Johnson ^ r;„,„, Ralph Gomberg, Oboe Manuel Zegler 1 d_c„__.
Eleanor Mitchel tiuus James King rl ■._ Sanford Sharoff Iiasso°ns
John DeLancie, Oboe James Rettew ^l^rtnels Joseph White. French Horn
James Chambers, French Horn
La sevillane joyeuse, Opus 73, No. 3 Joaquin Turina
(transcribed for wind instruments by William Strasser) Britton Johnson U . James King \ri ■ . Charles Gilbert. English Horn
Eleanor Mitchel James Rettew {~lcr,n"1 Walter Maciejewicz. Contrabassoon
John Krell, Piccolo Manvel Zegler \b_„-_., David Hall ■ jr.— ,t ri„„<-
John DeLancie;,.. . Sanford Sharoff ;B*ssootu James Chambers French Horns
Perry Bavman jUOoes
The compositions in the sixth group were arranged for wind instruments with the kind permission of Elkan-Yogel Company.
.Mr Bolet is a graduate of Air Saperton in Piano Air Kay is a student of Dr Thompson in Orchestration
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEASON IQ3Q-4.O
RECITAL OF MUSIC FOR THE PIANO BY STUDENTS OF MADAME VENGEROVA
THURSDAY EVENING, APRIL 2 5, 1940, AT 8:30 O'CLOCK
♦
PROGRAMME
I
Prelude, aria con variazioni and capriccio
from Suite No. 2 in D minor George Frederick Handel
Etude in F minor (Posthumous) Frederic Chopin
Five bagatelles Alexander Tcherepnin
Gary Graffman
II
Sonata in E flat major, Opus 81a Ludwig van Beethoven
Les adieux L'absence Le retour
Eileen Flissler
III
Two movements from Concerto in F sharp minor,
Opus 1 Sergei Rachmaninoff
Barbara Elliott
(orchestra part played on a second piano by Waldemar Dabrowski)
IV
':}
Ballade in F minor, Opus 47, No.
Etude in E minor, Opus 25, No. 5 ^ Chopin
Mazurka in F minor, Opus 68
Waldesrauschen Franz Liszt
Lukas Foss
V
Etudes symphoniques, Opus 13 Robert Schumann
Phyllis Moss
VI
Sonata in B minor Liszt
Annette Elkanova
Mr Dabrowski is a student of Mr Reiner in Conducting STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEASON IQ3Q-4O
RECITAL OF PIANO AND CHAMBER MUSIC BY STUDENTS OF MR KAUFMAN
FRIDAY EVENING, APRIL 26, 1940, AT 8:30 O'CLOCK *
PROGRAMME
I
Trio in C minor, Opus 1, No. 3 Ludwig van Beethoven
Allegro con brio Andante cantabile con variazioni Menuetto: Quasi allegro Finale: Prestissimo
Louis Shub, Piano
Noah Bielski, Violin
Esther Gruhn, Violoncello
II Berceuse, Opus 57 Three etudes:
F major, Opus 10, No. 8
D flat major, Opus 25, No. 8
B minor, Opus 25, No. 10 ) Frederic Chopin
Two movements from Sonata in B minor, Opus 5 8 Largo
Finale: Presto non tanto Louis Shub
III
Aria from Sonata in F sharp minor, Opus 11 Robert Schumann
Nocturne in B major, Opus 62, No. 1 Chopin
Variations serieuses in D minor, Opus 54 Felix Mendelssohn
Eleanor Harshman
IV
Two movements from Sonata in B flat minor, Opus 35 Chopin
Grave
Scherzo Rhapsodie in F sharp minor Ernst von Dohnanyi
Intermezzo in B flat minor, Opus 117, No. 2.. (. Johannes Brahms
Rhapsodie in E flat major, Opus 119, No. 4..) Eugene Bossart
V
Three movements from Trio in D minor, Opus 49 Mendelssohn
Molto allegro agitato Andante con moto tranquillo Scherzo: Leggiero e vivace
Eugene Bossart, Piano
Noah Bielski, Violin
Esther Gruhn, Violoncello
Mr Bielski is a student of Mr Zimbalist in Violin Miss Gruhn is a student of Mr Salmond in Violoncello
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEASON I93Q-4O
RECITAL OF VOCAL MUSIC BY STUDENTS OF MME GREGORY
Mr Eugene Bossart at the Piano TUESDAY, AFTERNOON, APRIL 30, 1940, AT 4:00 OCLOCK
PROGRAMME
I
Quella fiamma che m'accende Benedetto Marcello
O! Had I Jubal's Lyre from Joshua George Frederick Handel
Und Gestern hat er mir Rosen gebracht Joseph Marx
Eleanor Murtaugh
II
Qual farfalletta from Partenope Handel
Deb, rieni non tardar from Nozze di Figaro Wolfgang Amadeus Mozart
Beau soir Claude Debussy
Les papillons Ernest Chaussons
Doris Luff
III
Heimliche Aufforderung \ -, „
... , I Richard Strauss
Allerseelen '
En Drom Edvard Grleg
Questa o quella from Rigoletto Giuseppe Verdi
Donald Hultgren
IV
Von ewiger Liebe Johannes Brahms
Er ist's Robert Schumann
Kitorna vhtcitor from Aida Verdi
Muriel Robertson
V
Dank sei Dir, Herr Handel
I attempt from love's sickness to fly Henry Purcfti
Tu lo sai Giuseppe Torelli
Danza, danza fanciulla gentile Francesco Durante
Donald Coker Mr Bossart is a student of Mr Kaufman
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEASON I939-4O
RECITAL OF CHAMBER MUSIC BY STUDENTS OF DR LOUIS BAILLY
TUESDAY EVENING, APRIL 30, 1940, AT 8:30 O'CLOCK ♦
PROGRAMME
I
Quartet in B flat major, Opus 76, No. 4
for two violins, viola and violoncello Joseph Haydn
Allegro con spirito
Adagio
Menuetto: Allegro
Finale: Allegro ma non troppo Charles Libove f v. ,. Julius Weissman. Viola
Nathax Goldstein ) Winifred Schaefer, Violoncello
II Trio in B major, Opus 8,
for piano, violin and violoncello Johannes Brahms
Allegro con moto Scherzo: Allegro molto Adagio non troppo Finale: Allegro molto agitato Barbara Elliott, Piano Solomon Ovcharov, Violin William Saputelli, Violoncello
III
Septet in E flat major, Opus 20, for violin, viola, violoncello, contrabass, clarinet, bassoon and French horn Ludwig van Beethoven
Adagio: Allegro con brio
Adagio cantabile
Tempo di Menuetto
Tema con Variazioni
Scherzo: Allegro molto e vivace
Andante con moto: Presto Noah Bielski, Violin James King, Clarinet
Albert Falkove, Viola Sanford Sharoff, Bassoon
Nathan Stutch, Violoncello David Hall, French Horn
Ferdinand Maresh, Contrabass
IV
Fourth movement from Sextet in D major, Opus 110, for piano, violin, two violas, violoncello and contrabass Fellx Mendelssohn
Allegro vivace Eileen Flissler, Piano Philip Goldberg, Viola
Morris Shulik, Violin Esther Gruhn, Violoncello
Albert Falkove, Viola Ferdinand Maresh, Contrabass
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
C A 51 MIR HALL, SIXTEEN" TH SEASON" IQ^Q— 40
AN EVENING OF OPERA BY STUDENTS OF HANS TTOHLMUTH
THURSDAY EVENING. MAY 2, 1*40, AT 1:30 O'CLOCK
PROGRAMME PASTORELLES FROM THE XIII. XVII. XVIII CENTURIES
sung in English
I Battka md Bawripnnr Wolfgang Amadeus 11
(1756-1791)
:•- ::;: ::.— :i; C-tr— x- by Mia - l- ~--^ Btstien tud Btstienne, composed by Mozart in bis twelfth Tear, tells of toe quarrel of 1 rustic couple and their reconciliation through the good offices of a traveling conjurer.
B-ts::S* DONALD HCLYGXEN
Btsticnne :»iil
Cain Roszat Giootejs
conducted by Mb. Ezra Rachltn
D
A dialog between Thirsis and Daphne Henry Pltrceu.
(16J8-1695)
This pastoral duo by Henry Puree'!, the outstanding opera composer of England, was chosen from the Collection of ti's tnd odes composed for the tbettre tnd upon other occasions.
Tbirsis Howaad Vaxdebbubg
Dtpbne Hilda Morse
conducted by Mr S. Joseph Li
in
Robin and Marion Adam de la Hate
(1240-12S7
: H:!e was one of the most ingenious poets and compos;
: - ; :::■_:;::■.:■ ~ . -". '•:'.-:.- . - : - :::::.-.. ; : : : - • e : ; : . .-.:.:-
spersed with contemporary folksongs and dance tunes. The original ac- :-: — ;-: -^n WBuwei —-•;::; i~i :r;i:ii scram. In
this performance the reconstructed and somewhat modernized version by Dr Jean Beck is used.
Robin
'■:.- -
A Knigbt Thomas Fi
Btndoa
Cotter John Haryet
Hutrt IXTXN BcSBilAN
Feronell Helen Toueot
r> it mil _/ Velma Caldwell
\ Margarette Goowrs
condncted by Mr S. Joseph Levine THE ORCHESTRA
RAFAEL DlULAN 1 EOWAiLD ArIAN, CoutrtbtSS
Veda Reynolds \ KnJ 1 iolins Bubmmb Mitckel.
t Campione I Second tiolins *** Sha*off' b*si<><"
Ckasloyte Cohen J I Chambers 1
PHn.tP Goldberg \ Vini„ scHESt J "r»ro *©r»I
HzXSEiT VoRTREICH J RALPH GoMBERG \
Kav \ Violoncellos Robery Davison J Oboes
■". SCBAEFEB / REBA RoSINSON, HtTp
Mr Rtcb'.in is t grtdutte of Mr Stperton in Pisno tnd Mr Reiner in Conducting Mr tnine is t grtdutte of Dr Hofmtnn in Piano tnd Mr Reiner in Conducting
STEIVSWY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEASON I939-4O
GRADUATION RECITAL BY
RICHARD PURVIS, ORGANIST
Student of Dr McCurdy
TUESDAY EVENING, MAY 7, 1940, AT 8:30 O'CLOCK
PROGRAMME
I
Chorale in A minor Cesar Franck
II
Two chorale preludes:
Allein Gott in der Hoh' sei Ehr'
T . , _ . . , , . \ Johann Sebastian Bach
Liebster Jesus, wir sind ruer
Prelude and fugue in G major
III
*•• Ave Maria, from Cathedral windows Sigfrid Karg-Elert
3. La Nativite Jean Langlais
Z, Scherzo from Symphony No. 2 Louis Vierne
4. Tu es Petra, from Byzantine sketches Henri Mulet
AEOLIAN-SKINNER ORGAN
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEA SOX I939-4O
RECITAL OF MUSIC FOR THE VIOLIN
BY STUDENTS OF MADAME LUBOSHUTZ
Eugene Helmer at the Piano
THURSDAY EVENING, MAY 9, 1940, AT 8:3 0 O'CLOCK
♦
PROGRAMME
I
Sonata No. 3 in G minor
for two violins and piano George Frederick Handel
Larghetto Allegro Adagio Allegro
Charlotte Cohen and Ruth Griszmer
II Partita in E minor Bach-Siloti
Prelude: Maestoso Adagio ma non troppo Allemande Gigue
Zelik Kaufman
III
First movement from Concerto in E minor,
Opus 64 Felix Mendelssohn
Allegro molto appassionato
Nathan Goldstein
IV
Poeme, Opus 25 Ernest Chausson
Morris Shulik
V
Second and third movements
from Concerto in G minor, Opus 26 Max Bruch
Adagio
Finale: Allegro energico
Charles Lfbove
VI
Second and third movements from Concerto No. 2
in G minor, Opus 63 Serge Prokofiev
(first performance in Philadelphia) Andante assai Allegro, ben marcato
Herbert Baumel
Mr Helmer is a graduate of Mr Kaufman in Accompanying STEINVAY PIANO
HISTORICAL SERIES
<z^>ala ana K^kanwet y v L
lULC
Presented by
RALPH BERKOWITZ
Assisted by
JOSEPH S. LEVINE and VLADIMIR SOKOLOFF GRADUATES OF THE CURTIS INSTITUTE OF MUSIC
<=zstxst y^soncett
MONDAY EVENING, OCTOBER 30, 1939
AT 8:30 O'CLOCK
CASIMIR HALL
The STE/NWAY is the Official Piano of The Curtis Institute of Music
Sti
t a at am
THOMAS CAMPIAN Tune thy music to thy heart
Author of light
JOHN DOWLAND Behold a wonder here
Flow not so fast, ye fountains Say, love, if ever thou didst find
Robert Grooters, Baritone Leo Luskin, Piano
II
HENRY PURCELL The Golden Sonata
for two violins and piano Largo Adagio
Canzona. Allegro Grave Allegro
Noah Bielski and Marguerite Kuehne, Violins Leo Luskin, Piano
III
DIETRICH BUXTEHUDE Prelude, Fugue and Chaconne
GIOVANNI da PALESTRINA Ricercare
LOUIS CLERAMBAULT Prelude in D minor
DIETRICH BUXTEHUDE Fugue in C major
Walter Baker, Organ
IV
FRANCOIS COUPERIN Concerto in G major
for two cellos, unaccompanied Prelude Air
Sarabande Chaconne
Esther Gruhn and True Chappeil, Cellos
V ARCANGFJLO CORELLI Concerto Grosso No. VIII in G minor
Vivace. Grave. Allegro.
Adagio
Vivace. Allegro.
Largo
Ezra Rachlin, Conducting
Rafael Druian and Marguerite Kuehne, Solo Violins Nathan Stutch, Solo Cello
1st Violins
Noah Bielski Jacob Krachmalnick Zelik Kaufman Milton Wohl
Cellos
True Chappell William Saputelli
2nd Violins Paul Shure Broadus Erle Baruch Altman Veda Reynolds
Violas
Albert Falkove Jerome Lipson Philip Goldberg
Bass
Wilfred Batchelder
/yteqtant J \ete±
By Ralph Berkowitz
Cannot a man live free and easy
Without admiring Pergolcsi,
Or through the uvrld in comfort go
That nei er heard of Doctor Blow? . . .
I would not go four miles to visit
Sebastian Bach (or Batch, which is it?) . . .
ONE naturally assumes that the serious student of music does not share Charles Lamb's reflections concerning the gentlemen whom he mentions in the lines printed above.
But amusing as is the conceit, there is a warrantable suspicion that many music students as well as musicians proceed on some fairly similar assumptions, which proclaim (with Lamb's ingenuousness) that the music of certain periods can be brushed aside with the simple statement that it lacks "interest" or "beauty." Much pre-Bach music generally receives darts of this kind and is accused of being merely a huge mass of music-paper, undistinguished, unimportant, or at best, experimental.
It is necessary ro remember, however, that all art is in many ways an illuminating expression of its milieu, and is never considered by its producers as an experimental step toward something which only later artists will clearly define and accomplish. It is almost always based upon an aesthetic premise or some large historical force which can naturally be used as the key to its appreciation. In this sense the art of the 17th century is the 17th century, and did not come into existence simply as a preparation for that of the 18 th.
This Concept can be realized by considering the first three composers on this pro- gram.
Campian and Dowland are representatives of England's enormous material suc- cesses in the Elizabethan and Jacobean periods as fully as their contemporaries Shake- speare, Edmund Spenser and Ben Jonson. Viewed in a proper perspective, the art- works of these men can only impress us as solidly linked to their age.
The English School of Lutenist Song-Writers, to which Campian and Dowland belong, also included such talents as Philip Rosseter, Thomas Ford and Francis Pilking- ton. Although their music is rarely heard there is reason to believe that the day is not far off when it will be removed from an undeserved obscurity.
Henrv Purcell, the third Englishman on this program, follows the other two by more than fifty years; years which were full of political strife and religious bitterness. He appeared at a time when the Great Rebellion and its consequent reaction had already created an entirely new attitude toward music.
Discussing Purcell's art, Sir Hubert Parry writes: "Applying the views of art which were in the air in a typically English way, he produced characteristic effects of
harmony in both choral and instrumental music, which were without parallel till J. S. Bach began to enlarge the musical horizon in this respect . . . The source of his artistic generalisations can be traced, as is inevitable even with the most pre-eminently 'inspired' of composers; but isolation was entailed by the peculiarly characteristic line he adopted, and the fact that almost all the genuine vitality dropped straight out of English art directly he died. . ."
The musical culture of England in the 17th and early 18th centuries was on an incomparably higher plane than at any other period. Only at the present time does it seem possible that another great musical age like it may appear.
For an example of the state of music in England in the middle of the last century it is interesting to read the credo of the Pre-Raphaelite Brotherhood, formulated by Dante Gabriel Rossetti, Holman Hunt and John Millais, in which they name the great figures of literature and the arts whom they wish to emulate. The one musician they chose was none other than Bellini.
The remainder of the program represents some of the great moving spirits of Italian, French and German music before the age of Bach and Handel.
It is hardly necessary to speak of the position which Palestrina holds in the devel- opment of music. Simplicity and devotional beauty are qualities which keep his art living and vital from one age to another.
Similarly, the Gothic art of Buxtehude — although certainly not on the level of Palestrina — still exerts its compelling force. Buxtehude strongly influenced Bach, who as a young man once walked twenty miles to Liibeck in order to hear him play the organ.
Francois Coupeiin is to music what Watteau is to painting. Even though the Concerto on this program is not quite so characteristic as the Clavecin Suites, one still feels the unmistakeable charm and elegance of the rococo spirit.
Corelli stands at a unique point in the development of instrumental music. His complete output was only sixty works (all for strings), but he produced in them the first truly mature instrumental style. The movements of either the Sonate da Chiesa, Sonate da Camera or the Concerti Grossi are noteworthy for their thematic material which is quite removed from what had been the universally prevalent vocal idiom.
For the first time in Italian music a pure feeling for the nature of instrumental music makes its appearance and leads from Corelli and some of his immediate predeces- sors like Vitali and Bassani to Vivaldi, Tartini and Nardini as well as to French and German composers.
As one final example of the connection between various aspects of a period it is only necessary to mention the obvious relationship which exists between the string composers just mentioned and such great contemporary instrument makers as Joseph Guarnerius and Antonio Stradivarius.
Next concert in the series November 27th
HISTORICAL SERIES
d^Wa and K^lianivet -/ v liuic
Presented by
RALPH BERKOWITZ
Assisted by
JOSEPH S. LEVINE and VLADIMIR SOKOLOFF GRADUATES OF THE CURTIS INSTITUTE OF MUSIC
c^econJi C c-ncttt
MONDAY EVENING, NOVEMBER 27, 1939
AT 8:30 O'CLOCK
CASIMIR HALL
The SrE/NWAV is the Officio/ Piano of The Curtis Institute of Music
(V
SIS ^
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i
JOHANN SEBASTIAN BACH Brandenburg Concerto No. 3
1685-1750
in G major
For Strings and Cembalo
Allegro moderato — Adagio — Allegro Max Goberman, Conducting
Violins :
Rafael Druian Paul Shure David Pessin George Zazofsky Marguerite Kuehne Broadus Erie Sidney Sharp Morris Shulik Jacob Krachmalnick Zelik Kaufman Milton Wohl Veda Reynolds
Violas :
Albert Falkove
Julius Weissman
Philip Goldberg
Joseph dePasquale
Jerome Lipson Stanley Solomon
II
Cellos :
Hershy Kay Esther Gruhn Winifred Schaefer
Bass:
Henry Portnoi
Cembalo:
Ralph Berkowitz
GEORG FRIEDRICH HANDEL Concerto in C major
168 5-1759 for Recorder and Strings
(Realization of the Figured Bass by Alfred Mann)
Larghetto — Allegro — Larghetto — A tempo di Gavotti
Alfred Mann, Recorder Ezra Rachlin, Conducting
Violins I:
Rafael Druian Paul Shure Jacob Krachmalnick Milton Wohl
Violins II :
Marguerite Kuehne Zelik Kaufman Morris Shulik Broadus Erie
III
Violas :
Albert Falkove Jerome Lipson
Cellos:
Winifred Schaefer
Esther Gruhn Bass:
Henry Portnoi
Das Musikalische Opfer
JOHANN SEBASTIAN BACH
(Arranged by Dr. Hans David) I. RICERCAR a 3 (three-part fugue). Oboe, English Horn, Bassoon and Cembalo.
II. FIVE CANONS with the theme as Cantus Firmus.
1. CANON PERPETUUS (canon at the double-octave). Violin, English Horn and Cello.
2. CANON IN UNISONO (Canon at the unison). Two Violins and Bassoon.
3. CANON PER MOTUM CONTRARIUM (canon in contrary motion). Oboe, Violin and Viola.
4. CANON PER AUGMENTATIONEM, CONTRARIO MOTU (canon by inversion and augmentation). Violin, English Horn and Cello.
5. CANON PER TONOS (canon modulating a tone higher at each repetition). English Horn, Viola and Cello.
III. SONATA (Trio) for Flute, Violin, Cello and Cembalo.
Largo — Allegro — Andante — Allegro
IV. FIVE CANONS on the theme.
1. CANON PERPETUUS (mirror canon). Flute, Violin, Cello and Cembalo.
2. CANON a 2 (crab canon). Two Violins.
3. CANON a 2 (canon by inversion). Viola and Cello.
4. CANON a 4 (canon in four-part counterpoint). Two Violins
5. FUGA CANONICA IN EPIDIAPENTE (fugue in canon at the fifth). Cello and Cembalo.
Viola and Cello.
Flute, Violin,
V. RICERCAR a 6 (six-part fugue) ,
Rafael Druian, Violin George Zazofsky, Violin Albert Falkove, Viola True Chappell, Cello
Ralph Berkowitz, Cembalo Max Goberman, Conducting (for the Ricercar a 6)
Oboe, Violin, English Horn, Viola, Bassoon and
Cello. John deLancie, Oboe Burnett Atkinson, Flute Charles Gilbert, English Horn Sanford Sharoff, Bassoon
ft
li
'tc-atant J Mote*
By Curtin WlNSOR
IT is a remarkable fact that although before the year 1700, painting, sculpture, architecture, and probably literature, had reached heights that have never since been attained, music alone among the arts had not then approached its highest peaks, except in a limited field of choral polyphony. In the middle of the 18th Century, Bach and Handel, two musical giants, dared to work in large scale forms in nearly even- branch of the art, and brought music for the first time to a level of true greatness. Born the same year, in the same part of Germany, both were violinists, kapellmeisters, and great organists as well as composers, but they never met personally, and their music is quite different. Neither developed a new style, but each represents, in different aspects, the perfection of the grand polyphonic style. Nothing further could be done with this style when they had finished; music was obliged to strike out in new directions.
I. BACH— BRANDENBURG CONCERTO No. 3 in G Major
This, the third of six concertos written for the Margrave of Brandenburg in 1721, employs three string trios of violins, violas and cellos together with bass and continue Bach here enlarges on the strict concerto grosso form of Corelli (which Handel adopted without change) and alternates freely between passages for tutti in three parts and soli sometimes in nine parts. He employs nearly every possible grouping of the instruments. The opening Allegro is followed by two adagio chords which, according to Donald Tovey in "Essays in Musical Analysis, Vol. 2," represent the close of a slow movement to be improvised on the cembalo.
It has been aptly said that these Brandenburg Concerti stand on the border between chamber music and orchestra music. ::'::'
II. HANDEL— CONCERTO FOR RECORDER AND STRING ORCHESTRA
In its original form this concerto was Handel's sonata for recorder and figured bass, Opus 1 No. 7. In the present arrangement by Alfred Mann, the bass is realized for a four part string orchestra with divisions for tutti and soli which follow the structure of the movements as strictly as possible. The original score has not been changed except for the omission of the fourth movement, a short minuet. Handel's own arrangement of two of his other recorder sonatas as concertos for organ and string orchestra served as a model for the version to be heard tonight.
III. BACH— THE MUSICAL OFFERING
On May 7, 1747, Germany's greatest organist (if not composer) paid a visit zo Germany's greatest monarch (but not composer) when Sebastian Bach arrived at the Potsdam palace of Frederick the Great of Prussia at the invitation of the King, whose accompanist was Emmanuel Bach. Frederick was an accomplished flutist and he com- posed flute concertos which are still played today. Knowing "Old Bach's" reputation as an organist and harpsichordist (he had none as a composer during his life) the King persuaded him to improvise on all of his new pianos. He then asked the King to ** Schweitzer, Bach, Vol. 1.
give him a theme for a fugue, which Bach immediately developed in three parts. When the delighted monarch asked his guest to work it out in six parts, Bach replied modestly, and without flattery, that the theme though excellent did not lend itself readily to such treatment.
Immediately upon his return to Leipzig, however, Bach wrote fugues (ricercari) in three and six parts and sent them together with some canons and a sonata, all employ- ing the royal theme, to Frederick as "a musical offering." The King's theme is in C minor and is as follows:
jA+. 1 1 |Pfy;W*PiW7rr»rrliiriiJ1r \ IP
The sonata is written for flute, violin, and figured bass. For three of the ten canons Bach designates the instruments to be employed but he gave no indications as to how the fugues and the remaining canons were to be performed. Dr. Hans David, the musicologist, has arranged the whole work in the form in which it is heard tonight. He has also "solved" the canons, which are merely stated by Bach though generally with an indication as to where the other voices are to enter. In two of the canons, however, even this hint is omitted and Bach writes on the margin in Latin: "Seek and ye shall find." The order in which the various parts of the Offering are heard this evening (an order which seems more logical than that employed in the original engraving and subsequent editions) has been worked out by Dr. David to form the basic pattern A, B, C, B, A* as follows:
A. Three part fugue (or ricercar) probably, in part at least, the actual improvi- sation played by Bach before the King. It is headed by a Latin inscription: "Regis Iussu Cantio et Reliqua Canonica Arte Resoluta," meaning "By Command of the King the Theme Resolved by Canonic Art," the Latin initials forming the word "Ricercar."
B. Five canons using the theme as cantus firmus with two voices moving canonically:
( 1 ) Perpetual canon
(2) Canon in unison
(3) Canon in contrary motion.
(4) Canon by augmentation in contrary motion bearing on the margin in Latin the phrase: "As the notes grow so may the King's prosperity."
( 5 ) Circular canon ascending a tone with each repetition. This bears the words: "As the modulation rises so may the King's glory."
C. Sonata for flute, violin, cello and cembalo.
B. Five canons in which the royal theme is itself treated canonically:
(1) Perpetual canon
(2) Two part crab canon (the line of which is to be read simultaneously forwards or backwards).
(3) Two part inverted canon, the second part being the inversion of the first.
(4) Four part canon.
(5) Fugal canon at the fifth. A. Six part fugue (ricercar).
* This order is advocated and the Offering analyzed by Dr. David in the Musical Quarterly, Vol. 33, p. 314.
Next concert in the series December 8th
n JB
HISTORICAL
SERIES
<z~>clc and K^lianwet s c i r
Presented by
RALPH BERKOWITZ
Assisted by
JOSEPH S. LEVINE and VLADIMIR SOKOLOFF GRADUATES OF THE CURTIS INSTITUTE OF MUSIC
J-lutA L^oncett
FRIDAY EVENING, DECEMBER 8, 1939
AT 8:30 O'CLOCK
CASIMIR HALL
The STEINWAY is the Officio/ Piano of The Curtis Institute of Music
is *ra
•S-!
A
t&atatti
1
JOSEPH HAYDN 1732-1809
String Quartet in D minor
Opus 76 No. 2 (Quinten)
Allegro
Andante o piu tosto allegretto Menuetto. Allegro ma non troppo Finale. Vivace assai
Herbert Baumel, Violin George Zasofsky, Violin
Julius Weissman, Viola Winifred Schaefer, Cello
II
JOSEPH HAYDN
Sonata in F major Peters edition No. 21
Allegro moderato
Larghetto
Presto
Barbara Jane Elliott, Piano
III
WOLFGANG AMADEUS MOZART. 1756-1791
Hilda Morse, Soprano
.Als Luise die Briefe ihres ungetreuen
Liebhabers verbrannte Abendempfindung Sehnsucht nach dem Fruhlinge Der Zauberer
James Shomate, Piano
IV
WOLFGANG AMADEUS MOZART
Lucas Foss, Piano
Fantasia in C minor K. 475
V
WOLFGANG AMADEUS MOZART Quintet in E flat major
K. 452 for Piano, Oboe, Clarinet, French Horn and Bassoon.
Largo — Allegro moderato
Larghetto
Rondo. Allegretto
Jorge Bolet, Piano James King, Clarinet
John deLancie, Oboe David Hall, French Horn
Manuel Zegler, Bassoon
By Leo Luskin
HAYDN
String Quartet in D minor — This, one of the best loved of Haydn's quartets, is called Quintcn, because of the descending fifths in its opening theme. The set of six quartets, opus 76, from which it comes, was written at Vienna in 1799, in the interval between the composition of the oratorios, The Creation and The Seasons. The opening allegro is serious, but far from tragic; the characteristic fifths appear continually throughout the movement. The floridity of the first violin part in the andante gives it the leading role. The famous minuet has a two- part canon with a strongly contrasted trio. A vivacious, rhythmic Finale closes the work.
Piano Sonata in F — This sonata is one of six written in 1773 and dedicated to Haydn's patron, Prince Nicolaus Esterhazy. Its first movement is gay and sprightly, while the larghetto, in F minor, is similar in its melodic nature to some of the great slow movements of the string quartets. The humorous presto is in sonata form.
MOZART
The Songs — These worthy forerunners of the romantic Lied have fallen into undeserved neglect. The setting and accompaniment of Als Luise make it a drama in miniature. Abendempfindung is considered by Eric Blom to be Mo- zart's finest song, for all remnants of the operatic aria are carefully eliminated. The other two are simple, resembling folk-songs in their rhythmic charm.
fantasia in C minor — This is the second of two Fantasias in C minor and was published together with the C minor sonata (K. 457), to which it can very well be linked. But it is certainly a work which can stand by itself. Its dramatic feeling and pianistic brilliance anticipated Beethoven's style while its improvisatory structure was a model for the fantasias of Schubert, Schumann and Chopin. The striking opening in octaves, followed by sections alternating between serenity and passion, returns in the close.
Quintet in E flat — The composer was very proud of this work. After its first performance in 1784, he wrote his father that "the quintet is the best which I have as yet written in my life. I wish you could have heard it." It has set the style of chamber music for piano and other instruments, by such effects as the antiphony between the wind group and the piano and the contrasting natures of the winds themselves. The piano part is much like that of the Mozart piano concertos, with the additional task of simulating the string section of an or- chestra in contrast to the winds.
Next concert in the series, Jamiary 19th, Beetlxtven and Schubert
HISTORICAL SERIES
Presented by
RALPH BERKOWITZ
Assisted by
JOSEPH S. LEVINE and VLADIMIR SOKOLOFF
GRADUATES OF THE CURTIS INSTITUTE OF MUSIC
<=yc-iittn C- on cczt
FRIDAY EVENING, JANUARY 19, 1940
AT 8:30 O'CLOCK
CASIMIR HALL
The STE/NWAV is the Official Piano of The Curtis Institute of Music
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1
LUDWIG VAN BEI 1770-1827
Allegro con spirito Adagio con espressione Scherzo. Allegro molto e vivace Finale. Presto
Herbert Baumel, Violin Julius Weissman, Viola
Nathan Stutch, Cello
String Trio in C minor Opus 9 No. 3
FRANZ SCHUBERT 1797-1828
Im Abendrot Geheimes Nachtstuck Der Schiffer
Meryl Ruoss, Baritone
Louis Shub, Piano
FRANZ SCHUBERT
The Twenty-third Psalm Opus 132
Barbara Troxell, Soprano Muriel Robertson, Alto
Willie Stewart, Soprano Velma Caldwell, Alto
Elizabeth Westmoreland, Piano
LUDWIG VAN BEETHOVEN
Allegro Scherzo. Assai vivace Adagio sostenuto Largo — Allegro risoluto
Fuga a tre voci, con alcune licenze
Jorge Bolet, Piano
Sonata in B flat major Opus 106 (Hammerklavier)
/f^taqtant J VoteA
By Ralph Berkowitz
'Men of genius are brothers, but they do not look alike." — Jean Auguste Ingres
SCHUBERT'S entire creative life was passed during years when Beethoven's huge shadow fell athwart the road followed by every composer. Twenty-seven years younger than Beethoven, with a modest, quiet temperament, and continually con- fronted with the adulation and success which greeted most of Beethoven's new works in Vienna, Schubert, along with many other musicians, must have felt that the times were difficult for a composer to establish his own individuality. It is recorded that on one occasion when his friend Spaun praised some of his songs Schubert replied, "I often think to myself that I may amount to something — and yet, coming after Beethoven, who will still be able to do much?"
Schubert, however, was neither envious of the appreciation and homage Beethoven received, nor was he a revolutionary, choosing a new path simply as a reaction to the artistic credo of the older master. There are many indications, incidentally reflecting the beauty of his character, which prove that Schubert was among the most ardent and intelligent of Beethoven's admirers. To his friend Braun von Braunthals, Schubert once said, "He can do everything; but we cannot as yet understand everything, and a great deal of water will run under the bridge before what this man has called forth will be generally understood. Not alone that he is the loftiest and most lavish of all tone-poets; he is also the most exuberant. He is equally so in dramatic as well as epic music, in lyric as in prosaic; in a word, he can do everything. Mozart compares to him as Schiller to Shakespeare; Schiller already is understood, Shakespeare is far from being compre- hended. All by now have grasped Mozart; no one really completely understands Beetho- ven, unless he has a great deal of intelligence and even more feeling, and is terribly un- happy in love or otherwise wretched."
Beethoven's personality must have been ever-present to Schubert and even his daily habits not unknown. For Friedrich Rochlitz in speaking of a visit to Vienna in 1822 writes, "... I was about to go to dinner when I met the young composer Franz Schubert, an enthusiastic admirer of Beethoven. 'If you want to see him unconcerned and happy,' said Schubert, 'then you should go this very moment and eat in the restaurant, where he has gone with the same intention.' "
Actual personal relationship between the two men was, in spite of the years of proximity, almost non-existent. According to Schindler, Schubert came to Beethoven in April i822 with a set of variations, opus 10 for four hands, dedicated to him from "his worshipper and admirer." Schubert, Schindler goes on to say, completely lost his self-possession in the presence of the great man and ran out of the house in utter bash- fulness and humility.
In Beethoven's estimation, Schubert's stature was probably not greater than that of many other musicians such as Benedict, Mayseder or Bohm, more or less known to him and occasionally seen at the music shop of Steiner and Company or in some Viennese tavern. Only during the last few months of his life did he come to view Schubert in a different light. Schindler reports that Beethoven spent hours of several successive days reading through a collection of Schubert lieder with surprise and astonishment, fre- quently remarking, "Truly, there is a divine spark in this Schubert! — Had I had this poem I, too, would have set it to music!" Writing of this period, Schubert's first bi- ographer, Kreissle, says, ". . . the respect which Beethoven conceived for Schubert's talent was so great that he now wished to see all his operas and his piano compositions as well; but his illness already had made such headway that this wish could no longer be gratified. Yet he often spoke of Schubert, and prophesied "that he would yet make a great noise in the world,' regretting as well 'that he had not made his acquaintance at an earlier date.' "
On March 29, 1827 in Beethoven's funeral procession there were eight pall-bearers and thirty-six torch-bearers. One of the latter, with some white flowers bound to his left sleeve and black crepe hanging from the torch was Franz Schubert. After the cere- monies at the grave he and some friends went to a restaurant, the "Schloss Eisenstadt," where, during the course of the evening, he is said to have proposed two toasts. The first was "To him whom we have just buried!" and the second, "To the one who will be the next to follow him!" It probably did not seem likely that within twenty months, and at the age of thirty-one, Schubert himself would be buried only a few feet away from the grave they had seen Beethoven lowered into that very day.
It was left for future generations to dream of the untold masterworks which would have come from the hand of Schubert. Shortly before his death he said to a friend, "There are absolutely new harmonies and rhythms running through my head."
Next concert in the series February 20th From Chopin to Debussy
a* SiS
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HISTORICAL
SERIES H
iea*on
Presented by
RALPH BERKOWITZ
Assisted by
JOSEPH S. LEVINE and VLADIMIR SOKOLOFF GRADUATES OF THE CURTIS INSTITUTE OF MUSIC
TUESDAY EVENING, FEBRUARY 20, 1940
AT 8:30 O'CLOCK
CASIMIR HALL
STEINWAY PIANO <v' . ' \*»
FREDERIC
1810-1849
taatant
:hopin
Nocturne in B major, Opus 9, No. 3 Ballade in A flat major, Opus 47
Eileen Flissler, Piano
II
ROBERT SCHUMANN 1810-18 5 6
Er und Sie Liebesgarten In der Nacht Unterm Fenster
Mu
riel Robertson, Soprano Donald Hultgren, Tenor
Louis Shub, Piano
III
JOHANNES BRAHMS Quartet in C minor
183 3-1897 for piano and strings, Opus 60
Allegro non troppo
Scherzo. Allegro
Andante
Finale. Allegro comodo
Julius Weissman, Viola Nathan Stutch, Cello
Annette Elkanova, Piano
Herbert Baumel, Violin
IV
CESAR FRANCK 1822-1890 ;
CABRIEL fAURE
1845-1924
Choral No. 3 in A minor
Clarence Snyder, Organ
V
Mandoline
En priere
Les Roses d'Ispahan
Prison
Fleur jetee
Robert Grooters, Baritone
Louis Shub, Piano
VI
CLAUDE DEBUSSY Sonata for violin and piano
1862-1918
Allegro vivo
Intermede. Fantasque et leger
Finale. Tres anime
Noah Bielski, Violin
Louis Shub, Piano
Astoatam > I ;/tv
B\ Cumin ^"ixsor
If one plunges deeply into the depths of Webster, or of any other dictionary weigh- ing more than ten pounds, in quest of a definition of the word Romanticism, one emerges gasping for breath, and grasping the notion that Romanticism means something opposed to Classicism, art that emphasizes feeling rather than form. Curiously allitera- tive abstract nouns like nature, nemesis, and nationalism, and adjectives such as pic- turesque, passionate, and poetic swim around in those depths. Generally, such research tires the eyes, seeking to read the dictionary's fine print, and the arms, trying to support the dictionary's massive weight. One's own fairly clear ideas as to the meaning of Romanticism are scarified. It is perhaps wiser and certainly easier to remember merely that in music the term Romanticism refers to the stream of crea:: ight which
tlooded the 19th Century and overflowed into the 20th. The composers whose work on this program were chosen as representative of the Romantic Movement.
FREDERIC CHOPIN
The perfection of the modern grand piano inspired Chopin to wrice music that was pianistic — with such success that after one hundred years many piano virtuosi today subsist on little else but the works of "the sentimental Pole." Frequently using dance rhythms, Chopin vastly enlarged the field of short piano pieces first explored by Schubert. Even his technical studies are works of art. Like his friend Delacroix, the pointer, he was a pioneer of Romanticism. It must not be forgotten that although Chopin failed to master any form other than the short piano piece, his influence was not confined to this restricted field. His bold chromatic explorations anticipated the work of L.szt. ^Tagner and Debussy, and resulted in the discover}" of new tone colors that were applied to every kind of musical canvas.
ROBERT SCHUMANN
A fine dramatist who first perfected his style of writing in the field of music criti- cism is quoted in "Men and Music" by Brockway and ^Teinstock as follows: Te all have a deep regard for Schumann; but it is really not in human nature to refrai- from occa- sionally making it clear that he was greater as a musical enthusiast than as a construe musician." Mr. George Bernard Shaw thus implies that Schumann's work is the editor of an influential musical periodical (in which he wrote an article on Chop:". "Hats off, Gentlemen, a Genius," and one on Brahms, hailing him as one who will ead German music into "new paths") outranks his musical compositions. Compare Lei.htentritt in "Music History" and Ideas": "There is hardly anything in . . . music that e:uals certain Schumann melodies in the power of evoking strong emotion, of making iMrs rush to the eyes, of arousing outbursts of delight — and all this is accomplished witi a touching clarity and sincerity, a chasteness of feeling very different from Chopin's sensuous refine- ment, from ^Tagner's burning passion and voluptuous impetuosity."
Most of us feel today that Schumann wrote masterworks in nearly every form and we like to think of him as "the verv gentle, part ait" Knight of Romance, one of the gal- lant leaders of the Romantic Movement.
JOHANNES BRAHMS
Some writer once drew up a genealogical tree representing Brahms' mu>::al ancestry. Bach was his great-grandfather. Mozart and Beethoven his grandparents. >:hubert his uncle, Mendelssohn a cousin, and Schumann his father. This quaint no::c~ contains a kernel of truth. Moreover, it hints at the fact that Brahms like his "great -crandfather"
was a conservative. His genius lies not in the discovery of new forms or the creation of new stylejs, but in the perfection of those used by his predecessors. The very first works of Brahms show an astonishing maturity and all through his life a relentless capacity foil self-criticism insured the destruction of everything he wrote that was not of the highest rank. Other great composers (one thinks of Schubert and Sibelius) were less scrupulous — to the misfortune of their reputations. Many authorities claim that Brahms' contribution to chamber music surpass those of any other musician.
The quartet on this program is based in part on material written as far back as the days of Brahms' passion for Clara Schumann and sorrow over the death of her husband. Brahms said of the first movement, "Now think of a man who is just going to shoot himself because there is nothing left for him to do," adding that the music does not represent, but arose out of such thoughts. The second part of the movement consists of Aariations on the first piano theme. Some writers claim the piano figure of the last movement represents "Fate Knocking at the Door." Brahms silenced one who remarked that this figure resembled the opening theme of Mendelssohn's Trio in C Minor by growl- ing in his most formidable manner: "Any fool can see that.""'
There can no longer be any doubt that Brahms was really an incurable romanticist, but except in his earliest works, he kept his feelings in control with the discipline of a true North German burgher. The elegiac strain that pervades his compositions seems sometimes to be tinged with the colors of an autumn sunset and to emphasize "the transitory nature of all worldly pleasures."
:: See Henry S. Drinker Jr.'s valuable book "Brahms' Chamber Music."
CESAR FRANCK
was one of those rare creative artists whose personal character was as beautiful as his music. His larger works are remarkable for the use of the so-called cyclic form — the constant recurrence of themes in different movements, as a means of unifying the compo- sition as a whole. His organ works (he was a great organist) are among the best in this field. The choral on this program, one of three dating from the last year of his life, relies on the variation form rather than conventional thematic development.
GABRIEL FAURE
Best known for his songs which are characterized by Gallic refinement and sensi- bility, Faurie was also a fine organist and teacher of composition at the Conservatoire. Among his pupils were Debussy, Ravel, Enesco, and Nadia Boulanger.
CLAUDE DEBUSSY
With Debussy, the chromaticism first exploited by Chopin reached its fullest devel- opment. Impressionist painters like Monet and Renoir sacrificed design, draughtmanship, and broke up their colors to obtain extraordinary effects of light. Similarly, Debussy jettisoned form, counterpoint, and broke up tonality to get his unique harmonic effects. When he w>as through no one could follow him; music had to strike out in new directions.
He was almost through when he wrote the sonata on this program in 1917, playing the piano part in its first and his last public performance. Fatally ill with cancer, "his face was like wax and the colour of ashes. His hand dragged from his shoulder and his head pressed on his whole body. In his eyes there was no light — only the dull reflections of silent pools. There was not even bitterness in his gloomy smile." (Oscar Thompson, in "Debussy, Man and Artist" quoting Andre Suares.)
Next concert March lUh, Early American Music
2*2 S£
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HISTORICAL SERIES
<z$>alo and L^uanipet y I iiutc
Presented by
RALPH BERKOWITZ
Assisted by
JOSEPH S. LEVINE and VLADIMIR SOKOLOFF GRADUATES OF THE CURTIS INSTITUTE OF MUSIC
<=^i\:t/i C ottcext
FRIDAY EVENING, MARCH 15, 1940
AT 8:30 O'CLOCK
CASIMIR HALL
STEINWAY P/ANO
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JOHN ANTES Go, Congregation
1740-1811
JEREMIAH DENCKE Meine Seek erhebet den Herrn
1725-1795
Barbara Troxell. Soprano
Leo Luskin, Piano
II
JOHANN FRIEDRICH PETER String Quintet in D major
1746-1813
Rafael Druian, Violin Julius Weissman, Viola
Baruch Altman, Violin Warren Signor, Viola
Esther Gruhn, Cello
III
FRANCIS HOPKINSON The Garland
1737-1791 My Love is Gone to Sea
With Pleasures Have I Passed My Days Velma Caldwell, Contralto Leo Luskin, Piano
IV
WILLIAM BILLINGS Funeral Anthem
1746-1800 Majesty
Methinks I See a Heavenly Host A Virgin Unspotted
Barbara Troxell, Soprano Norman Rose, Tenor
Margaret Lilly, Soprano Irvin Bushman, Baritone
Elizabeth Lettinger, Contralto James Cosmos, Bass
V
ALEXANDER REINAGLE Adagio from the Sonata in E major
1756-1809
JAMES HEWITT The Battle of Trenton
1770-1827 A Favorite Military Sonata
Dedicated to Gen. Washington Jeanne Behrend, Piano
VI
KENTUCKY MOUNTAIN SONGS The Swapping Song
Arranged by Howard Brockway John Riley
The Toad's Courtship
NEGRO SPIRITUALS Ma Brudder's Died
Were You There Git On Board, Little Chillen Ride On, King Jesus Thomas Perkins, Baritone Leo Luskin, Piano
VII
LOUIS GOTTSCHALK The Dying Poet
1829-1869
EDWARD MACDOWELL Elfin Dance
1861-1908
Jeanne Behrend, Piano
VIII
ARTHUR FOOTE First and second movements from the
1853-1937 Trio in C minor, Opus 5
Allegro con brio Allegro vivace Noah Bielski, Violin Louis Shub, Piano
Esther Gruhn, Cello
A
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r
1 llizabeth Llewellyn Lettinger
THE Puritans came to New England in 1620 for relig: :r. paradox-
ical fervor, they established a r :ical mode of Life. The] eluded all cultural
expression for they believed artistic occupation condemned a soul to everlasting torment. New England remained a musical -wilderness until the middle of the eighteenth century, bv which time Puritanical bigotry had waned. Fortunately, conditions were different in the South. Secular music flourished in Charleston and Williamsburg. In fact, the first record of a concert in the colonies is a song recital at Charleston in 17J1.
While musical life in the South, Philadelphia, New York and Boston was a result of English influence, German musical culture predominated in the Moravi ny founded
at Bethlehem, Pennsylvania in "."-'. It soon became famous for its :r:r.e>::a and cham- ber music. Franklin's, Washington's, and Samuel Adams' letters and diaries prove their interest and knowledge of the Moravian culture. In a letter written by a little girl attending the Moravian boarding school in '."•" ::' i thorough musical edu-
cation. She mentioned that she was taught vocal and instrumental music: "I play the guitar twice a dav; am taught the spinet and forte piano and sometimes I play the organ." John Frederick Peter, organist of the congregation, was one of tfce group of composers who lived there. The extant manuscripts of these men show their musician- ship was far in advance of composers in other parts of the country. But l r Moravians stood aloof from other colonies and did little for the cultural advancement of the country as a whole.
Francis Hopkinson, now considered the first native American com:: is born,
lived and died here in Philadelphia. He is known as musician, poe:. pa anW, inventus and statesman. He was i member of the firs: dasa '."'" :: ... :re bachelor's degree from the College of Philadelphia, now the University of Pen i He was
secretary of the Library Company, a member of the Continental Congress, signed the Declaration of Independence, and held the post of Secretary of the Navy. Altogether he was a remarkable person. Some authorities even give him credit for designing the Amer- ican Flag. John Adams in a letter to his wife thus described him: "He is one of your prettv, little, curious, ingenious men. His head is not bigger than an apple. I have not met anything in natural history more amusing and entertaining than his personal appear- ance, yet he is genteel, and well bred and is very social."
But Hopkinson's activities did not distract him from music. He was the nucleus of musical life in Philadelphia. As a harpsichordist, he possessed such intimate know of his instrument that he invented and perfected a new method of quillmg. Thomas Jefferson tried to influence European manufacturers to adopt its use. Among his compo- sitions are anthems, satirical ballads, a dramatic cantata and numerous songs. "The Garland" is among his earliest compositions.
In a letter to his friend George Washington, to whom he had dedicated "Seven Songs" (1788) Hopkinson wrote: "However small the Reputation I shall derive from this work, I cannot, I believe be refused the Credit of being the first Xitive of the United States who has produced a Musical Composition. If this attempt should not be too severe.;, treated, others may be encouraged to venture on a path, yet --.trodden in America and the Arts in succession will take root and flourish amongst us. . . .' "^ ash- ington replied to this ". . . But, my dear Sir, if you had any doubts about die reception which your work might meet with . . . you have not acted with your usual good judge- ment, for, what alas, can I do to support it? I can neither sing one of me songs nor raise a single note on any instrument to convince the unbelieving. But, I have, however, one argument, which will prevail with persons of true estate, (at least in America ) I can tell them that it is the production of Mr. Hopkinson."
Both Alexander Reinagle and James Hewitt, though English by birth, made America their home and participated in the development of music in this coun:ry. Reinagie came from London to Philadelphia about 1 7 S 6 . He was instrumental in organizing many subscription concerts, and introduced four-hand piano music to this country. In style.
his piano sonatas resemble those of Johann Christian Bach, the "London" Bach, with whom he had studied. James Hewitt was particularly active in developing the concert field in New York. Many of his compositions figured on his programs. "The Battle of Trenton, A Favorite Military Sonata dedicated to General George Washington" is repre- sentative of his style. It has an elaborate program: "Lento, Introduction; Pin vivo, The Army in motion — General Orders — Acclamation of the Americans — Drums beat to Arms; Maestoso, Washington's march — The Army Crossing the Delaware — Ardor of the Americans at landing — Trumpets sound the charge; Presto, Attack — cannons — bombs. Defeat of the Hessians — Flight of the Hessians — Begging Quarter — General Confusion; Andantino semplice, The Hessians Surrender; Lento cott espressione, Grief of the Amer- icans for loss of their comrades killed in the engagement; Allegro, Drums and Fifes — Trumpets of Victory; Allegro, General Rejoicing."
In 1770 William Billings of Boston produced "The New England Psalm Singer." Billings rebelled against the slow paced psalms and hymns and composed what he called "fuguing pieces . . . more than twenty times as powerful as the old slow tunes. Each part striving for mastery and victory." In spite of his own eloquence, these fuguing pieces are crude attempts at imitative counterpoint and can be appreciated only in view of the circumstances in which he lived. He was quite a character, blind in one eye, with a withered arm, and legs of uneven length, and possessing a loud, powerful voice made harsh and rasping by the excessive use of snuff. Perhaps his real contribution to American music was in making the first attempt to establish singing classes and trained church choirs.
No survey of American music, early or late, can be complete without recognition of existing folk music. True folk music is to be found among the mountaineers in Ken- tucky, among the Negroes, the cowboys and the lumberjacks. Many people refuse to accept Negro "spirituals" as native music. This attitude seems rather absurd when one realizes the influence of revivalist and camp meeting music on the "spiritual." As a matter of fact, all religious folksongs, both white and Negro, have been loosely termed "spirituals" from the early American connotation "spiritual songs." There are folk- songs that are unquestionably American, for example, "Yankee Doodle," "Sucking Cider Through A Straw," "The Arkansas Traveler" and "Zip Coon" ("Turkey in the Straw") which Carl Sandburg described "as American as corn-on-the-cob."
Louis Moreau Gottschalk was the first American virtuoso to be given European recognition.; Chopin declared he was a "king of pianists." Berlioz, with whom he had studied, said he possessed all the different elements of a consummate pianist. And Bar- num offered him a twenty thousand dollar contract after his New York debut in 185 5. Gottschalk, a romantic figure, was probably the first matinee idol in America. Women rushed to the piano after concerts, literally flung themselves upon him, seized his white gloves and tore them to bits as souvenirs. As a composer he excelled in sentimental salon music. Witty the nostalgic "Last Hope" and "The Dying Poet" he achieved great vogue.
New Ehgland compensated for its earlier musical wilderness by producing the first ie.i! school df American composition. The relationship of this group is one of similar background, geographic origin and sympathy rather than any particular style in music. John K. Paine was the first of the New England "academics," to be followed by Chad- vick, Arthiir Foote, Parker, Whiting, Hadley, Converse, MacDowell, Carpenter and many othersj Arthur Foote was one of Paine's earliest students at Harvard. He wrote for orchestra, chprus, organ, piano, voice. Foote himself said that it was due to the interest of Theodore Thomas that his works were first heard.
Edward MacDowell, though a New Yorker by birth, went to Boston after his re- turn from Europe, and thus became associated with the New England school. Mac- Dowell's compositions include works for orchestra, chorus and voice, but he is best known for his piano compositions. He is the first of our creative musicians for whom we need no excuses for lack of early training and limited technical development. We need not justify him as an American composer. Nationalism has little significance in true art. Edward MacDowell can be judged simply on his own merits as a composer.
Next concert, April 2)rd, Contemporary American Music
»? S£
HISTORICAL SERIES
_
c^alo and \^liamvet y I Litiic
Presented by
RALPH BERKOWITZ
Assisted by
JOSEPH S. LEVINE and VLADIMIR SOKOLOFF GRADUATES OF THE CURTIS INSTITUTE OF MUSIC
_t* event It L c-ncett
TUESDAY EVENING, APRIL 23, 1940
AT 8:30 O'CLOCK
CASIMIR HALL
STEINWAY P/ANO
<-- ——————— _____ ____________________________________________________ «n
511 tK
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t&cpzciwiwie
CARLOS SALZEDO Sonata for harp and piano
1885- in one movement (1922)
Lynne Wainwright, Harp Ralph Berkowitz, Piano
II
CHARLES IVES Maple Leaves (1920)
1874- Ann Street (1921)
The Side Show (1921) 1-2-3 (1921) Charlie Rutlage (1921) Theodore Uppman, Baritone Ralph Berkowitz, Piano
III
QUINCY PORTER Sonata No. 2 for violin and piano (1932)
1897-
Allegro Andante
Allegro con f uoco Rafael Druian, Violin Vladimir Sokoloff, Piano
IV SAMUEL BARBER Rain Has Fallen (1935)
1910-
Willa Stewart, Soprano
Sleep Now (1935) I Hear an Army (1936) The Composer at the Piano
V
SAMUEL BARBER A Stopwatch and an Ordnance Map.
For Men's Chorus and Kettle-drums (1940)
{first performance)
Men's Voices from the Curtis Institute
Madrigal Chorus
David Stephens, Kettle-drums
Conducted by the Composer
VI
RANDALL THOMPSON Suite for oboe, clarinet and viola (1940)
1899-
(first concert performance) Allegro Adagio Allegro
Lento religioso Andante — Allegretto Ralph Gomberg, Oboe James King, Clarinet
Albert Falrove, Viola
VII
RANDALL THOMPSON Americana. A Sequence of Five
Choruses for Mixed Voices (1932)
May Every Tongue
The Staff Necromancer
God's Bottles
The Sublime Process of Law Enforcement
Loveli-lines
Members of the Madrigal Chorus
Eugene Bossart, Piano
Conducted by the Composer
A STOPWATCH AND AN ORDNANCE MAP
A stopwatch and an ordnance map. Ac five a man fell to the ground And the watch flew off his wrist Like a moon struck from the earth Marking a blank time that stares On the riies erf change beneath. All under the olive trees.
A stopwatch and an ordnance map.
He stayed faithfully in that p^
From his living comrade split
By dividers of the bullet
That opened wide the (hsta : ; . i
Of his final loneliness.
All under the olive trees.
A stopwatch and an ordnance map.
And the bones are fixed at five
Under the moon's timelessness;
But another who lives on
"ft ears within his .
The space split open by the bullet.
All under the olive trees.
(This poem deals with the death of a soldier in the recent Spanish fought in the war, ;:"•; the poem to Samuel Barber in London last June.)
AMERICANA
(Text used by kind permission of the American Mercury)
MAY EVERY TONGUE
( Washington — Christian sentiment of the Rev. Dr Mark Matthews, veteran instrument of the Lord in Seattle, as reported by the Post-Imtelligencer.)
May every tongue be paralyzed and every hand palsied that utters a word or i es a r. .-.;;: this pulpit in advocacy of Modernism.
II
THE STAPF NECROMANCER
York — The St*f Necromsmcer of the Earning Graphic comes to the aid of troubled readers of that great family newspaper.)
(Q.) — ymi I e my stolen . . A. M.
A.' — "iour jewelry was taken to Xew Orleans and sold. You can recover it in part. (Q-) — My children made me break up my home and come to Xew York : tdrasetts; and
now I am lonesome, and can't pay my room rent. \That can I do? . . . E. T. (A.) — You will get a position as nurse to three small children in Pelham. N. Y. It will give you a
source of income, and something easy to do. I see you will marry again liter and go back to
M:::::::;e::;.
(Q.) — Is my husband, Charles V , alive? ... A. \T.
A. — No, he is not. I see him drowning in deer water. (Q.) — Will it be advisable for me to go into the laundry business with my boy friend before we ire
married? . . . F. I. B. (A.) — Yes, the two of you will be very successful. I see you will marry very soon. (Q.) — Vill I ever have any children? I have been married nearly two yea.-i. . . . A. F. W. (A.) — You will have three children, the first one in about two years. That is plenty of time.
Ill
GOD'S BOTTLES
(Leaflet Issued by the N. W. C. T. U.)
;APPLES ARE GOD'S BOTTLES: The sweet juice of the apple God has placed in His own bottle. What a beautiful rosy-red bottle it is! These red bottles hang on the limbs of a tree until they are all ready for us to use. Do you want to open God's bottle? Bite the apple with your teeth and you will taste the sweet juice God has put in His bottle for you.
GRAPES ARE GOD'S BOTTLES: These purple and green bottles you will find hanging on a pretty vine. See! So many little bottles are on a single stem! Put a grape in your mouth and open God's bottle. How nice the juice tastes! Some men take the juice of apples and grapes and make drinks that will harm our bodies. They put the drinks in glass bottles, but we will not drink from such bottles. We will DRINK FROM GOD'S BOTTLES.
IV THE SUBLIME PROCESS OF LAW ENFORCEMENT
(Arkansas — The Sublime Process of Law Enforcement, described by Joseph B. Wirger, deathhouse re- porter of Little Rock Gazette, in Startling Detective Adventures.)
One scene in the death chamber was particularly unpleasant, even gruesome. That occurred the morn- ing four white men were executed a few minutes apart. The condemned men were Duncan Richardson, Ben Richardson, F. G. Bullen and Will DeBord. The first three had been convicted of the murder of one man; DeBord was condemned for murdering an old couple.
Preparations for this unusual execution were not as complete as they might have been. There were no accommodations for the undertaker who was to take the four bodies away. The death chamber was too small for the four coffins and the augmented crowd of witnesses, and there was no other room con- venient.
Hence the four coffins were deposited in the run-around of the death house, directly in front of the cells in which the four men were confined awaiting their turn in the chair. It was an unintentional cruelty on the part of the officials. If the doomed men looked through the doors of their cells, the grim row of coffins was directly in view. If they looked ont the windows, they could see the hearses waiting to carry them away after the execution. So they sat on their bunks with their faces in their hands and waited the execution.
Duncan Richardson was the first to go. After it was all over for him, his body was carried back and laid in the coffin where the other three could see if they lifted their heads. And when Ben Richardson started his deatli march, he passed by the row of coffins, one of which contained all that remained of his brother.
V
LOVELI-LINES
(California — Literary intelligence: Announcing)
LOVELI-LINES
by Edna Nethery
Laveli-lincs is composed of thirty-three Individualistic Verse poems all abrim with Joy, Love, Faith, Abundance, Victory, Beauty and Mastery.
Each one will lift you to the Heights of Consciousness.
Bound in cloth of Happy blue: trimmed and lettered in gold.
Order from
Edna Nethery Riverside, California
One Dollar
^oT-
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
SONATA RECITAL
by
LEA LUBOSHUTZ, Violinist EDITH EVANS BRAUN, Pianist
Friday Evening, November 10, 1939, at 8.30 o'clock
PROGRAMME I
Concert sonata after Pugnani (1731-1798) Rosario Scalero
(American premiere)
Andantino
Adagio
Moderate ma con spirito
II
Sonata in B minor Ottorixo Respighi
Moder2to
Andante espressivo Passacaglia
III
Sonatine in E major, Opus 80 Jean Sibelius
Lento. Allegro Andantino Lento. Allegretto
The Siuhwat is the official piano of The Curtis Institute of Music
^
*«? $$?
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
RALPH BERKOWITZ and VLADIMIR SOKOLOFF
in a
RECITAL OF ORIGINAL MUSIC FOR FOUR HANDS AT ONE PIANO
Thursday Evening, January 4, 1940, at 8:30 o'clock
PROGRAMME
I
Variations in C major
on a theme by Count Valdstein Ludwig van Beethoven
Sonata in C major (K. ^21) Wolfgang Amadeus Mozart
Allegro
Andante
Allegretto
II
Fantaisie in F minor. Opus 103 Franz Schubert
III
Allegro brillant in A major, Opus 92 Felix Mendelssohn
Jeux d'enfants Georges Bizet
Trompette et Tambour. Marche Petit mari, petite femme. Duo La Toupie. Impromptu Les quatre coins. Esquisse
Six epigraphes antiques Claude Debussy
Pour invoquer Pan, Dieu du vent d'ete
Pour un tombeau sans nom
Pour que la nuit soit propice
Pour la danseuse aux crotales
Pour l'egyptienne
Pour remercier la pluie au matin
Pupazzetti Alfredo Casella
Marcietta
Berceuse
Serenata
Xotturnino
Polka
The Stein^jtay is the official piano of The Curtis Institute or Music
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season— 1939-40
THE FIVE SONATAS FOR PIANO AND VIOLONCELLO
by LUDWIG VAN BEETHOVEN
FELIX SALMOND, Violoncellist assisted by
RALPH BERKOWITZ Pianist
Wednesday Evenins, January 10, 1940, at 8:15 o'clock
The Steinway is the official piano of The Curtis Institute of Music
m
"©<
PROGRAMME
Sonata in F major, Opus 5, No. 1
Adagio sostenuto. Allegro Allegro vivace
II
Sonata in C major, Opus 102, No. 1
Andante. Allegro vivace Adagio. Tempo d'andante. Allegro vivace
III
Sonata in G minor, Opus 5, No. 2
Adagio sostenuto ed espressivo
Allegro molto piu tosto presto
Rondo. Allegro
INTERMISSION
IV
Sonata in D major, Opus 102, No. 2
Allegro con brio
Adagio con molto sentimento d'affetto
Allegro fugato
V
Sonata in A major, Opus 69
Allegro, ma non tanto
Scherzo. Allegro molto
Adagio cantabile. Allegro vivace
PROGRAM NOTES
By Ra*ph Berkoiuz
Beethoven composed the two son J fas Opus J in 1796 for a perform- ance with the cellist Duport at the court of the genial, music-loving King of Prussia. Frederick "^Tilliam II.
The King, himself a cellist, like so many other monarchs of the ISth century, was not averse to taking part in performances of music and often played in a string quartet or even at rehearsals of Italian opera. He was much impressed by these sonatas and as an indication of pleasure at hav- ing :hem dedicated to him, presented Beethoven, upon his departure from Berlin, with a gold snuff-box filled with Louis d'or. Oi this mark of favor Beethoven was fond of saying that "it was no ordinary box. but one of the kind customarily given to amb .
The two sonatas are the work of a confident, happy and vigorous master, who at the age of twenty-six already had four years : adulation from both the musical public and the aristocracy of Vienna. Aware of his own power and dominated bv a sense of superiority even to the aristo- cratic families who befriended him, he was the first composer of modern times to alter the musician's social status. Because of this inner convic- tion of his own worth, his demeanour as a young man seemed strange enough to make Haydn — the perfect example of the musician as depend- ant— refer to him as "grand mogul" and "Turkish pasha."
The long, slow introduction with which each sonata begins is a beautiful, thoughtful expression of "weltsehmerz" more easOy traced to
the general cultural feeling of the epoch, rather than to any per experience of the composer. As in many of the early piano sonatas the quick movements here seem to have an endless flow of melodic be and contain great contrasts of charm, humor and youthful strength.
"^Thile these sonatas certainly belong to the first period of Beethoven's creative Kfe, and many passages show indebtedness to Mozart and Haydn, there is at the same time, as for instance in the wonderful D flat section in the development of the first sonata's Allegro, an easily discernible stamp of mastery and originality.
It would be interesting to discover how many musical masterworks are responsible for their creation to some outward circumstances far re- moved from the processes of purely musical inspiration.
7WL-
Beethoven's two sonatas Opus 102 probably owe their existence to the fact that a great fire destroyed the palace of Prince Rasoumovsky in December 1814 and dispersed the members of a string quartet in the Prince's service. The cellist of this quartet, Joseph Linke, spent some time near Beethoven during the following summer and it is for him that these works were written. The first bears the date "towards the end of July," the second, "beginning of August."
The C major, which Beethoven called a "free sonata" consists of two movements, each with a slow and quick section. Particularly beautiful is the reappearance of the sonata's opening theme in the course of the second movement, while the combination of pages of spiritual introspec- tion with others which are vigorous and bold is typical of the late Beetho- ven.
The D major sonata is a wonderful example of that integrated artistic beauty which Beethoven achieved in his later works. It contains the only full-sized Adagio in all the cello sonatas, a movement of profound char- acter with a strong kinship to the slow movements of the last string quartets. It is in the nature of a funeral march with an elegiac, passionless middle section. The mysterious coda allows us to glimpse, as over an abyss, a shadowy vision of the superhuman.
The last movement, a strict fugue (the first in all the forty-seven sonatas Beethoven had written thus far) is marked by tremendous energy which drives on relentlessly page after page.
Beethoven's A major sonata Opus 69 is probably the best known of all cello sonatas. It was sketched in 1807 and completed in the following year, thus being near in style and spirit to the fifth and sixth symphonies. In the positive quality of its emotional content and masterly treatment of simple material it is characteristic of the composer's middle period.
The one tragic note connected with the work is the phrase, in Beethoven's hand, scribbled on the title-page: Inter Lachrymas et Luctum, (amid tears and distress). This was Beethoven's reference to the advance of the French army, which was soon to bombard Vienna and drive him to the cellar with pillows over his already somewhat deaf- ened ears, in order to escape some of the painful noise.
But neither this sonata nor other works of the period reflect Beetho- ven's tortured state of mind. It is another example of the astonishing aloofness which some good spirit creates for a great artist, allowing him to produce great music even though he be in poverty or despair.
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL
5 .:•:■:- - : : — ^ :~:
" ~i- z-z- ~: v:'.:-, "z 'r-0 -:: z z ~_ : : ::•
THE TRAPP FAMILY SINGERS
Baroness Maria Auguste, Agathe, Maria, Hedwig, Joan, Martine, Rupert and Werner von Trapp
Directed bv DR FRANZ WASNER
'©r
— $gr
PROGRAMME
Introitus — Cibavit eos
Gregorian
This chant is taken from the Graduate Romanum. The Introitus is the first song in the Catholic Mass. It begins with an Antifon, followed by a verse taken from a Psalm with the Gloria Patri. The Antifon is then repeated. Immediately after the Introitus, the Kyrie eleison is sung.
Four parts from the Missa Brevis
Giovanni Pierluigi da Palestrina (1526-1594)
Kyrie Sanctus Benedictus Agnus Dei II
Palestrina's Missa Brevis originally appeared in the First Book of Masses in 1570, dedicated to King Philip II of Spain. The Kyrie and Sanctus ire written in four parts, the Benedictus in three, and the Agnus Dei in five, the two soprano voices being composed as a canon.
II
Trio Sonata in F major
Georg Philipp Telemann (1681-1767)
For two alto recorders in F and basso continuo (Spinet)
Affettuoso Allegro Adagio Allegro vivace
Suite in G major
JOHANN KASPAR FERDINAND FlSCHER
(c. 1665— c. 1738)
For recorder ensemble and basso continuo (Viola da gamba and Spinet)
Ouverture Intrade Chaconne Menuett
in
Frohlich will ich singen
Innsbruck, ich muss dich lassen
Johannes Eccard (1553-1611)
Heinrich Isaac (1445-1517)
Heinrich Isaac was Emperor Maximilian's choice as director of the royal orchestra in Vienna and Innsbruck. ''SThen he had to leave Innsbruck with the Emperor, he dedicated the indescribably ardent farewell song, Innsbruck, ich muss dich lassen, to his sweetheart, who remained in Innsbruck. It is one of the loveliest compositions in old German music. The melody was later used for the chorale, Nun ruben alle Wilder, and J. S. Bach used the melody in the St. Matthew's and St. John's Passions, and one of the chorale preludes, as well as in several cantatas. It is also sung with other religious texts and survives as a hymn in many countries.
Tanzen und Springen Hans Leo Hassler
(1564-1612)
A five-part ballet, first issued in the Lustgarten neuer teutscber Gesinge at Nurnberg in 1601.
Freunde lasset uns beim Ziehen, (K. 560)
"Wolfgang Amadeus Mozart (1756-1791)
A canon
Im Fruajahr
Wia mei Diandle, mei kloans
Viel Freuden mit sich bringet
In einem kiihlen Grunde
Der spate Abend Die lustige Bauring
IV
Austrian folksong from Steiermark Austrian folksong from Carinthia
German folksong, arranged by Dr Wasner
German folksong, arranged by Dr "VTasner
Austrian folksong from Carinthia
Yodel from the Austrian Alps
Yodels are songs without words. In yodeling the mountaineers give free expression to the feelings and emotions which they cannot easily express in words. Not only do they express feelings of joy, but also of sorrow, grief, longing and devotion. Many yodels even resemble chorales and were formerly used at divine services. Profane and unbecoming yodeling in places of amusement brought the real art into disrepute. The Trapp Family Singers seek to acquaint those who have not had the opportunity of hearing the real yodels of the mountains with the true yodeling technique.
Landler
Austrian folkdances
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season — 193 9-40
RECITAL
by
Mr Sigurd Rascher, Saxophone Mr George Robert, at the Piano
Guest Artists Friday Evening, March S, 1940. at 8:30 o'clock
PROGRAMME
I Sonata Xo. 3............ ........... ........... G. F. Handel
(original for violin or flute, arranged by Mr Rascher) Aiagio Allegro Largo Allegro
n
Prelude to Cantata Xo. 12 J. S. Bach
(original for oboe d'arnore, arranged by Mr Ratchet
Variations on a gavotte A. Corelli
(arranged by Glaser-Rascher)
III
Sonata, Opus 1. A. Berg
La nlle aux cheveux de lin ( C. Debussy
Feux d'artiiice I
Mr Robert
IV *Introduction and Capriccio ;ms., 1934) E. Borck.
(Borck was born in Silesia, Germany, in 1906. He used the saxophone in his earnest works for orchestra and wrote the Capriccio played today, as wefl ii - Concerto* at the request of Mr Rascher.)
^Sonatine (ms., 1932) V. Jacobi
(Jacobi was born in 1896 on the island of Ruegen in the Baltic Sea. He composes and teaches in Munich.)
Allegro ma non troppo
Sarabande
Allegro
A group of Swedish Folk Songs, unaccompanied
"Danse du Satyr F. Swain
Ifia S^ain lives in Oxfordshire, England, and is a teacher at the Royal Hnflfge — Ifnsic in London. This piece was written for Mr Rascher after the composer heard him at a Promenade Concert in Qaeem Hall. cond. . by Sir Henry- Vood.) 'dedicated to Mr Rascher
STEIN\TAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL Sixteenth Season — 1939-40
PIANO AND VIOLA RECITAL
by
Miss Genia Robinor, Pianist Dr Louis Bailly, Violist
Wednesday Evening, March 13, 1940, at 8:30 o'clock PROGRAMME
I
Sonata No. 1 in G minor Johann Sebastian Bach
Vivace Adagio Allegro
II
Sonata in F sharp minor Jean Hure
(In one movement)
III
Sonata in F minor, Opus 120, No. 1 Johannes Brahms
Allegro appassionato Andante un poco Adagio Allegretto grazioso Vivace
IV
Sonata in D major, Opus IS Paul Juon
Moderato
Adagio assai e molto cantabile
Allegro moderato
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
C A SI MIR HALL, SIXTEEXTH SEA SOX 19^9-40
SONATA RECITAL BY MR ADOLF BUSCH, VIOLINIST AND MR RUDOLF SEREIN, PL^NIST
SUNDAY AFTERXOOX, APRIL 28, 1940. AT 4:00 O'CLOCK
PROGRAMME
Sonata No. 1 in G major, Opus 78 Johannes Brahms
Vivace ma non troppo
Adagio
Allegro molto moderato
II
Sonata No. 1 in G minor
for violin alone Johann Sebastian Bach
Adagio Fuga Siciliano Presro
in
Sonata in C minor. Opus 30, No. 2 ..... Lutj^og van Beethoven
Allegro con brio Adagio cantabile Scherzo Finale: Allegro
STELXTTAY PLAXO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEASON IQ3Q-4O
SONATA RECITAL BY MR ADOLF BUSCH, VIOLINIST AND MR RUDOLF SERKIN, PIANIST
WEDNESDAY EVENING, MAY 1, 1940, AT 8:50 O'CLOCK
PROGRAMME
(K 526)
Sonata in A major (K 331) "Wolfgang Amadeus Mozart
T««--A«*»K-gr«iwrT MoltO allegro
Mumctui Andante
Randoi-Arhi-miu.- AllcgimTT *restO
5 1 "
Sonata No. % in B minor
for violin alone Johann Sebastian Bach
Aticmji.de, I 'iial If- Grave
etmrame, I mid" H Fuga
fcnrbiuJe, i amt-H- Andante sostenuto
Teinpo-tfr-bonrrS5rt"3S-d-n Allegro
III
Sonata in G major, Opus 96 Ludwig van Beethoven
Allegro moderato
Adagio espressivo
Scherzo
Poco allegretto
STEINWAY PIANO
THE CURTIS INSTITUTE OF MUSIC
CASIMIR HALL, SIXTEENTH SEASON' I 9 ^9-40
SONATA RECITAL BY MR ADOLF BUSCH. VIOLINIST AND MR RUDOLF SERRTN, PIANIST
WEDNESDAY EVENING, MAY i. 1940, AT *:30 O'CLOCK
PROGRAMME
Sonata No. 3 in D minor, Opus 108 Johannes Brahms
Allegro Aiagio L'- poco pres:o e con sentimento
Presto agitato
II Sonata No 3 in C major
for violin alone Johann Sebastian Back
Adagio Fuga
Li.-;; Allegro ii = ;:
ni
Sonata in G major. Opus 30, No. 3 Lud\tig van Beethoven
Allegro assai
Tempo di — ^n'je::o Allegro viv;ce
STEINTTAY PLANO
WILDWOOD CIVIC CLUB Wildwood, New Jersey
Tuesday afternc n, . £2, 1939, at 2:50 o'clock
Howard Vanderturg, Beritone Lee Luskin, Accompanist
of
im :trtis hstitoti :~ msic
Programme I
Invocation of Orpheus 0 del mio amato ben aey
Pen Dana
Lecucna
II
"Tcreadcr song" froir. "Car
Bizet
III
Deep river Little David,
play on your harp Land uv degradashun
arranged by Burleigh
arranged by Johnson KacGinsey
IV
g of the open ro: : lav carol fhen I think upon the maidens
Malctte
Ta7lor
Head
FOREMEN'S AND SUPERVISORS' CLUB Gibbstown, New Jersey
Thursday evening, September 21, 1939, at 6:00 o'clock
Howard Vanderburg, Baritone Lynne Kainwright, Harp Leo Luskin, Accompanist
of
THE CURTIS INSTITUTE OF MUSIC
Programme
I
Just for today Seaver
Gwine to Hebb'n I olf e
Land uv degradashun MacGimsey Howard Vanderburg
II
Bourree Bach
Y.altz in A flat major Brahms
Short stories in music Salzedo
Pirouetting music box
Night breeze
Behind the barracks Chanson de Guillot-Martin Perilhou-Millcr
Lynne kainwright
III
"Toreador song"
from "Carmen" Bizet
Howard Vanderburg
IV
Theme and variations Haydn
"Barcarolle"
from "Tales of Hoffmann" Offenbach
Gigue Wainwright
Believe me, if all those
endearing young charms) transcribed by Salzedo Deep river )
Lynne Wainwright
FOREMEN'S hxiD SUPERVISORS' CLUB
Gibbstown, New Jersey
(continued)
Song of the open road Malotte
My little mule wagon Schwartz
Captain Stratton's fancy Taylor Howard Vanderburg
VI
Invocation of Orpheus Peri
Howard Vanderburg Lynne >Va in w right Leo Luskin
THE nOMEN'S £LUE OF LYNCHBURG Lynchburg, Virginia
Friday afternoon, October 13, 1939, at 3:30 o'clock
Howard Vanderburg, Baritone Louis Shub, Piano
of
TEE CURTIS INSTITUTE OF WJSIC
Programme
I
Invocation of Orpheus Peri
Che fiero costume Legrenzi
Gondoliera veneziana (in Sicilian) Sadero
Ricordati di xe? Tosti Howard Vanderburg
II
"Vision fugitive"
from "Herodiade" Massenet
Howard Vanderburg
III
Ballade in A flat major, Opus 47 Prelude in G major, Opus 32, No. 5 La campanella
Louis Shub
Chopin
Rachmaninov
Paganini-Li s z t
IV
In the silent night
Passing by
re it bright day
Ho?.ard Vanderburg
Rachmaninov
E. Purcell
Tschaikcvsky
Eleanore
I heard a forest praying
For you alone
Howard Vanderburg
Coleridge-Taylor
DeRose
Geehl
[
-
=
i :
-
- : 3 2 ] jor ]
E
"
i
.3 in E No. 1
i
-
STATE ..7 .CHERS COLLEGE Kutztovm, Pennsylvania (Continued)
Drink to me only
ih thine eyes arranged by Quilt er
Long ago in Alcala Hessager
Lomen Wolfe
Pilgrim' s song Tschaikovsky
Robert Grooters
'
SOMEN'S CLUB OF 1TCNCOTE T.yncote, Pennsylvania
r.ednesday afternoon, October 18, 1939, at 3:00 o'clock
Donald Coker, Tenor Reba Robinson, Harp Burnett Atkinson, Flute Nathan Stutch, Violoncello Eugene Bossart, Accompanist
of
TEE CURTIS INSTITUTE OF MUSIC Programme
Lasciatemi morire Monteverdi
Danza, danza, fanciulla gentile Durante
Tu lo sai Torelli Donald Coker
II
First and second movements
of Sonata No. 8 in D major Leclair
Adagio Allegro Menuet Bach
Second and third movements of
Trio Sonata in B minor Loeillet
Allegro Adagio
Reba Robinson Burnett Atkinson Nathan Stutch
III
Adagio from the organ toccata in C major Bach
Serenade espagnole, Opus £0, No. 2 Glazounov
Rondo in A major t»eber Nathan Stutch
WOMBPS CLUB OF KINCOTE
Wyncote, Pennsylvania
(continued)
IV
I attempt from love's sickness to fly H. Purcell
Clorinda Morgan
A sailor's life Old English
The sleigh Kountz Donald Coker
Serlnade Arensky
Minatures Bridge
Romance Salterello "Dorienne"
from "Divertissement grec" Mouquet
Reba Robinson Burnett Atkinson Nathan Stutch
WASHINGTON COLLEGE Chestertown, Maryland
Thursday morning, October 26, 1939, at 11:00 o'clock
Reba Robinson, Harp Nathan Stutch, Violoncello Burnett Atkinson, Flute
of
• THE CURTIS INSTITUTE OF MUSIC
Programme
First and second movements
from Sonata No. 8 in D major Adagio Allegro Menuet
T^o movements from Trio Sonata in B minor Adegio All egro
Reba Robinson Nathan Stutch Burnett Atkinson
Lecl?:ir
Bach Loei"
II
Adagio from the organ toccata in C major Rondo in A major
Nathan Stutch
Bach Weber
III
Waltz in A flat major
y night Zephyr
Reba Robinson
IV
Sonata in F major Menuetto
Burnett Atkinson
Br: Palragren Salzedo
Marcello Mozart
WASHINGTON COLLI GE Chester-town, Maryland (Continued)
Arabesque No. 1 Petite suite Berceuse Souvenance "Dorienne" from
"Divertissement grec"
Reba Robinson Nathan Stutch Burnett Atkinson
Debussy Dukas
Mouquet
HARCUM JUNIOR COLLEGE Bryn Mawr, Pennsylvania
Thursday morning, November 2, 1959, at 11:00 o'clock
Noah Bielski, Violin Louis Snub, Piano
of
THE: CURTIS INSTITUTE OF MUSIC
Programme
I
Concerto No. 2 in D minor Wieniawski
Allegro moderato Romance
Allegro moderato alia zingara Noah Bielski
II
Ballade in a flat major, Opus 47 ) Berceuse, Opus 57 )
La campanella
Louis Snub
III
La gitana )
Caprice viennois ) Kreisler
Tambourin chinois )
Noah Bielski
Chopin
Paganini-Lisst
JUNIOR OCTAVE CLUB Norristown, Pennsylvania
Thursday evening, November 2, 1939, at 8:00 o'clock
Lynne Wainwright, Harp Hilda Morse, Soprano Leo Luskin, Accompanist
of
THE CURTIS INSTITUTE OF MUSIC
Programme
I
Bourree
"Gavotte" from "Iphigenie in Aulis" Concert variations on Adeste Fideles Lynne Wainwright
II
Nimmersatte Liebe ) Das verlassene Magdlein ) Vergebliches Standchen
Hilda Morse
Bach
Gluck
Salzedo
Wolf
Brahms
III
Brahms lullaby arranged by Salzedo
Deux chansons populaires francaises Grandjany
Le bon petit roi d'Yvetfrt
Et ron ron ron, petit patapon En bateau Debussy
Chanson de Guillot-Martin Perilhou-Miller Lynne V-ainwright
IV
11 Un bel di1: from "Madame Butterfly" Ohie Menechel
Hilda Morse
Puccini Gianni ni
FRIENDS' SELECT SCHOOL Philadelphia, Pennsylvania
■Friday morning, November 5, 1939, at 10:30 o'clock
Veda Reynolds, Violin Nathan Stutch, Violoncello John Simms, Piano
of
THE CURTIS INSTITJTE OF MUSIC Programme
Praeludium and allegro La fille aux cheveux de lin Variations on a theme by Corelli Veda Reynolds
Kreisler De bus sy-Har tmann Tartini-Kreisler
II
Adagio from the organ toccata in C major Bach Serenade espagnole, Opus 20, No. 2 Glazounov Rondo in A major ,,eber
Nathan Stutch
III
Trio in C minor, Opus 1, No. 3 Allegro con brio Andante cantabile con variazioni Menuetto. Quasi allegro Finale. Prestissimo
Veda Reynolds Nathan Stutch John Simms
Beethoven
SAINT ANDREWS SCHOOL Middle town, Delaware
Saturday evening, November 4, 1939, at 8:00 o'clock
Veda Reynolds, Violin Nathan Stutch, Violoncello John Simms, Piano
of
THE CURTIS INSTITUTE OF MUSIC
Programme
Trio in C minor, Opus 1, No. 3 Beethoven
Allegro con brio
Andante cantabile con variazioni Menuetto. Quasi allegro Finale. Prestissimo
Veda Reynolds, Nathan Stutch and John Simms
II
Adagio from the organ toccata in C major Bach
Serenade espagnole, Opus 20, No. 2 Glazounov
Rondo in A major Weber Nathan Stutch
III
Chopin
Waltz in E minor (posthumous) ) Scherzo in C sharp minor, Opus 39 ) John Simms
IV
Praeludium and allegro Kreisler
La fille aux cheveux de lin Debus sy-Hartmann
Variations on a theme by Corelli Tartini-Kreisler Veda Reynolds
Trio in C minor, Opus 101 Brahms
Allegro energico Presto non assai Andante grazioso Allegro molto
Veda Reynolds, Nathan Stutch and John Simms
^4 ^
UNIVERSITY OF DELAWARE
NEWARK. DELAWARE (Under the auspices of the Newark Musk Socict]
Thursday evening, November 9th, 1959. at S:00 o'clock
ROBERT GROOTERS. Bantam MARGUERITE KUEHXE. Yioim LOUIS SHUB, Piano of
THE CURTIS INSTITUTE OF MUSIC
PROGRAMME
I
Have you seen but a whyte lillie grow? Old English
Flow not so fast, ye fountains Dowlaxd
Die Rose, die Lilie Schumaxx
Venn du zu den Blumen gehst Hugo ^Tole E>er Leiermann
1
Sc HUBERT
Rastlcs« Liebe
ROBERT GROOTERS
II
Gavotte from sonata in E major Bach-Krejsler
Romance in G major. Opus 40 Beethoven
Rondo in G major Mozart-Kreisler
MARGUERITE KUEHXE
III Berceuse, Opus 57 J
Etude in F major, Opus 10, No. 8 / Chopin
Ballade in A flat major, Opus 47 '
LOUTS SHUB
IV
Pilgrim's song Tschatrovsry
Jean SvBOSS
The hills of home Fox
A maid of Alcala Messager
Glory road "STolfe
ROBERT GROOTERS
V
Rondo capriccioso Salnt-Saens
MARGUERITE KUEHXE
SLEIGHTON FARM SCHOOL FOR GIRLS Darling Post Office, Pennsylvania
Tuesday evening, November 14, 1939, at 7:30 o'clock
Robert Grooters, Baritone Marguerite Kuehne, Violin Louis Snub, Accompanist
of
THE CURTIS INSTITUTE OF MUSIC
Programme
I
Have you seen
but a whyte lillie grow? Old English
Flow not so fast, ye fountains Dowland
Die Rose, die Lilie Schumann
Wenn du zu den Blumen gehst Wolf Der Leiermann )
Rastlose Liebe ) Schubert
Robert Grooters
II
Gavotte from sonata in E major Bach-Kreisler
La fille aux cheveux de lin Debussy-Hartmann
Rondo in G major Mozart-Kreisler Marguerite Kuehne
III
Pilgrim's song Tschaikovsky
Jean Spross
The hills of home Fox
Long ago in Alcala Messager
Glory road Wolfe Robert Grooters
IV
Rondo capriccioso Saint-Saens
Marguerite Kuehne
^sSk
^§2^
|
£eba ftoiringon, |
Harp |
|
Rattan &tutd), |
Violoncello |
|
^Burnett Atkinson, |
Jflute |
|
Houia £>fmfc, |
gUcompantet |
of
Cfje Curtis institute of jflustc
Wednesday Afternoon
November fifteenth Nineteen Hundred Thirty-nine
Montgomery County Medical Society Building
quasi Axxegro
Noah Bielski Morris Shulik Stephen Katsaros "William Saputelli
®f)t t^ctabe Club
Norristown, Pennsylvania MRS. J. LAWRENCE EISENBERG, President
Wednesday Afternoon at Two-Thirty O'clock
Mrs. Charles W. Miller, Chairman of the Day
PROGRAMME
I
First two movements of Sonata No. 8 in D major. . . .Leclair Adagio Allegro
Menuet Bach
Two movements from Trio Sonata in B minor Loeillet
Adagio Allegro
Reba Robinson, Nathan Stutch and Burnett Atkinson
II
Adagio from the organ toccata in C major Bach
Serenade espagnole, Opus 20, No. 2 Glazounov
Rondo in A major Weber
Nathan Stutch
ill ck
Waltz in A flat major Brahms
Believe Me. If All Those Endearing Young Charms. .Salzedo May Xight Palmgren
Night Breeze ) „ ,
Behind the Barrack? i
Reba Robinson
IV
Sonata in F major Marcello
Sicilienne Bach
Menuetto Mozart
Birnett Atkinson*
V
Deux Arabesques Debussy
Petite Suite Dukas
Berceuse
Souvenance 111
Dorienne from ''Divertissement grec" Mouquet
Reba Robinson. Nathan Stutch and BrRXETT Atkinson
211
quasi A-u.egro
Noah Bielski Morris Shulik Stephen Katsaros William Saputelli
MRS. CLARENCE R. PALMER
MRS. E. FRED BROUSE MRS. WILLIAM D. HUNTER MRS. CLARENCE G. LAND
MISS MARION SPANGLER Chairman of Programs
MRS. JOHN LOCK LARZELERE. .Chairman of Decorations
Mtxt iWeeting -- December &toentietf)
CAROLYN FOX— Violinist
& Jfrem!) ^eafiaut Cftr&tmatf
OCTAVE CLUB CHORUS Mks. Harold V. Sturtevant — Chairman of the Day
JR. OCTAVE CLUB
November 18th at 10 A. M. Y. W. C. A. Auditorium
MISS MARJORY WILSON
and her
SHEPHERD PIPES
Mrs. Wm. D. Hunter
Mrs. Harold V. Sturtevant
in charge
URSINUS COLLEGE Collegeville, Pennsylvania
Thursday evening, November 16, 1939, at 8:00 o'clock
Noah Bielski, Violin Morris Shulik, Violin Stephen Katsaros, Viola William Saputelli, Violoncello Louis Shub, Piano
of
THE CURTIS INSTITUTE OF MUSIC
Programme
Concerto No. 2 in D minor, Opus 22 Wieniawski Allegro moderato Romance
Allegro moderato alia zingara Noah Bielski
II
Berceuse, Opus 57 )
Etude in F major, Opus 10, No. 3 ) Ballade in A flat major, Opus 47 ) Louis Shub
III
Chopin
Quartet in B flat major, Opus 13, No. S Beethoven Allegro con brio Adagio ma non troppo Scherzo. Allegro
La Malinconia. Adagio. Allegretto quasi Allegro
Noah Bielski
Morris Shulik
Stephen Katsaros
William Saoutelli
ftOfiiAtf'S CLUB OF LYNCHBURG Lynchburg, Virginia
Friday afternoon, November 17, 1939, at 3:30 o'clock
Reba Robinson, Harp Nathan Stutch, Violoncello Burnett Atkinson, Flute
of
THE CURTIS INSTITUTE OF MUSIC
Programme
First and second movements
of Sonata No. 3 in D major Leclair
Adagio Allegro Menuet Bach
Two movements from Trio Sonata in B minor Loeillet Adagio Allegro Reba Robinson, Nathan Stutch and Burnett Atkinson
II
Adagio from the organ toccata in C major Bach
Serenade espagnole, Opus 20, No. £ Glazounov
Rondo in A major Weber Nathan Stutch
III
Waltz in A flat major Believe me, if all those
endearing young charms May night
Night breeze ) Behind the barracks )
Reba Robinson
Brahms
Salzedo Palmgren
Salzedo
IV
Sonata in F major Marcello
Sicilienne Bach
Menuetto ioaart Burnett Atkinson
WOMAN'S CLUB OF LYNCHBURG
Lynchburg, Virginia
(continued)
Deux arabesques Debussy
Petite suite Dukas
Berceuse
Souvenance "Dorienne" from
"Divertissement grec" Mouquet
Reba Robinson, Nathan Stutch and Burnett Atkinson
SCHUMANK CLUB lildiftood, New Jersey
Tuesday evening, November £8, 1939, at 6:50 o'clock
Hilda Morse, Soprano Donald Coker, Tenor Louis Shub, Piano
of
THE CDRTIS INSTITUTE OF MUSIC
Programme
I
Das verlassene Magdlein ) Nimmersatte Liebe ) Der Schmied )
Vergebliches Standchen )
Hilda Morse
II
Lasciatemi morire Danza, dansa fanciulla gentile I attempt from love's sickness to fly "Total eclipse!" from "Samson" Donald Coker
Wolf Brahms
Monteverdi
Durante
H. Pur cell
Handel
III
Ballade in A flat major, Opus 47 ) Berceuse, Opus 57 )
Etude in F major, Opus 10, No. 8 ) La carcpanella
Louis Shub
Chopin Pa ganini-Li s 2 1
IV
"Un bel di" from "Madame Butterfly" Ohie Menechel
Hilda Morse
Puccini Gianinni
"Vesti la giubba" from "I Pagliacci" Leoncavallo Clorinda Morgan
A sailor's life Old English
Old Mother Hubbard,
set in the manner of Handel Hely-Hut chins on Donald Coker
NET. JERSEY STATE TEACHERS COLLEGE Glassboro, New Jersey
Thursday morning, November 30, 1939, at 10:30 o'clock
Robert Grooters, Baritone Louis Snub, Piano
of
TEE CURTIS INSTITUTE OF MUSIC
Programme
I
Recitative and air from the "Messiah" )
"Thus saith the Lord, but who may abide")
Caro mio ben
Caro laccio, dolce nodo
Non piu
Robert Grooters
II
Handel
Giordani
Gasparini
Cimara
Ballade in A flat major, Opus 47) Etude in F major, Opus 10, No. 8) La cempanella
Louis Shub
III
Chopin Pagan ini-Liszt
Pilgrim's song Tschaikovsky
Blow, blow, thou winter wind ) _ , -.-. Drink to me only with thine eyes) ^ranged by Quilter Birthday song MacFadyen
Robert Grooters
3H00L 1, Peni _
- Lock
- - - - .•
of
"_ F IK EC
: ..-.-._
HilcU Ho]
"
::
. . bl - _ _th
i
- _■--
III
_ L )
Dei _ . )
" . . . ,
rv
i - . - ^
%
\ ti] a
"_
GASTON PRESEYTFRIAN CHDHC Philadelphia, Pennsylvania
Sunday evening, December 17, 1939, at 7:20 o'clock
Lvnne iTain^right, Karp Herbert Baiuael, Violin Nathan Stutch, Violoncello
of
TEE CURTIS INSTITUTE OF MUSIC
Programme
I
Trio Sonata in B minor Loeillet
Largo Allegro Adagio
Allegro con spirito Menuet Bach
Lvnne T.'ainnright, Herbert Baumel and Nathan Stutch
II
"Gavotte" from "Iphegenia in Aulis" Slack Concert variations
on Adeste Fideles (1955) Sal
Lynne lainvright
III
First movement frofl Sonata No. E
in D major Leclair
Adagio "Dorienne" from "Divertissement grec" Moucuet Lynne 7.a in v> right, Herbert Eaumel and Nathan Stutch
IV
Arioso Bach
Serenade espagnole, Opus 20, No. k. Glazounov Lynne Ysainwright and Nathan Stutch
WOMAN'S CLUE OF ALLENTOVvN Allentown, Pennsylvania
Tuesday afternoon, January 2, 1940, at £:45 o'clock
Howard Vanderburg, Baritone Eugene Bossart, Piano
of
THE CURTIS INSTITUTE OF MUSIC
Programme
I
Dank sei Dir, Herr
He, Zigeuner )
Lieber Gott, du weisst )
Roslein dreie, in der Reihe )
Du bist so jung )
Ewig )
Howard Vanderburg
Handel Br aims
E . I olf f
II
"Nemico della patria" from "Andrea Chenier"
Howard Vanderburg
III
Rhapsody in E flat major, Opus 119, No Hungarian rhapsody, No. 11
Eugene Bossart
Giordani
4 Brahms Liszt
IV
Yarmouth fair
Passing by
Be it bright day, Opus 47, No. 6
Silent strings
Good ale
Howard Vanderburg
Oarlock
E. Purcell
Tschaikovsky
Bantock
Warlock
MOORESTOM HIGH SCHOOL Moorestown, New Jersey
Thursday morning, February £2, 1940, at 9:00 o'clock
Reba Robinson, Harp Nathan Stutch, Violoncello Burnett Atkinson, Flute
of
THE CURTIS INSTITUTE OF alUSIC
Programme
I
Trois pieces en concert La laborde: Rondement La boucon: Andante L'agacante: Rondement
Reba Robinson, Nathan Stutch and Burnett Atkinson
Rameau
II
Sonata in F major Andante in C major
Burnett Atkinson
III
Waltz in A flat Pirouetting music box ) Fraicheur )
Le bon petit roi d'Yvetot
Reba Robinson
Marcello Mozart
Brahms
Salzedo
Grand j any
IV
Adagio from the organ toccata in C major Rondo in A major
Nathan Stutch
Bach V.eber
First movement of Trio Sonata in B minor Loeillet
Largo Arabesque No. 1 Debussy
"Dorienne" from "Divertissement grec" Mouquet Reba Robinson, Nathan Stutch and Burnett Atkinson
THE NEIGHBORS Hatboro, Pennsylvania
Wednesday afternoon, February 23, 1940, at 2:15 o'clock
Laura Archera, Violin Leo Luskin, Accompanist
of
THE CURTIS INSTITUTE OF MUSIC
Programme
Air on the G string uiattheson
Tzigane Ravel
Laura Archera
earcul; juhior COLLI,! Bryn Mawr, Pennsylvania
Thursday coming, February 29, 1940, at 11:00 o'clock
John Sl—ftj Piano Veda Reynolds, Violin Nathan Stutch, Violoncello
of
THE CTJRTIS INSTITOTE OF MUSIC
Programe
I
Trio in C minor, Opus 1, No. 3 Beethoven
Allegro con brio Andante cantabile con variazioni Mennetto. yuasi allegro Finale. Prestissimo
John Simms, Veda Reynolds and Nathan Stutch
II
Adagio from the organ toccata in C major Bach
Serenade espagnole, Opus 20, No. 2 Glazounov
Rondo in A major Weber Nathan Stutch
III
Trio in G minor, Opus 101 Brahms
AllegrD energico Presto non assai Andante grazioso Allegro molto
John Simms, Veda Reynolds and Nathan Stutch
PORCH CLUB
RIVERTOX, NEW JERSEY
Tuesday Afternoon, March 5, 1940, at 2:30 o'clock
Villa Stewart, Soprano Nathan Goldstein, Violin Charles Libove, Violin Louis Shub, Accompanist of
THE CURTIS INSTITUTE OF MUSIC
PROGRAMME
I
Bel piacere e godere fido amor Sommi Dei
Spirate pur, spirate Ah, mai non cess3te
)
Handel Donaudy
Willa Stewart II
Romance from Concerto in D minor, Opus 22 Scherzo-Tarantelle
WlENIAWSKl
Nathan Goldstein
III
"Elle est la, pres de lui" from Mignon Thomas
Wauk Stewart
IX
Adagio from Concerto in G minor, Opus 26 Bruch
Praeludium and Allegro Pugnani-Kreisler
Charles Libove
Spirit flower Campbell-Tipton
Ecstasy Rummel
SleeP now I Barber
I hear an army J
Willa Stewart
VI
Concerto for two violins in D minor Bach
Allegro
Andante
Allegro
Perpetuum mobile, Opus 34, No. 5 Ries
Nathan Goldstein and Charles Libove
Pembcrlott, 5fcfn -Jersey
(Lnesbav ^fetttng, April 9, 1940
8.15 o'clock
Eleanor Mitchel, Flute Marguerite Kuehne, Violin Esther Gruhn, Violoncello
OF THE CURTIS INSTITUTE OF MUSIC
PROGRAMME
I
Sonata Corelli
(Arranged by Hershy Kay) Grave
Andante
Allegro
Largo
Allegrc
Divertissement in D major, Opus 100 .... Haydn
Adagio cantabile
Allegro
Tempo di minuetto
Divertissement in G major, Opus 100 .... Haydn
Allegro Adagio Allegro
II
Trio in C major, Opus 87 Beethoven
Trio in B flat major Schubert
Little Shepherd Debussy
III
Sonata in F major Wagenseil
Allegro Minuetto Allegro assai
COMPLIMENTS OF
Lewis J. Mantel, Pemberton; J. G. Montgomery & Co., Inc., Pemberton;
The People's National Bank and Trust Company, Pemberton;
B. Ney Ridgway, Pemberton; Piatt's General Store
*w ■ »
UNIVERSITY OF DELAWARE
NEWARK, DELAWARE (Under the auspices of the Newark Music Society)
Thursday evening, April 11, 1940, at 8:00 o'clock
WILLA STEWART, Soprano HERBERT BAUMEL, Violin NATHAN STUTCH, Violoncello LEO LUSKIN, Accompanist of
THE CURTIS INSTITUTE OF MUSIC
PROGRAMME
I
O sleep why dost thou leave me? \
Bel piacere e godere fido amor > Handel
Sommi Dei I
}
Spirate pur, spirate .. | Doxaudy
Ah, mai non cessate
WILLA STEWART
II Concerto in A minor, Opus 102 Brahms
Allegro
Andante
Vivace non troppo
HERBERT BAUMEL and NATHAN STUTCH III
Spirit flower Campbell-Tipton
Ecstasy Rummel
SleePnow I Barber
I hear an army J
The sleigh Kountz
WILLA STEWART
The Somerville Committee of Swarthmore College
Swarthmore, Pennsylvania
Thursday Evening, April 18, 1940, at S:3C o'clock
Noah Bielski, Violin Morris Shulik, Violin Albert Falkove, Viola William Saputelli, Violoncello Eugene Bossart, Piano of
The Curtis Institute of Music
Beethoven Program
i
Quartet in B flat, Opus IS, No. 6
Allegro eon brio Adagio, ma non troppo Scherzo. Allegro La malinconia
Adagio. Allegretto quasi Allegro
Messrs Bielski, Shulik, Falkove and Saputelli
II Sonata in C minor, Opus 30, No. 1
Allegro con brio Adagio cantabile Scherzo. Allegro Finale. Allegro
Messrs Bielski and Bossart
III Quartet in E flat. Opus 74
Poco adagio
Adagio ma non troppo
Presto
Allegretto con variazioni
Messrs Bielski, Shulik, Falkove and Saputelli
HOMQUIST SCHOOL New Hope, Pennsylvania
Saturday evening, April 20, 1940, at 3:00 o'clock
Reba Robinson, Harp Nathan Stutch, Violoncello Burnett Atkinson, Flute
of
THE CURTIS INSTITUTE OF MUSIC
Programme
I
Menuet Bach
Two movements from Trio Sonata
in B minor Loeillet
Adagio Allegro First and second movements of Sonata
No. 3 in D major Leclair
Adagio Allegro
Reba Robinson, Nathan Stutch and Burnett Atkinson
II
Trois pieces en concert La laborde: Rondement La boucon: Andante L ' agacante : Rondement
Reba Robinson, Nathan Stutch and Burnett Atkinson
III
Mirage
rtaltz in A flat
Zephyr )
Pirouetting music box )
Night breeze )
Behind the barracks )
Reba Robinson
Rameau
Salzedo Brahms
Salzedo
HOL.\iQUIST SCHOOL New Hope, Pennsylvania (continued)
IV
Arabesque No. 1 Debussy
"Dorienne" from "Divertissement grec" Mouquet
"Menuet" from "Sonatine" Ravel
Spanish dance Granados Reba Robinson, Nathan Stutch and Burnett Atkinson
THE ROTARY CLUB OF ftlLiilNGTON .Imington, Delaware
Tuesday afternoon, April 23, 1940, at 2:00 o'clock
Barbara Elliott, Piano
of
TEE CURTIS INSTITUTE OF MUSIC
Programme
Rondo capriccioso, Opus 14 Mendelssohn Clair de lune Debussy- Etude in G flat Moszkowski Barbara Elliott
NEVv JERSEY SCHOOL WOMEN'S CLUB Trenton, New Jersey
Saturday evening, ivlay 4, 1940, at 3:00 o'clock
Veda Reynolds, Violin Hilda Morse, Soprano Eugene Bossart, Accompanist
of
THE CURTIS INSTITUTE OF MUSIC
Programme
Praeludiura and allegro Zephyr, Opus 30, No. 5
Veda Reynolds
II
Kreisler Hubay
Vergebliches Standchen Das verlassene Magdlein ) Nimmersatte Liebe )
Hilda Morse
III
La fille aux cheveux de lin Caprice, d'apres 1' etude en forme de valse, Opus 52, No. 6
Veda Reynolds
Ohie Menechel I hear an army
IV
Hilda Morse
Brahms Wolf
Debus sy-Hartmann Saint-Saens-Ysaye
Gianinni Barber
NEW JERSEY STATE TEACHERS COLLEGE Glassboro, New Jersey- Tuesday norning, tway 7, 1940, at 10:30 o'clock
Nathan Stutch, Violoncello Eugene Bossart, Piano
of
THE CURTIS INSTITUTE OF MUSIC
Programme
I
Two movements from Concerto
in B flat major Boccherini
Adagio non troppo Allegro moderato
Nathan Stutch
II
Perpetuum mobile V.eber
Rhapsodie in E flat, Opus 119, No. 4 Brahns
Hungarian rhapsody, No. 11 Liszt Eugene Bossart
III
Adagio from the organ toccata
in C major Bach
Slrlnade espagnole, Opus 20, No. 2 Glazounov
Rondo in A major Weber
Nathan Stutch
EMILIE KRIDER NORRIS SCHOOL Philadelphia, Pennsylvania
Yvednesday evening, day 3, 1940, at 8:00 o'clock
Reba Robinson, Harp
of
THE CURTIS INSTITUTE OF MUSIC
Programme
Sonata in C minor Allegro vigoroso Andantino espressivo Presto "Gavotte" from "Amide" Theme and variations
II
Three poetical stadies Mirage Idyllic poem Inquietude
III
Waltz in A flat
Believe me, if all those
endearing young charms Fraicheur
Pirouetting music box Night breeze Behind the barracks
Pescetti
Gluck Haydn
Salzedo
Brahms
Salzedo
^f&
UNIVERSITY OF DELAWARE
NEWARK, DELAWARE (Under the auspices of the Newark Music Society)
Thursday evening, February 15, 1940, at 8:00 o'clock May 9th, WOODWIND ENSEMBLE
Conducted by
JORGE BOLET
JOHN DeLANCIE, Oboe BRITTON JOHNSON, Flute JAMES KING, Clarinet DAVID HALL, French Horn SANFORD SHAROFF, Bassoon JORGE BOLET, Piano
of
THE CURTIS INSTITUTE OF MUSIC
PROGRAMME I
Aria from prelude No. 10 in E minor
,
Bach-Mapes
Choral "Meine Seele erhebt den Herren'
Flute, Oboe, Clarinet, Bassoon and French Horn
Les petits moulins a vent Couperin
Flute, Oboe and Bassoon
Aubade De Wailly
Flute, Oboe and Clarinet
II
Quintet in E flat major (K. 452) Mozart
Oboe, Clarinet, French Horn, Bassoon and Piano Largo. Allegro moderato Larghetto Rondo. Allegretto
III
Caprice on Danish and Russian Airs, Opus 79 Saint-Saens
Flute, Oboe, Clarinet and Piano
Dance suite, Opus 53 Blumer
Flute, Oboe, Clarinet, Bassoon and French Horn Rigaudon Sarabande Menuett
Ungariseliei' Tanz Valse Boston One step
REVIEW CLUB OF OAK LA Oak Lane, Philadelphia, Pennsylvania
Wednesday afternoon, May 15, 1940, at 2:50 o'clock
Reba Robinson, Harp Nathan Stutch, Violoncello Eleanor Mitchel, Flute
of
THE CURTIS INSTITUTE OF iSUSIC
Programme
I
dienuet Bach
Third movement from Trio Sonata
in B minor Loeillet
Adagio L'agacante: Rondement Rameau
Reba Rod in son, Nathan Stutch and Eleanor Mitchel
II
Waltz in A flat major Believe me, if all those
endearing young charms )
it oreeze )
Pirouetting music box )
Behind the barracks )
Reba Robinson
III
Menuet The swan Arabesque No. 1 Spanish dance, Opus 5, No. 5 Reba Robinson,
Brahms
Salzedo
Valensin
Saint-Saens
Debussy
Granados
Nathan Stutch and Eleanor Mitchel
NEW CENTURY CLUB Wilmington, Delaware
Wednesday afternoon, fiday 15, 1940, at 2:30 o'clock
.-villa Stewart, Soprano Eugene bossart, Accompanist
of
THE CURTIS INSTITUTE OF MUSIC
Programme
"Un bel di" from "Madame Butterfly" Puccini
Spirit flower Campbell-Tipton
Sleep now )
) Barber
I hear an army )
Villa Stewart
NEW JERSEY STATE TEACHERS COLLEGE Glassboro, New Jersey- Tuesday morning, May 21, 1940, at 10:30 o'clock
Hilda Morse, Soprano Eugene Bossart, Piano
of
THE CURTIS INSTITUTE OF MUSIC
Programme
Wer rief dich denn )
Nun lass uns Frieden schliessen ) Das verlassene Magdlein ) Nimmersatte Liebe )
Hilda Morse
Wolf
II
Nocturne in F sharp major, Opus 15 General Lavine (eccentric) Hungarian rhapsodie
Eugene Bossart
III
"Salce" from "Otello" I hear an army Nicolette Ohie Menechdl
Hilda Morse
Chopin
Debussy
Liszt
Verdi
Barber
Ravel
Gianinni
PRINCETON UNIVERSITY Princeton, New Jersey
Sunday afternoon, November 5, 1959, at 4:00 o'clock
Broadus Erie, Violin Veda Reynolds, Violin
ilton Kohl, Violin Stephen Katsaros, Viola True Chappell, Violoncello John DeLancie, Oboe Perry Bauman, Oboe vvaldemar Dabro\vski, Conductor
of
THE CURTIS INSTITUTE OF MUSIC
and
Alice Hufstader, Soprano Katherine Ellis, Piano
MOZART PROGRAM
String quartet in C major (K465) Adagio. Allegro Andante cantabile Menuetto Allegro
Broadus Erie
Veda Reynolds
Stephen Katsaros
True Chappell
II
Ridente la calma
An Chloe
"Dove sono" from "The Marriage of Figaro"
Alice Hufstader
Katherine Ellis
PRIUCETaH OHIVERSITX
Princeton, Hew Jersey (Continued)
III
Quartet for oboe and strings in F major (K370) Allegro Adagio Rondo . Allegro
John DeLancie
Veda Reynolds
Stephen Katsaros
I rue Chappell
IV
"Exultate, jubilate" (K165) Alice Kufstader Katherine Ellis Milton Wohl Broadus Erie Stephen Katsaros True Chappell John DeLancie Perry Baunan Waldemar Dabrowski
THE HAGERSTOYvN SYMPHONY ORCHESTRA Hagerstown, iferyland
Thursday evening, December 7, 1939, at 3:30 o'clock
Russell Gerhart, Conductor
Noah Bielski, Violin of THE CURTIS INSTITUTE OF MUSIC Programme
I
Overture to "Creations of Prometheus*
II
Symphony in D minor Allegro non troppo
III
Concerto No. 2 in D minor for violin and orchestra Allegro moderato Romance Allegro moderato alia zingara
Noah Bielski, Soloist
IV
Beethoven
Franck
V\ieniawski
Mock morris
Grainger
Summer night
Sailor's dance
VI
Rhodes
Gliere
llfelcmne**$eui Ctttnens
<Thr phtlomustan Club 3944 Walnut &tmt
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lUtanrsbau lEuemng, ®e cember 13th 1939
$llpbgF uf Allnjianr*
"I pledge allegiance to the flag of the United States of America and to the Republic for which it stands; one nation indivisible, with liberty and justice for all."
3Ihp Amrriran'a (Jlrrrn
1 believe in the United States of America as a government of the people, by the people, for the people, whose just powers are derived from the consent of the governed; a democracy in a republic: a sovereign Nation of many sovereign States; a perfect Union, one and inseparable, established upon those principles of freedom, equality, justice, and humanity for which American patriots sacri- ficed their lives and fortunes.
I therefore believe it is my duty to my country
to love it; to support its Constitution; to obey its
laws; to respect its flag; and to defend it against
all enemies.
— William Tyler Page
.^nigram...
.NLlLTON WOHL Violinist
Leo Luskin Pianist
of the Curtis Institute of Music BlLLIE LESSIG . \'ocal Soloist
Violin Solo —
Malaguena. Opus 21 Sarasate
Hopak Moussourgsku-Dushkin
Piano Solo —
Prelude in G-sharp minor. Opus 32. No. 12 Rachmaninoff
Impromptu in C-sharp minor. Opus 66 ( Chin'n
Waltz in E minor 5
Violin Solo —
Mazurka in A minor. Opus 68. No. 2 Chopin
Hejre Kati Hubay
Invocation Rev. D. Wilmot Gateson, D.D.
Greeting Mrs. Walter Willard
President of Philomusian Club
Pudge of Allegiance Mrs. I. L. Vansant
Vocal Solo — "God Save America" Irving Berlin
BlLLIE LESSIG
Address D. Mont fort Melchior
Supervisor of High School Instruction at Cirard College
Welcome J. L. Hughes
Director of Immigration and Naturalization
Awarding of Certificates of Naturalization Henry L. Mulle
District Director of Immigration and Naturalization
PRINCi DIVERSITY Princeton, New Jersey
Sunday afternoon, February 11, 1940, at 4:00 o'clock
Baruch Altman, Violin Albert Falkove, Viola Nathan Stutch, Violoncello
of
THE CURT1 1C
and
Madame Marta Pacsu, Piano
Ernest DeV.ald, bass
Celius Dougherty, Accojipanist
£ART PROGL
I
Trio in C major (K54d) Allegro
Andante cantabile • Allegro
rta Pacsu barach Altman Nathan Stutch
II
"0 Isis und Osiris"
from "Die ^auDerfiote" "'. ,er ein uiebchen hat geiunden"
from "Die Entflinrung aus dem Serail" iamina" from "Don Giovanni'1 Ernest DeWald Celius Dougherty
xil
rtet in G minor (K47o)
Allegro
Andante
Rondo
Madame marta Pacsu
Baruch Altman
Albert Falkove
Nathan Stutch
Fifth Annual Concert
Abington Senior High School
Combined Glee Clubs
Direction o£ Carroll O'Brien
Assisted by
Robert Cornman, Pianist
Robert Borges, Violinist
Auditorium Friday evening, March fifteen
eight-twenty-five o'clock nineteen hundred forty
Program
Girls' Glee Club
Romance, Debussy
Ave Maria, Bach-Gounod
Violin obbligato Robert Borges
I Couldn't Hear Nobody Pray, Spiritual
Accompanist - James Yost
Verse Speaking Choir
She Walks in Beauty, Byron Tarantella, Hilaire Belloc
Piano - Robert Cornman
Ballade in G minor, Opus 1 18, No. 3, Brahms
Elizabethan Singers
Cargoes, Lutkin
Rhapsody, Banks
Emitte Spiritum tuum, Schuetky
Hospodi Pomilui, Lvovsky
Boys' Glee Club
Abington Song
Drink To Me Only With Thine Eyes, Old English
Accompanist - Katharine Wieder
Piano - Robert Cornman
Nocturne in B flat minor, Opus 9, No. 1, Chopin Etudes:
G Sharp minor, Opus 25, No. 6
E flat major, Opus 10, No. 1 1
A minor, Opus, 25 No. 1 1
Mixed Glee Club
O Lord Most Holy, Franck Spirituals
a. Ezekiel Saw De Wheel
b. Roll, Jordan, Roll
Soloists Doris Smith, Max Pincus, Betty Kidd and Robert Solly The Three Kings, Willan Italian Street Song, Herbert (requested)
Accompanist - - A. Erna Grabner
Glee Club Members
Evelyn Allen Marie Ambler Maryellen Anderson Barbara Barrow Beatrice Bates Margaret Becker Dorothy Bradley Lorena Brasier Mary Bubeck Sara Cardillo Antoinette Cavallaro Kathryn Cawley Virginia Chatterton Marjorie Chupp Ethel Clark Ruth Clyde Jane Cook Eleanor Cooney Alice Cornell Barbara Coyle Patricia Coyle Irene Cox
Alexa Dannenbaum Aldine Denby Edith Dinlocker Angie DiPalantino Margaret Dixson Barbara Djorup Jean Doane Lorraine Doyle Geraldine Dubin Jean Durand Miriam Engard Doris Fleurer Alice Frantz Audrey Garey Jean Garrison Helen Gellert
Girls
Evelyn Gibbs Janet Graham Jeanne Habhegger Barbara Hamilton Phyllis Hampshire Peggy Hanline Betty Hermanson Jane Hoffman Blanche Hofstetter Marjorie Holmes Natalie Howley Anne Ireland Helen Jenks Verna Johnson Edna Kapral Roberta Kenyon Betty Kidd Inez Kneece Catherine Krieder Betty Kritler Florence Kulp Sybilla Kurtz Ida Landenburg Viola Lang Grace Laning Patsy Leonhard Edna MacArthur Mary Maroney Mary Mast Dorothea Mobley Betty Morrison Eleanor Nehlig Mae Nehlig Rita Ortalani Phyllis Oxman Helen Pierce Shirley Porter Marjorie Postle
Florence Pyle Doris Reading Gloria Reber Nancy Renninger Adele Ritchie Nancy Roberts Regina Rodgers Eleanore Rogers Ruth Rummel Irene Ruzicka Jane Saddington Marion Scalfaro Mary Helen Scanlon Miriam Scanlon Doris May Smith Edna Smith Marilyn Smythe Mary Jane Snyder Ruth Swartley Alice Sweisfurth Doris Taylor Bertha Theurer Florence Theurer Alice Thomas Gladys Thornton Betty Turner Marion Van Buskirk Gloria Wall Peggy Wall Louise Welsh Margaret Whitaker Katherine Wieder Gene Williams Madge Williams Natalie Williams Helen Wilson Hope Young
Glee Club Members
Boys
Edward Bartlam Fred Becker Robert Borges Robert Borell Charles Brackbill Raymond Brandt John Burn Perry Burton Norwood Collins Russell Collmer Charles Corwin Robert Cragg John Davey Robert Doane Maur Dubin Louis Fisher Ralph Gibbs Jack Gillingham Fred Harrer Robert Hesse Robert Hilliard Howard Hudson Newton Hunsberger William Hutter Tom Hyndman Carlton Krout Donald Lewis Robert Marple Joseph McDowell Royer McGlade Henry McKay
Sherman Meschter Harold Miller Harry Mills Charles Moore Alan Myler Max Pincus George Pletcher Robert Quay Burton Ramsey Christie Rau David Reber John Reichard Robert Reisen Ken Ritter John Rodenhausen John Schneider Rothwell Shelley Arthur Shields John Shields Richard Shook Edward Smith Leonard Smith Edward Snyder Robert Solly Joseph Strick Creston Sutch Sidney Walker Bruce Wall Robert WTeldon James Yost
product of A. Sr. H. S. class in printing
COLORED MOTION PICTURES OF BIRDS
presented by
Randolph Ashton FLUTE DUETS
by Eleanor Mitchel and John Krell of the Curtis Institute of Music
PROGRAM
I
Allegro Minuetto Sonate 1
Tempo Guisto Allearetto
Miss Mitchell and Mr. Krell II
Woodpeckers, Orioles Ospreys, Terns, Skimmers Finches
Sonate 1 1
Adagio Allegro
Duette, Opus, 75
Allegro vivace Rondo
Mr. Ashton III
Miss Mitchel and Mr. Krell IV
"Denizens of Stream and Woodland" Herons
Beethoven Handel
Naudot
Mozart
Mr. Ashton
April 5th, 1940
Benefit of The Woman's Medical College of Pennsylvania
PATRONS AND PATRONESSES
Dr. Helen M. Angelucci
Dr. Ann Catherine Arthurs
Mrs. George T. Ashton
Mrs. Herbert Ashton
Mrs. Leonard C. Ashton
Mrs. John C. Atwood, Jr.
Mrs. Horace Avery Jr.
Dr. Emily P. Bacon
Mrs. James B. Bailey
Dr. Eleanor Balph
Dr. Isabel M. Balph
Mrs. Harry H. Battles
Dr. Frieda Baumann
Mrs. Everett H. Brown
Dr. Miriam Butler
Mrs. Edward Cox
Dr. Jean Crump
Mrs. William M. David
Mrs. William Drayton, Jr.
Mrs. Henry P. Erdman
Dr. Marion Fay
Dr. Harriet Felton
Dr. Faith S. Fetterman
Dr. Wilfrid B. Fetterman
Mrs. William C. Fownes
Mrs. Vida Hunt Francis
Dr. Mollie Geiss
Dr. Esther M. Greisheimer
Mrs. Charles F. Griffith
Dr. Roberta Hafkesbring
Dr. Ellen Haines
Dr. Julia H. Hardin
Mrs. John S. C. Harvey
Mrs. Alvin E. Hellmich
Dr. Helen Ingleby
Mrs. William T. Johnson
Mrs. John B. Kelly
Miss Gertrude Knapp
Mrs. John C. Martin
Dr. Catherine Macfarlane
Mrs. Duncan Maclnnes
Miss Gertrude McCormick
Dr. Alma Morani
Dr. Ellen C. Potter
Mrs. Earl B. Putnam
Dr. Bernadine Quinn
Miss Varginia Rath
Dr. John Stewart Rodman
Mrs. Herman Rothenhausler
Dr. Martha G. K. Schetky
Dr. Eleanor Scott
Mrs. Nessie Haig Sheldon
Miss Louise Smyth
Dr. Mary M. Spears
Mrs. James Starr
Miss Ethel Stilz
Mr. Irvin Stone
Mrs. Francis R. Strawbridge
Dr. Margaret C. Sturgis
Miss Evelyn Swain
Miss Olga Tattersfield
Dr. Ann Gray Taylor
Dr. Martha Tracy
Mrs. Jessie Tricker
Dr Emily Lois Van Loon
Mrs. Joseph Wasserman
Dr. Elizabeth Waugh
Mrs. Thomas Raeburn White
Mrs. Raymond D. B. Wright
Mrs. Samuel Woodward
SECOND UNITED BRETHERN CHURCH York, Pennsylvania
Thursday evening, April 18, 1940, at 7:4-5 o'clock
FIFTH ANNUAL SPRING CONCERT
assisted by
Iynne Wainwright, Harp
of
THE CURTIS INSTITUTE OF MUSIC
and
Edythe Wareheim, Organ
Programme
I
Rigaudon Bourree
Rameau Bach
II
Gavotte from "Iphigenia in Aulis" Concert variations on Adeste Fideles
III
Clair de lune
(with Edythe Wareheim)
Gluck Salzedo
Debussy
THE LITTLE SYMPHONY SOCIETY of PHILADELPHIA
"An American Debut Orchestra Dedicated to the Purpose of Creating More Opportunities for Young American Soloists, Conductors and Composers."
JOSEPH BARONE
Founder-Conductor
CONCERT
April 18, 1940, at 8.30 o'clock
in the Foyer of the
ACADEMY OF MUSIC
Broad and Locust Streets
GUEST ARTISTS
EZRA RACHLIN
Guest-Conductor
HILDA MORSE
Soprano
HERBERT BAUMEL
Violinist
NATHAN STTJTCH
'Cellist
THE LITTLE SYMPHONY SOCIETY OF PHILADELPHIA
PROGRAM
JOSEPH BARONE, Conducting
I. Beethoven Overture to "Egmont"
II. Mahler "Wenn Mein Schatz Hochzeit Mach"
from "Songs of a Wayfarer"
Verdi "Salce, Sake"
from "Otello" HILDA MORSE, Soprano
III. Wagner Siegfried Idyll
INTERMISSION
EZRA RACHLIN, Conducting
I. Mozart The Musical Jest
Allegro Menuetto
Adagio Cantabile Presto
II. Brahms Concerto in A Minor for Violin and Violoncello
Allegro Andante
Vivace non troppo
HERBERT BAUMEL, Violinist NATHAN STUTCH, 'Cellist
III. Alvin Etler Music for Chamber Orchestra
Tentative plans call for a series of six concerts during the 1940-'41 season. Candidates wishing to make an appearance with the LITTLE SYMPHONY SOCIETY are asked to com- municate with Mr. Joseph Barone, Bryn Mawr, Fenna. Appli- cations must be accompanied by a letter of recommendation from a teacher, an eminent musician, or a school of music.
THE LITTLE SYMPHONY SOCIETY OF PHILADELPHIA
harl Mcdonald
Advisory Board Horace Alwyne James Francis Cooke Frederick E. Hahn Guy Marriner Konrad Neuger Paul Nordoff Charles O'Connell Thaddeus Rich Randall Thompson
OLGA SAMAROFF STOKOWSKI SKonorary directors
DEEMS TAYLOR
EUGENE ORMANDY
LEOPOLD STOKOWSKI
Honorary Advisers
JOSEPH BARONE Founder-Director
HERBERT J. TILY Sponsor
Honorary National Board
Walter Damrosch Rudolph Ganz Vladimir Golschmann Eugene Goosens Howard Hanson Ernest Hutcheson Pierre Monteux Fritz Reiner Artur Rodzinski Fabien Sevitzky Nikolai Sokoloff
NOTES
HERBERT BAUMEL— Born in New York City in 1920. Lea Luboshutz at The Curtis Institute of Music.
Pupil of Madame
ALVIN ETLER — Born in Battle Creek, Iowa, 1913. Attended University of Illinois, Cleveland Institute of Music, and Western Reserve Univer- sity of Cleveland, Ohio. Member of Indianapolis Symphony. Has re- ceived Guggenheim Fellowship for 1940-'41.
HILDA MORSE — Born in New York City in 1920. Pupil of Madame Elisa- beth Schumann at The Curtis Institute of Music, graduating in May.
EZRA RACHLIN — Born in Los Angeles in 1916. Graduated from The Cur- tis Institute of Music in 1937, having studied under Fritz Reiner.
NATHAN STUTCH— Born in Pittsburgh in 1920. at The Curtis Institute of Music.
Pupil of Felix Salmond
Violins Yasha Kayaloff George Beimel Dayton M. Henry David Madison John W. Molloy M. Roth Anthony Zungolo
Violas Leonard Mogill Simon Asin
Violoncellos Benjamin Gusikoff Morris Lewin
Bass Irven Whitenack
ORCHESTRA PERSONNEL
Harp
Marjorie Tyre
Flutes
John Fischer Hans Schlegel
Oboes John Minsker Louis Di Fulvio
Clarinets Robert McGinnis Leon Lester
Bassoons Sol Schoenbach John Fisnar
MEN OF PHILADELPHIA ORCHESTRA
English Horn John Minsker
Horns Clarence Mayer Mason Jones
Trumpets Harold W. Rehrig Sigmund Hering
Trombone Charles Gusikoff
Percussion Oscar Schwar
Personnel Manager Benjamin Gusikoff
PATRONS AND PATRONESSES INCLUDE:
Mrs. Francis H. Adler
Mr. Joseph Allard
Miss Gertrude Baratin
Mrs. Frederic L. Ballard
Mr. Michael C. Barone
Mrs. H. C. Bazett
Mr. Charles L. Beck
Dr. Moses Behrend
Mrs. Charles G. Berwind
Mrs. Arthur Biddle
Mrs. Thomas Blackadder
Miss Evelyn Blaine
Mrs. Charles Bond
Mrs. H. W. Breyer
Mrs. Ralph S. Bromer
Mrs. Charles Bruneel
Mrs. J. Mahlon Buck
Mrs. Thomas A. Budd
Mrs. Horace Bullock
Mr. Orville H. Bullitt
Miss Marie A. Bush
Mrs. D. C. Carmichael
Mrs. Charles Carver
Mrs. H. C. Carr
Mrs. F. D. Casanave, Jr.
Mrs. Leander C. Claflin
Mr. and Mrs. Samuel D. Clyde
Mr. B. Hubert Cooper
Mrs. Edmund G. Cooke
Miss Mary E. Converse
Mrs. A. B. Coxe
Mr. Arthur U. Crosby
Mrs. Matthew H. Cryer
Miss M. Dana
Mrs. C. H. Davis
Mrs. Meyer Davis
Mr. Henry C. Diller
Mrs. James Mapes Dodge
Mrs. George W. Childs Drexel
Mrs. S. Naudain Duer
Mrs. W. P. Dunnington
Mr. and Mrs. Lewis W. Easby
Mrs. Edward S. W. Farnum
Mrs. Charles A. Fife
Dr. John B. Flick
Dr. Romeo Franceschetti
Mr. Stanley Folz
Mr. and Mrs. Robert A. Franks
Miss Ellen S. German
Miss Elizabeth Gittlen
Miss Lotta Greenup
Mrs. Morris W. Green
Mrs. Arthur C. Hampson
Mrs. John Hansel
Mrs. John S. C. Harvey
Mrs. Nathan Hayward
Mr. and Mrs. Melvin H. Hendren
Mrs. E. Munson Hill
Mrs. Harrison Hires
Mr. W. Russell Hood
Mrs. Edward Ingersoll
Mrs. George Wayne Jacobs
Mr. Walter M. Jeffords
Mr. William A. Johnson
Mrs. G. J. Keady
Mr. and Mrs. Frank J. Keller
Mrs. S. Leonard Kent, Jr.
Mrs. Charles J. Kieferle
Mrs. W. H. Lamb
Mr. Samuel M. Langston
Mrs. Dwight Latta
Mrs. S. T. Learned
Miss Jane S. Ligget
Mrs. Arthur Littleton
Mrs. Esmund R. Long
Mrs. George U. Maryott
Dr. Fred. J. Masciangelo
Miss Frances McCollin
Miss Bette C. Montgomery
Mr. William R. Mooney
Mrs. H. McKnight Moore
Mrs. D. B. Moorhouse
Miss Sophie Morris
Mrs. Herbert C. Morris
Mrs. S. H. Newhall
Mr. Paul Nordoff
Mr. and Mrs. Nelson Ogden
Miss Esther B. Palmer
Mr. Wilson H. Pile
Mr. Harold G. Pile
Mrs. Walter E. Rex, Jr.
Mrs. J. R. Rhoads
Mrs. John F. Rich
Mr. Samuel R. Rosenbaum
Mrs. Lewis C. Scheffey
Mrs. Horace Stern
Mrs. W. D. Stroud
Mr. Roland L. Taylor
Mr. and Mrs. H. Teamer
Miss Carol H. Thomas
Dr. Herbert J. Tily
Mrs. Clarence A. Warden
Mrs. Wm. Edward Warrington
Mr. Charles N. Welsh, Jr.
Mr. Alexander J. Williamson
Mrs. G. E. Willey
Mrs. Alan D. Wood
Mrs. Samuel Woodward
Mrs. Granville Worrell, 2nd
Mr. and Mrs. Sydney L. Wright
La Salle College Glee Club
UNDER DIRECTION OF
Mr. William J. Kavanagh '39
PRESENTS ITS
Annual (concert
FEATURING
Miss Doris Luff
Soprano
College Hall April 19, 1940
Program of the La Salle College Glee Club
I. GLEE CLUB
1. Songs My Mother Taught Me Dvorak
2. Sylvia Speaks
3. Moonlight Madonna Fibisch-Scotti
4. Fireflies Traditional Russian
II. MISS LUFF
1. "Deh vieni, non tardar" from the "Marriage of Figaro" Mozart
2. Le Charme Chausson
3. Le Nil Leroux
III. GLEE CLUB
1. Autumn Sea Gericke
2. Chorus of Peers Gilbert
3. The Old Refrain Kreisler
4. Zieh' Mit Nestler
5. Soldier's Farewell Kinkel
IV. PIANO SELECTIONS Mr. Kavanagh
I. Sonata, Opus 48, No. 2 Beethoven
II. Waltz in E Flat Durand
V. GLEE CLUB
1. O Bone Jesu Palestrina
2. Where'er You Walk Jamdel
3. Still As The Night Bohm
4. Lift Thine Eyes Logan
VI. MISS LUFF
1. Alleluia Mozart
2. Night and the Curtains Drawn Ferrata
3. Last Rose of Summer Von Flotow
VII.
1. Golden Days J
2. Deep in My Heart I Medley from the
3. Drinking Song ( Student Prince by Romberg
4. Serenade ]
5. Stout-hearted Men Romberg Soloist, Mr. Grady
Miss Luff and the Glee Club Italian Street Song Herbert
PERSONNEL
William J. Kavanagh Conductor
Brother E. Anthony Moderator
President Joseph Grady
Vice-President Joseph Dougherty
Treasurer Andrew O'Keefe
Edwin Arroyo Owen Breen Alexander Calomeni Robert Carroll J. Hartley Christie Joseph Coogan Robert Courtney Robert Dean Joseph Dougherty James Eigo
Charles
John Eigo Joseph Fitzpatrick Ludwig Frank Joseph Grady Francis Ignaszewski Francis Keimig Lawrence Kelly Walter Lion John Mason Michael Meno Silverthom
William Mulroy Joseph McDonald Charles McDonald John McEvoy Edward McLaughlin John McMenamin Joseph No j unas Andrew O'Keefe Charles O'Keefe Daniel Rodden William Smith
Chairman: William M. Mulroy
Program: Robert J. Courtney Publicity: John McMenamin
Ticket: Ludwig Frank Floor: John Mason
The Glee Club wishes to extend thanks and appreciation to the following
Mr. Joseph Sprissler, The Masque, James Gallagher
George Brookes, John Goode, Vincent Buggy
Edward Davis, John McEvoy, Lawrence Kelly, Owen Breen
PATRONS
Freshman Class
Sophomore Class
Junior Class
Senior Class
The Collegian
II Circolo Italiano
The Explorer
The Masque
Varsity Club
Special Ethics "A"
The La Salle Mothers Club
Sigma Phi Lambda
John P. Boland, Esq.
Mr. John Carlson
Mrs. Anna Carlson
Mr. and Mrs. William J. Christie
Mr. and Mrs. Michael Coogan
Mr. Joseph Coogan
Mr. and Mrs. John H. Courtney
Mr. and Mrs. Ugo Donini
Mrs. Joseph P. Dougherty
Mr. Timothy Eigo
Mr. Christopher Fitzpatrick
Mrs. Eleanore Frank
Miss Margaret Geary
Mrs. Marie Holland
Mr. and Mrs. Frank Ignaszewski
Mr. and Mrs. James Jordan
Mr. and Mrs. N. P. Kavanagh
Mr. Vincent F. Kavanagh
Mr. and Mrs. Walter A. Lion
Rev. James V. McEnery
Mr. and Mrs. A. L. McLaughlin
Mr. and Mrs. Joseph D. Mulroy
Miss Marie O'Keefe
Mr. and Mrs. Daniel Rodden
Mr. and Mrs. E. A. Schneider, Sr.
Mr. and Mrs. Charles Silverthorn
Mr. and Mrs. Joseph Sprissler
Ellis Drug, 5th and Godfrey
Mr. and Mrs. D. J. McDonald
Mr. and Mrs. John A. McDonald
Dr. and Mrs. Lawrence J. Kelly
Mr. and Mrs. Owen J. Breen
Brother G. Charles
JUNGEi- HOR Philadelphia, Pennsylvania
Friday evening, May 10, 1940, at 3:15 o'clock
Junger Lviaennerchor Walther iueller, Piano Louis Gress and his string orchestra
assisted by
Hilda Morse, Soprano Eugene Bossart, Piano
of
THE CURTIS INSTITUTE OF MUSIC
Programme
I
Brandenbarg concerto No. 4 Bach
String orchestra, flutes, and piano
II
Chorus from "Die Zauberflote" Mozart
Junger Maennerchor and orchestra
III
Der Schmied Brahms
Das verlassene .viagdlein H. Wolf
"The Jewel Song" from "Faust" Gounod
Hilda Morse Eugene Bossart
IV
Orfeo ed Euridice
Largo Waltz in A flat Gypsy rondo
Orchestra
Gluck
Brahms-Groer Haydn
JUHGER .aAENNERCHOR Philadelphia, Pennsylvania (Continued)
Klingendes jahr Siegl
Symphonic poem for male chorus, soprano solo, string orchestra, and piano
Autumn h inter Spring Summer Fugue
Eighth Season - - -
THIRD CONCERT of the
ROXBOROUGH SYMPHONY ORCHESTRA
LEONARD DeMARIA, Conductor
Under Auspices of the
PARENTS' ASSOCIATION AND LYCEUM of the 21st Ward
ROXBOROUGH HIGH SCHOOL AUDITORIUM
May Twenty-Seventh
1940
PROGRAMME +
LEONARD DeMARIA Conductor JOSEPH TYBESKEY NATHAN STUTCH
Concert Meister Violoncellist
+
1. Beethoven - - - "Egmont" - - - Overture
2. Beethoven 5th Symphony
3. Haydn - Concerto in D Major - Allegro Moderato
Violoncello with Orchestra Nathan Stutch
4. Brahms Hungarian Dances 5 and 6
+
INTERMISSION Short Address on the 250th Anniversary - W. B. Forney, Jr.,
+
5. Gounod - Ballet Music from "Faust"
6. Bach ... Adagio from the Organ Toccata in C Major
Glazounov - - - Serenade Espagnole, Opus 20, No. 2
Weber Rondo in A Major
Violoncello with Piano Nathan Stutch, Violoncello Leo Luskin, Piano
7. A Round of Country Dance Tunes - Arr. by Dorothy Berliner
8. Sibelius - - - Finlandia - - - Tone Poem
Finale
MEMBERS OF THE ORCHESTRA
Mr. Carl A. Anderman
Mr. Ulla Bauers, Jr.
Mr. E. C. Beckley
Mr. David T. Berlizheimar
Miss Clara M. Brower
Miss Ellen Chappell
Mr. Charles F. Cole
Miss Mildred Dawson
Mr. G. S. Dunn
Miss Roslyn Givotovsky
Mrs. Meta E. Hall
STRINGS
Mr. Charles S. Hartman Mr. William Hohlfeld Mr. Robert S. P. Homer Miss Elizabeth Jackson Mr. Marvin Jacoby Mr. Franz Z. Kelman Mr. P. J. Kimble Miss Geraldine M. Klaczak Mr. G. W. Krocker Miss Margaret D. Lewis Mr. L. M. Newbaker
Mr. Ronald M. Pyle, Jr. Mr. Harmon Robinson, Jr. Mr. Charles A. Ruby Mr. Pasquale Santoro Miss Betty Straub Mr. George R. Stubblebine Mr. Harold A. Sutton Dr. Edgar W. Tully Mr. Joseph Tybeskey Mr. Albin Voigt Mr. Frank Wiltshire
WOOD-WIND
Mr. R. Bruce Hall
Miss Barbara A. Harkins
Miss Doris M. Kelly
Mr. John Tarbuck
Miss Bette Laws
Miss Bette Pile
Mr. Herman Schlimm
BRASS
Mr. Robert L. Adams Mr. Charles J. Bienkowski Mr. George M. Bovard Mr. Conard K. Donnell Mr. J. Edward Holgate
Mr. Paul E. Kurzenberger Mr. Ernest F. Miller Mr. Norman Schaller Mr. F. Engle Taylor Mr. Gordon J. Will
TYMPANI
Mr. Oscar M. Patton
DRUMS
Mr. John T. Schmidt
LIBRARIAN
Mr. J. Edward Holgate
OFFICERS
Mr. Ernest F. Miller, President Mr. Geo. M. Bovard, Vice President Mr. Conard K. Donnell, Secretary Mr. William Hohlfeld, Treasurer Mr. G. S. Dunn, Recording Secretary
WOMEN'S AUXILIARY
Mrs. Charles W. Neeld, President Mrs. A. Sutton, Vice President Mrs. H. V. Tarbuck, 2nd Vice President Mrs. L. M. Newbaker, Secretary Mrs. Harmon Robinson, Jr., Treasurer
PATRONS AND PATRONESSES
Mr. & Mrs. Herbert L. Adams
Mr. <S Mrs. John S. Adelhelm
Mrs. Bertha B. Aspden
Mr. Jules Baron
Mr. J. Ellwood Barrett
Mr. Le Roy E. Beaver
Miss Alice Berry
Mr. Ernest Black
Dr. & Mrs. David J. Boon
Mr. Thomas F. Boon
Mr. & Mrs. Geo. M. Bovard
Miss Elizabeth E. Britton
Mr. Wallace Bromley
Dr. Jacob Brown
Mr. David Burchuk
Mr. <S«Mrs. S. H. Busslnger
Mrs. Fred E. Carbaugh
Miss Katharin W. Cassin
Mrs. Ethel M. Chappell
Mr. S. A. Cochrane
Mrs. Charles F. Cole
Mrs. C. Daniel Coppee
Miss Ethel M. Coster
Dr. Ella B. Custer
Mr. & Mrs. James H. Cute
Mrs. Elizabeth Dearnley
Mrs. Leonard DeMaria
Mr. Randolph W. DeWald
Mrs. L. B. Douglas
Miss Catharine M. Dwyer
Mr. & Mrs. David P. Earnshaw
Mr. & Mrs. Wm. H. Eddleman
Mr. Price B. Engle
Mr. Harry D. Evans
Mr. & Mrs. Hilbert S. Felton
Mr. John C. Fitzpatrick
Mr. Andrew Flanagan, Jr.
Mr. Charles A. Flanagan
Dr. & Mrs. H. Franklin Flanagan
Mrs. J. Elliott Flanagan
Mr. George Flint
Mrs. George Flint
Mrs. Edward G. Ford
Miss Ruth J. Frame
Mr. Louis Freyling
Dr. & Mrs. Hans C. Funch
Mr. Felix A. Gaines
Rev. & Mrs. Z. M. Gibson
Mr. and Mrs. James Gilmore
Mrs. Henry Grossmiller
Mrs. Wilford C. Hagaman
Mrs. William R. Haggart
Mr. & Mrs. Robt. S. Hamilton
Mr. & Mrs. W. J Hamilton, Jr.
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MUSICALE
AUSPICES OF THE CHOIR
FIRST METHODIST CHURCH
OF HADDON HEIGHTS
TUESDAY EVENING, MAY 28, 1940
EIGHT-TWENTY O'CLOCK
'Make a joyful noise unto the Lord, all the Earth, Make a loud noise, and rejoice, and sing praise.
♦ ♦ ♦
ARTISTS
EMILY MICKUNAS - - Coloratura Soprano
NATHAN STUTCH - - - - CHARLES SCHILLING LINTON
♦ ♦ ♦
ACCOMPANIST DR. ROWLAND RICKETTS -
♦ ♦ ♦
Cellist Pianist
Organ
JOHN H. HECKMANN - Organist- D.rector REV. OLIVER C. APGAR - - - - Pastor
PROGRAMME
Choir — "Salutation" Gaines
"Cherubim Song" Bortnyanski
Piano — "First Movement from the Concerto in
A Minor" Grieg
Soprano — "Nymphs and Fauns" Bemberg
"Una voce poco fa" Rossini
(From "Barber of Seville")
Cello — "First Movement from the Concerto in
D Major" Haydn
Allegro Moderato
Choir — "When to Thee Our Saviour Went" ... Wagner (From "Die Miestersinger")
"The Lord Now Victorious" Mascagni
(From "Cavalleria Rusticana")
PROGRAMME
Piano — "Staccata Caprice" Vogrich
"Valse in E Major" Moszkowski
Soprano — "The Fields are Full" Armstrong- Gibbs
"Mantle of Blue" Bridge
"Je suis Titania" Thomas
(From "Mignon")
Cello — "Adagio" • Bach
(From "Organ Toccata in C Major")
"Serenade Espagnole" (Opus 20, No. 2) ■ • Glazounow
"Gavotte in D Major" Popper
Choir — "The Omnipotence" Schubert
Solo : Emily Mickunas
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THE PHILADELPHIA AWARD
FOUNDED IN I 9 2. 1 BY EDWARD W. BOK
MtJal DuigniJ by Violit OMij
THE ACADEMY OF MUSIC
PHILADELPHIA
THURSDAY EVENING, MARCH SEVENTH
NINETEEN HUNDRED AND FORTY
AT EIGHT-THIRTY O'CLOCK
THE PHILADELPHIA AWARD was founded in June, 1921, by Edward W. Bok who created a fund from the annual revenue of which a prize of Ten Thousand Dollars is conferred each year upon that man or woman living in Philadelphia, its suhurhs or vicinity, who during the preceding calendar year, shall have performed or Drought to its culmination an act or contributed a service calculated to advance the hest and largest interests of the community of which Philadelphia is the center.
In other words, The Philadelphia Award is a Nohel Prize adapted to Philadelphia, and as such it has been characterized by writers the country over.
it was bestowed in former years upon
LEOPOLD STOKOWSKI CORNELIUS MCGILL1CUDDY
I9XI I92.9
RUSSELL H. CONWELI. PAUL PHILIPPE CRET
I92.2. I93O
SAMUEL S. FLEISHER THE UNKNOWN CITIZEN
I92.3 I93 1
CHARLES C. HARRISON EARL D. BOND
I9i4 I93I
SAMUEL YELLIN LUCY L. W. WILSON
19X5 I933
CHEVALIER JACKSON CHARLES M. B. CADWALADER
19X6 I934
W. HERBERT BURK FRANCIS FISHER KANE
I9X7 I935
ELI KIRK PRICE GEORGE W. WILKINS
19x8 I936 ALFRED NEWTON RICHARDS
J937
RUFUS M. JONES AND CLARENCE E. PICKETT
I938
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"Do |
you |
covet distinction? |
You |
will |
never |
get |
t by |
serving |
|
|
yourself. |
Do |
you |
covet honor? |
You |
will |
get it |
only |
as a |
servant |
|
of mankind." |
|||||||||
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— From Woodrow Wil |
row' % |
address |
at Swarthmore College |
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October, 191}. |
PROGRAM
(Under the Auspices of The Philadelphia Forum)
Introduction
Doctor Charles E. Beury
President of The Philadelphia Forum
Address by Chairman
Philip C. Staples, Esquire
Chairman, Board of Trustees The Philadelphia Award
Tone Poem, "Finlandia'
Sibelius The Curtis Symphony Orchestra
Alexander Hilsberg, Guest Conductor
Address
Honorable Francis Biddle
Solicitor General of the United States
Prelude to Act I, "Lohengrin" .... Wagner
The Curtis Symphony Orchestra
Presentation — The Philadelphia Award
Honorable Roland S. Morris
Overture, "Romeo and Juliet" . . . Tchaikovsky
The Curtis Symphony Orchestra
BOARD OF TRUSTEES
Philip C. Staples
CHAIRMAN
Earl G. Harrison
VICE CHAIRMAN
Charles G. Berwind Samuel S. Fels
Curtis Bok Samuel S. Fleisher
Mrs. John Cadwalader Herbert F. Goodrich
Mrs. James Chadwick Collins Livingston E. Jones
Mrs. John Frederick Lewis, Jr.
Mrs. Thomas Raeburn White
Depository Secretary
Girard Trust Company Clarence Gardner
Barlj (Cantata Jeattual
St. James's Protestant Episcopal Church
22nd and Walnut Streets, Philadelphia
May 3rd and 4th, 1940
The Philadelphia Bach Festival Chorus
Under the Direction of
JAMES ALLAN DASH
Instrumentalists from
The Curtis Symphony Orchestra
SOLOISTS
Sopranos Altos
BARBARBA THORNE VIRGINIA KENDRICK
ALICE HUFSTADER VERONICA SWEIGART
FLORENCE KIRK ANNE SIMON
Tenors Basses
STEUART WILSON EDWARD RHEIN
GEORGE LAPHAM MARK DAWSON
HARRY DANNER LEONARD TREASH
RANDALL WILKINS, Organist ROBERT B. MILLER, Harpsichord
Program Notes by HENRY S. DRINKER
FRIDAY, MAY 3d— 8:15 P. M.
Cantata No. 198 — The Trauerode (see p. I of Insert).
Cantata No. 65 — "From Sheba shall many men be coming" (see p. II).
Cantata No. 79 — "God the Lord is Sun and Shield" (see p. III).
SATURDAY, MAY 4th— 4:30 P. M.
Cantata No. 4 — "Christ lay by death enshrouded" (see p. IV).
Cantata No. 6 — "Bide with us" (see p. V.).
Cantata No. 64 — "See ye! Behold what love" (see p. VI).
SATURDAY, MAY 4th— 8:15 P. M.
The Magnificat — (See p. VII.)
Cantata No. 27 — "Who knows how near is my last hour" (see p. VIII).
Cantata No. 50 — "Now is the Hope and the Strength."
After the performance of each of the Cantatas, except the last, the audience will rise and sing, with the Chorus and Orchestra, the appro- priate Chorale, reproduced in the Insert in the middle of this pamphlet.
There will, of course, be no applause.
The Philadelphia Bach Festival Society
In the fall of 1931 James Allan Dash, with a small group of Bach enthusiasts, founded the Bach Society of Delaware County. Initially it comprised 25 singers. Its stated purpose was "to study and to per- form the choral masterpieces of Johann Sebastian Bach, particularly the lesser known works".
The first public performance was in an Upper Darby church and comprised the three Cantatas, "Sleepers Wake" (Cantata No. 140), "The Sages of Sheba" (No. 65), and "God's Time is Best" (No. 106), with accompaniment of organ and volunteer instrumentalists. While during its early days the Society took part in the performance of works of other masters, of late years it has devoted itself exclusively to Bach's Church Cantatas.
In June 1938, the Conductor, James Allan Dash, was the recipient of a grant-in-aid by the Carnegie Corporation to enable him to go to Leipsic, the fountain-head of Bach tradition, and study Bach there with Dr. Karl Straube, the Cantor of the St. Thomasschule, the position occupied by Bach himself from 1723 to 1750.
During his year under Dr. Straube, — recognized as perhaps the greatest living authority on the interpretation of Bach's Church Can- tatas,— Mr. Dash studied, exhaustively, upwards of 70 Cantatas. Re- turning to Philadelphia in the fall of 1938, fired with renewed zeal for Bach and with added determination to present his music in accordance with authentic tradition, Mr. Dash secured the necessary funds and support to prepare the three performances comprising the 1939 Festival, which he had planned in Leipsic.
On Friday evening, May 5, 1939, the performance comprised the three Cantatas, Nos. 140 (Sleepers Wake), 1 (How Bright and Fair the Morning Star), and 142 (For Unto Us a Child is Born) ; on Sat- urday afternoon, May 6, Cantata No. 106 (God's Time is Best), No. 54 (Stand Ye Firm Against All Evil), and No. 180 (Deck Thyself, My Soul, with Gladness) ; and on Saturday evening, May 6, Cantata No. 21 (My Heart and Soul were Sore Distressed), and Cantata No. 11 (Praise to God on High in Heaven).
The enthusiasm of singers, orchestra, and audience (several hun- dred had to be turned away on each of the two days, owing to lack of seating space) made it apparent that the Bach Festival should become a permanent feature of Philadelphia's musical life. A grant was ac-
cordingly secured from two of the Foundations to enable Mr. Dash to give up his position in Reading, move permanently to Philadelphia, and devote the major part of his time to the development of the Bach Chorus and Festival. The Bach Society of Delaware County and the Bach Choir of Philadelphia were merged into The Philadelphia Bach Festival Society, legally organized to provide for both Singing and Sustaining Members. For this season, subscriptions have been re- ceived from the Sustaining Members, to whom will be allotted reserved seats for the three 1940 performances, to the extent of the seating capacity. The balance of the expense of the 1940 Festival is under- written by a small group of enthusiasts. Mr. Dash has never received any compensation (except for the Foundation grants referred to).
The 1940 Festival and Plans for the Future
Bach's Sacred Cantatas were always performed by Bach in Church, as part of a Church Service. They can command the necessary atmos- phere only when heard in Church. By the great courtesy of Dr. Mock- ridge, Dr. Priest, and the vestry, St. James's Church has been made available for the present performances, as it was for the Festival in
1939-
For this Festival, we have the cooperation of members of the Curtis Institute Orchestra and of eminent soloists. The nine Cantatas chosen for performance are among the most beautiful of the 199 Church Cantatas of Bach which have come down to us. The Chorus, the Soloists, and the Orchestra have studied them with Mr. Dash, not only with thoroughness and intelligence, but with the cumulative en- thusiasm which the actual participation in Bach's music engenders and which is bound to communicate itself to the hearers.
Mr. Robert B. Miller, who will play the Harpsichord at the Festi- val, has been the Accompanist at rehearsals and has been untiring in his devotion and able assistance in preparing the performances.
The Hammond Organ, used to accompany the Chorus, is by courtesy of John Wanamaker. The Harpsichord is loaned by N. Stetson & Co.
When the Chorus met last fall for the first rehearsal of the works to be done at this Festival, there were approximately 200 applicants. Since the Chorus has been restricted to 150 singers, there has developed a considerable waiting list. With this waiting list as a nucleus, and with other applicants for the Chorus who will be continually applying and members of the present Bach Chorus who crave even more choral sing- ing, it is proposed, at the conclusion of the present Festival, to form a
second chorus which will at once begin rehearsals * for a two-day Schu- bert Festival in February 1941. This chorus will perform, with an appropriate orchestra, a number of choral works by Schubert, including the Masses in Ab and E(j. These magnificent works have, it is believed, never before been heard in Philadelphia, although they are on a par with the Schubert symphonies which are so well known.
With the second chorus we will plan to have a Mozart Festival in February 1942.
Thereafter, we hope to maintain the two choruses, each working toward an annual Choral Festival. That held the first week in May will always be a Bach Festival; the other Festival, held in February, will on each occasion perform the works of one composer, — February 1941, Schubert; February 1942, Mozart; February 1943, perhaps Brahms; February 1944, perhaps Handel; etc. Eventually it may be even possible to organize a third chorus for an annual Festival in November.
The development of the Bach chorus has convinced us that there is no musical experience more thrilling or satisfying than the intensive study by the singers of a group of the major works of one composer. We are also convinced that there is a large section of the music-loving public of Philadelphia which is seriously interested in hearing the mas- terpieces of choral music, which, comparatively speaking, have been neglected in Philadelphia.
The Works Performed at This Festival
Of the nine works in the present programs (all of which were composed during the first 17 years of Bach's Cantorship at Leipsic), two, — Nos. 4 and 2j, — are Choral Cantatas, in which one or more of the movements are based on an old Choral Melody. These melodies were very familiar to the congregations of Bach's time, who could readily recognize them amid the maze of Bach's counterpoint. In performing them, we sing the simple Chorale first, so as to give our audience at least an approximation of the familiarity which Bach could take for granted. Before the performance of Cantata No. 4 and of No. 27, the Organist will play the Choral Preludes by Bach based on these Chorales.
* Monday evenings, 8 o'clock, at 161 7 Spruce Street, Philadelphia. Rehearsals will be held from May 6 to June 17, inclusive. After the summer vacation the chorus will resume activity September 16. The Bach Chorus will begin rehearsals for the 1941 Festival September 17 (same place), and meet every Tuesday evening (8 o'clock) thereafter.
In the case of four of the Cantatas (Nos. 65, 79, 6, 64), while they contain no chorus based on a Choral Melody, they all have one or more of these old Lutheran Chorales, in simple form and in Bach's harmoni- zation, inserted between the other movements.
Of Cantata No. 50 we have but a single movement (probably there were other movements which have been lost) in the form of a magnificent double fugue, with large orchestral accompaniment.
The Magnificat is sung in Latin, the other works in English.
With Bach, the text of his vocal works was of the utmost impor- tance. Constantly we find the emotional content of his music changing with the text, phrase by phrase, and often word by word. It is, how- ever, believed to be much more feasible for the average American chorus and audience to appreciate the significance of a Bach Chorus, Vocal Solo, or Duet when sung to English words, provided the transla- tion does not alter Bach's musical phrasing and is always careful to preserve the juxtaposition of significant passages in the text to the corre- sponding musical phrases. In the performance of seven of the Cantatas, Mr. Dash will use translations which I have made in an endeavor to present readily the meaning of the text, while adhering to Bach's phras- ing, emphasis, and accents. Also, in the case of numbers obviously derived from Bible passages, I have attempted to cut back, as far as possible, to the words of the English Bible, instead of translating into English "verse", the paraphrase, in German "verse", of the Lutheran Bible, which formed most of Bach's texts.
Discriminating critics will find frequent discrepancies in the Eng- lish translations presently quoted. They must remember that these English words are not made as poetry, but to go into the subtle ryhthmic patterns of this particular music, the music being always of first importance. It is much easier to change Bach's musical rhythms than it is to find English words which will exactly fit into them. The fault of many translations is that, in order to make their verses look and sound smooth and pretty, the translators frequently take it upon themselves to make convenient alterations in Bach's rhythm or musical diction, which is wholly contrary to my canons of musical ethics.
Cantata No. 198 The Trauerode
The Trauerode, also known as Cantata No. 198, was composed by Bach for the memorial service of Queen Christiane Eberhardine of Saxony, who died September 7, 1727. The service was held in St. Paul's Church at Leipsic on October 17th. The text for the Ode, by J. C. Gottsched, as well as the music by Bach, were specially commissioned by Hans Carl von Kirchbach, the organizer of the ceremony. The fact that this commission was given to Bach instead of to Gorner, the regular musical director at the Church, caused quite a ruction.
At the close of Bach's autograph score stand the words "SDG (So Danke Gott) ao 1727. d Oct. 15 J. S. Bach". There were thus but two days between the completion of the composition and the perform- ance, for the copying of the parts and the rehearsal !
Forkel, Bach's first biographer, was enchanted with the music of the Trauerode. "The choruses of this work", he says, "are so delight- ful that he who has begun to play one of them, will never quit till he has finished it" (p. 61, English Edition, 1920).
Spitta says that it is "one of Bach's finest works" ; also that the Weimar Cantata, "Komm du siisse Todesstunde" (No. 161) is an "un- developed sketch" for this work. Wilhelm Rust, the distinguished editor of the Bachgesellschaft from i860 to 1881, has proved that the music from the Trauerode was adapted by Bach to a St. Mark's Passion. The text of this St. Mark's Passion was written for Bach by "Picander" in 1731. The music has unfortunately been lost. Rust also added to the Trauerode, for the Bachgesellschaft Edition, a new poetical version of Gottsched's text, for All Souls' Day, since every perform- ance of the Trauerode cannot be given in memory of Queen Christiane Eberhardine. The text here used is the English version by George L. Osgood of Rust's text.
The Ode opens with an impressive chorus, asking the Father for hope and comfort in sorrow.
Then comes a short Recitative by the Tenor, "All flesh is grass", and "death must surely come", followed by an Aria for Soprano.
In Rust's Edition he inserted five splendid Bach Chorales between the verses of the text, and a sixth at the end. Five of these are sung in the present performance. The first, "Es ist gewisslich an der Zeit" (melody by Jos. Klug, 1525, Bach's Choralgesange, B. & H. Edition, Nos. 262, 263), follows the Soprano Aria. The second, "Wer nur den lieben Gott lasst walten", is the same as that on which is based the open-
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MAY 13, 1940
JOSEF HOFM ANN
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Not just the service, the un- usual facilities, the many little exclusive features, the location, or even the beauti- fully planned rooms with their many windows and large closets. It's all of these things together that make The Barclay so desirable.
y^f^\ RITTENHOUSE SQUARE
ARTHUR T.[ MURRAY, MANAGING DIRECTOR
AnDORRA KlURSERIES
JNC.
CHESTNUT HILL— PHILADELPHIA
ESTABLISHED 1886
QUALITY PLANT MATERIAL FOR 54 YEARS
THOS. C. FLUKE COMPANY
MAIN STORE
MITCHELL FLETCHER CO.
Grocers for over 100 Years
1732 CHESTNUT STREET
PHILADELPHIA
M. A. MENNA
FANCY FRUITS, PRODUCE AND GROCERIES
1719 LOCUST ST.
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Solo Piano |
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Polonaise in A major |
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Mazurka in C major Berceuse in D flat major. . |
Chopin |
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Scherzo in B Hat minor . . . |
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Piano and Orchestra |
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Chromaticon . A symphonic |
dialogue |
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for piano and orchestra |
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Michel Dvorsky |
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Steinway Piano |
KURT H
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THIRTY-FIVE NURTH TENTH STREET
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THomfls j. SHflnflHfln
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1809 MARKET STREET PHILADELPHIA
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1613 Chestnut St.
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PEN. 4064 18TK AND SPRUCE STREETS
PHILADELPHIA
Branch— 1526 Walnut Street PEN. 7624
"I never like to pass by J. Franklin Miller without stopping. It's a fascinating place to browse around."
—A GENTLEMAN
\z) 2) J J ^J IL Uij 2) think that a man in a housewares store is like a bull in a china shop. We've disproved the theory. Men like to browse around and shop at J. Franklin Miller's.
Our complete line of Case Concave Cutlery is especially appreciated by every man. After all, it's the man who does the carving.
Most men think of the Closet Shop as distinctly a woman's depart- ment. Yet, what man wouldn't like hangers that keep his clothes in shape? Tie racks that keep his ties neat, unwrinkled and easily accessible. A valet rack that keeps his clothes in one place — he can dress in a hurry.
In every section of the store there is something that will appeal to men.
The Ladies Like To Shop Here Too
Why? Because everything in the store is arranged for their conve- nience. They are assured of courteous and efficient service. They know we are constantly looking for new ways in which we can serve them.
At J. Franklin Miller's they find the best and latest in housewares. Cooking utensils that enable them to get dinner in a jiffy. Smart bath- room conveniences and accessories that make closets beautiful as well as efficient.
You'll like J. Franklin Miller, too. Why not stop in the next time you are on Chestnut Street, even if it's just to browse around and look at the new gadgets on our Gadget Board.
Ij you are not on our mailing list, send for our new Spring catalogue.
ASSOCIATED WITH LEWIS & CONGER, NEW YORK
1617 CHESTNUT STREET
U.£i?te JjhfoutienteT^e-s.
RITTENHOUSE 5817
PHILADELPHIA, PA.
The Curris Jrasrirule of Music Radio Programme
Monday, October 16, 1939 — 4:00 to 4:30 P.M.
THE CURTIS STRING QUARTET
Jascha Brodsky, Violin Charies Jaffe, Violin Max Aronoff, Viola Orlando Cole, Violoncello
I Quartet, Opus 64, No. 5 in D major (Lark) Haydn
Allegro modcrato Adagio cantabilc Mer.uetto Finale
II
Second movement from Quartet in A minor. Opus 29 Schubert
Andante
III Tliiiu" iiiuiunuu irom Quartet in E flat major DiTTEBinngF
Columbia Broadcasting System
The Curtis Institute of Music
ivt nlio Pro-groiimiic
Monday, October 23, 1939 — 4:00 to 4:30 P.M.
FREDERICK VOGELGESANG, Violin
Gavotte in E major Bach-Kreisler
Andante from Sonata No. 3 in A minor Bach-Siloti
Fugue from Sonata No. 5 in C major (for Violin alone) Bach
Etude-caprice Kreutzer-Kaufman
Polichinelle Kreisler
Caprice No. 24 Paganini-Auer
VJ-ADIMIR SOKOLOEF, AcCOVl patlht
Columbia Broadcasting System
THe Ciarfis Instiiuic of ^lusic
Monday, October 30, 1939 — 4:00 to 4:30 P.M.
JORGE BOLET, Pianist
Three interme/zi, Opus 117 Brahms
£ flat major B flat minor C slurp minor
Sonata in E fiat., Opus 81a Beethoven
Les adieux — Adagio. Allegro L 'absence — Andante espressivo Le retour — Yivacissimamente
Columbia Broadcasting System
The Curtis Institute of Music Radio Proaramme
Monday, November 6, 1939 — 4:00 to 4:30 P.M.
NATHAN STUTCH, Violoncellist RALPH BERKOWITZ, Pianist HILDA MORSE, Soprano EUGENE BOSSART, Accompanist
I
First and second movements from Sonata No. 1
in E minor, Opus 38 Brahms
Allegro nor. troppo Allegretto quasi menuetto
Nathan Stutch Ralph Berkowitz
II
Das verlassene Magdlein \ Rugo Wqlf
Nimmersatte Liebe )
La Chevelure ) Debussy
Mandoline )
Hilda Morse Eugene Bossart
Columbia Broadcasting System
The Curiis InsHtule of Music
unme
Monday, November 13, 1939 — 4:00 to 4:30 P.M.
ROBERT CORNMAN, Piano VEDA REYNOLDS, Violin NATHAN STUTCH, Violoncello JOHN SIMMS, Piano
Two preludes and fugues from the Well-tempered
Clavichord, Book 1 Bach
No. 17 in A flat major No. 16 in G minor
Robert Cornman
II
Trio in C minor, Opus 101 Brahms
Allegro energico Presto non assai Andante grazioso Allegro molto
Veda Reynolds
Nathan Stutch
John Simms
Columbia Broadcasting System
Tike Curtis Ii-aglifni'© of Music Radio F
Monday, November 20, 1939 — 10:30 to 11:00 P.M.
CURTIS SYMPHONY ORCHESTRA
FRITZ REINER, Conductor
Prelude in E major Bach
(Orchestrated by Pick-Mangiagalli)
II
Symphony No. 95 in C minor Haydn
Allegro
Andante cantabile Menuetto Finale. Vivace
Columbia Broadcasting System
The Curtis Institute of Music Kadio Progrfirnme
Monday, November 27, 1939 — 4:00 to 4:30 P.M.
NOAH BIELSKI, Violin MORRIS SHULIK, Violm STEPHEN KATSAROS, Viola WILLIAM SAPUTELLI, Violoncello CURTIN WINSOR, Commentator
Comments
Curtin ^INSOR
Quartet in B flat major, Opus 18, No. 6 Beethoven-
Allegro con brio Adagio ma non troppo Scherzo. Allegro La Malinconia. Adagio. Allegretto quasi Allegro
Noah Bielski Morris Shulik Stephex Katsaros William Saputelli
Columbia Broadcasting System
The Curtis lusHlwlc ©£ Music Ro ill o Pio(Tiair,m c
Monday, December 4, 1939 — 4:00 to 4:30 P.M., E.S.T.
I
Concerto in G major for two violoncellos, unaccompanied... Couperin Prelude Air
Sarabande Chaconne
Esther Gruhn I T,. , „ True Chappell \ *"*«****
II
Das musikalische Opfer Bach
Ricercar a 3
John DeLancie, Oboe Charles Gilbert, English Horn Sanford Sharoff, Bassoon Ralph Berkowitz, Cembalo
Canon perpetuus
Burnett Atkinson, flute Rafael Druian, Violin True Chappell, Violoncello Ralph Berkowitz, Cembalo
Canon a 4
Rafael Druian, Violin Herbert Baumel, Violin Albert Falkove, Viola True Chappell, Violoncello
Ricercar a 6
John DeLancie, Oboe Rafael Druian, Violin Chartes Gilbert, English Horn Albert Falkove, Viola Sanford Sharoff, Bassoon True Chappell, Violoncello
Columbia Broadcasting System
The Cur lis Institute of Music
Radio Prorjxainimc
Monday, December 11, 193 9 — 10:30 to 11:00 P.M., E.S.T.
ALFRED MANN, Recorder
RAFAEL DRUIAN, Violin
MARGUERITE KUEHNE, Violin
NATHAN STUTCH, Violoncello
and
STRING ORCHESTRA, Conducted by
EZRA RACHLIN
Concerto for recorder and strings Handel
(arrangement from the figured bass by Alfred Mann)
Larghetto
Allegro
Larghetto
A tempo di gavotti- Alfred Mann and String Orchestra, conducted by Ezra Rachlin
II
Concerto Grosso No. VIII in G minor Corelli
Vivace. Grave. Allegro Adagio. Allegro. Adagio Vivace. Allegro Pastorale ad libitum. Largo Rafael Druian Marguerite Kuehne Nathan Stutch and String Orchestra, conducted by Ezra Rachlin
Columbia Broadcasting System
The Curtis Institute of Music Radio Programme
Monday, December 18, 1939 — 10:30 to 11:00 P.M., E.S.T.
STRING ORCHESTRA, Conducted by EZRA RACHLIN
I Brandenburg Concerto No. 3 in G major Bach
Allegro moderato
Adagio
Allegro
II
Aus Holbergs Zeit — Suite Grieg
Praludium
Sarabande
Gavotte
Air
Rigaudon
Columbia Broadcasting System
The Curfls InsHlulc of Music
RoiIi-d Program me
Monday, January 8, 1940 — 4:00 to 4:}0 P. M., E.S.T.
PHYLLIS MOSS, Viano ROBERT GROOTERS, Baritone
I
Sonata in F minor, Opus 57 Beethoven
Allegro assai Piu allegro Andante con moto Allegro ma non troppo
Phyllis Moss
II
Wenn du zu den Blumen gehst H. Wolf
Nacht und Triiume Schubert
Die Lotosblume Schumann
Rastlose Liebe Schubert
Robert Grooters
Eugene Bossart, Accompanist
The Columbia Broadcasting System
The Curris Institute of Music Radio Programme
Monday, January 15, 1940 — 4:00 to 4:30 P.M., E.S.T.
NATHAN GOLDSTEIN, Violin CHARLES LIBOVE, Violin RALPH BERKOWITZ, Piano DONALD HULTGREN, Tenor
I
Sonata in E major for two violins and piano Handel
Adagio Allegro Adagio Allegro
Nathan Goldstein Charles Libove Ralph Berkowitz
II
Jeg elsker dig (I love thee)
Med en vandlilje (With a waterlily) > Grieg
En svane (A swan) I
Tonerna (Visions) Sjoberg
The lament of Ian the proud Griffes
Donald Hultgren Ralph Berkowitz, Accompanist
Columbia Broadcasting System
Tike CurHs Institute of Music Radio Programme
Monday, January 22, 1940 — 10:30 to 11:00 P.M., E.S.T.
BURNETT ATKINSON, Flute
LYNNE WAINWRIGHT, Harp
and
ORCHESTRA, conducted by
EZRA RACHLIN
Concerto in C major for flute and harp (K. 299) Mozart
Allegro Andantino Rondo. Allegro
Columbia Broadcasting System
The Curiis InsHHite of Music Radio Programme
Monday, January 29, 1940 — 10:30 to 11:00 P M„ E.S.T.
WOODWIND ENSEMBLE, conducted by MARCEL TABUTEAU
I
Variations on the theme "La ci darem la mano"
from Mozart's "Don Juan" Beethoven
John DeLancie, Oboe
Perry Bauman, Oboe
Charles Gilbert, English Horn
II
Sonata RIEti
Allegretto Adagio dolororo Vivace ed energico Jorge Bolet, Piano John DeLancie, Oboe
Eleanor Mitchel, Flute Manuel Zegler, Bassoon
III
Aubade de Wailly
Allegro Britton Johnson, Flute John DeLancie, Oboe James King, Clarinet
Three Chinese impressions Kameneff
(arranged for wind instruments by Joel Spector) In old Pekin The forbidden city Fireworks Britton Johnson, Flute James Rettew, Clarinet
John Krell, Flute Manuel Zegler, Bassoon
John DeLancie, Oboe Sanford Sharoff, Bassoon
Ralph Gomberg, Oboe David Hall, French Horn
Charles Gilbert, English Horn Joseih White, French Horn James King, Clarinet
Columbia Broadcasting System
The Curtis Institute of Music Radio Programme
Monday, February 5, 1940 — 4:00 to 4:15 P.M., E.S.T.
ELEANOR MELLINGER, Harp
Impromptu-Caprice Pierne
Chancon do Guillen Martin . . Prr.iLiiov
Pirouetting Music Box
}
Salzedo Concert Variations on ' Adeste Fideles"
Columbia Broadcasting System
The Curtis Institute of Music Radio Programme
Monday, February 12, 1940 — 4:00 to 4:30 P.M., E.S.T.
MITCHEL LURIE, Clarinet JACOB KRACHMALNICK, Violin PAUL SHURE, Violin JEROME LIPSON, Viola NATHAN GERSHMAN, Violoncello
Clarinet quintet in A major, (K.581)
Allegro
Larghetto
Menuetto
Allegretto con Variazioni
Mozart
Columbia Broadcasting System
The Curtis Institute of Music Radio Programme
Monday, February 19, 1940 — 10:30 to 11:00 P.M., E.S.T.
MADRIGAL CHORUS, conducted by MR SAMUEL BARBER
I
tO/ Ave Maria Josquin de Pre's
6) II est bel et bon Passereau
4) Era l'anima mia Monteverdi
. . II
\^J Adieu, sweet Amarillis Wilbye
Now is the month of Maying Morley
The nightingale Philips
S
III
A slopwaiLli and an ordnance map (fiwt performance) Baixder.
for men's ehorns and kcttledrnms David Stepiiens5 Tympuni
Elegischer Gesang, Opus 118 Beethoven
for mixed chorus and string quartet Baruch Altman, Violin Julius Weissman, Viola
Herbert Baumel, Violin Nathan Stutch, Violoncello
Columbia Broadcasting System
The Curtis InsHrule of Music Radio Programme
Monday, February 26, 1940 — 10:30 to 11:00 P.M., E.S.T.
THE CURTIS SYMPHONY ORCHESTRA
and
CHORUS
Conducted by
FRITZ REINER
Utrecht Jubilate (1713) Handel
(1685-1759)
I "Oh, be joyful in the Lord"
II "Serve the Lord with gladness"
III "Be ye sure that the Lord He is God"
IV "Oh, go your way into his gates with thanksgiving" V "For the Lord is gracious"
VI "Glory be to the Father" VII "As it was in the beginning"
The Curtis Institute of Music Radio Programme
Monday, March 11, 1940 — 4:00 to 4:30 P.M., E.S.T.
JACOB KRACHMALNICK, Violin LOUIS SHUB, Piano
Ptjlprminii niubili, Opm 3 1, No. ?. Rifs
Sonata for violin and piano Franck
Allegretto ben moderato
Allegro
Recitativo — fantasia
Allegretto poco mosso
Columbia Broadcasting System
THE CURTIS INSTITUTE
OF MUSIC
RADIO PROGRAMME
Monday, March 18, 1940 — 4:00 to 4:30 P.M., E.S.T.
REBA ROBINSON, Harp NATHAN STUTCH, Violoncello BURNETT ATKINSON, Flute THOMAS PERKINS, Baritone JAMES COSMOS, Baritone IRVIN BUSHMAN, Baritone NORMAN ROSE. Tenor RALPH BERKOWITZ, Accompanist
I
Three poetical studies Salzedo
Mirage Idyllic poem Inquietude
Reba Robinson
II
"Let the fifes and the clarions"
from the "Fairy Queen" Purcell
Thomas Perkins and James Cosmos The angler song Laves
Norman Rose and Irvin Bushman Sound the trumpet Purcell
Thomas Perkins and James Cosmos
III
La laborde: Rondement I
La boucon: Andante > Rameau
L'agagante: Rondement \
Reba Robinson, Nathan Stutch and Burnett Atkinson
Columbia Broadcasting System
THE CURTIS INSTITUTE
OF MUSIC
RADIO PROGRAMME
Monday, April 1, 1940 — 4:00 to 4:30 P.M., E.S.T.
CLARENCE SNYDER, Organ MILTON WOHL, Violin LOUIS SHUB, Piano
I
Chorale Prelude: Bach
Alle Menschen miissen sterben Fugue in G minor (Great) Bach
Clarence Snyder
II
Concert sonata after Pugnani Scalero
Andantino
Adagio
Moderato, ma con spirito
Milton Wohl Louis Shub
Columbia Broadcasting System
THE CURTIS INSTITUTE
OF MUSIC
RADIO PROGRAMME
Monday, April 8, 1940 — 4:00 to 4:30 P.M., E.S.T.
I
Trio in C major for Piano, Violin
and Violoncello (K. 548) Mozart
Allegro
Andante cantabile Allegro
EILEEN FLISSLER, Piano BARUCH ALTMAN, Violin NATHAN STUTCH, Violoncello
II
Serenade in D major, Opus 2 J,
for Flute, Violin and Viola Beethoven
Entrata. Allegro
Tempo ordinario d'un menuetto
Andante con variazioni
ELEANOR MITCHEL, Flute SOLOMON OVCHAROV, Violin PHILIP GOLDBERG, Viola
Columbia Broadcasting System
THE CURTIS INSTITUTE OF MUSIC
RADIO PROGRAMME
Monday, April 15, 1940 — 10:30 to 11:00 P.M., E.S.T.
STRING ORCHESTRA conducted by Alexander Hilsberg
Suite in E major Corelli
Sarabanda. Largo
Giga
Badinerie. Vivace
First, second and fourth movements of Concerto Grosso, for string orchestra with piano obbligato Bloch
Prelude. Allegro energico e pesante Dirge. Andante moderato Fugue. Allegro
assisted by Jorge Bolet, Piano
Columbia Broadcasting System
THE CURTIS INSTITUTE OF MUSIC
RADIO PROGRAMME
Monday, April 22, 1940—10:30 to 11:00 P.M., E.S.T.
CHAMBER ORCHESTRA conducted by David Stephens
NOAH BIELSKI, Violin
I
Canzonetta, Opus 62 A Sibelius
II
Concerto No. 4 in D major (K 218) Mozart
Allegro
Andante cantabile
Rondeau. Andante grazioso
Noah Bielski, Violin
Columbia Broadcasting System
THE CURTIS INSTITUTE
OF MUSIC
RADIO PROGRAMME
Wednesday, April 24, 1940 10:30 to 11:00 P.M., E.S.T.
MADRIGAL CHORUS
conducted by
Mr Samuel Barber
and
Dr Randall Thompson
I
A stopwatch and an ordnance map Samuel Barber
(for men's chorus and kettle drums)
(first radio performance)
David Stephens, Tympatiist
II
Americana Randall Thompson
(for mixed chorus) May every tongue The staff necromancer God's bottles
The sublime process of law enforcement Loveli-lin.js
Eugene Bossart, Accompanist Columbia Broadcasting System
THE CURTIS INSTITUTE OF MUSIC
RADIO PROGRAMME
Monday, April 29, 1940 — 4:00 to 4:30 P.M., E.S.T.
CURTIS SYMPHONY ORCHESTRA Fritz Reiner, Conductor
I
Prelude to Act III of Lohengrin Wagner
First movement of the Second Symphony Thompson Allegro
The Earl of Oxford's March Byrd-Jacob
Scherzo from Octet, Opus 20 Mendelssohn
Roman carnival overture Berlioz
Columbia Broadcasting System
The Curtis Institute of Music
SEVENTH COMMENCEMENT
AND
CONFERRING OF DEGREES
CASIMIR HALL
Friday, May the tenth
One Thousand Nine Hundred and Forty at Three o'clock in the Afternoon
Order of Ceremonies
Organ Prelude
Chorale Vorspiel Johannes Brahms
"O Welt, ich muss dich lassen"
Prelude and Fugue in E minor (Cathedral) J. S. Bach
Alexander McCurdy, Mus.D.
3l
Order of Ceremonies
*
Graduate Procession
Triumphal March Sigfrid Karg-Elert
Invocation
The Reverend Alexander MacColl, D.D.
Hymn
Prayer of Thanksgiving Netherland Folk-Song
arr. by Kremser
Introduction
Director Randall Thompson, A.M., Mus.D.
Address
Walter Damrosch, Mus.D. "Our Musical Future"
Awarding of Diplomas of The Curtis Institute of Music
Conferring of Degrees in Course
President Mary Louise Curtis Bok, Mus.D., L.H.D. Director Randall Thompson
Hymn — The Star-Spangled Banner
Benediction
Graduate Recession
Finale from "Grande piece symphonique" Cesar Franck
[4]
DIPLOMAS OF THE CURTIS INSTITUTE OF MUSIC
Piano Thelma Cohen
Robert E. Grooters
Noah Bielski Zelik Kaufman
Accompanying Louis Shub
Voice.
Violi
Hilda Morse
Ruth Lucille Griszmer Milton Jacques Wohl
Viola Bernard Milofsky (in absentia)
Double Bass Ferdinand Maresh Henry Portnoi
Harry Theodore Safstrom
Organ
Henry Kaseman Beard, A.B.
(Pennsylvania State College)
Richard Irven Purvis
Harp Lynne Wainwright
Composition Lela Maki
Conducting Waldemar Dabrowski
Composition and Conducting Lukas Foss
Conducting, Tympani and Percussion David Glenn Stephens
Flute Britton G. Johnson
James Bernard Williamson, Jr, A.B. (University of North Carolina)
Oboe John Sherwood de Lancie
English Horn Charles Everett Gilbert
Bassoon Manuel Zegler
Trumpet
Joseph E. Fischer
Leo A. Gomberg
James Joseph Tamburini
Trombone Howard Cole (in absentia) George Andrew Garstick
Tuba James Martin Emde
\5)
DEGREES IN COURSE
Bachelor of Music — in Piano Florence Fraser
Master of Music — in Composition Andre Constant Vauclain
Thesis : An April Overture for full orchestra
6]
Marshal Hans Wohlmuth, Ph.D. (Vimna*)
Assistant Marshals Jorge Bolet, Mus.B.
LESTER EnGLANDER, A.B. (University of Pennsylvania}; MuS.B.
Joseph Samuel Levine, Mus.B.
[7]
(1)
LIST OF CONCERTS
FACULTY RECITALS
Casimir Hall
First.... Mr. Efrem Zimbalist, Violinist
January 24, 1940
Second... Mr. Steuart Wilson, Tenor
February IE, 1940
Third ... .Madame Elisabeth Schumann, Soprano
February 15, 1940
Fourth... Dr. Alexander McCurdy, Organist
February 21, 1940
Fifth. .. .Madame Eufemia Gregory, Soprano
March 5, 1940
Sixth.... Mr. David Saperton, Pianist
March 26, 1940
Seventh. .Mr. Jorge Bolet, Pianist
April 27, 1940
(2)
STUDENTS1 CONCERTS Casimir Eall
Student of Madame Vengerova
(Zadel Skolovsky) December 3, 1939
Student of Mr. Salzedo
(Lynn T/ainwright) December 5, 1939
Students of Mr. Salzedo December 12, 1939
Students of Dr. Wohlmuth January 31, 1940
Student of Madame Vengerova
(Sol Kaplan) February 8, 1940
Student of Mr. Zimbalist
(Noah Bielski) March 4, 1940
Students of Mr. Salzedo March 11, 1940
Student of Mr. Saperton
(Abbey Simon) March 14, 1940
Students of Mr. Zimbalist March 27, 1940
Students of Mr. Torello March 29, 1940
Students of Mr. Saperton April 8, 1940
Students of Madame Schumann April 9, 1940
Student of Mr. Zimbalist
(Frederick Vogelgesang) . .April 11, 1940
Students of Mr. Salmond April 16, 1940
(3)
STUDENTS* CONCERTS (continued)
Students of Dr. Ballly April 17, 1940
Students of Mr. Hilsberg April 18, 1940
Students of Mr. Tabuteau April 19, 1940
Students of Madame Vengerova. .... ....April £5, 1940
Students of Mr. Kaufman. April 26 , 1940
Students of Madame Gregory April 30, 1940
Students of Dr. Bailly April 50, 1940
Students of Dr. Wohlmuth May 2, 1940
Student of Dr. McCurdy
(Richard Purvis) May 7, 1940
Students of Madame Luboshutz May 9, 1940
|
(4) SPECIAL CONCERTS The Historical Series |
( October 30. 1939 |
|
(November 27, 1939 (December 8, 1939 ( January 19, 1940 (February 20, 1940 ( March 15, 1940 ( April 23, 1940 |
Sonata recital by
Madame Lea Luboshutz, Violinist
Mrs. Edith Evans Braun, Pianist... November 10, 1939
Recital of original music for four hands at one piano by Mr. Ralph Berkowitz and Mr. Vladimir Sokoloff ,
.January 4, 1940
Recital of five Sonatas for violoncello and piano by Mr. Felix Salmond, Violoncellist Mr. Ralph Berkowitz, Pianist....,
-January 10, 1940
The Trappe Family Singers ...February 16, 1940
Recital by
Mr. Sigurd Rascher, Saxophonist Mr. George Robert, Pianist ,
.March 8, 1940
Piano and viola recital by Miss Genia Robinor, Pianist Dr. Louis Bailly, Violist..,
.March 13, 1940
Sonata recitals by
Mr. Adolf Busch, Violinist Mr. Rudolf Serkin, Pianist,
(April 28, 1940 ( May 1, 1940 ( May 8, 1940
(5) CONCERT COURSE
Wildwood Civic Club,
Wildwood, New Jersey August 22
Foremen's and Supervisors1 Club,
Gibbstown, New Jersey September 21
Women's Club of Lynchburg,
Lynchburg, Virginia ( October 15
(November 17
State Teachers College,
Kutztown, Pennsylvania .October 18
Woman's Club of Wyncote,
Wyncote, Pennsylvania October 13
Washington College,
Chestertown, Maryland October 26
Harcum Junior College,
Bryn Mawr, Pennsylvania (November 2
(February 29
Junior Octave Club,
Norristown, Pennsylvania November 2
Friends' Select School,
Philadelphia, Pennsylvania November 5
Saint Andrew' s School,
Middletown, Delaware .November 4
University of Delaware,
Newark, Delaware (November 9
( April 11 ( May 9
Sleighton Farms,
Darling P.O. , Pennsylvania. November 14
Octave Club,
Norristown, Pennsylvania November 15
Ursinus College,
Collegeville, Pennsylvania November 16
Schumann Club,
Wildwood, New Jersey November 28
New Jersey State Teachers College
Glassboro, New Jersey (November 30
( May 7 ( May 21
(6)
CONCERT COURSE (continued)
George School,
George School, Pennsylvania. .....December 9
Gaston Presbyterian Church,
Philadelphia, Pennsylvania December 17
Woman's Club of Allentown,
Allentown, Pennsylvania January 2
Moorestown High School,
Moorestown, New Jersey February 22
The Neighbors,
Hatboro, Pennsylvania February 28
Porch Club,
Riverton, New Jersey March 5
Pemberton Music Club,
Pemberton, New Jersey April 9
The Sommerville Committee of Swarthmore
College, Swarthmore, Pennsylvania. . .April 18 Holmquist School,
New Hope, Pennsylvania April 20
The Rotary Club of Wilmington,
Wilmington, Delaware April 23
New Jersey School Women' s Club,
Trenton, New Jersey .May 4
Emilie Krider Norris School,
Philadelphia, Pennsylvania May 8
Review Club of Oak Lane,
Oak Lane, Philadelphia, Pennsylvania. .May 15 New Century Club,
Wilmington, Delaware May 15
1939 1939 1940 1940 1940 1940 1940 1940 1940 1940 1940 1940 1940 1940
(7)
SPECIAL CONCERT COURSE
(Programs in v.hich
Curtis students collaborated)
Princeton University, Proctor Hall,
Princeton, Mew Jersey (November 5, 1959
(February 11, 1940
Hagerstown Symphony Orchestra,
Hagerstown, Maryland December 7, 1959
The Philomusian Club,
Philadelphia, Pennsylvania December 15, 1959
Fifth Annual Concert Abington Senior High School Combined Glee Clubs, Abington, Pennsylvania March 15 , 1940
Woman* s Medical College of Pennsylvania,
Philadelphia, Pennsylvania April 5 , 1940
Spring Concert of the Second United
Brethern Church, York, Pennsylvania. .April 18, 1940
The Little Symphony Society of
Philadelphia, Pennsylvania April 13, 1940
La Salle College Glee Club Annual Concert,
Philadelphia, Pennsylvania..... April 19, 1940
Junger Maennerchor,
Philadelphia, Pennsylvania May 10, 1940
Rpxborough Symphony Orchestra,
Roxborough, Pe.insylvania May 27, 1940
Musicale of the First Methodist Church,
Haddon Heigh is, iiev* Jersey May 28, 1940
(8)
CONCERTS ELSEV-HERE
The Philadelphia Forum, Philadelphia,
The Curtis Symphony Orchestra March 7, 1940
Bach Cantata Festival,
St. James Protestant Episcopal
Church, Philadelphia, Pennsylvania. ..(May 3, 1940
(May 4, 1940
Benefit for Commission for the Polish Relief, Academy of Music, Philadelphia, Pennsylvania May 13, 1940
RADIO PROGRAMMES October 16, 1939 to April 29, 1940
Seventh Commencement and Conferring
of Degrees May 10, 1940
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