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Full text of "recital programs 1924-1925"

The Curtis Institute of Music 

Endowed by Mart Louise Curtis Bos 




Recital Programmes 
1924- 1925 



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The Curtis Institute of Music 

Endowed by Mary Louise Curtis Bok 




Recital Programmes 
IQ24- 1925 



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THE CURTIS INSTITUTE of MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA 

FIRST %ECITAL 

in a series by 

MEMBERS OF THE FACULTY 

FOYER OF THE ACADEMY OF MUSIC 

Thursday Evening, February 12, 1925, at 8.15 o'clock 

cTWADAME CHARLES CAHIER^, Contralto 

Frank Bibb at the Piano 



1. SCHUBERT 

2. BRAHMS 
STRAUSS 

3. RIMSKY-KORSAKOFF 



Program 

(a) An die Musik 

(b) Die Forelle 

(c) Der Tod und das Madchen 

(d) Der Jungling an der Quelle 

(e) Erlkonig 

(a) Vor dem Fenster 

(b) Sandmannchen 

(c) Ruhe, meine Seele 

(d) Schlechtes Wetter 



Chanson of the 13th century, 
arranged by ALFREDO 
CASELLA 

AUGUSTA HOLMES 

CASTELNUOVO-TEDESCO 

TOSTI 

FOLKSONGS: 

Traditional Melody of the 

Pyrenees 

Finnish 

Italian 

Irish 

Scotch 



(a) "Viens, regarde ton jardin' 

(b) Flaiolet 

(c) Thrinodia 

(d) "Ninna Nanna" 

(e) Les Filles de Cadix 



(a) Rose de Provence 

(b) "Tuku, tuku lampaitani" 

(c) Girometta 

(d) Lullaby 

(e) "Within a Mile of Edinbourgh Town' 

(f) "Charley is my Darling" 



The Piano is a Steinway 



Local Direction: Concert Management Arthur Judson 



r«lS>SiS 



I. (a) AN DIE MUSIK 

Du holde Kunst, in wie vielgrauen 

Stunden, 
wo mich des lebens wilde Kreis um- 

strickt, 
hast du mein Herz zu warme Lieb ent- 

zunden, 
hast mich in eine bess're Welt entruckt. 

Oft hat ein Seufzer, deiner Harf ent- 

flossen, 
ein siisser heiliger Akkord von dir, 
den Himmel bess're Zeiten mir ent- 

schlossen, 
du holde Kunst, ich danke dir dafur. 

— (Schober). 

I. (6) DIE FORELLE 

In einem Bachlein helle, 
Da schos in froher Eil 
Die launische Forelle 
Voruber wie ein Pfeil. 

Teh stand an dem Gestade 
Und sah in siiser Ruh' 
Des muntern Fischleins Bade 
Im klaren Bachlein zu. 

Ein Fischer mit der Rute 
Wohl an dem Ufer stand, 
Und sah's mit kaltem Blute, 
Wie sich das Fischlein wand. 

So lang dem Wasser Helle, 
So dacht' ich, nicht gebricht, 
So fangt er die Forelle 
Mit seiner Angel nicht. 

Doch endlich ward dem Diebe 

Die Zeit zu lang, 

Er macht' das Bachlein tiickisch trube, 

Und eh' ich es gedacht, 

So zuckte seine Rute, 

Das Fischlein zappelt d'ran, 

Und ich mit regem Blute 

Sah die Betrog'ne an. 



I. (a) TO MUSIC 

O lovely Art! my joy and inspiration, 
Whose wond'rous power drives all our 

cares away; 
Thou hast my heart thro' all my life's 

duration, 
The world rejoices in thy magic sway. 



Oft has a sigh from out thy heart's harp 

flowing, 
A sweet and holy chord, my heart to 

cheer, 
Has opened heaven's bright vistas to my 

knowing : 
To thee, my thanks, O Art so dear! 



I. (6) THE TROUT 

Deep in a brook, swift flowing; 
Within the sun's bright ray 
The playful trout were darting 
In light and flashing play. 

I stood upon the crossing 
And saw, with pleased smile, 
How happily the swimmers, 
Away the hours did while. 

Upon the bank, in shadow, 
There stood a fisher bold, 
And saw his little victims 
With evil eye and cold. 

I thought: in such clear water, 
Safe are the little fish; 
They can well see the danger, 
And foil the man's base wish. 

At last, no longer patient, 

Alas ! the heartless man, 

He marred the clear, cool water: 

A moment, oh ! and then 

There hung the little fellow, 

In agony and pain. 

And I, sad and downhearted, 

Went on my way again. 



I. (c) DER TOD UND DAS MAEDCHEN 



Das Madchen: 

Voruber, ach voruber, 

Geh' wilder knochen Mann, 

Ich bin noch jung, 

Geh' lieber! und riihre mich nicht an. 

Der Tod: 

Gieb deine Hand, 

Du schon und zart Gebild! 

Bin Freund, und komme nicht zu 

strafen. 

Sei gutes Muths! ich bin nicht wild, 

Sollst sanft in meinen Armen schlafen ! 



Translation 

Pass onward, oh ! pass onward, 
Wild man with skinless bone, 

I'm but a girl, away then, 
And leave the young alone. 



Give me thy hand, 

My fair and tender child, 
As friend I come, and not to chasten, 

Be of good cheer! I am not wild. 



I. (d) DER JUNGLING AN DER QUELLE 



Leise rieselnder Quell ! 
Ihr wallenden, fliisternden Pappeln, 
Euer Schlummergerausch 
Wecket die Liebe nur auf. 
Linderung sucht' ich bei euch, 
Um sie zu vergessen, die Sprode — 
Ach, und Blatter und Bach 
Seufzen, Luise, dir nach ! 

I. (e) ERLKONIG 

so spat durch Nacht 



und 



Wer reitet 
Wind? 

Es ist der Vater mit seinem Kind; 
Er hat den Knaben wohl in dem Arm, 
Er fasst ihn sicher, er halt ihn warm. 

"Mein Sohn, was birgst du so bang dein 

Gesicht?" 
"Siehst, Vater, du den Erlkonig nicht? 
Den Erlenkonig mit Kron' und 

Schweif ?" 
"Mein Sohn, es ist ein Nebelstreif I" 

"Du liebes Kind, komm' geh mit mir, 
Gar schone Spiele spiel' ich mit dir; 
Manch bunte Blumen sind an dem Strand, 
Meine Mutter hat manch gulden Ge- 
wand." 



"Mein Vater, mein Vater, und horest du 

nicht, 
Was Erlenkonig mir leise verspricht?" 
"Sei ruhig, bleibe ruhig, mein Kind; 
In diirren Blattern sauselt der Wind." 



"Willst, feiner Knabe, du mit mir gehn? 
Meine Tochter sollen dich warten schon ; 
Meine Tochter fuhren den nachtlichen 

Reihn 
Und wiegen und tanzen und singen dich 

ein." 



"Mein Vater, mein Vater und siehst du 

nicht dort, 
Erlkonigs Tochter am diistern Ort?" 
"Mein Sohn, mein Sohn, ich seh as 

genau : 
Es scheinen die alten Weiden so grau." 

"Ich liebe dich, mich reizt deine schone 

Gestalt ; 
Und bist du nicht willig, so brauch' ich 

Gewalt." 
"Mein Vater, mein Vater, jetzt fasst er 

mich an ! 
Erlkonig hat mir ein Leid's getan !" 



Translation 
Softly, purling stream, 
Ye waving, whispering poplars, 
Your slumbering sounds, 
Only awaken my love. 
Seeking comfort from you, 
I've sought to forget her — the proud 

one. 
Ah ! and the leaves and the stream, 
Echo Louise, thy dear name. 

I. O) THE ERL-KING 

Translation 
Who rideth so late through night and 

wind? 
It is the father with his child; 
He has the boy so safe in his arm. 
He holds him tightly, he holds him warm. 

My son, in terror, why hidest thy face? 
Oh, father, see, the Erl-King is nigh ! 
The Erl-King dreaded, with crown and 

robe, 
My son, 'tis but a streak of mist. 



"My dearest child, come, go with me ! 
Such merry plays I'll play with thee, 
For many gay flowers are blooming 

there, 
And my mother has many golden robes 

for thee." 

My father, my father, and hearest thou 

not, 
What the Erl-King whispers so soft in 

my ears? 
Be quiet, oh, be quiet, my child : 
'Tis but the dead leaves stirred by the 

wind. 

"Come, lovely boy, wilt thou go with 

me? 
My daughter fair shall wait on thee, 
There my daughters lead in the revels 

each night, 
They'll sing and they'll dance and they'll 

rock thee to sleep." 

My father, my father, and seest thou 

not 
The Erl-King's daughters in yon dim 

spot? 
My son, my son, I see, and I know 
'Twas only the olden willow so gray. 

"I love thee so, thy beauty has ravished 

my sense; 
And willing or not, I will carry thee 

hence." 
My father, my father, now grasps he my 

arm. 
The Erl-King has seized me, has done 

me harm 1 



Dem Vater grauset's, er reitet geschwind, The father shudders, he rides like the 
Er halt in den Armen das achzende Kind, wind. 

Erreicht den Hof mit Miih' und Not — He clasps to his bosom the pale, sobbing 
In seinen Armen das Kind war tot. child; 

He reaches home with fear and dread; 

Clasped in his arms the child was dead. 



II. (a) VOR DEM 

FENSTER 

Soil sich der Mond nicht heller scheinen, 
soil sich die Sonn' nicht friih' aufgeh'n, 
so will ich diese Nacht geh'n freien, 
wie ich zuvor auch hab' getan. 

Als er wohl auf die Gasse trat, 

da fing er an ein Lied und sang, 

er sang aus schoner, aus heller Stimme, 

dass sein fein's Lieb zum Bett aussprang. 

Steh' still, steh' still, mein feines Lieb, 
stela' still, steh' still und riihr' dich nicht, 
sonst weckst du Vater, sonst weckst du 

Mutter, 
das ist uns beiden nicht wohlgetan. 

Was frag' ich nach Vater, was frag' ich 

nach Mutter, 
vor deinem Schlaffenster muss ich steh'n, 
ich will mein schones Lieb anschauen, 
um das ich muss so feme geh'n. 

Da standen die zwei wohl bei einander 
mit ihren zarten Miindelein, 
der Wachter blies wohl in sein Hornelein. 
Ade, es muss geschieden sein. 

Ach Scheiden, Scheiden uber Scheiden, 
Scheiden tut meinem jungen Herzen 

weh', 
dass ich mein schon Herzlieb muss 

meiden, 
das vergess' ich nimmermehr. 

— Rheinisches Volkslied. 

II. (b) SAND- 

MANNCHEN 

Die Bliimelein sie schlafen, 

schon langst in Mondenschein, 

sie nikken mit den Kopfen 

Auf ihren Stengelein. 

Es ruttelt sich der Blutenbaum, 

er sauselt wie im Traum. 

Schlafe, schlaf du, mein Kindelein. 



Sandmannchen kommt geschlichen 
und guckt durchs Fensterlein, 
ob irgend noch ein Liebchen 
nicht mag zu Bette sein. 
Und wo er nur ein Kindchen fand, 
streut'er ihm in die Augen sand. 
Schlafe, schlaf du, mein Kindelein. 
— (Volkslied). 



II. (a) BY THE 

WINDOW 

"Should the moon not brighter shine, 
Or the sun rise earlier than of yore, 
Then I this night will go a-wooing, 
As I have done so oft before — " 

And as he walked the streets alone, 
With voice so rich and sweet he sang, 
That from her bed his true love heard 

him, 
And quickly to her feet she sprang! 

hush, O hush, my own true love, 
Be still, be still and make no sound, 
Lest waken should both father and 

mother 
And we by them should here be found — 

What care I for father, what care I for 

mother ? 
Beneath thy window I will stay, 
For I must see my own true love 
'Ere far from her I go away ! 

So side by side they stood together, 
The while he pressed her to his heart, 
The watchman softly blew his horn ; 
"Farewell, my love, for we must part 1" 

"O parting, parting, O the sorrow ! 
Parting fills my heart with woe; 
That from my true love I must sever, 

1 can bear it nevermore !" 



II. (&) THE LITTLE 

SANDMAN 

The little flowers are sleeping beneath 

the pale moonshine; 
Their tiny heads are nodding upon their 

stalks so fine. 
The rose-tree bends her dainty head and 

shakes her petals red. 
Slumber, slumber, oh, slumber, my little 

child. 

And now the sandman softly will through 

the window peep 
To see if any darling has not yet gone 

to sleep. 
For where a waking child he spies, he 

throws sand in its eyes. 
Slumber, slumber, oh, slumber, mv little 

child. 



II. (c) "RUHE MEINE 
SEELE" 

Nicht ein Liiftchen regt sich leise, 
San ft entschlummert ruht der Hain. 
Durch der Blatter dunkle Hiille 
Stiehlt sich lichter Sonnenschein. 

Ruhe meine Seele, deine Stiirme gingen 

wild 
Hast getobt und hast gezittert. 
Wie die Brandung, wenn sie 
schwillt ! 

Diese Zeiten sind gewaltig, 
Bringen Herz und Hirn in Not — 
Ruhe meine Seele, und vergiss was dich 
bedroht. 



II. (c) "REST THEE, 

MY SPIRIT" 

Not a breath of wind is stirring; 
Hill and dale are wrapped in sleep; 
Golden through the shelt'ring foliage 
Summer midday sunbeams peep. 

Rest thee, rest the troubled spirit. 
Thou hast suffered, labored, toiled; 
Thou hast fought, and thou hast 

trembled, 
Like the stormbeat ocean wild! 

These times are momentous, 
Head and heart must struggle sore! 
Rest thee, rest thee, O my spirit 
And forget, all thy suffering 
Will soon be o'er. 



II. (d) SCHLECHTES 

WETTER 

Das ist ein schlechtes Wetter, 
es regnet und sturmt und schneit; 
ich sitze am Fenster und schaue 
hinaus in die Dunkelheit. 

Da schimmert ein einsames Lichtchen, 
das wandelt langsam fort; 
ein Miitterchen mit dem Laternchen 
wankt iiber die Strasse dort. 

Ich glaube, Mehl und Eier 
und Butter kaufte sie ein: 
sie will einen Kuchen backen 
fur's grosse Tochterlein. 

Die liegt zu Hause im Lehnstuhl 
und blinzelt schlafrig ins Licht; 
die goldene Locken wallen 
iiber das siisse Gesicht. 



II. (d) STORMY 

WEATHER 

It is stormy outside — raining, blowing 
and snowing. I sit at the window 
and gaze out into the darkness. 

I see the glimmer of a small light that 
wanders slowly away — a little old 
mother with a lantern hobbles across 
the street. 

I think she is buying butter, flour and 
eggs to make a cake for her sick 
daughter. 

She lies at home, blinking sleepily at the 
light. Her beautiful golden locks 
bathe her sweet face. 



III. (a) "VIENS, 

REGARDE TON 
JARDIN" 



Viens, regarde ton jardin. 

La narcisse en fleur s'y penche. 

Tout verdoi : on voit la branche d'une 

vine entreindre un pin, 
Viens, regarde ton jardin. 
Le pommier fleuri profile son bouquet 

d'argent leger. 
Fretillant sur un rocher, l'eau serpent au 

val tranquille. 
Viens, regarde ton jardin. 
Viens, ouvrir ton beau jardin. 
Pour fleurir tes blanches roses, 
Attendait, encore closes, 
Un regard de tes doux yeux, 
Ouvre ton jardin joyeux. 



III. (a) "COME AND 
SEE THY 
GARDEN 
FAIR" 

Come and see thy garden fair— 
The narcissus its flower is bending. 
All is green : and see ! a vine 
Fast is twining 'round a pine — 
Come and see thy garden fine ! 
Now the apple tree is flaunting 
Its profile of silver flowers : 
Showering 'gainst the rocks so grey, 
Finds the stream his tranquil way. 
Come and see your garden gay — 
Come and ope thy garden fair — 
That thy roses white may flower, 
From thine eyes, in thy sweet bower, 
Send to them a heavenly ray! 
Come and ope thy garden gay! 



III. (&) FLAIOLET 

En Mai quand le rossignolet, 
Chante clair au buissonet, 
Je taille en saule un flageolet, 
Je fais de fleurs un chapelet. 



Desir me vient d'amour chanter, 
Chanter d'amour au bois seulet ; 
Pour me distraire et consoler, 
D'un mal d'amour qu'il faut celer. 



III. (6) FLAIOLET 

In springtime gay, when comes sweet 

May, 
When blossoms spread o'er field and 

mead, 
I bind a chaplet for my hair, and make 

myself a flute of reed. 

Alone I rove through lane and grove, 
I long to sing a song of love, 
To sing the love I must conceal 
And thus my aching heart to heal. 



III. (c) THRINODIA 

Versez les parfums, 
tressez la couronne ; 
Selene rayonne 
au fond des cieux bruns. 
Decorez ma tete 
d'un long voile d'or ; 
qu'a chanter encore 
ma Lyre soit prete! 

Taillez mon bucher 
dans le coeur des chenes ; 
je porte les chaines 
du divin Archer ! 
Phoibos m'appelle 
et me tend les bras ! 
Ne me pleurez pas, 
je suis immortelle ! 



III. (c) A THRENODY 

Empty rich perfume, 

Laurels green entwining; 

Thro' the skies dark with gloom, 

Selene is mildly shining. 

My dark brows surrounding, 

Let a veil be hung; 

For sweet song's resounding 

Let my lyre be strung. 

Build my funeral pyre 

Out of oak preparing. 

Of the God of fire, 

His bright chains I'm wearing. 

Apollo at my portal, 

His fair arms extends; 

Since I am immortal, 

Weep not, then, my friends ! 



III. (d) "NINNA— 

NANNA" 

Don, don, don. . . . 
Agni bimba ha una campana, 
dolce, strana, tutta per se : 
Suona a notte : il cielo e bruno ; 
E nessuno sa dov'e. . . . 

Don, don, don. . . . 

Par che pianga, par che rida: 

Sa e non sgrida, perdona e sa. 

Dice solo quando snona : 

"Sii piu buona" . . . E tace, e va. 

Don, don, don. . . . 

Vi volete confidare, 

Voci care? In voi chi c'e? 

Mamma, mamma, la campana 

Dolce, strana, mi par te! 



III. (d) "NINNA— 

NANNA" 

Don, don don. . . . 

There's a chime for mother's dearie, 

Mystic, cheery — all her own; 

Nightly tolling — in the gloaming . . . 

Wherefrom coming is this tone? 

Don, don don. . . . 

Sometime laughing, sometime sobbing, 

Never scolding, forgiving still, 

As a voice it seems to unfurl : 

"Be a good girl !" and then holds still ! 

Don, don don. . . . 
O confide in me, sweet pealing; 
Soothing, healing, who are you? 
For this chime, O Mother dearie. 
Mystic, cheery, seems like you. 



III. (e) LES FILLES 
CADIX 

Nous venions de voir le taureau 
trois gargons, trois fillettes. 
Sur la pelouse, il faisait beau, 
et nous dansions un bolero 
au son des castagnettes ; 
"Dites-moi, voisin, 



DE III. (e) THE GIRLS OF 

CADIX 

O we were going to the fair, 
Three youths and maidens three; 
The fields were green, balmy the air. 
The world was gay and free from care: 
A dance we tripped with glee. 

"Tell me, my friend, who loves me 
well, 



si j'ai bonne mine, 

et si ma basquine 

va bien ce matin. 

Vous me trouvez la taille fine? 

Ah! Ah! 
Les filles de Cadix aiment assez cela." 

Et nous dansions un bolero 
un soir, c'etait dimanche. 
Vers nous s'en vint un hidalgo 
cousu d'or, la plume au chapeau, 
et le poing sur la handle : 
"Si tu veux de moi, 
brune au doux sourire, 
tu n'as qu'a le dire 
cet or est a toi." 
"Passez votre chemin, beau sire, 
Les filles de Cadix 
n'entendent pas cela!" 

— Alfred de Musset. 

IV. (a) ROSE DE 

PROVENCE 

C'est une fleur, fleur des prairies, 
C'est une belle Rose de Provence. 
Sa chevelure ressemble a la nuit, 
Et ses beaux yeux semblent des Myosotis. 

Quand du village, elle se promene, 
C'est un plaisir de la voir marcher. 
Sa jolie taille ronde et gracieuse, 
Semble une vague souple et mysterieuse. 

Oh sa voix douce, douce comme une 

flute, 
Oh elle chante mieux qu'un serin. 
Fraiche comme une rose blanche comme 

la neige. 
Pure comme une Sainte est ma Rose de 

Provence. 

IV. (ft) FINLANDSCH 

VOLKSLIED 

(Hertenlied) 

Tuku, tuku lampaitani, 
Tuku, tuku lampaitani 
kili kiliani 

paka paka puskuri passia, 
paka paka passiani. 
Aurinka tuolla laskehti 
missahan kulta vvpiikii 
kylla me tavatan huomenna 
toisemma surella aholla. 



If in my basque so sweet, 
I'm looking at my best today, 
And if my figure's neat? 
The girls of Cadix like it well 
When pretty things their sweethearts 
tell." 

One eve we danced a bolero. 

With hand upon his hip, 

There came to us a hidalgo, 

In suit of gold and high chapeau 

And smile upon his lip. 

"If you would love me, maiden fair, 
Brunette, with sweetest smile, 
I'm not averse to your dark eyes 
My gold will thee beguile." 

"Pass on. Monsieur, you do not know. 
The Cadix maiden is not so !" 



IV. (a) ROSE DE 

PROVENCE 

She is a flower — a flower of the prairies, 
She is a lovely rose of Provence, 
Her hair is like the night, 
And her eyes like forget-me-nots. 

When she walks in the village, 

Her beauty is a pleasure, 

Her figure, round and graceful, 

Is like a wave, supple and mysterious. 

Her voice has the sweetness of a flute, 
And she sings like a bird. 
Fresh as a rose, white as the snow, 
Pure as a saint is my rose of Provence. 



IV. (b) TUKU, TUKU! 



Come, come, my little lambkins fine, 

Come, my good old mother-ewe; 

Evening is here, the bells are ringing, 

'Tis time to go to rest. 

My sweetheart in her silken gown 

Let me wait in vain. 

Ah ! She will not come again 

As the day is done. 

Night decks the wide meadow 

And I hear the owl's cry. 



IV. (c) GIROMETTA 

Chi t'ha fatto quelle scarpette, 
che ti stan si ben, Girometta? 
che ti stan si ben? 

Me l'ha fatte lo mio Amore, 
che mi vol gran ben. 



IV. O) GIROMETTA 

Who has fashioned the tiny slippers 
That become thee so, Girometta, 
That become thee so? 

They were wrought by my beloved 
Who adores me so, Girometta, 
Who adores me so. 



Chi t'ha fatto quelle calzette, 
che ti stan si ben, Girometta? 
che ti stan si ben? 

Me l'ha fatte lo mio Amore, 
che mi vol gran ben. 



Who has woven the silken stockings 
That become thee so, Girometta, 
That become thee so? 

They were wrought by my beloved 
Who loves me so, Girometta, 
Who loves me so. 

— (Unknown poet of the 16th Century) 
English version by Deems Taylor. 



IV. (d) IRISH LULLABY 



I've found my bonny babe a nest on I'd put my pretty child to float away 

slumber tree. from me, 

I'll rock you there to rosy rest astore within the new moon's silver boat on 

machree ! slumber sea. 

O lulla lo ! sing all the leaves on slumber And when your starry sail is o'er, from 

tree slumber sea, 

till everything that hurts or grieves afar my precious one, you'll step ashore on 

must flee. mother's knee. 



IV. (e) WITHIN A MILE OF EDINBOURGH TOWN 



'Twas within a mile of Edinbourgh town, 

In the rosy time of the year. 

Sweet flowers bloomed and the grass was 

down. 
And each shepherd woo'd his dear. 
Bonnie Jockie, blythe and gay, 
Kissed young Jenny making hay; 
The lassie blushed and frowning cried, 
"Na, na, it winna do, 
I canna, canna, winna, winna, 
Maunna buckle to." 



But when he vow'd he wad make her his 

bride, 
Though his flocks and herds were not 

few, 
She gie'd him her hand and a kiss beside. 
And vow'd she'd forever be true. 
Bonnie Jockie, blythe and free, 
Won her heart right merrily; 
At kirk she no more frowning cried, 
"Na, na, it winna do, 
I canna, canna, winna, winna, 
Maunna buckle to." 



IV. (/) "OH, CHARLIE IS MY DARLING" 

Oh, Charlie is my darling, my darling, my darling, 

Charlie is my darling, the young chevalier. 

'Twas on a Monday morning, 

Right early in the year, 

When Charlie came to our town, 

The young chevalier. 

As he cam' marchin' up the street 

The pipes play'd loud and clear, 

And a' the folks cam' runnin' out 

To meet the chevalier! 

Wi' Hieland bonnets on their heads 

And the young chevalier. 

They cam' to fight for Scotland's right 

And the young chevalier. 

8 



1 

The 

CURTIS INSTITUTE of MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA 

SECOND %ECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

FOYER of the ACADEMY of MUSIC 

Thursday Evening, March 5, 1925, at 8:15 o'clock 

CARL FLESCH, Violinist 
JOSEF HOFMANN, Pianist 



PROGRAM 

LUDWIG VAN BEETHOVEN Sonata in C minor, Opus 30, No. 2, 
1770-1827 for Piano and Violin 

Allegro con brio 
Adagio cantabile 
Scherzo. Allegro. 
Finale. Allegro. 

Sonata in F major, Opus 24, for 

Piano and Violin 
Allegro. 

Adagio molto espressivo. 
Scherzo. Allegro molto. 
Rondo. Allegro ma non troppo 

Sonata in A major (Kreutzer Sonata), 
Opus 47, for Piano and Violin 

Adagio sostenuto — Presto. 
Andante con variazioni 
Finale. Presto. 



The Piano is a Steinway 



Local Direction: CONCERT MANAGEMENT ARTHUR JUDSON 

& 



f 






The 

CURTIS INSTITUTE of MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA 

THIRD %ECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 



2. Intermezzo 

Introduction et Ro 



FOYER of the ACADEMY of MUSIC 
Thursday Evening, April 16, 1925, at 8.15 o'clock 

HORACE BRITT, Violoncellist 
CARLOS SALZEDO, Harpist 

<PROGRAM 

*Sarabande Francois Couperin 

1668-1733 
tSoIfeggietto Karl Philipp Emanuel Bach 

1714-1788 
*Giga (Ji CT ) Arcangelo Corelli 

1658-1713 
*Rigaudon Jean-Philippe Rameau 

1683-1764 

CARLOS SALZEDO 

> From 'Cello Concerto Edouard Lalo 

ndo ) 

HORACE BRITT 
3. En Bateau Claude Debussy 

Le bon petit roi d'Yvetot Marcel Grandjany 

Introspection 1 
Mirage !• Carlos Salzedo 

Whirlwind J 

CARLOS SALZEDO 

" K , an , gSam „ From "STUCKE IM VOLKSTON." I R , . *_!..„__-,_ 

Nicht schnell O us 107 j Kobert bcnumann 

Nicht zu schnell | J 

Menuet Claude Debussy 

Danse Espagnole Enrique Granados 

HORACE BRITT 

5. Sonata De Fesch 

Preludio-Allemanda 1695-1758 

Sarabande 
Menuet 

HORACE BRITT and CARLOS SALZEDO 

At the piano: Ruth Muzzy Conniston 

Mr. Salsedo Uses the Lyon and Healy Harp Exclusively 
The Piano is a Steinway 

♦Transcribed by Carlos Salzedo 

•^Transcribed by Marie Miller 



Local Direction: CONCERT MANAGEMENT ARTHUR JUDSON 

i i 

in. — — . r«9B 



J 

THE CURTIS INSTITUTE OF MUSIC 

RITTEN HOUSE SQUARE 
PHILADELPHIA 



FIRST RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Thursday evening, February 5, 1925, at 8.15 o'clock 

EMANUEL ZETLIN, Violinist 

Ellis Clark Hammann, at the Piano 



Ferruccio Busoni .... Concerto in D major, Opus 35 

Allegro moderato Quasi andante Allegro impetuoso 
Alia marcia, pomposo umoristico 

Max Reger . . . Prelude and Fugue in G minor, Opus 117, No. 2 

Erich Wolfgang Korngold . Suite "Much Ado About Nothing" 

Madchen im Brautgemach 

Holzapfel und Schlehwein. (In the mood of 

a grotesque funeral march) 
Garten Szene 
Mummenschanz (Hornpipe) 

C. Saint-Salns Havanaise 

P. I. Tschaikowsky Valse Scherzo, Opus 34 

The Piano is a Steinway 



The Next Recital in this series will be given by Mr. Michael Press, 
Violinist, on Monday evening, February 16. 



THE CURTIS INSTITUTE OF MUSIC 



RITTEN HOUSE SQUARE 
PHILADELPHIA 



SECOND RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 

Monday evening, February 16, 1925, at 8.15 o'clock 

MICHAEL PRESS, Violinist 

Isabella Vengerova, at the Piano 



Tartini-Kreisler 
Bach-Siloti 



Sonata in G minor ("Devil's Trill") 



C.F.Hurlebush(1690-1765) 
C. Daouin (1694-1772) 
W. A. Mozart (1719-1787) 
F. Couperin (1668-1733) 



Arranged 

by 

MICHAEL PRESS 



Concerto in E major 
Moderato 
Adagio 
Allegro moderato 

Adagio 
(Played from manuscript) 

. Le Coucou 

Menuett 

Les petits moulins a vent 



R. Schumann 
J. Brahms 
R. Wagner 
Salnt-Sa ens - Ys a y e 



Aria 
Fragment 



Arranged 

by 

MICHAEL PRESS 



Intermezzo, Opus 76 

Albumblatt 

Spinnerlied (Concert Paraphrase) 

Caprice d'apres l'Etude en forme de valse 



{ 



The Piano is a Steinway 



The next recital in this Series will be given by Mr. Austin Conradi, 
Pianist, on Wednesday evening, February 18. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



THIRD RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 

Wednesday evening, February 18, 1925, at 8.15 o'clock 

AUSTIN CONRADI, Pianist 



Bach-Liszt 
J. Brahms 



F. Chopin 



C. Debussy 



M. Ravel 



Fantasie and Fugue in G minor 

Intermezzo in B flat, Opus 117, No. 2 
Intermezzo in A minor, Opus 118, No. 1 
Intermezzo in E flat minor, Opus 118, No. 6 
Capriccio in C major, Opus 76, No. 8 

Sonata in B flat minor 

Grave (Doppio movimento) 

Scherzo 

Marche Funebre 

Finale 

Images (Premiere Serie) 
Reflets dans l'eau 
Hommage k Rameau 
Mouvement 

Pavane (Pour une Infante defunte) 
Jeux d'eau 



Mr. Conradi uses a Baldwin Piano 
The Steinway is the official piano of the Curtis Institute of Music 



The next recital in this series will be given by Mr. Horatio Connell, 
Baritone, on Tuesday evening, February 24. 



THE CURTIS INSTITUTE OF MUSIC 



RITTEN HOUSE SQUARE 
PHILADELPHIA 



FOURTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Tuesday evening, February 24, 1925, at 8.15 o'clock 

HORATIO CONNELL, Baritone 

Ellis Clark Hammann, at the Piano 



G. Paisiello (1741-1816) 
C. Monteverdi (1567-1643) 
Old English (1613) 



Nel cor piu non mi sento 

Lasciatemi morire 

"Here she her sacred bower adorns" 



G. F. Handel 



Reeitative and Aria: 
"O ruddier than the cherry." From "Acis and Galatea" 



R. Schumann 



R. Strauss 



Friihlingsgruss 

Der Schatzgraber 

Schmetterling 

Allnachtlich im Traume 

Heimliche Aufforderung 



G. Verdi 



"Eritu." From "The Masked Ball" 



Ellis Clark Hammann 
S. Rachmaninoff . 
M. Mayer 



Roger Quilter 



Wanderer's Night Song 
. » Lilacs 



I Dirge in 



the Woods 
Raindrops 



Song of the Blackbird 



The Piano is a Steinway 



The next recital in this series will be given by Mr. George F. Boyle, 
Pianist, on Thursday evening, February 26. 



NEL COR PIU NON MI SENTO 

(In My Heart I Feel No More) 

Translation 

In my heart I feel no more 

The brightness of youth. 

Love, thou source of my torments. 

Thine is the blame. 

Thou dost prick and sting 

And goad me, 

And wear me away. 

What? Have pity! 

I am brought to despair. 



FRUHLINGSGRUSS 

(Spring Greeting) 
Translation 

With greetings glad thy dawn we hail, lovely spring- 
time! 

Bright welcome smiles from all the land, lovely 
springtime! 

Beauteous springtime! all around echoes thy wel- 
come in tuneful sound. 

A thousand times thy smile we hail, lovely sp 
time! 

Oh, stay thy steps within our vale, lovely spring- 
time! 

Make in every heart thy home, all things bright to 
share thy smile will come. 



LASCIATEMI MORIRE 

(Let Me Die) 
Translation 
Oh, let me die! Whence do you wish me to 
find comfort for my hard lot, for my bitter sorrow. 
Oh, let me die! 



HERE SHE HER SACRED BOWER ADORNS 

Here she her sacred bower adorns, 

The rivers clearly flowe; 
The groves and meadows swell with flowers. 

The windes all gently blowe. 
Her sun-like beauty shines so faire. 

Her spring can never fade, 
Who then can blame the life that strives 

To harbour in her shade? 

Her grace I sought, her love I wooed. 

Her love though I obtaine, 
No time, no toyle, no vow, no faith, 

Her wished grace can gaine. 
Yet truth can tell my heart is hers. 

And her will I adore; 
And from that love when I depart. 

Let Heav'n view me no more. 



O RUDDIER THAN THE CHERRY 

I rage, I melt, I burn, 

The feeble god has stabbed me to the heart. 

Thou trusty pine! 

Prop of my godlike steps, I lay thee by! 

Bring me a hundred reeds of decent growth 

To make a pipe for my capacious mouth ; 

In soft enchanting accents let me breathe 

Sweet Galatea's beauty, and my love. 

O ruddier than the cherry! 
O sweeter than the berry ! 
O nymph, more bright than moonshine night, 
Like kidlings, blithe and merry. 

Ripe as the melting cluster. 
No lily has such lustre, 
Yet hard to tame, as raging flame. 

And fierce as storms that bluster. 



DER SCHATZGRABER 

(The Treasure Hunter) 
When all the world was sleeping, 
He sought in the night a cave. 
Impatiently, deep in the mountain 
For a gold treasure he sought. 

The angel of Heaven was singing 
Meanwhile in the calm of the night, 
Like unto red eyes was piercing 
The metal in the gloomy light. 

"And willst thou mine! 
And grimmer dug he and grimmer dug!' ! 
Then tumbled stones, rocks and boulders 
Over the fool far below. 

A scoffing laugh rebounded 
Within the jumbled tomb 
The angel's song resounded 
Sorrowful in the gloom. 



SCHMETTERLING 

(The Butterfly) 
Translation 

O butterfly, speak, why shy and so meek? 

Why fly then so hasty, now far and now near ! 

I'll do thee no harm, O have no alarm! 

And were I a flower, so speak I to thee. 

So speak I to thee! Come, come then to me! 

I'll give thee my heart then, how good I'm to thee! 



ALLNACHTLICH IM TRAUME 

(All Night Long I'm Dreaming) 
Translation 

All night long I'm dreaming, love, of you, 
And see you so smiling, hear you calling: 
And then cry out in bitter pain, 
Before you prostrate falling. 
You gaze, love, at me longingly then. 
Your blond head shaking, your gaze you lower. 
V.i 1 from your eyelids fall like rain 
The tears, a pearly shower. 
You whisper softly one word at morn, 
And give me your wreath of pale cypress blossoms: 
But I awake! and the wreath is gone. 
The word, too. I've forgotten. 



HEIMLICHE AUFFORDERUNG 
(The Lover's Pledge) 

Translation 

Up, lift now the sparkling gold cup to the lip and 

drink! 
And leave not a drop in the goblet fill'd to the 

brink. 
And as thou dost pledge me, let thine eyes rest on 

me, 
Then I will respond to thy smile and gaze all silent 

on thee. 
Then let thy bright eyes wander around 
0"er the comrades gay and merry — 
do not despise them, love; 
Nay" lift up the sparkling gold goblet and join the 

sway — 
Let them rejoice and be happy this festive day. 
But when thou hast drunk and eaten, no longer 

stay; 
Rise and turn thine eyes from the drinkers and 

hasten away ! 
And \\ ending thy steps to the garden, where blush 

the roses fair, 
Come — the sheltering arbour! I'll meet thee there. 
And soft on thy bosom resting let me adore 
Thy beauty, drink thy kisses as oft before — 
I'll twine around thy forehead the roses white — 
O come, thou wondrous, bliss-bestowing, longed-for 

night! John Bernhoff. 



ERI TU 



Translation 



Up! arise! And thy son there do I allow thee tc 

behold ; 
In darkness and in silence there awhile thy shame 

and my dishonor hiding! 
But not on her, on yon fragile existence be my blow 

directed; 
Elsewhere I'll seek atonement to purge the stain 

from my honor, it is thy life blood ! 
Ere long my vengeful dagger from thy base heart 

shall bid it flow; 
Retribution exacting for all my woe. 

Is it thou who has sullied a soul so pure, 

In whose virtue my spirit delighted, 

Hast betray'd me, whose affection I deem'd so 
secure? 

Of my life thou hast poison'd the stream! Traitor 
vile! 

It is thus I'm requited, who the first in thy friend- 
ship, yea, the first in thy friendship did seem! 

O the grief for a joy now departed, 

For caresses that made life a heaven! 

When Adelia, an angel pure-hearted, 

In my arms lay transported with love! 

All is over; and hate's bitter leaven, and longing for 
death fill my torn, aching heart! 
I ■ rief for joy departed! 

IIo,:e supports me no more. 



WANDERER'S NIGHT SONG 

High among the mountains is rest, 
The sun has fallen in the west, 

Scarcely a breeze, scarcely a breeze, 
The birds are silent in woodlands, 

The birds are silent in woodlands, 

Wait now and soon, wait now and soon, 
Thou shalt find rest, thou shalt find rest. 

LILACS 

Morning skies are aglow 

While the lilac trees blow, 
And I breathe of the fresh morning wind ; 

By the shadowy pool. 

Where it's dewy and cool, 
I must see if my fortune I'll find. 

Ah, of luck there's scant dole. 

Yet it's ev'ryone's goal, 
And my own lies out there in the dell; 

Hidden there all around 

Cluster'd lilacs are found, 
And my own little fortune, as well. 

DIRGE IN WOODS 

A wind sways the pines, and below 

Xot a breath of wild air; 
Still as the mosses that glow 
On the flooring and over the lines 
Of the roots here and there. 
The pine tree drops its dead: 
They are quiet as under the sea. 
Overhead, overhead. 
Rushes life in a race, 
As the clouds the clouds chase; 
And we go, 
And we drop like the fruits of the tree, 
Even we, 
Even so. 

George Merepit;i. 

RAINDROPS 

The great rain is over, 

The little rain begun, 
Falling from the higher leaves, 

Bright in the sun, 
Down to the lower leaves, 

One drop by one. 

Mary E. Coleridge. 

SONG OF THE BLACKBIRD 

The nightingale has a lyre of gold. 

The lark's is a clarion call, 
And the blackbird plays but a boxwood flute, 

But I love him best of all. 

For his song is all of the joy of life, 
And we in the mad spring weather. 

We two have listened till he sang 
Our hearts and lips together. 



THE CURTIS INSTITUTE OF MUSIC 



RITTEN HOUSE SQUARE 
PHILADELPHIA 



FIFTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Thursday evening, February 26, 1925, at 8.15 o'clock 

GEORGE BOYLE, Pianist 



Bach-Liszt 
Bach-Busoni 



Gluck-Brahms 
George Boyle 



F. Chopin 



Organ Prelude and Fugue in A minor 

Two organ choral preludes: 
"Awake, the voice commands" 
"Rejoice, beloved Christians" 

Gavotte 

Berceuse 

Pierrot 

Sonata in B major 

Moderato, un poco maestoso - Poco piu allegro 

Andante pensieroso, attacca 

Allegro ma non troppo, quasi marziale 

Ballade in F minor, Opus 52 

Lithuanian Song (Transcribed by Sgambati) 

Polonaise in A flat, Opus 53 

The Piano is a Steinway 



The next recital in this series will be given by Mile. Berthe Bert, 
Pianist, on Tuesday evening, March 10. 



THE CURTIS INSTITUTE OF MUSIC 



R1TTENHOUSE SQUARE 
PHILADELPHIA 



SIXTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Tuesday evening, March 10, 1925, at 8.15 o'clock 

BERTHE BERT, Pianist 



Bach-Liszt 
J. Rameau 
F. Couperin 
F. Chopin 



C. Franck 

C. Debussy . 

C. Saint-Saens 



Organ Prelude and Fugue in A minor 

Gavotte pour les heures et les zephirs 

Tic -Toe -Choc 

Fantasie in F minor, Opus 49 
Three Etudes: 

Opus 10, No. 3 

Opus 25, No. 2 

Opus 10, No. 10 

Prelude, Chorale and Fugue 
Les Poissons d'Or 
Etude en forme de valse 

The Piano is a Steinway 



The next recital in this Series will be given by Mme. Charles Cahier 
Contralto, on Thursday evening, March 12 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



SEVENTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Thursday evening, Mabch 12, 1925, at 8.15 o'clock 



Mme. CHARLES CAHIER, Contralto 



Robert Schumann 



Frank Bibb, at the Piano 

Frauenliebe und Leben 
Seit ich ihn gesehen 
Er, der Herrlichste von Allen 
Ich kann's nicht fassen, nicht glauben 
Du Ring an meinem Finger 
Helft mir, ihr Schwestern 
Susser Freund, du blickest 
An meinem Herzen, an meiner Brust 
Nun hast Du mir den ersten Schmerz getan 



Hugo Wolf 
Geistliche Lieder 

Secular Songs 



Herr, was tragt der Boden hier? 
Nun, wand're, Maria 

Auf einer Wanderung 

Auch kleine Dinge 

In dem Schatten meiner Locken 

Geh' Geliebter, geh' jetzt 

Elfenlied 

The Piano is a Steinway 



The next recital in this series will be given by Mr. Carl Flesch, 
Violinist, on Wednesdey evening, March 18. 



FRAUENLIEBE UND LEBEN 

SETT ICH IHN GESEHEN 

Seit ich ihn gesehen, glaub' ich blind zu sein. 

Wo ich hin nur blicke, seh' ich ihn allem. 

Wie im wachen Traume schwebt sein Bild mir vor, 

Taucht aus tiefstem Dunkel heller, heller nur empor. 

Sonst ist licht und farblos alles um mich her, 

Nach der Schwestern Spiele nicht begehr' ich mehr, 

Mochte lieber weinen still im Kammerlein, 

Seit ich ihn gesefien, glaub' ich blind zu sein. 

ER, DER HERRLICHSTE VON ALLEN 

Er, der Herrlichste von Allen, wie so milde, wie so 

gut! 
Holde Lippen, Wares Auge, heller Sinn und fester 

Muth. 
So wie dort in blauer Tiefe hell und herrlich jener 

Stern, 
Also Er an meinem Himmel hell und herrlich, hehr 

and fernl 
Wandle, wandle deine Bahnen, nur betrachten 

deinen Schem, 
Nur in Demuth ihn betrachten, sclig nur, und 

traurig sein. 
Hore nicht mein stilles Beten, deineni Gliicke nur 

geweiht, 
Darfst mich nied're Magd nicht kennen, holier 

Stern der Herrlichkeit, hoher Stern der 

Herrlichkeit. 
Nur die Wurdigste von Allen darf begliicken deine 

Wahl, 
Und ich will die Hohe segnen viele tausendmal; 
Will mich freuen dann und weinen, selig, selig bin 

ich dann. 
Sollte mir das Herz auch brechen. brich, o Herz, 

was liegt daran? 
Er, der Herrlichste von Allen, wie so milde. wie so 

gut! 
PTolde Lippen. klares Auge, heller Sinn und fester 

Muth, wie so milde. wie so gut. 

fCTI KANN'S NTCHT FASSEN, NICHT 
GLAUBEN 

Ich kann's nicht fassen. nicht glauben, 

Es hat ein Traum mich beruckt, 

Wie hatt' er doch unter Allen 

Mich Arme erholt und begliickt? 

Mir war's, er habe gesprochen: 

"Teh bin auf ewig dein" 

"^Tir war's ich traume noch immer, 

Es kann ja nimmer so sein, 

Es kann ja nimmer so sein ! 

O lass im Traume mich sterben, 

Gewieget an seiner Brust, 

Den seligen Tod mich schliirfen 

Tn Thranen unendlicher Lust. 

Teh kann's nicht fassen, nicht glaub-n, 

Es hat ein Traum mich beruckt, 

Wie hatt' er doch untc- Allen 

Mich Arme erhoht und begliickt? 

Teh kann's nicht fassen, nicht glauben, 

Es hat ein Traum mich beruckt. 

DU RTNG AN MEINEM FINGER 

Du Ring an meinem Finger, 

Mein goldenes Ringelein, 

Teh driicke dich fromm an die Lippen, 

Dicb fromm an die Lippen. an das Herze mein. 

Tr-h hatt' ihn ausgetraumet, 

Der Kindheit friedlich schonen Traum, 

Teh fand allein mich verloren 

Ttn oden, unendlichen Raum. 

Du Ring an meinem Finger, 

Da hast du mich erst belehrt. 

Hast meinem Blick crsehlossen 

f)e= Lebens unendlichen tiefen Werth, 



SINCE MINE EVES HAVE SEEN HIM 

Since mine eyes have seen him, as if blind I seem 
When I gaze around me I see only him. 
Ever thus his image does my day-dream fill, 
Growing out of darkness, brighter, brighter beaming 

still. 
But for him no ray of light would mark my way, 
With my sisters gaily I no more can play. 
In my lonely chamber I would weep and dream, 
Since mine eyes have seen him, as if blind I seem. 

HE, THE BEST OF ALL, THE NOBLEST 

He, the best of all, the noblest, O, how gentle, O 

how kind I 
Lips of sweetness, eyes of brightness, brave of 

heart and clear of mind. 
As from boundless depths of azure bright and glori- 
ous shines yon star, 
So shines he from out my heaven, bright and glori- 
ous, high and far. 
Onward speed thy course exalted; far below as I 

remain, 
On thy radiance humbly gazing, thrills my heart 

with joy and pain. 
Know thou not. when for thy welfare low in silent 

prayer I bow; 
I for thee am all too lowly, lofty star of glory thou, 

lofty star of glory' thou ! 
'Tis alone the best, the worthiest by thy choice 

should favor'd be, 
And a thousand times I'll bless he-, who is thus 

belov'd by thee. 
Shedding tears, altho' rejoicing, happy, happy then 

my lot; 
E'en tho' my poor heart be broken, break, O heart, 

it matters not. 
He, the best of all, the noblest, O, how gentli O, 

how kind! 
Lips of sweetness, eyes of brightness, brave of heart 

and clear of mind. 
O, how gentle! O, how kind! 

I CAN NOT, DARE NOT BELIEVE IT 

I can not, dare not believe it. 
Ah, surely, 'tis but a dream. 
For why should Door I be chosen. 
Be blest and exalted bv him? 
Meseerns as if he had spoken: 
"I am for ever thine!" 
Meseerns x~ were T still dreaming. 
Such b! ; s= ca^ neve" be mine, 
Such bliss can never be mine! 

let me dream on his bosom 
And dreaming so let me die; 

Such rapturous d^ath were welcome. 
Tn tears of unending joy, 

1 can not, dare not believe it. 
Ah, surely, 'tis but a dream, 
^or why should poor I be chosen. 
Be blest and exalted by him ? 

T can not, dare not believe it, 
Ah, surely, 'tis but a dream! 

THE RTNG UPON MY FINGER 

Thou ring upon my finger, 

My beautiful ring of gold, 

My lips on thee fervently linger, 

And close the dear treasure to my heart I hold. 

My childhood's dream had vanish'd, 

A joyous dream serene and bright; 

Alone I seem'd as if banish'd 

To desolate regions of night. 

Thou ring upon my finger, 

Hast giv'n to glad thoughts a birth. 

Forbiddest clouds to linger, 

Transformed to rapture my life ">i eartb 



[N DEM SCHATTEN MEINER LOCKEN 

In den Schatten meiner Locken 
Schlief mir mein Geliebter ein; 
Week ich ihn nun auf? Ach nein! 
Sorglich strahlt' ich meine krausen 
Locken taglich in der Fruhe; 
Doch urasonst ist meine Miihe, 
Weil die Winde sie zerzausen. 
Lockenschatten, Windessausen 
Schlaferten den Liebsten ein; 
Week ich ihn nun auf? Ach rein! 
Horen muss ich, wie ihn grame, 
Dass er schmachtet schou so lange, 
Wie ihm Leben g:ib' und nehme 
Diese meine braune Wange. 
Und er nennt mich seine Schlange, 
Und doch schlief er bei mir ein; 
Week ich ihn nun auf? Ach nein I 



IN THE SHADOW OF MY TRESSES 

shadow of my tresses, 
My beloved to sleep has gone. 
Shall I wake him? Yes? Sleep on! 
Every morn I comb my waving tresses 
Just before the dawning; 
But in vain ; my care disdaining 
Wild the winds my locks dishevel. 
'Neath my tresses, wild and wind -tossed, 
My beloved to sleep has gone 
Shall I wake him? Yes? Sleep on — 
And I hear him fondly pleading 
That his heart for me doth languish, 
That his life's whole joy and anguish 
In my sun-brown cheeks are beating; 
And in sleep, his curse, he caileu me, 
While by me at rest he lay: 
Shall I wake him? Yes? Ah, nay I 



GEH', GELIEBTER 

Geh', Geliebter, geh' jetzt! 

Sieh, der Morgen dammert. 

Leute geh'n schon durch die Gasse, 

Und der Markt wird so belebt, 

Dass der Morgen wohl, der blasse, 

Schon die weissen Fliigel hebt. 

Und vor unsern Nachbarn bin ich 

Bange. dass du Anstoss gibst; 

Denn sie wissen nicht, wie innig 

Ich dich lieb' und du mich liebst. 

Drum Geliebter. geh' jetzt I 

Sieh, der Morgen dammert. 

Wenn die Sonn am Himmel scheinend 

Scheucht vom Feld die Perlen klar, 

Muss auch ich die Perle weinend 

Lassen, die mein Reichtum war. 

Was als Tag den andern funkelt. 

Meinen Augen dunkt es Nacht. 

Da die Trennung bang mir dunkelt, 

Wenn das Morgenrot eiwacht. 

Geh', Geliebter, geh' jetzt 1 

Sieh, der Morgen dammert. 

Fliehe denn aus meinen Armen, 

Denn versaumest in die Zeit, 

Mochten fur ein kurz Erwarmen 

Wir ve tauschen langes Leid. 

Ist in Fegefeuers Qualen 

Doch ein Tag schon auszusteh'n, 

Wenn die Hoffnung fern in Strahlen 

Lasst des Himmels Glorie seh'n. 

Drum. Geliebter, geh' jetzt I 

Sieh. der Morgen dammert. 



GO, MY LOVED ONE, GO NOW! 

Go my loved one, go nowl 

See the morn is breaking. 

To and fro the folk are passing, 

And the market place alive. 

And the pale wings of the morning 

n to warn us; day is nigh! 
And I fear the neighbors chiding, 
And their looks of scorn, 
For they do know how deeply, thee 
I love and for thee yearn 1 
So my loved one, go now 
See the morn is breaking — 
When the sun in Heaven shining 
Melts the crystal, pearly dew. 
Must thy crystal tear-drops, 
Softly falling, melt my heart anew? 
Tho' the sun's bright rays are beaming. 
Day to me is darkest night, 
For I dread the hour of parting 
At the dawn of morning bright! 
Go, my loved one, go now. 
See, the morn is dawning. 
Flee then, flee mine arms, love! 
Then already it is morn — 
Shall these fleeting hours of rapture, 
End in deepest grief and sccrn? 
Then the tortures of the parting 
Are for us the sweetest pain, 
When our heart's sweet hope returning, 
Opens Heaven's Gates again! 
So, my loved one, go now! 
See the morn is breaking. 



ELFENLIED 

Bei Nacht im Dorf d'.r Wachter rief: "Elfe!" 
Ein ganz kleines Elfchen im W.alde schlief wohl um 

die Elfel 
Und meinf. es rief ihm aus dem Tal 
Bei seinem Namen die Nachtigall, 
Oder Silpelit hatt' ihm gerufen. 
Reibt sieh der Elf die Augen aus, 
Begibt sieh vor sein Schneckenhaus 
Und ist als wie ein tnmken Mann, 
Sein Scblaflein war nicht voll getan, 
Und humpelt also, tippe, tapp, 
Durchs Haselholz ins Tal hinab. 
ScMunft an der Mauer bin so dicht, 
Da sit?*- der Gluhwurm Licht an Licht. 
"Was sind das helle Fensterlein? 
"Da drin wird eine Hochzeit sein: 
"Die Kleir.en sitzen beim Mahle, 
'T'nd trr-ihen's in dem Saale. 

'-h wohl ein wenig 'nein!" 

f^sst d-n Kopf an harten Stein! 
F.lfe. gelt, du hast eenug? Gukukl 

:lt. du hast genug? Gukuk! 
Gukitk! Gukuk! Gukuk! 



ELFIN-SONG 

"Elev'n o'clock" the watch-man cries "hear me!" 
Asleep in the woods quite a wee elf lies in fright 

up starts he. 
He knew not whence that loud sound came, 
He thought the nightingale called his name, 
Or that Silpelit might have required him. 
The little elf then rubs his eyes 
And from his couch he doth arise, 
He goes about quite drunk with sleep 
And hardly can his balance keep, 
He wanders softly on tiptoe 
Through brushwood to the vale below, 
Then gently to a wall he creeps 
\nd at the glowworms there he peeps. 
"Their windows shine so clear and bright, 
"'t seems a wedding's there tonight: 
"I hear the children are singing 
"With mirth tlmr voices ringing. 
"If I look in what harm is done?" 
Oh. his poor head did strike a stone! 
Poor e'f, say, will that now do? Cuckoo! 
Poo r elf. say. will that now do' Cl 
Cuckoo! Cuckoo! Cuckoo! 



NUN HAST DU MIR DEN ERSTEN SCHMERZ 
GETHAN 

Nun hast du mir den ersten Schmerz gethan, der 

aber traf. 

hlafst, du 1 aiter, unbarmherz' ger Mann, den 

Todesschlaf. 
Es Micket die Verlass'ne vor sich hin, die Welt ist 

leer, ist leer. 
Geliebet hah' ich und gelebt, ich bin nicht lebend 

mehr. 
Ich zieh* mich in mein Inn'res still zuri'ick, der 

Schleier fallt, 
Da hab' ich dich und mein verlornes Gluck, du 

meine Welt! 

TTERR. WAS TRaGT DER BODEX HIER 

Ilerr, was tragt der Boden hier, 
hen du triinkst so bitterlich ? 
"Dornen, liebes Herz, fiir mich, 
Und fiir dich der Blumen Zier." 
Ach, wo solche Bache rinnen, 
W'ird ein Garten da gedeih'n? 
".la. und wisse; Kranzelein, 

i verschied'ne flieht man drinnen." 
' >, mein Herr, zu wessen Zier 
Windet man die Krauze ? Spi ich' ! 
Dornen sind fiir mich, 
von Blumen reich' ich dir." 

NUN WAND'RE, MARIA 

(Der heilige Joseph singt:) 

Nun wand're, Maria, nun wand're mir fort, 
Schon krahen die Hahne. und nab ist der Ort. 
Nun wand're, Geliebte, du Kleinod mein, 
Und balde wir werden jn Bethlehem sein. 
Dann ruhest du fein und schlummerst dort, 
Schon krahen die Hahne und nah ist der Ort. 
VVohl seh' ich, Herrin, die Kraft dir schwinden ; 
Kami deine Schmerzen, ach, kaum verwinden, 

t! wohl finden wir Ilerberg dort; 
Schon krahen die Hahne, und nah ist der Ort. 
War" erst bestanden dein stiindlein, Marie. 
Die gute Botschaft. gut lohnt' ich sie. 
Das Eselein hie gab' ich drum fort! 
Schon krahen die Hiihen, komm'! nah ist der Ort. 

A IF EINER WANDERUNG 

[n ein freundliches Stadtchen tret 'ich ein, 

In den Strassen liegt roter Abendschein. 

Aus einem offnen Fenster eben, 

Ulier den reichsten Blumenflor hinweg, 

Hort man Goldglockentrine schweben, 

Und eine Stimme scbeint ein Nachtigallenchor, 

Dass die Bliiten beben, 

Dass die Liifte leben, 

Dass in hoberem Rot die Rosen leuchten vor. 

Lang hielt ich staunend, lustbeklommen. 

Wie ich hinaus vo s Tor gekommen, 

Ich weiss es wahrlich se'ber nicht. 

Ach hier, wie liegt die Welt so licht! 

Der Himmel wogt in purpurnem Gewiihle, 

arts die Stadt in goldnem Rauch; 
Wie rauscht der Erlenbach, 
Wie rauscht im Grund die Mfihle, 
fch hin wie trunken. irr 'gefiihrt, 
O Muse, Du hast mein Herz beruhrt 
Mit oinem Liebeshauch! 



NOW FOR THE FIRST TEME THOU HAST 
GIV'N ME PAIN 

Now for the first time thou hast giv'n me pain, Ah, 

and so sore! 
Thou sleepest, cruel, uncompass'nate man, to wake 

no more. 
Before me, all forsaken where I bow, the world's 

a void, a void; 
I lov'd and liv'd for thee alone, and now my life's 

destroy'd. 
I silently withdraw within my breast, the veil doth 

fall; 
There I have thee and ev'ry joy I lost, O thou, 

mine all I 

LORD, WHAT DOES THE SOIL HERE BEAR? 

Lord what does the soil here bear, 
Which thou wat'rest with thy tears? 
"Thorns, dear Heart, for me it bears, 
And for thee its blossoms fair." 
Lord, where streams of tears are flowing, 
Will e'er blossoms deck the heath? 
"Yes, and hear that many a wreath, 
Will be twined beyond man's knowing." 
Tell me, Lord, for whom they twine 
All these wreaths and garlands! speak! 
"Those of thorns they twine for me 
Those of flowers I give to thee." 

COME, MARY, TAKE COMFORT 
(The holy Joseph sings) 

Come, Mary, take comfort, now quicken thy pace, 
The cock crows for morning, and near is the place. 
> ow hasten, my dear one, my love's best crown, 
We soon shall set foot in far Bethlehem's town. 
And there shalt thou rest and sleep a space: 
The cocks crow for morning, and near is the place. 
Well know I, Lady, thy strength doth languish; 
Scarce art thou able to bear thine anguish. 
Take heart! Our path we slir.ll surely trace; 
Cocks crow for morning, and near is the place. 
When comes thine hour of deliv'rance, Marie, 
The blessed tidings well paid shall be! 
The ass that I ride, I'd give with grace! 
The cocks crow for morning, come! near is the 
place. 

ON MY WANDERINGS 

To a quaint little town I one day 

Where the setting sun casts a rosy glow. 

What dulcet strains the winds are bringing 

From wonder window half concealed by tlow'rs, 

As if bells of pure gold were ringing, 

And a sweet voice, like song of nightingales doth 

seem, 
All the blossoms thrilling, 
Air with rapture filling, 

And with blushes of a deeper red the roses gleam. 
Eist'ning enchanted, long I lingered, 
Till from the town ' found, I'd wandered. 
How I got there, I know not quite. 
Oh, world, how art thou bright tonight! 
The sky with wond'rous purple fire is burning, 
In golden haze the town doth lie; 
How swift the brook doth rush, 
The mill-wheels fast are turning, 
My head is swimming, joy untold! 
Oh godd"SS, thou dost my heart enfold in loving 

ecstasy. 



H KEEINE DINGE 

Auch kleine Dinge konnen uns entziicken, 

Audi kleine Dime konnen theuer sein. 

Bedenkt, wie gern wir uns mit Perlen schmueken: 

Sie werden schwer bezablt und sind nur klein. 

Bedenkt. wie klein ist die Olivenfrucht. 

Und wird um ihre Giite doch gesucht. 

Denkt an die Ro<-e nur. wie klein sie ist, 

Und d'i o lieblich, wie ihr wisst. 



E'EN LITTLE THINGS 

E'en little things can yield us perfect pleasure. 
E'en little things may be supremely dear. 
Reflect, how precious are the pearls we treasure; 
Tho' great their worth, how small do they appear. 
Bethink, how small the olive is in size, 
Which for its flavor rare we highly prize. 
How small a thing the rose with heart aglow. 
Yet how divine its fragrance, as ye know. 



Ich will ihm dienen, ihni leben, 

Ihm angehoren ganz, 

Hin selber mich geben und finden verklart mich, 

Und finden verklart mich in seinem Glauz. 

Du Ring an meinetn Finger, 

Mein goldenes Ringelein, 

Ich driicke dich fiomm an die Lippen, 

Dich fromm an die Lippen, an das Herze mein! 



And I'll live for him and near him, 

Will always his remain, 

To serve him, to bless and to cheer him, 

His glance of approval to gain, his approval gain. 

Thou ring upon my finger, 

My beautiful ring of gold, 

My lips on thee fervently linger, 

And close the dear treasure to my heart I hold! 



HELFT MIR, IHR SCHWESTERN 



HELP ME, OH SISTERS 



Helft mir, ihr Schwestern, freundlich mich 

schmiicken, 
Uient der Glucklichen heute, mir. 
Windet geschaftig mir um die Stirne 
Noch der bluhenden Myrthe Zier. 
A!s ich befriedigt, freudigen Herzens, 
Sonst dem Geliebten im Arme lag, 
fmmer noch ricf er, Sehnsucbt im Herzen, 
Ungeduldig den hcutigen Tag. 

Helft mir, ihr Schwestern, helft mir verscheuchen 
Fine thorichte Bangigkeit; 
Dass ich mit klarem Aug' ihn empfange, 
Thn, die Quelle der Freudigkeit. 
Bist, mein Geliebter, du mir erschienen? 
Giebst du mir, Sonne, deinen Schein? 
Lass mich in Andacht, lass mich in Demuth, 
Lass mich verneigen dem Herren mein. 
Streuet ihm, Schwestern. streuet ihm Blumen, 
Bringet ihm knospende Rosen dar. 
.\ber euch, Schwestern, griiss' ich mit Wehmuth, 
Freudig scheidend aus eurer Schaar, 
Freudig scheidend aus eurer Schaar. 



Help me, oh sisters, fondly adorn me, 

Heck today the rejoicing bride, 

Lightly entwine ye over my forehead 

Now the blooming myrtle's pride. 

While so contented, so happy hearted, 

Else in the arms of my love I lay, 

Still he would sigh, with heart full of longing, 

Fain to hasten this tardy day. 

Help me, oh sisters, help me to banish 

Foolish fears that my heart annoy, 

That with unclouded eyes I may welcome 

Him, the fountain of all my joy. 

Oh, my beloved, now art thou near me? 

Giv'st me thy radiance, thou, my Sun? 

Let me in meekness, lowly devotion, 

Bend me before thee, thou lordly one! 

Scatter, ye sisters, flowers before him, 

Strew him fresh rosebuds with dainty art; 

Yet, oh my sisters, sadly I greet ye, 

Tho' in joy from your band F part, 

Tho' in joy from your band I part. 



SUSSER FREUND. DU BLICKEST 

Siisser Freund, du blickest mich verwundert an, 
nst es nicht hegreifen, wie ich weinen kann ; 
r feuchten Perlen ungewohnte Zier 
Freudig hell erzittern in dem Auge mir. 
Wie so bang mein Busen, wie so wonnevoll! 
Wusst' ieh nur mit Worten, wie ich's sagen soil; 
Komm und hirg dein AntHtz hier an meiner Brust, 
Will in's Oh- dir fliistern alle meine Lust. 

-t du nun die Thranen. die ich weinen kann, 
du nicht sie sehen, du geliebter, geliebter 
Mann ? 
Bleib an meinem Herzen, fiihle dessen Schlag, 
1 lass ich fest und fester nur dich driicken mag, 
Fest und fester! 

Hier an meinem Bette hat die Wiege Raum, 
Wo sie still verberge meinen holden Traum; 
Kommen wird der Morgen, wo der Traum erwacht, 
' T nd daraus dein Bildniss. mir entgegen lacht 
Dein Bildniss! 



SWEET MY FRIEND, THOU VIEWEST 

Sweet my friend, thou viewest me in fond amaze, 
Canst not guess, why mine is now a tearful gaze ? 
Let the rare adornment, pearly drops, delay, 
Gladly, brightly quiv'ring in mine eye today 
How in fear my bosom, how in joy, doth swell ! 
Had I words to tell thee what I fain would tell! 
Come and hide thy face, love, here upon my breast, 
In thine ear I'll whisper all my sweet unrest. 
Now dost know the reason why the tears so ran? 
Should I hid" them from thee, thou beloved, 

beloved man? 
Stay upon my bosom, feel my beating heart, 
Let me close ard closer press thee where thou art, 
Close and closer ! 

Here my bedside shall the cradle well beseem, 
Where in silence it may guard my blissful dream; 
Then will come the morning when my dream shall 

wake. 
And therein thine imaee all my joy partake. 
Thine image! 



AN MEINEM HERZEN. AN MEINER BRUST 



HERE ON MY BOSOM. HERE ON MY HEART 



An meinem Herzen. an meiner Brust, 

Du meine Wonne, du meine Lust! 

Das Gliick ist die Liebe. die Lieb' ist das Gliick, 

Ich hab's gesagt und nehm's nicht zuriick. 

Hab' iib=rschwenglich mich geschatzt, 

Bin ubergliicklich aber jetzt. 

Nur die da sangt, nur dir da liebt das Kind, 

Dem sie die Nnhrung giebt; 

Nur eine Mutter weiss allein 

Was lieben heisst und glvicklich sein. 

O wie bedaur' ich doch den Mann, 

Der MuttergKick nicht fuhlen kann ! 

Du lieber, lieber Engel, du, 

Du scbauest mich an und lachelst dazu ! 

An meinem Herzen. an meiner Brust, 

Du meine Wonne, du meine Lust! 



Here on my bosom, here on my heart, 

My only treasure, my joy thou art! 

delight is in loving, and love is delight. 

That I have said, and ne'er will deny't. 

T once had thought my joy too fond. 

Vow my delight's all dreams beyond. 

She only loves, she who has fed 

Her child from nature's fountainhead. 

Only a mother knows alone 

What bliss in love a heart may own. 

How pitiful are men, I trow, 

Who ne'er a mother's joys can know ! 

Thou darling, darling angel mine, 

[Tow sweet are thy smiles, thy gazes divine ! 

on my hosom, here on my heart, 
My only treasure, my joy thnu art! 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



EIGHTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Wednesday evening, March 18, 1925, at 8.15 o'clock 

CARL FLESCH, Violinist 

Harry Kaufman, at the Piano 

J. S. Bach Sonata (for violin alone) 

Adagio 
Fuga 
Siciliano 
Presto 

T. Dobrowen .... Melodie Hebraique 

F. Fiorillo Caprice 

Chopin-Wilhelmj .... Nocturne, Opus 2, No. 2 

C. Saint-Saens .... Havanaise 

N. Paganini Concerto in D major 

First part (Cadenza by Carl Flesch) 

The Piano is a Steinway 



The next recital in this series will be given by Mme. Isabella Vengerova, 
Pianist, on Monday evening, March 23. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



NINTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 

Monday evening, March 23, 1925, at 8.15 o'clock 

ISABELLA VENGEROVA, Pianist 



Gluc k-Sgambati 
W. A. Mozart 
Rameau-Godowsky 



Melodie 

Larghetto 

Tambourin 



F. Chopin 



Nocturne, Opus 27, No, 1 
Valses, Opus 64, No. 2 
Opus 70, No. 1 
Etudes, Opus 25, No. 9 
Opus 10, No. 3 
Opus 10, No. 7 
Mazurka, Opus 33, No. 4 
Scherzo in C minor 



R. Schumann 



Carneval 
Preambule, Pierrot, Arlequin, Valse noble, 
Eusebius, Florestan, Coquette, Replique, 
Sphinxes, Papillons, Lettres dansantes, Chiarina, 
Chopin, Estrella, Valse allemande, Paganini, 
Aveu, Promenade, Pause, Marche des 
Davidsbiindler contre les Philistins 



A. Scriabine 

S. Rachmaninoff 

F. Liszt 



Etude, Opus 2 
Prelude, Opus 32, No. 12 
'Mephisto" Valse 



The Piano is a Steinway 



The next recital in this series will be given by Mr. Sacha Jacobinofr, 
Violinist, on Thursday evening, March 26. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



TENTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Wednesday evening, March 25, 1925, at 8.15 o'clock 

JOSEF HOFMANN, Pianist 



L. van Beethoven 



Sonata Appassionata 
Allegro assai 
Andante con moto 
Allegro ma non troppo 



F. Mendelssohn Scherzo in E minor 



Josef Hofmann 



Theme, Variations and Fugue 



F. Chopin 



Barcarolle 

Nocturne in E flat, Opus 55, No. 2 
Valse in A flat, Opus 34, No. 1 
Ballade in F minor 



F. Liszt 



Funerailles 
Liebestraum 
La Campanella 



The Piano is a Steinway 



The next recital in this Series will be given by Mr. Sacha Jacobinoff 
Violinist, on Thursday evening, March 26. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



ELEVENTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 

Thursday evening, March 26, 1925, at 8.15 o'clock 

SACHA JACOBINOFF, Violinist 

Ellis Clark Hammann, at the Piano 



R. Strauss 



Sonata in E flat, Opus 18 
Allegro ma non troppo 
Improvisation - Andante cantabile 
Finale - Allegro 

For piano and violin 



A. D'Ambrosio 



Concerto in B minor 
Moderato 
Andante - Lento 
Finale - Allegro 



C. Debussy 
M. Ravel . 
P. Sarasate 
Schumann-Auer 
Brahms-Joachim 



En Bateau 
Habanera 
Spanish Dance 
Vogel als Prophet 
Hungarian Dance 



The Piano is a Steinway 



The next recital in this Series will be given by Mr. Frank Gittelson, 
Violinist, on Thursday evening, April 2. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



TWELFTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Thursday evening, April 2, 1925, at 8.15 o'clock 

FRANK GITTELSON, Violinist 

Assisted by Austin Conradi, Pianist 
Ellis Clark Hammann, Accompanist 



Ernest Bloch 



Sonata for Piano and Violin 
Agitato 
Molto quieto 
Moderato 



W. A. Mozart 



Concerto in D major 
Allegro 

Andante cantabile 
Rondeau 



F. Kreisler 

Mendelssohn-Kreisler 
Couperin-Kreisler 
F. Kreisler 



Polichinelle 

Song without Words 

La Precieuse 

Liebesfreud 



Mr. Conradi uses the Baldwin Piano 
The Steinway is the Official Piano of the Curtis Institute of Music 



The next recital in this series will be given by Mr. Michel Penha, 
Violoncellist, on Tuesday evening, April 21. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



THIRTEENTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Thursday evening, April 30, 1925, at 8.15 o'clock 

DAVID SAPERTON, Pianist 



F. Chopin 



Karol Szymanowski 



M. Ravel 
Albeniz-Godowsky 

Chopin-Godowsky 
Strauss-Godowsky 



Four Preludes, Opus 28 

C minor, G major 

F major, D minor 
Ballade in A flat, Opus 47 

Sonata in A, Opus 21 
Allegro assai (Molto appassionato) 
Allegretto tranquillo 

Allegretto scherzando e capriccioso— 
Tempo di Sarabanda — Tempo di Min- 
uetto con moto pomposo —Scherzando 
subito — Molto energico — Allegro mol- 
to impetuoso, con gran forza — Appas- 
sionato ed impetuoso — Furioso —Largo — 
Moderato — Sempre accellerando e cres- 
cendo— Precipitando — Attacca la Fuga 

Allegro moderato — Poco scherzan- 
do e capriccioso 
Molto deciso — Tumultuoso — Poco meno 
allegro; grandioso ed imposante — An- 
cora meno allegro — Maestoso 

Jeux d'Eau 

Triana 

(Unpublished manuscript) 

Etude in E flat minor, Opus 10, No. 6 
(For left hand alone) 

Kiinstlerleben 



The Official Piano of the Curtis Institute is a Steinway 



The next recital in this Series will be given by Mr. George Boyle, Pianist 
and Mr. Frank Gittelson, Violinist, on Wednesday evening, May 6. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



FOURTEENTH RECITAL 

IN A SERIES BY 

MEMBERS OF THE FACULTY 

IN THE CONCERT ROOM OF THE INSTITUTE 
Wednesday evening, May 6, 1925, at 8.15 o'clock 

GEORGE BOYLE, Pianist 
FRANK GITTELSON, Violinist 



Claude Debussy 



Sonata for violin and piano 
Allegro vivo 
Fantasque et leger 
Tres anime 



George Boyle 



Sonata for viola and piano 

Lento assai — Moderato ma energico 
Andante tranquillo 
Allegretto con spirito 



Cesar Franck 



Sonata for violin and piano 
Allegretto ben moderato 
Allegro 
Ben moderato 
Allegretto poco mosso 



The Official Piano of the Curtis Institute is a Steinway 



THE CURTIS INSTITUTE OF MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA 



FIRST STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 
Wednesday afternoon, February 25, 1925, at 4 : 30 o'clock 

Students under Mr. Boyle 



Bach-Busoni . 



W. A. Mozart 



Concerto in D minor, for piano and orchestra 
First movement 

(Orchestral part played on a second piano) 

RUTH SHUFRO STRAUSS 

Concerto in D major, for piano and orchestra 
First movement (Cadenza by Reinecke) 

(Orchestral part played on a second piano) 

SAUL WACHANSKY 



W. A. Mozart 
I. Paderewski 



Fantasia in C minor 
Caprice in the style of Scarlatti 
FRANKLIN KEBOCH 



L. van Beethoven 
J. Brahms 



Rondo in G major 
Rhapsody in G minor 

ABRAHAM KRUPNICK 



E. Grieg 



Salon 

"From early days" 

SARAH FREEDMAN 



F. Liszt 



Hungarian Rhapsody, No. 8 
ETHEL M. PAGET 



The second students' concert will take place Wednesday afternoon, 
March 11, at 4 : 30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



SECOND STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 
Wednesday afternoon, March 11, 1925, at 4'-30 o'clock 

Students under Mr. Aldrich and Mr. Conradi 



G. Donizetti 
F. Flotow 



W. A. Mozart 
X. Leroux 



F. Liszt 



G. Pergolesi . 
F. Mendelssohn 



F. Liszt 



G. F. Handel . 

A. Thomas 

Mrs. H. H. A. Beach 



F. Mendelssohn 
F. Liszt 



John Ireland 
F. Mendelssohn 



Una Furtiva Lagrima 



} 



For tenor 



"M'Appari" 

HERMAN MAKRUZEN 

Recitative and Aria from "Figaro' 
Le Nil (Violin obligato 

played by Helen Hall) 

ELIZABETH BARRINGER 

Sonetto 47 del Petrarca For piano 
MARION PETTEE 

Nina 

Recitative and Aria from "Elijah" 

ALFRED LAURIA 

Les Cloches de Geneve For piano 
ALICE NICHOLS 



For soprano 



For tenor 



"Come My Beloved" 
"Connais tu le Pays?" 
"The Year's at the Spring" 



For soprano 



VIRGINIA GILL 

Song without Words in G major 
Waldesrauschen 

CATHERINE MORGAN 



} 



For piano 



"Remember" 

'It is Enough" from "Elijah' 

CARL DITON 



For baritone 



The third students' concert will take place Monday afternoon, 
March 16, at 4 : 30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTEN HOUSE SQUARE 
PHILADELPHIA 



THIRD STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 
Monday afternoon, March 16, 1925, at 4 : 30 o'clock 

Students under Mr. Boyle in Piano and Mr. Svecenski in Ensemble 



J. Haydn . Quartet in G major, Opus 77, No. 1 

Allegro moderato 
Adagio 

SCHIMA KAUFMAN 
HELEN HALL 
STELLARIO GIACOBBE 
LOUISA KNOWLTON 



C. Debussy 



{.: 



| Jardins sous la pluie 

Soirees dans Granade [> For piano 

F. Chopin . Etude in A minor, Opus 25, No. 11 

RUTH SHUFRO STRAUSS 



F. Mendelssohn Quintet in B flat major, Opus 87 

(For 2 violins, 2 violas and cello) 

Allegro vivace 
JACOB SAVITT 
ISO BRISELLI 
STELLARIO GIACOBBE 
HELEN HALL 
LOUISA KNOWLTON 



The fourth students' concert will take place Wednesday afternoon, 
March 18, at 4 : 30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



* For piano 



RITTENHOUSE SQUARE 
PHILADELPHIA 



FOURTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 
Wednesday afternoon, March 18, 1925, at 4=30 o'clock 

Students under Mile. Bert and Mr. Penha 

F. Chopin Impromptu in F sharp major, Opus 36 For piano 
HELEN A. MEEKER 

W. A. Mozart Concerto in D minor 
Allegro 
(With the accompaniment of a second piano) 
C. Debussy Cathedrale Engloutie 

MARY BINNEY MONTGOMERY 

R. Strauss Sonata for Violoncello and Piano 
Allegro con brio 
Andante ma non troppo 
Allegro vivo 

LOUISA KNOWLTON 

Mrs. GEORGE F. BOYLE (Instructor of piano in the 
Preparatory Department) 

R.Schumann "In the Night" from "The Fantasiestucke" 

For piano 
A. Chabrier Scherzo - Valse 

HELENE WOLFF 

F Chopin Ballade in E minor, Opus 23 

HERMIONE MONTANYE 



The fifth students' concert will take place Wednesday afternoon, 
March 25, at 4=30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



FIFTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 
Wednesday afternoon, March 25, 1925, at 4 : 30 o'clock 

Students under Mr. Flesch 



P. Nardini 



Concerto in E minor 

Allegro moderato 
Andante cantabile 
Allegretto giocoso 

JACOB SAVITT 



E. Chausson 



Poeme 



NINA WULFE 



H. Vieuxtemps 



Concerto in D minor 

Allegro moderato 
Adagio religioso 
Scherzo 

ISO BRISELLI 



The sixth students' concert will take place Friday afternoon, March 27, 
at 4 : 30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



SIXTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 

Friday afternoon, March 27, 1925, at 4:30 o'clock 

STUDENTS UNDER MR. SALZEDO 



Jean-Philippe Rameau *Rigaudon 

(1683-1764) 

Carlos Salzedo Prelude intime, No. 5 

MARION BLANKENSH1P 

Arcangelo Corelli *Giga (Jig) 

(1658-1713) 
Carlos Salzedo Prelude intime, No. 2 

LOUISE RE1NHARDT 

Johann Sebastian Bach *Bourree 

(1685-1750) 
Carlos Salzedo Quietude 

FLORENCE SHAFFNER 

Josef Haydn . *Theme and Variations 

(1732-1809) 

Carlos Salzedo Prelude intime, No. 3 

THELMA SNYDER 

Jean-Philippe Rameau *Tambourin 

(1683-1764) 
Carlos Salzedo Iridescence 

EMILY HEPLER 

Francois Couperin *Sarabande 

(1668-1733) 
Karl Philipp Emanuel Bach **Solfeggietto 

(1714-1788) 

Carlos Salzedo Mirage 

BLANCHE HUBBARD 

Jean-Philippe Rameau . . *Gavotte from "Le Temple de la Gloire" 
(1683-1764) 

Carlos Salzedo Introspection 

Carlos Salzedo Whirlwind 

FLORENCE WIGHTMAN 

Transcribed by Carlos Salzedo 
Transcribed by Marie Miller 

(Lyon and Healy Harps) 

The seventh students' concert will take place Wednesday afternoon, 
April 1, at 4:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTEN HOUSE SQUARE 
PHILADELPHIA 



SEVENTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 

Wednesday afternoon, April 1, 1925, at 4 : 30 o'clock 

STUDENTS UNDER MR. FLESCH 



H. Vieuxtemps Concerto in E major 

Second and third parts 

BELLA KATZ 

C. Saint-Saens Havanaise 

JUDITH POSKA 

E. Lalo Symphonie espagnole 

Fourth and fifth parts 

LOIS PUTLITZ 

H. W. Ernst Concerto in F sharp minor 

MAX SEENOFSKY 



The eighth students' concert will take place Saturday morning, April 4, 
at 11:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



EIGHTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 
Saturday morning, April 4, 1925, at 11:30 o'clock 

STUDENTS UNDER MME. CAHIER 



L. Mililoite Cade la sera 1 

G. B. Pergolesi "Se tu m'ami" ? for Soprano 

F. Schubert "Du bist die Ruh" J 

AMY L. PHILLIPS 

W. A. Mozart Pamina's Air from "The Magic Flute" 

„ t j> for Soprano 

C. Chaminade Ete. 

ADA MARGUERITE FISCHER 

P. I. Tschaikowsky . . "Wie wer die Sehnsucht kennt" for Contralto 
LOUISE ARNOLD BELCHER 

G. Puccini .... Vissi d'Arte from "La Tosca" for Soprano 

VIRGINIA JANE AARONSON 

Croatian Folksong for Soprano 

LJUBICA SCHEIBER 

R. Schumann Die Lotosblume for Contralto 

RACHEL P. WHITMER 

C. W. Gluck . . Divinites du Styx from "Alceste" for Contralto 

EDITH FRANTZ MILLS 

G. Donizetti . Una furtiva lagrima from "L'Elisir d'Amore" for Tenor 
DAVID FINKELSTEIN 



The ninth students' concert will take place Tuesday afternoon, 
April 7, at 4:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



NINTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 
Tuesday afternoon, April 7, 1925, at 4:30 o'clock 

STUDENTS UNDER MR. FLESCH 



E. W. Korngold Suite for Shakespeare's "Much Ado About Nothing' 

In the Bridal Chamber 
Patrol March (A grotesque funeral march) 
Intermezzo (Garden Scene) 
Hornpipe 

CLAIRE CASTEN 



J. S. Bach . Chaconne for violin alone 

DOROTHY F. HODGE 



Max Bruch Concerto in G minor 

First and second parts 

ISO BRISELLI 



The tenth students' concert will take place Thursday afternoon, April 
23, at 4:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



TENTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 

Thursday afternoon, April 23, 1925, at 4:30 o'clock 

STUDENTS UNDER MME. VENGEROVA 



W. A. Mozart Fantasie in D minor 

F. Mendelssohn Etude in C flat minor 

SARAH ELIZABETH VAN BUSKIRK 

F. Lachner Prelude and Toccata 

E. Schutt Canzonetta in D major 

H. Reinhold Impromptu in C sharp minor 

BELLA BRAVERMAN 

F. Mendelssohn Prelude and Fugue in E minor 

ELIZABETH STACKHOUSE 

R. Schumann ..... Faschingsschwank 

First movement 
F. Chopin Impromptu in A flat major 

MURIEL B. HODGE 

E. MacDowell Sonata Tragica 

First movement 
ELEANOR L. FIELDS 

F. Liszt Concerto in E flat major 

XENIA NAZAREVITCH 



The eleventh students' concert will take place Monday afternoon, 
April 27, at 4:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



ELEVENTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 

Monday afternoon, April 27, 1925, at 4:30 o'clock 

STUDENTS UNDER MR. SAPERTON 



J. S. Bach 

R. Schumann 

L. van Beethoven . 

C. Franck 

R. Schumann 
F. Chopin 



J. Brahms 
B. Godard 



S. Rachmaninoff 



Two Three-Part Inventions 
ELOISE A. ROBERTS 

Papillons 
DAVID RABINOWITZ 

Sonata, Opus 57 

Allegro assai 
ABRAM SHEFTER 

Prelude, Choral and Fugue 
CHARLES DEMAREST 

Romance, Opus 28, No. 1 
Etudes, Opus 25, Nos. 1 and 2 
JOSEPH RUBANOFF 

Intermezzo in E flat minor, Opus 118, No. 
En Route 
ELOISE A. ROBERTS 

Prelude in G minor 

ABRAM SHEFTER 



The twelfth students' concert will take place Wednesday afternoon, 
April 29, at 4:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



TWELFTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 
Wednesday afternoon, April 29, 1925, at 4:30 o'clock 

STUDENTS UNDER MR. GITTELSON AND MR. PENHA 



W. A. Mozart 



B. Romberg 



Concerto in D major For violin 
Allegro 

Andante cantabile 
Rondo - Allegro 



GABRIEL BRAVE RM AN 



Concerto in E minor For violoncello 
Allegro 
Andante 



CHARLES HENDERSON, Jr. 



C. Saint-Saens 



Concerto in B major For violin 
Allegro non troppo 
Andantino quasi allegretto 
Molto moderato - Allegro non troppo 

MAX SEENOFSKY 



The thirteenth students' concert will take place Monday afternoon, May 
4, at 4:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 



THIRTEENTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 

Monday afternoon, May 4, 1925, at 4:30 o'clock 

STUDENTS UNDER MR. CONNELL 



L. Reichardt 
F. Mendelssohn 



R. Franz . 
F. Schubert 

L. Luzzi 

S. DONAUDY 

R. Wagner 
R. Schumann 



J. Brahms 
E. Grieg 



J. Haydn 



"In the Time of Roses" 

"Lift Thine Eyes" 

THE MISSES BEATES, GREGG, HORMELL. 1 
LOCKHART, ROBERTS, WESTON, WOLF, !> For chorus 
AND WORRELL j 



,,} 



For soprano 



For soprano 



Dedication 
"Who is Sylvia? 

JENNIE WOLF 

Ave Marie 
Spirate pur, spirate 

ESTHER WESTON 

"The Star of Eve" from "Tannhauser" ~j 
Ich grolle nicht 

SIMEON GOREMICA 



For baritone 



} 



For contralto 



Sappische Ode 
Boat Song 

FRANCES Y. GREGG 

The Spirit's Song 
"My Mother bids me bind my hair' 
DOROTHY LOCKHART 



} 



For soprano 



The Official Piano of the Curtis Institute is a Steinway 



The fourteenth students' concert will take place Friday afternoon, 
May 8, at 4:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTEN HOUSE SQUARE 
PHILADELPHIA 



FOURTEENTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 

Friday afternoon, May 8, 1925, at 4:30 o'clock 

STUDENTS UNDER MR. PRESS 



A. Vivaldi 



W. A. Mozart 



W. A. Mozart 



W. A. Mozart 



J. S. Bach 



Concerto in A minor 
Allegro 
Largo 
Presto 

RALPH ROSE, Jr. 

Concerto in G major, No. 3 
Allegro 
Adagio 
Rondeau — Allegro 

PAUL GERSHMAN 

Concerto in D major, No. 4 
Allegro 

Andante cantabile 
Rondeau — Andante grazioso 

RALPH ROSE, Jr. 

Concerto in A major, No. 5 
Adagio — Allegro aperto 
Adagio 
Rondeau — Tempo di minuetto — Allegro 

E. GERTRUDE ROSEN 

Concerto in D minor, No. 3 For two violins 
Vivace 

Largo ma non tanto 
Allegro 

PAUL GERSHMAN 
RALPH ROSE, Jr. 



The Official Piano of the Curtis Institute is a Steinway 



The fifteenth students' concert will take place Saturday evening, May 
9, at 8:15 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTENHOUSE SQUARE 
PHILADELPHIA 

FIFTEENTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 

Saturday evening, May 9, 1925, at 8:15 o'clock 

STUDENTS UNDER MME. SEMBRICH 

DAGMAR RYBNER, at the piano 



A. Scarlatti 
A. Caldara 
G. Carissimi 

Russian . 



Sole del Gange 

Sebben crudele 

Vittoria 



FLORENCE KINGSLAND 



ROSA KAPLAN 



Old English 



P. I. TSCHAIKOWSKY 

G. B. Pergolesi 
Edward Horsman 



Folk Songs 

Phyllis 

< Mary of Allendale 

The Slighted Swain 
VIRGINIA GARDINER 

"Nur wer die Sehnsucht kennt" 

"Se tu m'ami" 

Bird of the Wilderness 

CAROLYN ALLINGHAM 

W. A. Mozart Batti, batti 

J. Haydn Mermaid Song 

Old English Pastoral 

ELIZABETH MURPHY 
J. Haydn .... "With Verdure Clad" from "The Creation" 

W.A.Mozart Alleluia 

Robert Huntington Terry "The Answer' 

ETHEL RIGHTER WILSON 
W. A. Mozart . . "Dove sono" from "The Marriage of Figaro" 

Old English "My Lovely Celia" 

Charles Densmore The Spring Fancy 

ELSA MEISKEY 

G. F. Handel "Oh! Had I Jubal's Lyre" 

G. Sarti Lungi dal caro bene 

S. Donaudy Spirate, pur spirate 

Dagmar Rybner Pierrot 

C. Gounod ..... Waltz Song from "Romeo and Juliet" 

LOUISE LERCH 

F. Hummel Hallelujah 

E. Grieg Ein Traum 

V. Staub ......... L'Heure Delicieuse 

Richard Hageman "At the Well" 

HELEN BUCHANAN HITNER 

The Official Piano of the Curtis Institute is a Steinway 

The sixteenth students' concert will take place Saturday morning, 
May 16, at 11:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTEN HOUSE SQUARE 
PHILADELPHIA 



SIXTEENTH STUDENTS' CONCERT 

IN THE CONCERT ROOM OF THE INSTITUTE 

Saturday morning, May 16, 1925, at 11:30 o'clock 

STUDENTS UNDER MR. BRITT 

G. F. Handel (1685-1759) . . Sonata in G minor, Opus 11, No. 2 

(For 2 violins, cello and piano) 
Andante 
Allegro 

GABRIEL BRAVERMAN 

RALPH ROSE, Jr. 

JOSEPH VETERE 

JOSEPH RUBANOFF 

J. B. Loeillet (1653-1728) . . Sonata in B minor 

(For violin, cello and piano) 
Largo 
Allegro 

MAX ARONOFF 

DAVID FREED 

FRANKLIN KEBOCH 

A. Stradella (17th Century) . Aria di Chiesa 

(For 3 cellos) 

DAVID FREED 
FRANCIS GIANINI 
JOSEPH DI MAIO 

W. A. Mozart (1756-1791) . . Quartet in G minor 

(For piano, violin, viola and cello) 

Allegro 

MARION RAPP 

PAUL GERSHMAN 

WALTER VIOHL 

DAVID FREED 

The Official Piano of the Curtis Institute is a Steinway 



THE CURTIS INSTITUTE OF MUSIC 



RITTEN HOUSE SQUARE 
PHILADELPHIA 



PREPARATORY DEPARTMENT CONCERT 

BY STUDENTS IN PIANO 
Friday afternoon, April 3, 1925, at 4:15 o'clock 



Bobolink Krogman 

RHODA WEITZENFELD 

The May Queen Schmidt 

FREDERICK ENYEART RADCLIFFE 

Two Songs Bach 

HARRIET M. FLEISHER 

The Dance of the Mice Poldini 

HORACE M. ROBINSON 

Serenade ........... Chaminade 

PHYLLIS M. GREISLER 

The Wind in the Pines Dutton 

ELINOR SCHLOSS 

Sonatina in F major Beethoven 

ELEANOR LIEBERMAN 

In a Moorish Garden Engleman 

LUCY RIVELIS 

Petite Scene de Ballet ........ Schuett 

HELEN CARPENTER WILLIAMS 



Larghetto ] Handel 

> tor Violoncello < 
Bourree J Squire 

DAVID FREED 



Curious Story Heller 

MABEL MEEHAN 

Sonatina in G major Kuhlau 

EVELYN DI PUPPO 

Poupee Valsante Poldini 

FRANCIS LEISTER 

Last Two Movements from the Sonata in A major . . Mozart 

VIRGINIA CHEESMAN 



The next students' concert in the Preparatory Department will take 
place Saturday afternoon, April 4, at 3:30 o'clock. 



THE CURTIS INSTITUTE OF MUSIC 



RITTEN HOUSE SQUARE 
PHILADELPHIA 



PREPARATORY DEPARTMENT CONCERT 

BY STUDENTS IN PIANO 
Saturday afternoon, April 4, 1925, at 3:30 o'clock 



Twelve Variations on a Russian Theme .... Beethoven 

SUSANNA KESSLER 

Two English Folk-Songs 
Two Russian Folk-Songs 

SOLOMON KAPLAN 

The Elfs Story Armstrong 

FREMA TUTELMAN 

Sonatina in G major Beethoven 

JANE THOMAS WILLIAMS 

Polonaise Kullak 

ROSALIE YERKES 

Andante Schumann 

GRACE ELIZABETH PARLIN 

March of the Dwarfs Grieg 

ROBERT NEILL PIERCE 

Arabesque Debussy 

MRS. URSULA G. CURD 

The Doll's Waltz Poldini 

ANNA ROSA DE R1VAS 

Song Without Words in A minor Mendelssohn 

The Butterfly Grieg 

DOROTHY KERN 

Lithuanian Song Chopin-Sgambati 

MARY CARROLL ROLIN 

Nocturne in F sharp major Chopin 

Air de Ballet Moszkowski 

MARION PETERS RAPP