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List  of  Concerts  and  Operas 

Faculty  Recitals 

^Louis  Bailly,  Viola \ 

'^^^^^ V,    T  w  7-  >November  13,  1929 

Ilea  Luboshutz,  Viohn ) 

Second Harriet  van  Emden,  Soprano November  20,  1929 

Third Lynnwood  Farnam,  Organ December  4,  1929 

Fourth Lea  Luboshutz,  Violin December  12,  1929 

(IsABELLE  Vengerova,  Piano j 

Fifth    A  EA  Luboshutz,  Violin Manuary  8,  1930 

(^Felix  Salmond,  Violoncello 1 

Sixth    Horatio  Connell,  Baritone January  15,  1930 

/Felix  Salmond,  Violoncello ■) 

Seventh   ^  >March  12,  1930 

(Harry  Kaufman,  Piano } 

Eighth  Anton  Torello,  Double  Bass. . .  .March  17,  1930 

Ninth    Josef  Hofmann,  Piano March  19,  1930 

Tenth Efrem  Zimbalist,  Violin March  26,  1930 

Eleventh    Emilio  de  Gogorza,  Baritone April  2,  1930 

(Carlos  Salzedo,  Harp J 

Twelfth (William  M.  Kincaid,  Flute ;May  7,  1930 

(^Felix  Salmond,  Violoncello J 


Complimentary  Recital 
The  Musical  Art  Quartet December  1,  1929 


Students'  Concerts 

(These  programs,    while   listed   alphabetically   according  to  Instructor's  name, 
are    bound    according    to   date.) 

Students  of  Professor  Auer March  24,  1930 

Students  of  Mr.  Bachmann January  13,  1930 

f November  7,  1929 
December  5,  12,  1929 
January  23,  1930 
Students  of  Mr.  Bailly  in  Chamber  Music. .  -/February  17    27    1930 

March  27,  1930 
'April  10,  1930 
iMay  13,  22,  1930 

Students  of  Mr.  Bailly  in  Viola )  ' 

(May  28,  1930 

Students  of  Mr.  Cailliet May  20,  1930 

Students  of  Mr.  Connell May  8,  1930 

Students  of  Mr.  de  Gogorza April  30,  1930 

„     ,  r  X,     -a  (November  12,  1929 

Students  of  Mr.  Farnam < 

(May  27,  1930 

Students  of  Mr.  Guetter May  20,  1930 

Students  of  Mr.  Hofmann May  21,  1930 

Students  of  Mr.  Horner April  17,  1930 

Students  of  Mr.  Kincaid April  15,  1930 

Students  of  Mr.  Lambert November  25,  1929 

_      ,  ^  -  ,  ^  (December  2,  1929 

Students  of  Madame  Luboshutz < 

(May  12,  1930 

Students  of  Mr.  Salmond April  9,  1930 

CI           r  xjf      a  (February  24,  1930 

Students  of  Mr.  Salzedo < 

(April  7,  1930 

Students  of  Mr.  Saperton May  26,  1930 

Students  of  Mr.  Scalero .May  5,  1930 

Students  of  Madame  Sembrich May  9,  1930 

Students  of  Mr.  Tabuteau  in  Wind  Ensemble . February  10,  1930 
Students  of  Mr.  Torello April  15,  1930 


Students  of  Miss  van  Emden May  1,  1930 

Students  of  Madame  Vengerova May  14,  1930 

{December  17,  1929 
April  28,  1930 
May  15,  1930 
/February  5,  12,  1930 

The  Curtis  Orchestra <  March  9,  1930 

lApril  29,  1930 

Chamber  Music 

/November  10,  1929 
\  December  15,  1929 

The  Pennsylvania  Museum  of  Art Manuary  26,  1930 

1930 
.  1930 

Concert  Course 


•Manuary  2 
JMarch  2, 
(April  13, 


Columbia  Borough  School  District,  Columbia, 

Pennsylvania    November  18,  1929 

(November  21,  1929 
University  of  Delaware,  Newark,  Delaware.  .  <  February  20,  1930 

'March  20,  1930 

George  School,  George  School,  Pennsylvania  ..  November  23,  1929 

Western  Maryland  College,  Westminster, 

Maryland    November  25,  1929 

Westtown  School,  Westtown,  Pennsylvania ...  .December  6,  1929 

State  Teachers'  College,  East  Stroudsburg,         ^December  13,  1929 
Pennsylvania    (January  31,  1930 

Cedar  Crest  College  for  Women,  AUentown, 

Pennsylvania December   14,   1929 

The  Contemporary  Club,  Trenton,  New  Jersey. .  January  9,  1930 

The  Hill  School,  Pottstown,  Pennsylvania .  . . .  <  ' 

(February  2,  1930 

Crescendo  Club,  Atlantic  City,  New  Jersey.  .  . .  January  22,   1930 

Mar>^vood  College,  Scranton,  Pennsylvania.  .  . .  January  30,   1930 


Haddon  Fortnightly  Club,  Haddonfield, 

New  Jersey February  5,  1930 

State  Teachers'  College,  West  Chester,  ^February  6,  1930 

Pennsylvania (March  27,  1930 

Dorset  Players,  Dorset,  Vermont February  15,  1930 

Octave  Club,  Norristown,  Pennsylvania February  19,  1930 

Century  Club,  Coatesville,  Pennsylvania April  14,  1930 

Salon  Music  Club,  Lambertville,  New  Jersey... May  1,  1930 

Performances  of  Philadelphia  Grand  Opera  Company  in 
affiliation  with  The  Curtis  Institute  of  Music 

First Carmen   .October  23,  1929 

Second    Le  Jongleur  de  Notre  Dame  .October  31,  1929 

Third    Madama  Butterfly November  14,  1929 

Fourth Lakme    November  28,  1929 

Fifth    Cavalleria  Rusticana  and 

Pagll^cci    December  9,  1929 

Sixth   Judith  and  II  Serraglio December  26,  1929 

Seventh Lohengrin .February  6,  1930 

Eighth   Rigoletto    February  20,  1930 

Ninth    TiEFLAND   February  26,  1930 

Tenth La  Traviata   March  6,  1930 

Eleventh    Un  Ballo  in  Maschera April  10,  1930 

Twelfth AiDA    April  24,  1930 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
SIXTH  SEASON,  1929-1930 


First  Faculty  Recital 


LOUIS  BAILLY,  Violist 

LEA  LUBOSHUTZ,  Violinist 
Collaborating 

Harry  Kaufman  at  the  Piano 


V^ednesday  Evening,  l^ovemher  13,  1929 

at  8.30  o'cloc\ 


The  Steinwat  is  the  official  piano  of  The  Curtis  Institute  oj  Music 


Programme 


JOHANN  Sebastian  Bach  .  .  Sixth  Brandenburg  Concerto,  in  B  flat  major, 

for  Two  Violas  (with  accompaniment  of  three 
violoncelli  and  two  double  basses.  Organ 
obligato  by  F.  A.  Gevaert) 

Allegro  moderate 
Adagio  ma  non  tanto 
Allegro 

Mr.  Bailly 
Max  Aronoff 


Orlando  Cole 
Frank  Miller 
David  Filerman 


>  Violoncelli 


Jack  Posell  | 

Oscar  Zimmerman    J 

Carl  Weinrich,  Organ 

Conducted  by  Sylvan  Levin 


Double  Basses 


Wolfgang  Amadeus  Mozart  . .  Symphonie  Concertante,  in  E  flat  major, 

for  Violin,  Viola  and  Chamber  Orchestra 

Allegro  maestoso 

Andante 

Presto 

Madame  Luboshutz 
Mr.  Bailly 


Chamber  Orchestra 


Paul  Gershman 

Iso  Briselli  I    ...  ,. 

>  Violins 
James  Bloom 

Jack  Kash 

Leon  Frengut     ly  t 
Paull  Ferguson  j 


Jack  Posell,  Double  Bass 


Frank  Miller 
David  Filerman 


Theodore  Seder        ( 
Henry  Whitehead  j 


Robert  Bloom    |  „, 
„  TT  >•  Oboes 

Robert  Hester   I 


French  Horns 


•  Violoncelli 

Conducted  by  Sylvan  Levin 


Programme 

Ernest  BlOCH Smte  for  Viola  and  Orchestra 

(Piano  version  by  the 
Composer) 

Lento — Allegro — Moderato 
Allegro  ironico 
Lento 
Molto  vivo 

Mr.  Bailly 
Mr.  Kaufman 


Joseph  JoXGEN Suite  for  Viola  and  Orchestra,  Opus  48 

(Piano  version  by  the  Composer) 

Poeme  filegiaque 
Final 

Mr.  Bailly 
Mr.  Kaufman 


Students  taking  part  in  this  Recital  are  members  of 
Mr.  Bailly's  Classes  in  Chamber  Music 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
Sixth  Season— 1929-1930 


Second  Faculty  Recital 


MARRIET  VAN  EMDEN,  Soprano 

Harry  Kaufman  at  the  Piano 


Wednesday  Evening,  l^ovemher  20,  1929 
at  8.30  o'chc\ 


The  Steinwat  is  the  official  piano  of  The  Curtis  Institute  of  Music 


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Programme 
I. 

Victor  Dourlen "Je  sais  attacher  des  rubans" 

Andre  E.  M.  Gretry "Arietta"  from  "Les  Deux 

Avares" 
Henry  Purcell "Dido's  Lament"  from  "Dido 

and  Aeneas" 
Old  English "Shepherd!  Thy  demeanor 

var>''" 


n. 

( Nachtlied 

Felix  Mendelssohn -JNeue  Liebe 

/  HexenHed 

^             ,  ,  (Das  Irdische  Leben 

GusTAV  Mahler j.^Liebst  du  um  Schonheit' 


m. 

Richard  Wagner "Dich,  theure  Halle"  from 

"Tannhauser" 


IV. 

Georges  Bizet Agnus  Dei 

(With  organ  accompaniment  played  by  Alexander  McCurdy,  Jr.) 

Feldc  Fourdrain Les  Abeilles 

Jacques  Dalcroze L'Oiseau  Bleu 

Gustav  Charpentier "Depuis  le  jour"   from 

"Louise" 


The  organ   is   an  Aeolian 

?llllllll[inilMiiiiiiiiniiiiiiimiiiinii iinii i iiiiiniiiiiiiiiniiiiiiiiiMniiiiTiiii iiiMiiiiniiiimiiiiniiiii i i iiiiiniiiiiiiiniiiiiiii iiiiiniiniiiiii^ji 


"Je  sais  attacher  des  Rubans" 

Je  sais   attacher   des  rubans, 

Je   sais   comment  viennent   les   roses, 

Des  oiseaux  je  sais  tons  les  chants, 
Je   sais   milles  petites  choses. 

Mais  je  sens  palpiter  men  coeur, 
Pourquoi?     Je  n'en  sais  rien  encore. 

Peutetre,  helas,  que  le  bonheur 
Est  dans  les  choses  que  j 'ignore. 

Je   sais  comme   un   oiseau  naissant 

Eclot  sous  le  sein  de  sa  mere, 

Comme  un   tourtereau   carressant 

A  sa  compagne  cherche  a  plaire. 

Mais   je   sens   palpiter   mon   coeur, 
Pourquoi?     Je  n'en  sais  rien  encore. 

Peutetre,  helas,   que  le  bonheur 
Est  dans  les  chose  que  j 'ignore. 


(Translation) 

I   know   how   to   tie   ribbon   bows, 
I    know    how    to    gather    posies, 

I  know  ev'ry  path  of  the  vale, 

I   know   ev'ry   charm   it   discloses. 

But   my  heart  goes  pit-a-pat. 

Wherefore?     Indeed   I   know   not. 

Perhaps,  alas,  joys  yet  untasted 

Dwell   in   the  core  of    that   I   know  not. 

I've   peep'd   into  ev'ry   nest. 

That   hides   in   the  brakes   and  sedges, 
The   ring  dove's  note   I   have  heard 

When   his   love   to  his   mate  he  pledges. 

But  my  heart  goes  pit-a-pat, 

Wherefore?     Indeed    I    know   not. 

Perhaps,  alas,  joys  yet   untasted 

Dv/ell   in  the  core  of  that   I  know  not. 


Arietta  from  "Les  Deux  Avares' 

Plus  de  depit,  plus  de  tristesse, 
Des  que  je  puis  voler  vers  toi; 

De    Gripon    je    plains   la    faiblesse, 
Et  je  chante,  quand  je  te  vols. 

II  se  croit  riche,  6  le  pauvre  homme, 
L'or  et  I'argent  sont  tout  son  bien. 

Moi,   j'ai   le   coeur   de   Jerome; 

Mon  tresor  vaut  mieux  que  le  sien. 


(Translation) 

No   more   annoy,    sorrowful    meekness. 
Since    I    can    fly    away   to   thee; 

Poor    Gripon!     I   deplore  his   weakness, 
And   I   carol   when  thee    I   see. 

He  thinks   he's  wealthy,   poor   silly   fellow. 
Who  only  silver  has  and  gold; 

Mine   is  Jerome's  full   affection 

Greater  by  far  my  treasure,  I  hold. 


Dido's  Lament 

When  I  am  laid  in  earth,  may  my  wrongs  create 

No    trouble    in    thy    breast; 

Remember  me,  but  ah!    Forget  my  fate! 


Shepherd!    Thy  Demeanor  Vary 

Shepherd!      Thy  demeanor   vary. 
Dance    and    sing,    be    light    and   airy. 
Would  you  win   me,   you  must  woo 
As  a  lover  brave  and  true. 
Hums    and    ha's,    dull    looks    and    sighing. 
And    such    simple    methods    trying, 
Never    will    this    heait    subdue, 
I   must   catch   the    flame    from   you. 
Fa  la  la. 


Nachtlied 

Vergangen  ist  der  lichte  Tag, 
Von   feme   kommt   der    Glockenschlag; 
So   reist   die   Zeit   die   ganze   Nacht, 
Nimmt  manchen  mit,  der's  nicht  gedacht. 

Wo  ist  nun  hin  die  bunte  Lust, 
Des    Freundes    Trost    und    treue    Brust, 
Der    Liebsten    siisser    Augenschein? 
Will   keiner   mit   mir  munter    sein? 

Frisch    auf    denn,    liebe    Nachtigall, 
Du    Wasserfall    mit    hellem    Schall, 
Gott   loben  wollen   wir  vereint. 
Bis  dass  der  lichte  Morgen   scheint. 


(Translation) 

Night  Song 

Departed   is  the  light   of  day. 
The  bells  are  chiming  far  away. 
Time   thru   the   night   his   way   will   take. 
And   many   sleep,  who   ne'er   shall  wake. 

Now    where    all    life's    glow    and    zest, 
The   friend's  kind   heart   and   loyal   breast. 
The  tender  beam  in  love-lit  eyes? 
And  no  one,  no  one  to  my  call   replies. 

Sweet  nightingale,   awake   and  sing! 
"Thou    waterfall,    resounding   ring! 
God    let    us    praise    together   here, 
Until  the  morning  shall  appear. 


Neue  Liebe 

In    dem    Mondenschein    im    Walde 
Sah    ich   jiingst    die    Elfen    reiten, 
Ihre    Horner   hort'    ich   klingen, 
Ihre    Glocklein   hort'    ich    lauten, 

Ihre  weissen  Rosslein  trugen 
Gold'nes  Hirschgeweih'   und   flogen 
Rasch  dahin;  wie  wilde  Schwane 
Kam   es    durch    die    Luft    gezogen. 

Lachelnd  nickte   mir   die   Kon'gin, 
Lachelnd,    im    Voruberreiten, 
Gait   das   meiner   neuen    Liebe? 
Oder   soil  es  Tod  bedeuten? 


(Translation) 

New  Love 

In    the    moon-lit   wood   I   lately 
Saw    the    elfin    riders   bounding, 
All    their  tiny   bells   a-tinkling, 
All  their  merry  horns  a-sounding. 

Every  tiny,  snow-white  charger. 
Golden  antlers  proudly   tossing. 

Flew  along, 
'Twas  like  a   flight  of   swans 
The  silent  forest  crossing,  flew. 

With  a  nod  and  smile  in  passing. 
Now   the   Fairy   Queen  rode  by   me. 
Does  it  mean  my  love  shall  prosper? 
Can  it  be  that  death  is  nigh  me? 


Hexenlied 

Die   Schwalbe   fliegt.  der  Frtihling  siegt 
Und    spendet    uns    Blumen    zum    Kranze; 
Bald   huschen   wir   leis'   aus   der   Tiir 
Und  fliegen  zum  prachtigen  Tanze. 

Ein    schwarzer    Bock,    ein    Besenstock, 
Die   Ofengabel,    der    Wocken 
Reisst  uns  geschwind,  wie  Blitz  und  Wind 
Durch  sausende  Liifte  zum  Brocken. 

Um   Belzebub   tanzt  unser   Trupp 
Und    kiisst    ihm    die    kralligen    Hande! 
Ein    Geisterschwarm   fasst   uns   beim    Arm 
Und  schwinget  im  Tanzen  die  Brande! 

Und  Belzebub  verheisst  dem  Trupp 
Der   Tanzenden    Gaben    auf    Gaben; 
Sie  sollen  schon  in  Seide  geh'n 
Und  Topfe  voU  Goldes  sich  graben. 

Ein   Feuerdrach  umflieget  das   Dach 

Und  bringet   uns  Butter  und  Eier. 

Die  Nachbarn  dann  seh'n  die  Funken  weh'n, 

Und  schlagen   ein   Kreuz  vor   dem   Feuer. 

Die   Schwalbe  fliegt,   der   Friihling   siegt, 
Die    Blumen    erbliihen    zum    Kranze, 
Bald  huschen  wir  leise  aus  der  Tiir 
Juchheissa  zum  prachtigen  Tanze. 


(Translation) 

Witches'  Song 

The  swallow  flies,  and   Winter  dies, 
For   flowery   Spring   is   advancing. 

Now  in  the  night  we'll  soon  take  flight. 
And  hey!   for  our  glorious  dancing. 

Ridmg  a  rout  on  broom  or  goat 

-'\nd   tongs   and    shovels   we'll    flock   on. 

Mounting   sky-high,    away    we'll    fly 
Like  mad — on  the  wind — to  the  Brocken. 

By  Satan's  seat,  our  troops  will  flit. 

And  kiss  him  his  claw  till   it  scorches; 

Ghosts   in    a    swarm,    with   welcome   warm. 
Will  brandish   their   wavering  torches! 

Satan  will  chaff  our  troops,  and  laugh. 
And    promise   whatever   we'd    rather; 

All    of    our   ilk   shall   dress    in    silk. 
And  gold  by  the  handful  we'll  gather. 

With  fiery  eye,  a  dragon  will  fly 

For  butter  and  eggs  to  the  neighbors; 

And   signing  the  cross  they'll  mourn  their  loss. 
We'll  live  on  the  fruit  of  their  labors. 

The  swallow   flies,  and  Winter  dies. 
For   flowery    Spring   is   advancing. 

Now   in  the  night  we'll  soon  take  flight, 
And    rally    for    glorious    dancing. 


Das  irdische  Leben 

"Mutter,  ach  Mutter!     es  hungert  mich, 
Gib  mir  Brot,  sonst  sterbe  ich." 
"Warte  nur,  mein  liebes  Kind! 
Morgen  wollen  wir  emten  geschwind." 
Und    als    das    Korn    geerntet    war, 
Rief  das  Kind  noch  immerdar: 

"Mutter,  ach  Mutter!  es  hungert  mich, 
Gib  mir  Brot,  sonst  sterbe  ich." 
"Warte  nur,  mein  liebes  Kind, 
Morgen  wollen  wir  dreschen  geschwind." 
Und  als  das  Korn  gedroschen  war, 
Rief   das   Kind  noch   immerdar: 

"Mutter,  ach  Mutter!  es  hungert  mich, 
Gib  mir  Brot,  sonst  sterbe  ich." 
"Warte  nur,  mein  liebes  Kind! 
Morgen  wollen  wir  backen  geschwind." 
Und  als   das   Brot   gebacken   war. 
Lag    das    Kind    auf    der    Totenbahr'. 


(Translation) 

Earthly  Life 

"Mother,  O  Mother,  so  hungry  I, 

Give  me  bread   or   I  shall  die!" 

"Wait  a  while!     Wait  a  while,  my  darling- 

We    tomorrow    will    reaping    go." 

When  the  com  was  reaped  next  sun, 

Still  the  child's  sad  cry  went  on: 

"Mother,   O   Mother,   so  hungry   I, 

Give  me  bread  or  I  shall  die!" 

"Wait  a  while,  wait  a  while,  my  darling — O, 

We  tomorrow  thrashing  will   go." 

\Vhen  the  corn  was  thrashed  next  sun, 

Still  the  child's  sad  cry  went  on: 

"Mother,   O  Mother,  so  hungry  I, 

Give  me  bread  or  I   shall  die!" 

"Wait    a    while,    my    darling — O, 

We   tomorrow   baking  will    go." 

Ajid  when  the  bread  was  baked  next  day, 

Cold  the  child  in  the  coffin  lay! 


^m 


I iiiiininiiiiiiiim mill l!iiniiiMiiiiii||||ii||||||||||||||||||||||||inini 


iiiiii'iM I mill iiiiiiiMiiiiiiiini 


iMMiiiiiiiiiiijni^^ 


Liebst  du  um  Schonheit 

Liebst  du  um   Schonheit,   o  nicht  mich  liebe, 
Liiebe  die  Sonne,  sie  tragt  ein  gold'nes  Haar; 
Liebst  du   um   Jugend,    o   nicht   mich   liebe. 
Liebe  den  Friihling,  der  jung  ist  jedes  Jahr; 
Liebst  du   um   Schatze,   o  nicht   mich   liebe, 
Liebe  die  Meerfrau,  sie  hat  viel  Perlen  klar; 
Liebst  du  um  Liebe,  o  ja  mich  liebe, 
Liebe   mich    immer,   dich   lieb'    ich    immerdar. 


(Translation) 

''Lov'st  Thou  Beauty?" 

Lov'st  thou  beauty,  oh  love  not  me! 

Love  the   sun,   she  wears  golden  hair! — 

Lov'st  thou  youth,  oh  love  not  me! 

Love    the    spring,    that    is    young   every   year! 

Lov'st  thou   wealth,   oh  love  not  me! 

Love  the  sea-nymph,  she  has  many  clear  pearls! 

Lov'st  thou   love,   oh   then,   love   me! 

Love  me  ever,  thee  love  I  always,  eternally. 


''Dich,   theure   Halle"    from 
''Tannhauser" 

Dich,   theure   Halle,   griiss'   ich   wieder, 
Froh    griiss'    ich    dich,    geliebter    Raum! 

In    dir    erwachen    seine    Lieder 

Und  wecken  mich  aus  diist'rem  Traum! 

Da    Er   aus   dir   geschieden, 

Wie  6d'  erscheinst  du  mir! 
Aus   mir   entfloh    der    Frieden, 

Die  Freude  zog  aus  dir! 

Wie  jetzt   mein   Busen   hoch   sich   hebet. 
So  scheinst  du  jetzt  mir  stolz  und  hehr; 

Der  mich  und  dich  so  neu  belebet, 
Nicht    liinger    weilt    er   feme   mehr! 

Sei  mir  gegrusst, 
Sei  mir  gegrusst! 
Du,  theure  Halle, 
Sei  mir  gegrusst! 


(Translatian) 

"Hall  of  Song"  from  "Tannhauser' 

O,  hall  of  song,  I  give  thee  greeting, 
All  hail   to  thee,   thou  hallow'd  place! 

'Twas  here  that  dream,  so  sweet  and  fleeting, 
Upon  my  heart  his  song  did  trace. 

But  since  by  him  forsaken, 

A   desert  thou  dost  seem! 
Thy  echoes  only  waken 

Remembrance  of  our  dream. 

But   now    the   flame    of   hope    is   lighted, 
Thy  vault  shall   ring  with  glorious  war, 

For   he,   whose   strains   my   soul    delighted, 
From  me  no  longer  roams  afar! 

All  hail  to  thee! 
All  hail   to  thee! 
Thou   hall   of   glory. 
Dear  to   my  heart! 


Agnus  Dei 

Agnus  Dei! 

Qui   tollis   peccata  mundi. 
Miserere,  miserere  nobis, 
Dona  nobis  pacem! 


(Translation) 

Lamb  of  God 

Lamb   of   God, 

Thou  that  takest   away   the   world's   guilt, 

O   have   compassion    on    us. 

May  thy  peace  be  with  us. 


Les  Abeilles 

Midi!    tout    I'azur   vibre   de   lumiere; 
Dans  la  ruche  active,  au  soleil  d'  ete 
Un   bruit   sourd   grandit,   monte,    s'exaspere, 
Par   d'innombrables   ailes  bourdonne. 

Et    brusque    un    essaim    de    folles    abeilles, 
Trouvant  trop   etroit   I'odorant  logis, 
S'en  va,  ruisselant  de  clartes  vermeilles, 
Aux  vergers  lointains  batir  d'autres  nids. 

Filles  de  ma  ruche,  aimables  compagnes 
Au  doux   corselet  d'or  et  de   rayon, 
Dans  votre   fuite   a  travers  les  campagnes, 
Vous  suivra   I'esprit   du   vieux   Palemon. 

Allez!   butinez  par  les  lourdes  treilles, 
Les  lauriers  en    fleurs,   les   rosiers   grimpants 
Oubliez,  helas!  le  pasteur  d'abeilles 
Qui  vous  cherissait  comme  ses  enfants. 


L'Oiseau  Bleu 

II  est  un  tout  petit  oiseau. 

Qui   toujours  vole. 

Plus  leger  que  le  passereau, 

Plus  leger  que  !a  brise  folle, 

Veut  on  le  saisir,  il  s'envole 

Le  petit,  tout  petit,  tout  petit  oiseau. 

II   est   un   tout   petit   oiseau. 

Qui   toujours  chante, 

Frere  cadet  de  I'etourneau, 

De  sa  chanson  insouciante, 

II  nous  ravit  tous  et  nous  hante 

Le  petit,   tout  petit,  tout   petit  oiseau. 

II   est   un   tout   petit  oiseau, 

Cheri    du    poete, 

Sa   cage   est   une   exquise   tete. 

Son   perchoir  un   gentil   cerveau, 

Et  tous  les  jours  il  fait  la  fete 

Le  petit,  tout  petit,  tout   petit  oiseau. 


"Depuis  le  jour"  from  ''Louise' 

Depuis  le  jour 

Oil  je  me  suis  donnee, 

Toute  fleurie 

Semble  ma  destinee. 

Je  crois  rever 

Sous  un  ciel  de  feerie, 

L'ame  encore  grisee 

De  tou  premier  baiser! 

Quelle  belle  vie! 

Mon  reve  n'etait  pas  un  reve! 

Ah!   Je  suis  heureuse! 

L'amour  etend  sur  moi  ses  ailesl 

Au  jardin   de  mon  coeur 

Charte  une  joie  nouvelle! 

Tout  vibre. 

Tout  se  rejouit  de  mon  triomphe! 

Autour  de  moi 

Tout  est  sourire,  lumiere  et  joie! 

Et  je  tremble  delicieusement 

Au  souvenir  charmant 

Du  premier  jour  d'amour! 


(Translation) 

"E'er  since  the  day"  from  "Louise' 

E'er  since  the  day 

When  unto  thee  I  gave  me, 

Radiant  with  flowers 

Seems  my  pathway  before  me. 

I   seem  to  dream 

'Neath  a  fairyland  heaven. 

While  my  soul  still  is  drunk 

With  the  joy  of  the  first  kiss. 

Ah,  how  sweet  is  life! 

My  dream  has  not  been  merely  dreaming! 

Ah  I   I  am  so  happy ! 

For  love  o'er  me  his  wings  is  spreading! 

In  the  realm  of  my  heart 

New  is  the  joy  that's  singing! 

All  nature  doth  rejoice  with  me, 

And   wiih   me   triumph! 

And  all  aroimd 

I  see  but  laughter  and  light  and  joy! 

And  I  tremble  with  exquisite  delight 

When   I   recall   the   charm 

Of  our  first  day  of  love! 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
Sixth  Season— 1929-1930 


Third  Faculty  Recital 


LYNNWOOD  FARNAxM,  Organisi 


V^ednesday  Evening,  December  4,  1929 


at  8.30  o'cloc\ 


The  Steinway  is  the  official  piano  of  The  Curtis  Institute  0/  Music 


Bach  Programme 

FANTASIA  IN  G  major 

Tres  vitement — Grave — Lentement 

Schweitzer  says,  regarding  this  piece:  "The  beautiful  part-leading 
of  the  Grave  might  tend  to  raise  a  doubt  as  to  whether  it  is  really  one 
of  Bach's  youthful  works." 

The  first  movement  is  of  a  sprightly  character,  abounding  in  echo' 
effects,  the  Grave  is  a  "noble  monologue"  (Harvey  Grace)  while  the 
final  movement  is  a  cadenza  leading  to  a  majestic  close. 

"MY  HEART  IS  FILLED  WITH  LONGING"  (Herzlich  thut 
MICH  verlangen) — Chorale  Prelude 

"The  possibilities  of  a  brief  statement  of  the  tune,  with  very  slight 
decoration,  are  well  shown  in  this  exquisite  little  piece.  Its  appeal 
depends  on  several  factors — the  perfect  harmonization,  the  interest  of 
the  accompanying  parts,  and  the  broken  utterance  obviously  evoked 
by  the  word  'verlangen'." — Harvey  Grace. 

ALLEGRO  AND  LARGO  from  Fifth  Trio  Sonata 

Allegro:  Exposition  in  C  major — exposition  inverted  in  key  of 
dominant — development  passing  through  subdominant  and  conclusion 
in  main  key — development  of  second  idea  in  C  major  which  leads  to 
the  first  theme — re-exposition — inversion  of  second  idea — re-exposition 
of  first  period  exactly  as  at  the  beginning. 

Largo  in  A  minor:  Theme  in  soprano — answer  in  alto — develop- 
ment relative  key  in  alto — answer  in  soprano — episode  passing  through 
subdominant — conclusion  by  rc-exposition  of  first  period. 

The  foregoing  is  the  style  of  annotation  adopted  by  Arthur  W. 
Poister  in  his  twenty  programs  presenting  the  complete  organ  works 
of  Bach  now  in  progress  at  the  University  of  Redlands,  California, 
from  November  10,  1929,  to  February  19,  1930. 

The  six  Trio- Sonatas  were  probably  written  during  Bach's  first 
years  in  Leipzig,  that  is,  between  1723  and  1727.  Partaking  of  the 
character  of  chamber-music,  they  are  invariably  woven  of  three  parts 
or  "voices,"  and  their  first  and  last  movements  are  sprightly  and 
irresistibly  rhythmical  in  effect.  Bach's  works  are  always  notable  for 
their  economy  of  material. 


■'■■'■il'l '   !ll.-^ 


Bach  Frogramme 

CHORALE  AND  EIGHT  VARIATIONS  in  the  form  of  Par- 
titas ON  THE  Chor.\le,  "O  Gott,  du  frommer  Gott"  (O 
God,  Thou  faithful  God) — C  minor 

Although  several  sets  of  "Partita"  variations  appear  among  the 
organ  compositions  of  Bach,  they  are  in  a  clear  clavier  (or  pianoforte) 
style,  the  sparse  pedal  part  (added  by  later  editors)  being  in  most 
cases  a  mere  doubling  of  the  bass  played  by  the  hand.  They  lend 
themselves  wonderfully  to  the  diversified  registration  possible  on  a 
modem  organ.  A  study  of  the  various  sets  reveals  the  invariable 
inclusion  of  a  two-voice  variation  ostinato-wise  with  the  treble  in 
sprightly  figuration,  later  one  of  a  "celestial  voices"  character,  then 
the  final  variation,  briUiant  and  toccata-Hke  or  slow  and  rich. 

In  the  set  on  "O  Gott,  du  frommer  Gott,"  the  first  movement,  a 
block-chord  harmonization  of  the  tune,  is  designated  Partita  I.  and  the 
variations  are  as  follows:  II.  Allegro,  two  voices,  basso  ostinato  (the 
same  theme  repeated  successively),  treble  figuration;  III.  Three  voices, 
moderato;  IV.  Allegro,  treble  figuration,  pizzicato  bass;  V.  Allegro, 
three  voices,  gossamer-light  in  feeling;  VI.  "Celestial  voices,"  accom- 
panied by  long  leaps  in  the  bass;  VII.  Allegretto,  3-4;  VIII.  Adagio, 
four  voices,  chromatic  motive  of  suppHcation,  one  of  Bach's  choice 
inspirations;  IX.  Allegro,  echo  efi^ects  and  many  changes  of  keyboard; 
at  the  end  a  pianistic  broken-chord  triplet  passage  which  is  unique 
among  Bach's  organ  works.  In  all  the  variations  the  Chorale  theme 
is  in  the  soprano  voice  and  all  except  Variation  VII.  are  in  four-four 
time. 

Harvey  Grace  remarks  of  this  work  that  it  shows  in  a  marked 
degree  the  influence  of  Georg  Bohm,  who  seems  to  have  imbibed  a 
good  deal  of  the  spirit  of  the  French  clavecin  composers,  and  that 
no  doubt  much  of  the  grace  of  Bach's  early  keyboard  writing  is  due 
to  French  influences  received  thus  at  second  hand. 

CONCERTO  IN  A  minor 

Allegro — Adagio — Allegro 

A  hearing  of  this  concerto  (originally  composed  for  strings  by 
Vivaldi)  at  a  Philadelphia  concert  of  the  New  York  Philharmonic 
Orchestra  under  Mengelberg,  November  7,  1927,  aroused  new  inter- 
est in  the  work,  by  far  the  finest  of  the  four  concertos  Bach  trans- 
scribed  for  organ. 


(over) 


Bach  Programme 

THREE  CHORALE  PRELUDES 

"WE  ALL  BELIEVE  IN  ONE  TRUE  GOD"  (WiR  glauben 
all'  an  einen  Gott) — F  major 
A  five-voice  setting  of  the  Creed,  with  double  pedal  and  the 
theme  in  the  soprano.    At  the  end  there  is  a  coloratura  coda. 

''COMEST  THOU  NOW,   JESUS,  FROM  HEAVEN   TO 

EARTH?"  (KoMMST  du  nun)  Trio  in  G  major,  theme 

in  4 'ft  pedal 

One  of  the  ''Six  Schiibler,"  issued  1747-49  by  the  pubHsher  of 

that  name.   These  six  works  are  transcriptions  of  movements  from 

cantatas,  and  were  the  first  of  Bach's  compositions  to  be  printed. 

"GOOD  CHRISTIAN  MEN  REJOICE"  (In  Dulci  Jubilo) 
A  simple  trio  presentation  of  the  old  Christmas  hymn. 

PRELUDE  AND  FUGUE  in  D  major 

The  Prelude  and  Fugue  in  D  major  is  a  popular  and  well-known 
composition  in  happy  vein.  Griepenkerl  says  the  Prelude  and  the 
Fugue  were  usually  regarded  as  separate  works,  but  were  found  to- 
gether in  a  manuscript  belonging  to  Nicolai.  This  seems  to  be  the  only 
authority  for  the  association. 

The  Fugue  might  very  well  stand  alone,  but  the  Prelude  is  in 
diff"erent  case.  After  the  briUiant  first  part  there  is  an  Adagio  which 
clearly  leads  to  something  else,  and  which  must  stand  between  two 
brilliant  movements  to  be  effective.  This  Adagio  is  not  in  the  character 
of  bridge  work.  It  seems  more  important  than  an  episode.  The  grave 
and  gloomy  progress  of  the  double  pedal,  the  surprising  clash  of 
dissonance,  and  the  harmonic  color  combine  to  assume  the  full  measure 
of  a  separate  slow  movement. 

The  Prelude  is  marked  "concertante"  in  Griepenkerrs  manuscript 
copy,  which  indicates  that  it  was  not  intended  for  church  use.  It 
is,  indeed,  somewhat  in  the  style  and  mood  of  the  earlier  French 
overture. 

Spitta  calls  the  Fugue  "da2;zling  and  brilliant,"  and  other  more 
conservative  critics  have  found  it  "superb."  There  is  a  tendency  now 
to  rate  the  work  lower,  but  it  is  highly  suitable  for  concert  purpose 
with  its  high  spirits  and  its  unflagging  energy.  It  has  the  quality  of 
a  scherzo. — Henry  Bellamann. 


The   organ    is   an    Aeolian 


The  Curtis  Institute  of  Music 


CASIMIR  H.\LL 
SIXTH  SEASON,   1929-1930 


Fourth  Faculty  Recital 


LEA  LUBOSHUTZ,  Violinisi 

Harry  Kaufman  at  the  Piano 


Thursday  Evening,  December  Tivelfth 

at  8.30  o'cloc\ 


The  Steix"3.-at  is  the  official  piano  of  The   Curtis  Ixstitute   0/  Mi  s:c 


¥Ll 


l^ 


;^ 


Programme 


JOHANN  Sebastian  Bach Paxtita  in  E  minor 

Prelude:  Maestoso 
Adagio  ma  non  troppo 
Allemande 
Gigue 

(Organ  accompaniment  played  by  Alexander  McCurdy,  Jr.) 


n. 

HOFMANN'LUBOSHUTZ (Allemande 

[  Gavotte 
PONCE'HeiFETZ Estrellita   (Mexican  Serenade) 

KreutzeR'Kaufman Caprice 

Frit2  Kreisler  I  Variations  on  a  Theme  by  Corelli 

(Tambourin  Chinois 


m. 

Jules  Conus (Iloncerto  in  E  minor 

Allegro  molto — i\ndante  espressivo — Allegro  subito 


The   organ    is   an   Aeolian 


i 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
SIXTH  SEASON,  1929-1930 


Fifth  Faculty  Recital 


ISABELLE  VEXGEROVA,  PlanUt 
LEA  LUBOSHUTZ,  Violinist 

FELIX  SALMOND,  Violoncellist 


V\l ednesday  Evening,  January  8,  1930 

at  8.30  o'doc\ 


The  Stein  WAY  is  the  official  piano  of  The  Curtis  Institute  of  Music 


<fev^  ii'i!iii liiiiir  iMiniiiiiiiii 


Ml''ii^'^'il"lllllll"'lllll iiiiiii  Ill,; 


'III. iiiiMIIIIII, 


iniMiiiiniiii.iiiiiiiiiniiiiiiiilllll,^ 


Programme 


Wolfgang  Amadeus  Mozart Trio  in  E  major,  Opus  15,  No.  2, 

for  Piano,  Violin  and  Violoncello 
Allegro 

Andante  grazioso 
Allegro 


LUDWIG  VAN  Beethoven Sonata  in  A  major,  Opus  47, 

for  Piano  and  Violin  (Kreutaer) 
Adagio   sostenuto — Presto 
Andante  con  variasioni 
Finale:   Presto 


Peter  IlJITSCH  TsCHAIKOWSKY Trio  in  A  minor.  Opus  50,  for  Piano, 

Violin  and  Violoncello 
(To  the  Memory  of  a  Great  Artist) 
I.    Pezzo  elegiaco 

II.     (a)   Tema  con  variazioni 

Andante  con  moto — Piu  mosso — 
Allegro  moderato — L'Istesso  tempo — 
L'Istesso  tempo — Tempo  di  Valse — 
Andante  fiebile  ma  non  tanto — 
Tempo  di  Mazurka — Moderato 

(b)   Variazione  finale  e  coda 

Allegro  risoluto  e  con  fuoco — 
Andante  con  moto — Lugubre 


■'ii^i iiiiii||||i|lllllinnllllin'l'lllll|i'iiiiiiiiiii"iiiMiiiiiiiiiii!inmiiiii m iiiiiniininliiimliililMiiiinilliiilin iiiiMlllllllllllllliiiiiiiiiiiiiiiirii iiiiiMir( 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
SIXTH  SEASON,  19294930 


Sixth  Faculty  Recital 


HORATIO  CONNELL,  Baritone 

Rose  Bampton,  Contralto 

(Student  of  Mr.  CkDNNELL) 

Collaborating 

Ellis  Clark  Hammann  at  the  Piano 


V\/ednesday  Evening,  January  15 ,  1930 

at  8.Z0  o'cloc\ 


The  Ste:x\a-ay  is  the  official  piano  of  The  Curtis  Institute  of  Music 


RECITAL  OF  SONGS  AND  DUETS  BY 
JOHANNES  BRAHMS 

Programme 


I. 


Minnelied 

Sonntag 

Verrath 

Auf  dem  Schiffe 

11. 

Vier  ernste  Gesange 

"Derm  es  gehet  dem  Menschen" 
"Ich  wandte  mich" 
"O  Tod,  wie  bitter  bist  du" 
"Wenn  ich  mit  Menschen" 

III. 

From  "Zigeunerlieder" — 
"He!  Zigeuner!" 
"Hochgethiirmte  Rima-Fluth" 
"Wisst  ihr  wann  mein  Kindchen?" 
"Brauner  Bursche" 
"Kommt  dir  manchmal  in  den  Sinn?' 
"Roslein  dreie" 

IV. 

Duette  fiir  Alt  und  Bariton — 
Die  Nonne  und  der  Ritter 
Vor  der  Thiir 
Es  rauschet  das  Wasser 
Der  Jager  und  sein  Liebchen 


^„1 


ririiiiiiiiiMiMiiiiiiiilnndHMiiimiiiiiMiiimiiiiMiiiiimimiiiniMiMiiii 


iii'iiiiiinKiiiTm!! iiiiiiiiiii iiiiiiiiiiiiiiniiiiiiiiiiiiMiiiiniin 


LiJJUIIIIIIIIIIIiaiM<5a> 


Minnelied 

Holder  klingt  der  Vogelsang, 

Wenn  die  Engelreine, 
Die  mein  Jiinglingsherz  bezwang, 

Wandelt  durch  die  Haine. 

Rother  bluhen  Thai  und  Au, 
Griiner  wird  der   Rasen, 

Wo  die  Finger  meiner  Frau 
Maienblumen  lasen. 

Ohne  sie  ist  Alles  todt, 

Welk  sind  Bliit'  und  Krauter; 
Und   kein   Friihlingsabendroth 

Dunkt  mir  schon  und  heiter. 

Traute,  minnigliche  Frau, 

Wollest  nimmer  fliehen, 
Dass  mein  Herz,  gleich  dieser  Au, 

Mog  in  Wonne  bliihen! 


(  Translation) 

Love  Song 

When  the  flowery  meads  among 
Roams  my  queen  of  beauty, 

Sweeter  rings  the  linnet's  song 
So  to  do  her  duty. 

Deeper  flush  the  rosy  bowers. 
Greener   grow  the  grasses, 

Where,  to  cull  the  valley  flowers. 
My   sweet  lady   passes. 

She  away,  the  world  is  dead. 
Grass   and   bud   together. 

And  for  me  no  evening  red 
Tells  of  fairer  weather. 

Sweetest  lady,  kind  and  dear. 
Reign  thou  in  my  bosom, 

That  my  heart  while  thou  art  near 
Like  the  mead  may  blossom. 


Sonntag 

So  hab'  ich  doch  die  ganze  Woche  mein  feines 

Liebchen  nicht  geseh'n, 
Ich    sah    es   an    einem    Sonntag    wohl    vor    der 

Thiire  steh'n: 
Das  tausend  schone  Jungfraulein, 
Das  tausend  schone  Herzelein, 
Wollte  Gott,  ich  war'  heute  bei  ihrl 

So  will  mir  doch  die  ganze  Woche  das  Lachen 

nicht  vergeh'n, 
Ich  sah  es  an  einem  Sonntag  wohl  in  die  Kirche 

geh'n. 
Das  tausend  schone  Jungfraulein, 
Das  tausend  schone  Herzelein, 
Wollte  Gott,  ich  war'  heute  bei  ihrl 


(Translaticm') 

Sunday 

Six  weary  days  are  past  and  over,  since  I  my 

true  love  gaz'd  on  last. 
And  that  was  upon  a  Sunday,  by  her  dwelling 

as  I  pass'd: 
She  stood  before  her  cottage  door, 
A  thousand  pretty  looks  she  wore. 
Would  to  Heav'n,  I  were  with  her  this  day! 

Six    pleasant   days    are    past   and   over    since   a 

look  on  me  she  cast. 
And  that  was  upon  a  Sunday  in  the  church  door 

as  she  pass'd; 
That  look  of  hers  I'll  ne'er  forget, 
A  thousand  times  I  think  of  it. 
Would  to  Heav'n  I  were  with  her  this  day. 


Verrath 

Ich  stand  in  einer  lauen  Nacht 

An  einer  griinen  Linde; 
Der  Mond  schien  hell,  der  Wind  ging  sacht, 

Der  Giessbach  floss  geschwinde. 

Die  Linde  stand  vor  Liebchen's  Haus; 

Die  Tiire  hort'   ich  knarren. 
Mein  Schatz  Hess  sacht  ein  Mannsbild  'raus: 

"Lass  Morgen  mich  nicht  barren; 
Lass  mich  nicht  barren,  susser  Mann; 

Wie  hab'  ich  dich  so  gerne! 
An's  Fenster  klopfe  leise  an, 

Mein  Schatz  ist  in  der  Feme!" 

Lass  ab  von  Druck  und  Kuss,  Feinslieb, 

Du  Schoner  im  Sammetkleide; 
Nun  spute  dich,  du  f einer  Dieb: 

Ein  Mann  harrt  auf  der  Haide! 

Der  Mond  scheint  hell,  der  Rasen  griin 

Ist  gut  zu  uns'rem  Begegnen; 
Du  tragst  ein  Schwert  und  nickst  so  kiihn, 

Dein'  Liebschaft  will  ich  segnen! 
Und  als  erschien  der  lichte  Tag, 

Was  fand  er  auf  der  Haide? 
Ein  Todter  in  den  Blumen  lag, 

Zu  einer  Falschen  Leide. 


(Translation') 

Treachery 

I  stood  upon  a  summer's  night 

There,  where  the  linden's   growing; 

The  moon  shone  clear,  the  winds  were  light. 
The  torrent  swiftly  flowing. 

The  linden  near  my  love's  house  grew; 

I  heard  the  door  soft  grating. 
My  dear  a  man  let  softly  through; 

"Don't,  Morning,  keep  me  waiting: 
Don't  keep  me  waiting,  darling,  pray; 

I  love  thee  as  the  day,  dear!" 
Then  op'd  the  lattice  soft  to  say: 

"My  true  love's  far  away,  dear!" 

Have  done  caress  and  kiss,  heart's  lief. 

And  wooer  in  scarlet  feather; 
Now  hasten  thee,  thou  dainty  thief, 

A  man  waits  on  the  heather. 

The  moon  shines  clear,  the  grass  so  green 

Is  good  too  for  our  meeting; 
Thou  bear'st  a  sword  and  nod  so  keen. 

Thine  amour  has  my  greeting! 
And  on  the  heath,  the  light  of  day. 

What  found  it  on  the  morrow? 
A  corse  among  the  flowers  lay, 

All  to  a  false  maid's  sorrow. 


■^^ 


nii'inMiiMiiiiiiNiiiiiiiiiiTmTr 


Ljil'i!i,iiiiiii.iiiii,miiiniinin 


m 


Auf  dem  Schiffe 

Ein  Vogelein  fliegt  iiber  der^  Rhein 

Und  wiegt  die  Fliigel  im   Sonneuschein 

Sieht    Rebenhtigel   und   grune   Flut 

In   gold'ner   Glut; 

Wie   wohl   das   thut, 

So   hoch   erhoben    im   Morg'enhauch ! 

Bei'm  Voglein  droben,  o  war,  ich  auch. 


(Translatimi) 

Aboard  a  Boat 

A  birdling  flew  far  over  the  Rhine, 

And  waved  his  wings  in  the  glad  sunshine. 

Saw  vine  clad  mountains,  and  rivers'  flow 

In  golden  glow, 

Such  joy  to  know, 

Uplift  so   high   on   breath  of  mom! 

Dear  bird  that  I  might  be  borne. 


Denn  es  gehet  dem  Menschen 

Denn  es  gehet   dem   Menschen,  wie   dem   Vieh; 

wie    dies    stirbt,    so    stirbt    er   auch; 
Und  haben   alle  einerlei   Odem,  und  der  Mensch 

hat  nichts  mehr,  denn  das  Vieh; 
Denn  es  ist  alles  eitel. 
Es    fahrt   alles  an   einen   Ort;    es   ist   alles   von 

Staub  gemacht, 
Und  wird  wieder  zu  Staub. 
Wer  weiss,  ob  der  Geist  des  Menschen  aufwarts 

fahre, 
Und  der  Odem  des  Viehes  unterwarts  unter  die 

Erde  fahre? 
Darum   sehe    ich,    dass   nichts   bessers   ist,   denn 

dass    der    Mensch    frohlich    sei    in    seiner 

Arbeit; 
Denn  das  ist  sein  Theil. 
Denn  wer  will  ihn  dahin  bringen,  dass  er  sehe, 

was  nach  ihm  geschehen  wird? 


(Translation) 

Ecclesiastes  III 

v.  19.  One  thing  befalleth  the  beasts  and  the 
sons  of  men;  the  beast  must  die,  the  man  dieth 
also,  yea,  both  must  die;  to  beast  and  man  one 
breath  is  given,  and  the  man  is  not  above  the 
beast;   for  all  things  are  but  vanity. 

V.  20.  They  go  all  to  one  place;  for  they  all 
are  of  the  dust,  and  to  dust  they  return. 

z'.  21.  WTio  laioweth  if  a  man's  spirit  goeth 
upwards  ?  And  who  knoweth  if  the  spirit  of  the 
beast  goeth  downward  to  the  earth? 

I'.  22.  Therefore,  I  perceive  there  is  no  bet- 
ter thing  than  for  a  man  to  rejoice  in  his  own 
works,  for  that  is  his  portion.  For  w^ho  shall 
ever  show  him  what  will  happen  after  him? 


Ich  wandte  mich 

Ich  wandte  mich   und  sah  an  alle,   die  Unrecht 

leiden  unter  der  Sonne; 
Und     siehe,     da     waren     Thranen,     derer,     die 

Unrecht  litten,   und  batten  keinen  Troster, 
Und  die  ihnen  Unrecht  thaten,  waxen  zu  mach- 

tig,  dass  sie  keinen  Troster  haben  konnten. 

Da  lobte  ich  die  Todten,  die  schon  gestorben 
waren,  mehr  als  die  Lebendigen, 

Die  noch  das  Leben  batten;  Und  der  noch  nicht 
ist,  ist  besser  als  alle  Beide, 

Und  des  Bosen  nicht  inne  wird,  das  unter  der 
Sonne  geschieht. 


(Translation) 

Ecclesiastes  IV 

V.  1.  So  I  returned,  and  did  consider  all  the 
oppressions  done  beneath  the  sun;  and  there  was 
weeping  and  wailing  from  those  that  were  op- 
pressed and  had  no  comfort;  for  with  their  op- 
pressors there  was  power,  so  that  no  one  came 
to  comfort  them. 

V.  2.  Then  did  I  praise  the  dead,  which  are 
already  dead;  yea,  more  than  the  living,  which 
linger  still  in  life; 

r.  3.  Yea,  he  that  is  not  is  better  than  dead 
or  living,  for  he  doth  not  know  of  the  evil,  that 
is  wrought  for  ever  on  earth. 


"O  Tod,  wie  bitter  bist  du" 

O  Tod,  wie  bitter  bist  du,  wenn  an  dich  ge- 
denket  ein  Mensch,  der  gute  Tage  und  genug 
hat  und  ohne  Sorge  lebet;  und  dem  es  wohl 
geht  in  alien  Dingen  und  noch  wohl  essen  mag! 
O  Tod,  wie  wohl  thust  du  dem  Diirftigen,  der 
da  schwach  und  alt  ist,  der  in  alien  Sorgen 
steckt,  und  nichts  Bessers  zu  hoffen,  noch  zu 
erwarten  hat! 


(Translation) 

Ecclesiastes  XLI 

V.  1.  O  Death,  how  bitter,  how  bitter  art 
thou  unto  him  that  dwelleth  in  peace,  to  him 
that  hath  joy  in  his  possessions,  and  liveth  free 
from  trouble,  to  him  whose  vi^ays  are  prosperous 
in  all  things,  to  him  that  still  may  eat! 

-'.  2.  O  Death,  how  welcome  art  thou  to  him 
that  is  in  want  and  whose  strength  doth  fail 
him,  and  whose  life  is  but  a  pain,  who  hath 
nothing  to  hope  for,  and  cannot  look  for  relief! 


"Wenn  ich  mit  Menschen  und  mit 
Engels2;ungen" 

Wenn  ich  mit  Menschen  und  mit  Engelszun- 
gen  redete,  und  hatte  der  Liebe  nicht,  so  war 
ich  ein  tonend  Erz,  oder  eine  klingende  Schelle. 
Und  wenn  ich  weissagen  konnte  und  wiisste  alle 
Geheimnisse  und  alle  Erkenntniss,  und  hatte 
alien  Glauben,  also,  dass  ich  Berge  versetzte; 
und  hatte  der  Liebe  nicht,  so  ware  ich  nichts. 
Und  wenn  ich  alle  meine  Habe  den  Armen  gabe, 
und  Hesse  meinen  Leib  brennen;  und  hatte  der 
Liebe  nicht,  so  ware  mir's  nichts  niitz'e.  Wir 
sehen  jetzt  durch  einen  Spiegel  in  einem  dun- 
keln  Orte,  dann  aber  von  Angesicht  zu  Ange- 
sichte.  Jetzt  erkenne  ich's  stiickweise,  dann  aber 
werd  ich's  erkennen,  gleichwie  ich  erkennet  bin. 
Nun  aber  bleibet  Glaube,  Hoffnung,  Liebe,  diese 
drei;  aber  die  Liebe  ist  die  grosseste  unter 
ihnen. 


"He!  Zigeuner!" 


He,  Zigeuner,  greife  in  die  Seiten  ein! 
Spiel  das   Lied  vom  ungetreuen   Magdelein! 
Lass  die  Saiten  weinen,  klagen,  traurig  bange, 
Bis  die  heisse  Thrane  netzet  diese  Wangel 


(Translation") 

I  Corinthians  XIII 

Though  I  speak  with  the  tongues  of  men  and 
of  angels,  and  have  not  charity,  then  I  am  be- 
come as  a  sounding  brass,  or  a  tinkling  cymbal. 
And  though  I  can  prophesy,  and  understand  all 
mysteries,  and  am  powerful  in  knowledge,  and 
though  I  have  the  gift  of  faith  and  can  move 
the  mountains,  and  have  not  charity,  yet  am  I 
nothing  worth.  And  though  I  give  my  worldly 
goods  to  feed  the  poor  and  though  I  give  my 
body  to  be  burned,  and  have  not  charity,  it 
profiteth  me  nothing.  For  now  we  see  the  Word 
darkly  as  through  a  glass,  but  then  we  shall  see 
it  face  to  face.  Here  I  know  but  partly,  but 
there  I  surely  shall  know  it,  even  as  I  am  also 
known.  Now  abideth  faith  and  hope  and  char- 
ity, these  three,  but  the  greatest  of  these  is 
charity. 

iTranslation) 

"Ho!   Gypsy!" 

Ho,  there,  Gypsy  1    Strike,  resounding  ev'ry 

string. 
And  the  song  of  false  and  faithless  maiden 

sing! 
Let  the  strings  all  moan,  lamenting,  sorrow, 

weeping. 
Till   the   burning  tears  these  cheeks  so  hot 

are  steeping! 


Hochgethurmte  Rima'Fluth 

Hochgethiirmte  Rima-Fluth,  wie  bist  du  so  trtib', 
An  dem  Ufer  klag'  ich  laut  nach  dir,  mein  Lieb! 
Wellen    fiiehen,    Wellen    stromen,    rauschen    an 

den  Strand  heran  zu  mir, 
An  dem  Rima-Ufer  lasst  mich  ewig  weinen  nach 

ihr! 


(Translation) 

"High  and  Towering  Rima-stream" 

High  and  towering  Rima-stream, 

How  art  thou  so  drear! 
On  thy  shore  I  mourn  aloud 

For  thee,  my  dear! 

Waves  are  rushing,  waves  are  flying. 
Rolling  o'er  the  strand  afar  to  me; 

On  the  shore  of  Rima  let  me 
Weep  for  her  eternally! 


"Wisst  ihr,  wann  mein  Kindchen?" 

Wisst  ihr,  wann  mein  Kindchen  am  allerschon- 

sten  ist? 
Wenn    ihr   siisses   Miindchen   scherzt   und  lacht 

und  kiisst. 
Magdelein,  du  bist  mein,  inniglich  kiiss'  ich  dich, 
Dich  er=;chuf  der  liebe  Himmel  einzig  nur  fiir 

mich! 

Wisst  ihr,  wann  mein  Kindchen  am  besten  mir 

gefiel  ? 
Wenn    in    meinen    Armen    ich    es    umschlungen 

hielt. 
Schiitzelein,    du   bist   mein,    inniglich    kuss'    ich 

dich, 
Dich   erschuf   der  liebe  Himmel   einzig  nur   fiir 

mich! 


(Translation) 

"Knov/  Ye  When  My  Loved  One" 

Know   ye  when   my   lov'd   one   is  fairest  of  all 

bliss? 
If   her   sweet   mouth   rosy,   jest   and  laugh   and 

kiss. 
Maiden   heart,   mine   thou    art;    tenderly   I  kiss 

thee — - 
Thee   a   loving  heaven  made  alone  and  but  for 

me! 

Know  ye  when  my  lov'd  one  the  dearest  is  to 

me? 
When   in  my  fond  arms  I  enfold  her  lovingly. 
Maiden    heart,    mine    thou    art;    tenderly    I    kiss 

thee — 
Thee  a   loving  heaven  made  alone  and  but  for 

me! 


"Brauner  Bursche" 

Brauner  Bursche  fiihrt  zum  Tanze  sein  blauau- 

gig  schones  Kind, 
Schlajrt    die    Sporen    keck    zusammen.    Czardas 

Melodie  beginnt, 
Kiisst    und   herzt    sein    susses    Taubschen,   dreht 

sie,  fiihrt  sie,  jauchzt  und  springt; 
Wirft  drei  blanke  Silbergulden  auf  das  Cimbal, 

dass  es  klingt. 


(  Translation) 

"Sun'brown  Lad" 

Sun-brown  lad  to  dance  is  leading 
His  blue-eyed  and  pretty  lass. 
Strikes  the  clashing  spurs  together. 
To  the  melody  Czardas; 
Kisses   fondly  his  sweet  dove. 
And  spinning,  whirling,  shouts  and 

springs! 
Throws  three  shining  silver  gulden 
That  upon  the  cymbal  ring. 


"Kommt  Dir  manchmal" 

Kommt  dir  manchmal  in  den  Sinn,  mein  siisses 

Lieb, 
Was  du  einst  mit  heirgem  Eide  mir  gelobt 
Tausch  mich  nicht,   verlass  mich  nicht, 
Du  weisst  nicht,  wie  lieb  ich  dich  hab', 
Lieb'  du  mich  wie  ich  dich, 
Dann  stromt  Gottes  Huld  auf  dich  herabl 


{Translation) 

"Art  Thou  Thinking" 

Art   thou   thinking   often   now,    sweetheart,    my 

love. 
What    thou    once    with    holy    vow    to    me    hast 

sworn? 
Trifle  not,   forsake  me  not, 
Thou  know'st  not  how  dearly  I  love  thee; 
Lov'st  thou  me  as  I  love  thee. 
Smile  of  God  shall  crown  thee  graciously. 


"Roslein  dreie" 

Roslein  dreie  in  der  Reihe  bliih'n  so  rot, 

Dass  der  Bursch  zum  Madel  geht  ist  kein  Ver- 

bot ! 
Lieber  Gott,  wenn  das  verboten  war', 
Stiind'  die  schone,  weite  Welt  schon  langst  nicht 

mehr. 
Ledig  bleiben   Siinde  war! 

Schonstes  Stadtchen  in  Alfold  ist  Ketschkemet, 
Dort   giebt   es   gar   viele   Madchen   schrauck   und 

nett! 
Freunde,  sucht  euch  dort  ein  Brautchen  aus, 
Freit  um  ihre  Hand  und  griindet  euer  Haus, 
Freudenbecher  leeret  aus! 


(Translaticni) 

"Rose-buds  Three" 

Rosebuds   three,    all   on   one  tree,   ye   bloom    so 

red; 
That  lad  a  lassie  woo  is  not  forbid! 
Loving  God,  if  that  had  been  denied. 
All    the    world    the    beauteous   world,   had    long 

since  died, 
Single  life's  a  sin  beside! 

Fairest  village  in  Alfeld  is  Ketschkemet, 
There  live  many  pretty  lasses,  trim  and  neat! 
Comrades  seek  and  choose  ye  there  a  bride; 
Sue,  then,  for  her  hand,  and  may  your  house  a 

bide. 
Drain  the  goblet,  comrades  tried! 


Die  Nonne  und  der  Ritter 

Alt 

Da    die    Welt    zur    Ruh'    gegangen,    wacht    mit 

Sternen  mein  Verlangen, 
In  der  Kiihle  muss  ich  lauschen,  wie  die  Wellen 

unten  rauschen! 
Bariton 
Fernher  mich  die  Wellen  tragen,  die  an's  Land 

so  traurig  schlagen, 
Unter  deines  Fensters  Gitter,  Fraue,  kennst  du 

noch  den  Ritter? 
Alt 
Ist's  doch,   als  ob   seltsam'   Stimmen   durch   die 

lauen  Liifte  schwimmen; 
Wieder   hat's   der   Wind   genommen,  Ach,  mein 

Herz  ist  so  beklommen! 
Bariton 
Druben  liegt  dein  Schloss  verfallen,  klagend  in 

den  oden  Hallen, 
Aus  dem  Grund  der  Wald  mich  griisste, 
Alt  und  Bariton 

'S  war,  als  ob  ich  sterben  miisste. 
Alte  Klange  bliihend  schreiten 
Wie  aus  lang  versunknen  Zeiten, 
Will   mich  Wehmuth  noch  bescheinen,   und   ich 

mocht'  von  Herzen  weinen. 
Bariton 
Ober'm    Walde    blitzt's    vom    Weiten,    wo    um, 

Christi  Grab  sie  streiten; 
Alt  und  Bariton 
Dorthin  wUl  mein   Schiff  ich  wenden.  Da  wird 

Alles,  Alles  enden ! 
Geht  ein  Schiff,  ein  Mann  stand  drinnen,  falsche 

Nacht,  verwirrst  die  Sinne! 
Alt 
Welt,  Ade!    Gott  woll'  bewahren,  die  noch  irr' 

im  Dunkeln  fahren! 


(JTransIation) 

The  Nun  and  the  Knight 


Alto 


Now  the  world  is  wrapt  in  slumber, 
Glit'ring  stars,  in  countless  number. 
Seem  to  watch  my  lone  repining, 
Here,  with  ocean's  voice  combining! 

Baritone 

From  afar  the  waves  have  brought  me. 
From  afar  thy  knight  has  sought  thee; 
'Neath  thy  lattice  canst  thou  hear  me? 
Dost  thou  know  thy  knight  is  near  thee? 

Alto 

What  strange  soimd  of  voices  singing. 
Thru  the  sultry  air  is  ringing? 
Now  the  wind  that  sound  is  taking, 
Oh!   my  weary  heart  is  breaking! 

Baritone 

There  thy  castle  bleak  and  lonely, 

Peopled  now  by  spirits  only. 

Mocks  my  sight  with  mournful  greeting, 

Alto  and  Baritone 

Life  itself  seems  swiftly  fleeting! 
Songs  of  days  long  departed, 

Alto 

By  some  chord  of  mem'ry  started, 
Tho  they  come  with  all  their  gladness. 
Fill  my  heart  with  naught  but  sadness. 

Baritone 

Visions  rise  of  battle  raging. 
Where  the  Holy  War  is  waging. 
There  my  way  will  soon  be  wended, 

Alto  and  Baritone 

There  my  life  will  soon  be  ended. 
Ah!  that  ship!     'Tis  his  now  leaving. 
Or  the  gloom  mine  eyes  deceiving! 
World,  farewell!     O  God,  watch  o'er  him! 
Naught  but  darkness  lies  before  him! 


Vor  der  Thiir 

Bariton 

Tritt  auf   den   Riegel   von   der   Thiir,   wie   gern 

kam  ich  herein,  um  dich  zu  kussen. 
Alt 
Ich  lass'  dich  nicht  herein,  schleich  immer  heim 

ganz   sacht,   auf  deinen  Fiissen. 
Bariton  und  Alt 
Wohl    kann   ich   schleichen,   sacht   wie   Monden- 

schein 
Ich  lass  dich  nicht  herein,  schleich  immer  heim 

ganz   sacht. 
Steh'  nur  auf,  lass  mich  ein. 
Bariton. 
Das  will  ich  von  dir  haben,  O  Magdlein,  dein'n 

Knaben   lass'   ein. 
Alt  iind  Bariton 
Tritt   auf    den    Riegel    von    der   Thiir,    steh'    auf 

und  lass'  niic'a  ein, 
Ich  la;s  dich  nicht  herein,   schleich   immer  heim 

ganz  sacht,  ich  lass'  dich  nicht  ein. 
Das  will   ich  von  dir  haben  O  Magdlein,  dein'n 

Knaben  lass'  ein. 


(Translatimt) 

The  Coquette  and  Her  Lover 

Baritone 

Sweet  maid!   I'm  waiting  at  the  door,  all's  well 

prepar'd,  haste!    I  do   implore. 
This  ring  shall  make  thee  mine!  For  ever  more 

I'll   ne'er   forsake   thee. 
Alto 
To  wed  so  soon,  I'm  not  at  all  inclin'd.     In  fact, 

I've  changed  my  mind. 
So  pray   go  home,  as   fast  as  thy  long  legs  can 

take  thee. 
Baritone 

No!   cruel  maiden,  here  will   I  remain. 
Alto 

'Tis  useless  quite,  you'd  best  go  home  again. 
Baritone  and  Alto 
Nay,   come   down,   I    implore! 
Oh!  pray,  go  home  again,  you'd  best  go  home. 
Then  all  thy  vows  are  broken!   Oh!   false  one! 

Oh!  fair  one!     Come  down,  I  implore  I 


Es  rauschet  das  Wasser 

Alt 

Es  rauschet  das  Wasser  und  bleibet  nich  steh'n; 
Gar  lustig  die   Sterne   am   Himmel  hingeh'n; 
Gar    lustig    die    Wolken    am    Himmel    hinzieh'n. 
So   rauschet  die  Liebe  und  fahret  dahin. 
Bariton 

Es  rauschet  das  Wasser  und  bleibet  nich  steh'n; 
Doch  bleiben  die  Sterne,  sie  wandeln  und  gehn. 
So  auch  mit  Der  Liebe,  der  treuen  geschieht, 
Sie    wegt    sich,    sie    regt    sich,    imd    andert    sich 
nicht. 


(Translation) 

The  Streamlet  Flows  Onwards 

Alto 

The  streamlet  flows  onwards  and  ne'er  standeth 

still. 
The  stars  in  the  Heavens  their  courses  fulfil. 
The   clouds   travel    swiftly    across   the   blue    sky. 
Thus  love  journeys  onward  thru  life  till  we  die. 
Baritone 
The    streamlet    may    dwindle,    the    clouds    melt 

away. 
The  stars  at  the  last  will  be  bright  as  today. 
And  so  will  be  ever  the  light  of  true  love. 
As  pure  and  as  bright,  as  those  planets  above! 


Der  Jager  und  sein  Liebchen 

Bariton 

Ist  auch  der  Himmel   so  blau, 
Steh'  am   Fenster  und   schau! 
Erst  in  der  Nacht,  spat  in  der  Nacht, 
Komm'  ich  heim  von  der  Jagd! 

Alt 

Anders  hab'  ich  gedacht, 

Tanzen  will  ich  die  Nacht! 

Bleib'  vor  der  Thiir,  spat  vor  der  Thiir, 

Willst  du  nicht  tanzen  mit  mir! 

Bariton  nnd  Alt 

Tst  auch  der  Himmel  so  blau, 
Miidchen,  der  Himmel   ist  blau, 
Steh'  ich  doch  nimmer  und  schau, 
Uleib'  am   Fenster   und   schau, 
Ob  in  der  Nacht,  spat  in  der  Nacht 
Bis  in  der   Nacht,   spat  in  der  Nacht, 
Heim   du  kehrst   von  der  Jagd, 
Heim   ich  kehr'   von   der  Jagd. 
Steh'  ich  doch  nicht  und  schau! 
Bleib'  am  Fenster  und  schau! 


{Trarislation) 

The  Huntsman  and  His  Sweetheart 

Baritone 

Blue  are  the  Heavens  I  trow! 

Now  love  a  hunting  I  go. 

Let  thine  eyes  bright  first  meet  my  sight. 
At  thy  window  tonight! 

Alto 

Go  not  bunting  tonight! 

Dancing    is    my    delight. 

Dancing   with   thee,    bless'd   should    I   be. 

Stay  then  and  dance,  love,  with  me! 

Alto  and  Baritone 

Nay!   if  a  hunting  you  go. 

Maiden  you  love  me  I  know! 

I'll  ne'er  await  you  I  trow. 

Say  then   you  will   let  me   go! 

Naught  that  is  bright,  shall  meet  thy  sight. 

Let  the  lovelight   from  thine  eyes  bright. 

Coming    home,    love,    tonight!     I'll    ne'er    await 
thee. 

Guide  me  home,  love,  tonight;  stay  at  thy  win- 
dow tonight. 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
SIXTH  SEASON,  1929-1930 


Seventh  Faculty  Recital 


FELIX  SALMOND,  Violoncellisf 

HARRY  KAUFMAN.  Pianist 
Collaborating 


Vslednesday  Evening,  'March  Twelfth 


at  8.30  o'cloc\ 


gllllllllllMllliTmTr- 


The  Steinwat  is  the  official  piano  of  The  Curtis  Institute  of  Music 

Tii.iiiniiiiim.iii    iuihiLiiir iiiiiiiimiiiiiiihiiih: 


iin Miijiriiiiiiiiiiiiiiiiinii.i  m-tttTTTTI 


Programme 


I. 

George  Frederic  Handel Sonata,  No.  i,  in  G  minor,  for 

Violoncello  and  Piano 
Grave 
Allegro 

Sarabanda:   Largo 
Allegro 


II. 

Jean  HuRE Sonata,  No.  l,  in  F  sharp  minor,  for 

Violoncello  and  Piano 
(in  one  movement) 


III. 

Maurice  Ravel Piece  en  forme  de  Habanera 

Gabriel  Faure Berceuse 

GrANAD0S'CaSSAD6    Intermezzo  from  the  Opera  "Goyescas" 


IV. 

Johannes  Brahms Sonata  in  F  major.  Opus  99,  for 

Violoncello  and  Piano 
Allegro  vivace 
Adagio  affettuoso 
Allegro  passionato 
Allegro  molto 


I 


The  Curtis  Institute  of  Music 

CASIMIR  YiALL 
SIXTH  SEASON,   1929-1930 


Eighth  Faculty  Recital 


ANTON  TORELLO,    DouUe  Bass 

Harry  }L\ufman  at  the  Piano 


tAonday  Evening,  March  Seventeenth 

at  8.30  o'cioc\ 


The  Stein-u-at  is  the  official  piano  of  The  Cl-rtis  Ixstitvte  of  Mvsic 


j^ 


Programme 
I. 

JeaN'Baptiste  Loeillet Sonata 

Largo 
Allemande 
Gavotte 
Gigue 


n. 

Pedro  Valls Fantasy 

III. 

Henri  Eccles  Grave 

Pedro  Valls El  Canto  de  la  Vieja 

Serge  Koussevitzky Chanson  Triste 

Pedro  Valls Gavotte 

Anton  Torello Polka  Caprice 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 

SIXTH  SEASON,  1929-1930 


Ninth  Faculty  Recital 


3IR.  JOSEF  H0F3LAXX,  Pianist 


Wednesday'  Evening,  'March  19,  1930 

at  S.2>0  o'c\oc\ 


The   Stein-way   is   the  official  piano  of  The   Cl-rtis   Institute   of  Mcsic 


Programme 


I. 

Felix  Mendelssohn Prelude  and  Fugue  in  E  minor,  Opus  3  5 

Beethoven — Saint-Saens Choir  of  the  Dervishes 

Robert  Schumann Faschingsschwank  aus  Wien,  Opus  26 

Allegro 

Romanze 

Scherzino 

Intermezzo 

Finale 


FRfo^Ric  Chopin  , 


II. 

1  Impromptu  in  G  flat  major.  Opus   51 
Nocturne  in  F  minor,  Opus   55,  No.    1 
'Sonata  in  B  minor.  Opus  58 

Allegro  maestoso 

Scherzo:   Molto  vivace 

Largo 

Finale:   Presto  non  tanto 


III. 

Sergei  Rachmaninov /prelude  in  G  sharp  minor 

(Prelude   in  A  minor 

Anatole  Ll\dov Music  Box 

Fr.^nz  Liszt Mephisto  Valse 


Mr.  Hopmann  uses  the  Steinway  Piano 


Sn"xni'!iii'iiiiiiiiii!iriiiiiiiiiiiiiii'iiiiii!iniiiii!iniiiii"i"'iiiiii!iiiiiiiiii!iiiiii''iiiii 'i;i:iuMiiiiiii;iMiiiiiiiiiiniiiii 


nin'i;iiiiiiiiiiiiiii!!iiiniiiiimmiii!iii^> 


The  Curtis  Institute  of  Music 


CASIMIR  nALL 
SIXTH  SEASON,  1929-1930 


Tenth  Faculty  Recital 


I^lR.  EFREM  ZIMBALIST,  Violinist 

Mr.  Harry  Kaufman  at  the  Piano 


V\lednesday  Evening,  March.  Twenty-sixth 

at  8.30  o'cloc\ 


The  Steinway  is  the  official  piano  of  The  Curtis  Institute  of  Ml-sic 


i 


Programme 


* 


I. 

Johannes  Brahms Sonata,  No.  3,  in  D  minor.  Opus  los,  for 

Violin  and  Piano 
Allegro 
Adagio 

Un  poco  presto  e  con  sentimento 
Presto  agitato 


II. 

Frederick  A.  Stock , Concerto  in  D  minor 

Molto  moderato 
Adagio:  Molto  tranquillo 
Finale:  Allegro  ma  non  troppo 

in. 

Karol  Szy\l\no\\'SKI Tarantella 

C.  YaIvL^a Kuruka-Kuruka 

Josef  Suk Burleska 

BlZET'S.\R.ASATE "CaiTlien'" — Fantaisie   de   Concert 


I 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
Sixth  Season— 19294930 


Eleventh   Faculty   Recital 


MR.  EMILIO  DE  GOGORZA,  Bariione 

Miss  Helen  Winslow,  at  the  Piano 


Wednesday/  Evening,  April  2,  1930 

at  8.2>0  odoc\ 


The  Steinway   is  the  oflScial  piano  of  The  Curtis  Institute   of  Music 


Programme 
I. 

Christoph  Willibald  Gluck "Recitatif  et  Air  de  Thoas"  from 

"Iphigenie  en  Tauride" 
(1779) 

Pierre  Monsigny "Air  de  Montauciel"  from  "Le  Deserteur" 

(1769) 

II. 

Hector  Berlioz From  "La  Damnation  de  Faust" 

Voici  des  Roses 
Serenade 

III. 

(  Au  Cimetiere 
Gabriel  Faure ^  Lydia 

(  Fleur  Jetee 

IV. 

Emile  Paladilhe Su2;anne 

Jules  Massenet.  .  ."Promesse  de  mon  Avenir"  from  "Le  Roi  de  Lahore" 

V. 

(Ballade 

Claude  Debussy ^Chevaux  de  Bois 

(Voici  que  le  Printemps 

VI. 

!La  Maja  Dolorosa,  No.  1* 
Cancion  del  Postilion 
El  tra  la  la  y  el  punteado 


*  Arranged   for   Mr.    de   Gogorza  by   Mr.    Granados 


"Recitatif  et  Air  de  Thoas" 

dans  "Iphigenie  en  Tauride" 

Le   ciel   par   d'eclatants   miracles, 

A  daigne  s'expliquer  i  vous. 

Mes     jours     sont     menaces     par     la     voix     des 

oracles, 
Si   d'un   seul   stranger,   relegu^   parmi   nous, 
Le  sang  6chappe  Sl  leur  courroux. 
De    noirs    pressentiments    mon    ame    intimidOe. 
De  sinistres  terreurs,  est  sans  cesse  obsedee. 
Le  jour  blesse  mes  yeux  et  semble  s'obscurcir, 
J'^prouve    I'effroi    des   coupables; 
Je    crois    voir    sous    mes     pas     la    terre     s'en- 

tr'ouvrir, 
Et  I'enfer  pr^t  k  m'engloutir, 
Dans  ces  abimes   effroyables, 
Dans  ces  abimea  effroyables. 

Je    ne    sais   quelle   voix    crie    au    fond    de    mon 

coeur; 
Tremble  ton  supplice  s'apprSte! 
La     nuit     de     ces     tourments     redouble     encor 

I'horreurl 
Et  les  foudres  d'un  dieu  vengeur, 
Semblent  suspendus  sur   ma  tete. 


(Translation) 

(Recitative) 

The  gods   have   foreshown  me  the   future   by   a 

sign,   that  appeared  at  night; 
My   life   will   be    in   danger,    so   the   gods   have 

foretold    me, 
If   but  one  of   the   strangers  that  here   may  be 

found, 
A   single  one   escape   their  wrath. 

(Aria) 

Foreboding    fears    of    ill,    my    wonted    courage 

vanquished; 
In  my  bosom  there  lingers  a   strange  haunting 

anguish. 
For    me    shines    not    the    sun,     around    seems 

nought  but  death. 
The  fears  of  the  guilty  are  on  me. 
Shall    then    death    be    my    lot?      How    frightful 

is  the  thought! 
Earth  for  me  gapes,   earth  for  me  gapes, 
See  how  it  widens  to  engulf  me! 
Hark!     A  voice  full  of  awe  fills  the  depths  of 

my  soul; 
"Tremble,   righteous   heav'n   taketh  vengeance!" 
The    darkness    of    the    night    increases    all    my 

fear. 
See  what  spirits  around  me  throng! 
Thunderbolts  are  near  to  destroy  me  I 


"Air  de  Montauciel"  dans  "Le 
Deserteur" 

Je    ne    dSserterai    jamais — jamais 

Que   pour   aller   boire,    k   longs   traits 

De    I'eau    du    fleuve    oil   Ton    perd    la    mfmoire. 

II   est  permis  d'etre   parfois 

Infid&le   k   son   inhumaine; 

Mais  c'est  blesser  toutesles  lois. 

Que  de  I'Otre  3.  son  capitaine. 


(Translaftan) 

Montauciel's  Air  From  "The 
Deserter" 

The  role  of  this  pre-Revolutionary  soldier, 
good  fellow  and  true  friend  of  the  jolly  bottle, 
was  written  for  o  type  of  voice  difficult  to 
classify,  and  for  a  purpose  that  no  longer  has 
an  equivalent  in  the  modern  theatre.  To  the 
members  of  the  Philippe  group  and  later  to 
those  of  the  Moreau-Sainte  clan,  voices  of  par- 
tially baritone  and  partially  tenor  range,  were 
entrusted  these  roles  which  required  a  warm 
diction  rather  than  unlimited  vocal  resources, 
and  a  real  singing  ability.  The  following  aria, 
in  order  to  produce  the  proper  effect,  depends 
largely  on  the  martial  spirit  and  good  humor 
of  the  interpreter. 
Never,  never  will  I  desert 
Except  to  drink,  to  drink  in  long  draughts 
Water    from    the    river    where    you    lose    your 

memory. 
It  is  permitted  at  times 
To  be  untrue  to  your  better  half; 
But  it  is  an  unpardonable  crime 
To  be  untrue  to  your  captain. 


From  "La  Damnation  de  Faust" 
Void  des  Roses 

Voici   des  roses, 

De  cette  nuit  ^closes 

Sur  ce  lit  embaume, 

O  mon  Faust  bien  aim6, 

Repose ! 

Dans  un  voluptueux  sommeil 

Oa    glissera    sur    toi    plus   d'un   baiser    vermeil, 

Oil    des    fleurs    pour    ta    couche   ouvriront    leurs 

corolles. 
Ton  oreille  entendra  de  divines  paroles, 
Ecoute,    f coute  I 

Les  esprits  de  la  terra  et  de  I'air 
Commencent   pour   ton   rSve,   un   suave   concert. 


(Translation) 

From  "The  Damnation  of  Faust" 
Here  are  Roses 

Here  are  roses 

That   have  blossomed   during  the   night. 

On  this  enchanted  bed, 

O   my   beloved   Faust, 

Repose! 

In  a  voluptuous  sleep. 

During  which  many  a  Vermillion  kiss  will  gre< 

you, 
During   which   flowers   will    open   their    corols. 
Your  ear  will  hear  divine  words. 
Listen,    listen ! 

The  spirits  of  earth  and  air 
Begin   a    soft   concert. 
To   accompany  your   dream. 


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Serenade 

Maintenant,  chantons  a  cette  belle  une  chan- 
son   morale,    Pour   la   perdre   plus   sflrement. 

Devant  la  maison  de  celui  qui  t'adore, 

De   celui,   de   celui   qui   t'adore 

Petite   Louison,   que  fais-tu  des   I'aurore 

Que  fais-tu?     Que  fais-tu?     Que  fais-tw? 

Au  signal  du  plaisir,  dans  la  chambre  du  drille, 

Tu   peux  bien  entrer  fille, 

Mais  non  fille  en  sortir. 

II  te  tend  les  bras,  pr6s  de  lui  tu  cours  vite, 

Tu  cours  pres  de  lui,  pri'S  de  lui  tu  cours  vite, 

Bonne  nuit,  bfilas;  ma  petite. 

Bonne  nuit,  bonne  nuit,  bonne  nuit,  bonne  nuit, 

Prf^s  du   moment   fatal,   fais   grande   resistance, 

S'il   ne   t'offre   d'avance, 

S'il   ne   t'offre  un  anneau  conjugal. 


(Translation) 
Now,    let    us    sing    to    this    maiden,    a    moral 
song,  for  her  certain  damnation. 

Why,   fair  maid,  wilt  thou  loiter,  when  daylight 

is    done. 
In  the  shade  by  the  door  of  thy  lover? 
Though  the  darkness  thy  blushes  may  cover. 
Have   a   care  I     Have   a   care,   and   be  gonel 
Though    to    enter    were    sweet,    now    that    love's 

torch    is   burning. 
Not   so   sweet   the  returning. 
The   cold,   cruel   world   to   greet. 
When  he  opens  his  arms  in  the  ardor  of  love. 
Then,   sweet   maiden,   I   pray,   do   not   linger, 
Make  him   first   place  the   ring  on   thy   finger, 
And  his  honour  and  constancy  prove. 
Heed  this  one  thing,  would  you  'scape  your  un- 
doing. 
Quench  the   fire  of  his  wooing. 
With   a   "First,   if   it   please   you,   the   ring." 


Au  cimetiere 

Heureux  qui  meurt  ici, 

Ainsi   que   les  oiseaux  des  champs  1 

Son  corps,   prSs  des  amis. 

Est   mis  dans   I'herbe,   et  dans  les  chants 

II   dort  d'un  bon  sommeil  vermeil, 

Sous   le   ciel    radieux. 

Tous  ceux  qu'il  a   connus,   sont  venus, 

Lui    font   de   longs  adieux. 

A  sa  croix  les  parents  pleurants, 

Restent   agenouilles, 

Et  ses  OS,  sous  les  fleurs,  de  pleurs 

Sont  doucement  mouillfis. 

Chacun  sur  le  bois  noir, 

Pent  voir  s'il  etait  jeune  ou  non. 

Et  peut,  avec  de  vrais  regrets, 

L'appeler    par    son   nom. 

Combien  plus  malchanceux   sont  ceux  qui   meu- 

rent   Sl  la   mer, 
Et   sous   le  flot  profond 
S'en  vont  loin  du   pays  aimo! 
Ah!   pauvres!   qui  pour  seuls  linceuls 
Ont   les   goemons   verts,   oQ   Ton   roule   inconnu, 

tout  nu 
Et  les  yeux  grands  ouverts! 

Heureux  qui  meurt  ici 

Ainsi  que  les  oiseaux  des  champs! 

Son  corps,   prfs   des  amis. 

Est  mis  dans  I'herbe  et  dans  les  chants 

II  dort  d'un  bon  sommeil  vermeil. 

Sous   le   ciel   radieux. 

Tous  ceux  qu'il  a   connus,   sont   venus, 

Lui  font  de  longs  adieux. 


(Translation) 

At  the  Cemetery 

Happy  he   who   dies   here. 
Even  as   the  birds  of  the   fields. 
His   body,    surrounded   by   friends, 
Is   buried   in  grass   and   song. 

He  sleeps  a  lovely  sleep 
Under  the  radiant  sky. 
People  whom  he  has  known  come 
To   bid   him  a   long  adieu. 

And  at  his  cross  bis  weeping  loved  ones 
Remain   kneeling. 

And  his  remains,   under   the  flowers,  by  tears 
Are    softly    moistened. 

All   can  see  on  the  black  wood 
If  he  was  young  or  old, 
And  can,  with  true  regrets. 
Call   him  by   his   name. 

Many  times   more   unlucky  they 

Who   die   at   sea, 

And  under  the  deep  waves 

Journey   far   from   their   beloved   country. 

Ah!  poor  ones!  who  for  shrouds 
Have  naught  but  the  green  sea  weed. 
And   move  on   unknown,   nude. 
Lifeless  eyes  wide  open. 

Happy   he   who   dies   here, 
Even  as  the  birds  of   the   fields. 
His  body,  surrounded  by  friends. 
Is   buried   in  grass  and   song. 

He   sleeps   a   lovely   sleep 
Under   the   radiant   sky. 
People  whom  he  has  known  come 
To  bid  him  a  long  adieu. 


Lydia 


Lydia  sur  tes  roses  joues 
Et  sur  ton  col  frais  et  si  blanc, 
Roule   ^tincelant 
L'or   fluide   que   tu   denoues, 
Le   jour   qui   lui    est   le   meilleur, 
Oublions   I't'ternelle   tombe, 
Laisse  tes  baisers,  tes  baisers  de  colombe 
Chanter   sur   ta   levre  en   fleur,    sur   ta   levre   en 
fleur. 

Un   lys   cache   repand   sans   cesse 

Une   odeur   divine   en   ton   sein; 

Les   delices   comme   un   essaim 

Sortent   de   toi,    jeune   dt'esse 

Je  t'aime  et  meurs,  6  mes  amours 

Mon  ame  en  baisers   m'est  ravie 

O    Lydia,    rends-moi    la   vie. 

Que  je  puisse  mourir,  mourir  toujours. 


(Translation) 

Lydia 

Lydia,   on   your   rosy  cheeks. 
And  on  your  neck  so  soft  and  white, 
Rolls  and   sparkles 
The  flowing  gold   that  you  unravel. 
On  this  day  of  ecstasy. 
Let  us  forget  the  inevitable  tomb. 
And    let    your    kisses,    your    dove-like   kisses 
Burst  in  song  upon  your  lips  and  blossom  as  a 
flower. 

A  hidden  lily  spreads  a  divine  odor  within  your 

bosom, 
And  delights,   like  bees  from  a  hive, 
Are   exhaled  by   you,   my  goddess. 
I   love  you  and  I  die,   O  my  love. 
Kisses  have  stolen  my  soul   from  within  me. 
O   Lydia,   return  me   my   life. 
So  that   I   may   die 
An   eternal   death. 


Reur  jetee 


Emporte  ma  folie  au  gre  du  vent, 

Fleur  en  chantant  cueillie 

Et   jetee   en   revant! 

Emporte  ma  folie  au  gr6  du  vent. 

Comme  la  fleur  fauchee  p6rit  I'amour 
La    main    qui    t'a    touch4e    fuit    ma    main    sans 
retour. 

Que  le  vent  qui  te  s^che,  0  pauvre  fleur, 

Tout  a  I'heure  si  fraiche 

Et   demain   sans   couleur. 

Que  le  vent  qui  te  seche,  6  pauvre  fleur 

Que  le  vent  qui  te  seche,  sfche  mon  coeur! 


(Translation) 

Discarded  Flower 

May  my  foUies  be  carried  away  at  the  will  of 

the  wind, 
Flower  plucked  in  song. 
And  discarded  in  dreams! 
May  my   follies  be  carried   away  at  the  will   of 

the   wind. 
Love  perishes  like  the  plucked   flower. 
The  hand  that  touched  you   flees  my  hand. 
Love   perishes   like   the   plucked   flower. 
The  hand  that  touched  you  flees  my  hand. 
May    the    wind    that    dries    you,    O    my    poor 

flower, 
A  moment  ago  so  fresh 
And  tomorrow  withered. 
Dry  my  broken  heart. 


Suzanne 

Comme  un  petit  oiseau  pose   sur  le  cherain. 

Qui  devant  vous  chante  et  sautille, 

Je  voyais  une  jeune  fille. 

Marcher   coquettement. 

Marcher   coquettement. 

Son    panier   &   la   main. 

Comme  un   petit   oiseau   pos§   sur   le   chemin; 

La  taille  ^tait  jolie, 

Le   pied   semblait   mignon. 

(Seul,  en  vo>'age,  que  fait-on 

Si  Ton  ne  regarde  on  s'ennuie) 

Aux   buissons   de   la   route. 

En  allongeant   le  bras, 

Elle  cueillait  des  roses, 

Perdait  du  temps  a  ces  petites  pauses. 

Moi,   qui   n'en  perdais  pas, 

Je   la   rejoins   et   je   m'arrete, 

De   mon   cSte   soudain,   elle   tourne   le   tete, 

Rien  de  plus  gracieux  n'avait  encor  frappe  mes 

yeux. 
Quel  frais  visage  et  quel  charmant  sourire! 
Sans  trouver  3.   lui   dire   le   moindre  petit   mot. 
Je  la  salue  et  passe,  comme  un  sot, 
Elle   avait   vu   mon   trouble, 
Et   je   I'entendais   rire, 
De   qui?   de   moi   c'etait  justice   enfin; 
Comme   un   petit   oiseau  pos&   sur   le  chemin, 
Qui  devant  vous  chante  et  sautille, 
Je   vois  tcujours  le   jeune   fille. 
Marcher  coquettement, 
Marcher  coquettement. 
Son  panier  a  la  main, 

Comme   un   petit  oiseau  pose   sur   le   chemin. 
Ah!   qu'elle  ftait  jolie! 
Je  I'ai   vue  un   instant. 
Et    pourtant   et    pourtant, 
Je  ne  crois  pas  que  jamais  je  roublie! 
Je  ne  crois  pas  que  jamais  je  I'oublie! 


(Translation) 

Suzanne 

Like  a  little  bird  lighted  on  the  road. 
That  sings  and  hops  before  you, 
I    saw   a   maiden 

Walking   coquettishly. 

Walking   coquettishly, 
Her  basket  in  her  hand. 

Like  a   little  bird  lighted  on  the  road,   she  was, 
Her   form  was  charming — 
Her    foot    seemed    dainty — 
(Alone  and  on  a  journey,  what  does  one  do? 
If  one  does  not  look  about,  one  becomes  weary.) 
From  the  bushes  by  the  wayside. 
Stretching  out  her  arm. 
She   gathered   roses. 

Wasting  her  time  in  these  little  pauses. 
I,  who  was  not  wasting  mine. 
Went  up  to  her  and  stopped — 
Toward  me  she  suddenly  turned  her  head — 
Nothing    more    graceful    had    ever    struck    my 

eyes — 
What  a  fresh  face  and  what  a  charming  smile! 
Without  finding  the  least  little  word  to   say  to 

her, 
I  bowed  to  her  and  passed  on,  like  a  fool. 
She   had   seen   my  agitation 
And   I  had  heard  her  laughing — 
At  whom?    At  me — and  it  was  but  right. 
Like  a  little  bird  lighting  on  the  road, 
That   sings  and  hops  before  you, 
I    still    see   the   maiden 

Walking    coquettishly. 

Walking   coquettishly. 
Her   basket   in   her  hand, 
Like   a    little   bird   on    the   road. 
Ah!     How   charming   she   was! 
I   saw  her  but  an  instant — 
And   yet,    and   yet 
I   think  I   shall  never   forget  her. 


^ 


■^ 


"Promesse  de  mon  avenir"  from 
"Le  Roi  de  Lahore" 

Aux  troupes  du  Sultan  qui  menagaient  Lahore, 

La  royale  citf, 
Notre  puissance  est  redoutable  encore; 
Corame   si    les   chassait   une    invisible   main, 
Ellas   ont  du   desert  regagn^   le   chemin. 
Le    peuple    est    rassure    c'est    mon    nom    qu'il 

acclame, 
Le  calme  est  rentrg  dans  mon  ame, 
Et   je   puis   etre   heureuxl 

Promesse,   de  mon  avenir,   O   Sita   r§ve  de   ma 

vie, 
O     beautfi     qui     me     fut     ravie,     Enfin     tu     vas 

m'appartenir! 
O    Sital     Viens   charmer   mon   coeur   amoureux, 
Viens    sourire    aux    splendeurs    du    mondc, 
Viens   charmer   mon    coeur   amoureux! 

O   Sita,  viens,  je  t'attends,  je  t'aimel 

Ma  main  te  garde  un  diadume, 

O  Sital  viens,  je  t'attends! 

O  Sita!  viens,  je  t'attends! 

Je   t'aimel    Sita   tu   seras   reine! 

Ah!     viens   charmer   mon    coeur   amoureux, 

Viens    sourire    aux    splendeurs   du    monde, 

O   Sita  r6ve  de  ma  vie, 

Viens  charmer  mon  coeur  amoureux! 

Viens!    Sital   ah!   viens  1 


(Translation) 
The  troops  of  the  Sultan  who  gladly  would  have 

riven   from   us   fair    Lahore 
By    our    own    might    have    from    the    field   been 

driven. 
As   if   by    hand   unseen   they   have   been  driven 

out. 
Their   swift   flight   from  the  desert  resembleth   a 

rout 
From   care   my   people   free   loudly   sound    forth 

my   praises! 
This  calm  my  heart  upraises 
I   yet  may  happy  be. 

O    promise   of   a    joy   divine,    Sita,   thou   dream 

of  all   my  life! 
O  beauty   torn   from  me  by  strife, 

At  last,  at  last  thou  shalt  be  mine! 
O    Sita!    O    fair    one,    charm    my    loving   heart. 
And    ne'er    again    from    me    depart!    and    ne'er 

again  from  me  depart! 

Come,    Sita !    thy   love   for   me   rewarding, 

A  crown  to  thee  I  am  according, 

O    Sital    I   wait   for   thee! 

O    Sital    I   wait   for  thee  I 

Sital   Sita!  my  queen  thou  soon  shalt  be. 

Ah!    Sita,   O  come,  delight  this  heart. 

To  thee  the  world  its  glory  offers, 

To  thee  a   king  his  crown  now   proffers, 

Come,   Sita,   O   come,  ah!  be  mine! 

Come,   Sital      Be  mine! 


Ballade 

(Que   Villon  feit  a  la  request e  de  sa  mere  pour 
prier  NostreDame) 

Dame  du  ciel,  regente  terrienne, 
Empcriere  des  infernaulz   palux, 
Recevez-moy,    vostre   humble   chrestienne, 
Que  comprinse  soye  entre  vos  esleuz, 

Ce   non  obstant   qu'oncques  riens  ne   valuz. 
Les  biens   de  vous,   ma   dame  et   ma   maistresse, 
Sont  trop  plus  grans  que  ne   suys  pecheresse. 
Sans   lesquelz   bien  ame   ne   peult   merir 

N'avoir   les   cieulx   je   n'en    suis    menteresse. 
En  ceste  foy  je  vueil  vivre  et  mourir. 
A  vostre  Filz  dictes  que  je   su's  sienne; 
De  luy  soyent  mes  pechiez  aboluz: 

Pardonnez-moy  comme  a   I'Egipcienne, 
Ou  comme  il   feist  au  clarc  Theopolus, 
Lequel    par    vous    fut    quitte    et   absoluz, 
Combien  qu'il  cust  au  diable  faict  promesse 

Preservez-moy  que   je   n'accomplisse   eel 
Vierge   portant   sans   rompure   encourir 
La    sacrement   qu'on   celebre   a   la    messe. 
En  ceste  foy  je  vueil  vivre  et  mourir. 

Femme  je  suis  povrette  et  ancienne. 
Qui    riens   ne   scay,    oncques    lettre   ne    leuz; 
Au    moustier   voy   dont    suis    paroissienne, 
Paradis   painct  ou'  sont   harpes  et  luz, 

Et  ung  enfer  ou  dampnez  sont  boulluz: 
L'ung  me   faict  paour,   I'aultre   joye   et   Hesse. 
La  joye  avoir  faymoy,  hualte  Deesse, 
A   qui   pecheurs  doibvent   tous   recourir, 

Comblez  de  foy,   sans  fainct  ne  paresse. 
En    ceste    foy   je   vueil    vivre   et   mourir. 

(Old  French) 


(Translation) 

Ballad 

(Made   by   Franqois    Villon,   at   his  mother's 
request   as  a   prayer   to   the    Virgin   Mary) 

Lady  of   Heaven,   of  purgatory, 

Empress,    Queen    of    Earth,    and    of    all    things 

here   below. 
Virgin    receive    a    humble    Christian   woman. 
Count   me   'mongst   thy  chosen   and  elect. 

Well  do  I  know  I  am  nothing  alone. 

Thy      graciousness.      Oh,      Virgin      Lady     and 

mother, 
Is   greater    far   than   all    my   sins   unnumbered. 
Without    thy    help    not   one    can   hope    to    mount 

the   starry   skies. 

Lady,  well  do  I  know  it. 
And   in  this   faith  will   I   live   here,  and  die, 
Say   to   thy   son   that   by_  Him    I   was   saved, 
All   my   sins  were  by   him  washed  away. 

Pardon   me,    then,   as   pardoned   was   the   Egyp- 
tian, 
Or,   as   'tis   said,  Theophilus  of  old. 
Crying   to   thee,    was    freed    from   every   sin. 
Though   he   had   sold   himself   unto  the  devil. 

Lady,   preserve  me   from   such  a  fate  as  that, 
And  guard  and  bless  me  as  I  humbly  kneel 
For   the   blest    Eucharist   at   the   mass   given. 
And   in   this   faith   I   will   live  '  here  and   die. 

Alone,    old    woman   I,    so   poor   and    weary; 
Naught  do  I  know,  not  a  word  can  I  read. 
In   the   great  monastery  of  my  parish 
Picture  of  Heav'n  and  of  Hell  I  do  see. 

Ileav'n   with   its   harps   of   gold,   Hell   with   the 

damned, 
Fills  me  with  fear  one,  and  rapture  the  other. 
Be   harps   of   gold   for  me, 
Lady  of   Heaven. 

To  Thee  may  all  sinners  hasten  in   time. 
With   faithful   hearts,   not   doubting 
Thee  nor  slothful 
And  in  this  faith  will  I   live  here  and  die. 


Chevaux  de  Bois 

Tournez,  tournez,  bons  chevaux  de  bois, 
Tournez   cent  tours,   tournez   mille   tours, 
Tournez  souvent  et  tournez  toujours. 
Tournez,  tournez,  au   son  des  hautbois, 
L'enfant  tout  rouge  et  la  mere  blanche 
Le  gars  en  noir  et  la  fille  en  rose, 
L'une  a  la  chose  et  I'autre  a   la  pose, 
Cbacun  se  paie  un  sou  de  dinianche. 
Tournez,   tournez,   chevaux  de  leur  cccur, 
Tandis    qu'autour    de    tous   vos   tournis, 
Clignote  I'ceil  du  filou  sournois 
Tournez  au  son  du  piston  vainqueur! 
C'est  dtonnant  comme  ga  vous  soQle 
D'aller   ainsi  dans  ce  cirque  bete 
Rien  dans  le  ventre  et  mal  dans  la  tete, 
Du  mal  en  masse  et  du  bien  en  foule, 
Tournez  dadas,  sans  qu'il  soit  besoin 
D'user   jamais   de   nuls   ^perons 
Pour  commander  d.  vos  galops  rends, 
Tournez,   tournez,   sans   espoir  de   foin. 
Et  dep^chez,   chevaux  de  leur  fime, 
D^ja  voici  que  sonne  ft  la  soupe. 
La  nuit  qui  tombe  et  chasse  la  troupe, 
De   gais  buveurs  que   leur   soif  affame. 
Tournez,   tournez,  le  ciel  en  velours, 
D'astres  en  or   se   vet  lentement, 
L'Eglise  tinte  un  glas  tristement, 
Tournez  au  son  joyeux  des  tambours 
Tournez. 


(Translation) 
Twirl!   twirl!   good  wooden  steeds;   go  round  a 

hundred,  go  round  a  thousand  times.    Keep 

ever   turning,   never  cease  to  bound. 
Twirl  I    twirl !   to  the   sound   of  the  organ-reeds. 
The  red-faced  child  with  its  white-faced  mother, 

the  fellow   in  black,   and   the  girl   in  pink; 

one    is    interested,    the    other    poses;    each 

one   pays   his    Sunday   penny. 
Twirl!    twirl!   dear   horses;    and   whilst   you   are 

turning,  the  eyes  of  the   pickpocket  gleam! 

Twirl!    twirl!    to   the   sound   of    the   joyous 

trumpet. 
What  exhilaration  there  is  in  this  silly  circus! 

An     empty     stomach,     a     splitting    head,  a 

crowd   of   discomfort,   and   a   mass    of   con- 
tent. 
Twirl!     twirl!     gee-gees;     no    sharp    spurs    are 

needed  to  speed  your  round  gallops. 
Turn!     turn!     without    hope    of    hay.       Haste, 

cherished     steeds;     the     soup     is    preparing, 

night  is  falling  and  the  gay  drinkers,  now 

famished,   are  homewardbound. 
Twirl!    twirl!    the    velvety   sky   dons    its   starry 

mantle,    the    church   bells    are   sadly   tolling 

the  death-knell. 
Twirl    to    the    joyous    sound    of    the    drums — 

Twirl! 


Voici  que  le  Printemps 

Voici  que  le  printemps,  ce  fils  Ifiger  d'Avril, 
Beau    page    en   pourpoint   vert,    brod6    de    roses 

blanches, 
Parait    leste,    fringant    et    les    poings    sur    les 

hanches, 
Comme    un    prince    acclamS    revient    d'un    long 

exil. 
Les     branches     des     buissons     verdis     rendent 

etroite. 
La  route  qu'il   poursuit,   en  dansant  comme  un 

fol; 
Sur  son  fpaule  gauche  il  porte  un  rossignol, 
Un  merle  s'est  pos&  sur  son  epaule  droite, 
Et   les    fleurs    qui    dormaient    sous    les   mousses 

des  bois, 
Ouvrent  leurs  yeux  oii   flotte  une  ombre  vague 

et  tendre, 
Et    sur    leurs    petits    pieds    se    dressent    pour 

entendre, 
Les  deux  oiseaux  siffler  et  chanter  4  la  fois: 
Car  le  merle  sifflote  et  le  rossignol  chante. 
Le  merle  siflBe  ceux  qui  ne  sont  pas  aimes, 
Et  pour  les  amoureaux,  languissant  et  charm^s, 
Le   rossignol  prolonge  une  chanson   touchante. 


(Translafian) 

Across  the  hill  tops  comes  the  spring,  blithe 
April's   son! 

In  doublet  broider'd  green,  with  roses  sewn 
between ! 

He  laughs  lightly,  with  hand  on  his  hip  ad- 
vances  brightly! 

Comes  to  his  own  like  a  monarch,  his  long, 
weary  exile  done ! 

The    leafy    branches    crowd    along    the    narrow 

byways, 
Where    comes    the    lusty    lad;    be    dances    there 

like  mad. 
He    bears    a    nightingale   high    on   one    shoulder 

hale. 
The     other    bears    a    blackbird,     piping    boldly 

skyways. 

And    the    flow'rs    who    were    sleeping    'mid    the 

mossy  wood, 
L'nveil    their    eyes    where    shadows    are    vague 

and   tender.  _ 
See   them   standing   on   tiptoe,   their   eager   ears 

surrender, 
List'ning,    the    two    birds    singing    together    the 

while ! 

For  the  blackbird  doth  pipe  and  the  nightingale 

chanteth. 
The   blackbird,   whistling,   jeers  at  the   lovelorn 

youth. 
And    for    those   in    Love's   paradise,    of   smiling 

lips   and   eyes. 
Nightingale     all     the     wood     with     melody    en- 

chanteth ! 


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La  Maja  dolorosa 
Num.  1. 


Oh  muerte  cruel 

Porqufe  tu  a  traici6n  mi  majo  arrebataste  a  mi 

pasion? 
No  quiero  vivir   sin   ^1  porque  es  morir 
porque  es  morir  a   si  vivir! 

No  es  posible  ya 

Sentir    mfl.s    dolor:    en    Iflgrimas    deshecha    mi 

alma  es  tfi. 
Oh   Diosl   torna  mi  amor  porque  es  morir 
porque  es  morir  asi  vivir  1 


(Translation) 

Of  That  Adored  Maja 

0  cruel   death! 

Why  hast  thou   betrayed   me? 

My  Maja  thou  hast  torn  from  me. 

1  cannot   be   without   her    for    it   is   death  thus 

to  live. 
It  is  not  possible  to  feel   such  agony. 
By   tears  my   soul   is   torn. 
O  God!   return  my  beloved  to  me 

For  to  exist  thus  is  death. 


Cancion  del  Postilion 

Corre   caballo  pues   quiero   que   lleguemos   donde 

la    noche    pasemos,    des    cansando    de    las 

fatigas  de  hoy. 
Ve  ligero! 

Para   maSana   cumplir 
el   mensaje  de   amor 
que    encarg6   mi    seQor. 
Arrea ! 
Vuela   ya  1 
Jasl   Cisl  Jas! 
Arrea  1 

quiero  llegar  ya. 
Arrea! 
que   el   mensaje   de   amor   que   me   di6   mi   seuor 

llegar    debe    mafiana. 
Arrea  I 

Verfts  como  al    fin   de   la   Jornada   bien 
te  hallarfts. 

Corre    caballo    pues    quiero    que   lleguemos 
donde  la   noche  pasemos,   descansando  de  las 

fatigas  de  hoy. 
Ve  ligero! 

Para  maSana  cumplir 
el   mensaje    de   amor 
que   encarg6  mi  seSor 
Arrea! 
Vuela  ya! 
Jas!  Cis!  Jas! 


(Translation) 

Song  of  the  Postillion 

Gallop   along,   we   must  hasten,   night  is   falling 

Come,    now   give   heed   to  my   calling. 

Bring  us  where  we  may  rest  from  the  ride  of 

today  1 
On  we  gallop! 
We   must  tomorrow  arrive — 
Bring   our   message  of   love, 
Our  master's  love  all  the  way, 
On  our  way! 
Fly  along! 
Lash,   whip,   lash! 
Away,    On ! 

We  must  arrive  there! 
Away,   Sir ! 
For    the    message   our    lord    has    intrusted    to   us 

must  arrive  on   the   morrow! 
We  race  on ! 
At   last! 

See,  there  lies   our  journey's  end; 
We'll  dine;   then   we'll   rest! 
Gallop  along,  we  must  hasten,  night  is  falling. 
Come — now  give  heed  to  my  calling. 
Bring    us    where    we    may    rest    from    the    ride 

of   today ! 
On   we   gallop ! 
We  must  tomorrow  arrive 
Bring  our  message  of  love 
Our  master's   love,  all  the  way 
On   our   way! 
Fly  along! 
Lash,   whip,   lash ! 


El  tra  la  la  y  el  punteado 

Es   en   balde   majo   mio   que   sigas   hablando, 
por    que    hay   cos    as    que    contesto   yo    siempre 

cantando. 
Tra  la  la  la  la  la  la  la  la  la  la  la  la  la  la  la 

la   la. 
Por   mas  que   preguntes  tanto 
Tra  la  la  la  la  la  la; 
en   mi   no   causas   quebranto   ni   yo   he  de   salir 

de   mi  canto 
la   la   la   la  la  la. 


(Translation) 

The  Tra,  La,  La,  and  the  Rebuff 

It  is  in  vain,  my  Maja,  that  you  should  con- 
tinue talking.  There  are  some  things  that 
I  only  answer,  saying,  Tra,  la,  la,  la. 
All  your  pointed  questions,  Tra,  la,  la,  la, 
cannot  ruffle  me  and  they  cannot  stop  my 
singing,   Tra,   la,   la,   la. 

It  is  in  vain,  my  Maja,  that  you  should  con- 
tinue talking.  There  are  some  things  that 
I  only  answer,  saying,  Tra,  la,  la,  la,  la. 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
SIXTH  SEASON,   19294930 


Twelfth  Faculty  Recital 


MR.  CARLOS  SALZEDO,  Harpist 

MR.  WILLIAM  M.  KINCAID,  Flufisi 

MR.  FELIX  SALMOND,  Violoncellisifc 

Collaborating 


'Wednesday  Evening,  May  Seventh 


at  8.30  o'doc\ 


The  Steinway   is  the  ofiBcial  piano  of  The  Curtis  Institute   of  Music 


Programme 


tr 


I. 

Jean 'Marie  Leclair Sonate  a  trois 

1697-1764  for  Flute,  Violoncello  and  Harp 

Adagio — Allegro 
Sarabande 
Allegro  assai 

II. 

Carlos  Salzedo Five  Preludes  for  harp  alone 

(1917) 

Lamentation 

Quietude 

Iridescence 

Introspection 

Whirlwind 


III. 

Maurice  Ravel Sonatine  en  trio 

(1905)  for  Flute,  Violoncello  and  Harp 

(transcribed  by  Carlos  Salzedo  from  the 
Sonatine  for  piano) 

Modere 

Mouvement  de  Menuet 

Anime 


Mr.  Saliedo  uses  the  Lyon  (f  Healy  Harp  exclusively 

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i 


by 


The  Musical  Art  Quartet 


SASCHA  JACOBSEN,  First  VioUn 

PAUL   BERNARD,  Second  Violin 

LOUIS  KAUFMAN.  Viola 
MARIE  ROEMAET-ROSANOFF.  ViolonceUo 


Sunday  Evening,  December  1,  1929 

at  8.30  o'doc\ 


casimir  hall 
The  Curtis  Institute  of  Music 


i 


Programme 
I. 

Johannes  Brahms Quartet  in  C  minor,  Opus  n.  No.  i 

Allegro 

Romanze:   Poco  adagio 

Allegretto   molto  moderato  e  comodo 

Finale:   Allegro 

II. 

Claude  Debussy From  Quartet,  No.  i,  Opus  10 

Anime  et  tres  decide 
Andantino  doucement  expressif 
Assez  vif  et  bien  rythme 


III. 

Cesar  Franck Quartet  in  D  major 

Poco  lento — Allegro 

Scherzo:  Vivace 

Larghetto 

Finale:  Allegro  molto 


The  Steinwat  is  the  Official  Piano  of  The  Curtis  Institute  of  Music 


I 


The  Curtis  Institute  of  Music 

CASIMIR   HALL 
Sixth  Season— 1929-1930 

First  Students'  Concert 

Thursday  Afternoon,  7<lovemher  7,  1929,  at  4:30 
By  Students  of  Mr.  Bailly  in  Chamber  Music 

Gama  Gilbert         ^  v  r  ^'^  Aronoff,  Viola 

Benjamin  Sharlip  f  Orlando  Cole,  Violoncello 

Assisted  by  Joseph  Levine,  Piano 

LuDWiG  VAN  Beethoven String  Quartet  in  E  flat  major,  Opus  74 

(Harfenquartett) 
Poco  adagio — Allegro 
Adagio  ma  non  troppo 
Presto 
Allegretto  con  variazioni 

Louis  Nicholas  Clerambault  ....  Sonata  in  E  minor,  for  Two  Violins 

and  Piano   (La  Magnifique) 

Symphonie 

Allegro 

Adagio 

Sarabande 

Gigue 

Allegro 

Hugo  Wolf Italian  Serenade,  for  String  Quartet  (in  one  movement) 

Cesar  Fr.\NCK Quintet  in  F  minor,  for  Piano  and  String  Quartet 

Molto  moderato  quasi  lento — Allegro 
Lento,  con  molto  sentimento 
Allegro  non  troppo,  ma  con  fuoco 

The  Steinwat  is  the  official  piano  of  The   Curtis  Institute   of  Music 


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The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Second  Students'  Concert 

Tuesday  Evening,  J^ovemher  12,  1929,  at  8:30 
By  Organ  Students  of  Mr.  Farnam 

Paul  de  Maleingreau Toccata  from  Suite,  Opus  14 

Robert  Cato 

Marcel  Dupre Berceuse  and  Spinning  Song  from  "Suite  Bretonne" 

Charles-Marie  Wddor Finale  from  "Symphonic  Gothique" 

Lawrence  Apgar 

Jean  Roger-Ducasse Pastorale 

Carl  Weinrich 

Marcel  Dupre Adagiosissimo — "He  Remembering  His  Mercy" 

Harry  Benjamin  Jepson Toccata  in  G  major 

Alexander  McCurdy,  Jr. 


The   organ   is   an   Aeolian 

The  Steinway  is  the  official  piano  of  The   Curtis  Institute   of  Music 


i 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Third  Students'  Concert 

'Monday  Evening,  T^ovemher  25,  1929,  at  8:30  o'chc\ 
By  Students  of  Mr.  Lambert 

Fellk  Mendelssohn Phantasie,  Opus  28 

BacH'D'' Albert Prelude  and  Fugue  in  D  major 

Jennie  Robinor 


Carl  Marl\  von  Weber Concertstuck  in  F  minor,  Opus  79 

(With  orchestral  part  played  on  a  second  piano) 
Frances  Shelton 


Frederic  Chopin Nocturne  in  D  flat  major,  Opus  27,  No.  2 

LiszT'BusoNi La  Campanella 

Jennie  Robinor 


The  Steinway  is  the  official  piano  of  The  Clrtis  Institute  oj  Music 


^ 


The  Curtis  Institute  of  Music 


CASIMIR   HALL 
Sixth  Season— 1929-1930 


Fourth  Students'  Concert 


By  Students  of 
MADAME  LUBOSHUTZ 


IsAonday  Evening,  December  2,  1929 

at  8.30  o'chc\ 


Programme 

Thomas  Vincent  Cator Sonata  in  G  major 

(Dedicated  to  Madame  Luboshutz) 

Maestoso — Allegro  moderato 
Adagio,  molto  espressivo  e  rubato 
Presto  giocoso,  ma  non  prestissimo 
(First  performance) 

Judith  Poska 
*  Theodore  Saidenberg  at  the  Piano 


PlETRO  NaRDINI 


CloncertO  in  E  minor 

(Accompaniment  for  String  Orchestra 
arranged  by  Jay  Savitt**) 


Allegro  moderato 
Andante  cantabile 
Allegretto  giocoso 

Celia  Gomberg 


Ethel    Stark 
Henry  Siegl 
Robert  Gomberg 
James  Bloom 
Eva  Stark 
Laura   Gripping 


String  Orchestra 


Leonard  Mogill 


>  Violirw 


i  Violas 
Herbert   van    den   Burg  1 

Frank  Miller     (  , 


■  Violoncelli 


David  Filerman 
Jack  Posell,  Double  Bass 
Conducted  by  Louis  Wyner** 


*Student  of  Mr.  Kaupman  in  Accompanying 
•*Student  of  Mr.  Mlynarski  in  Conducting 


Programme 


£mil  Mlyn.-\rski Allegro  moderato  from  Concerto  in  D  minor. 

Opus  11    (First  performance  in  America) 
Judith  Poska 
*  Theodore  Saidenberg  at  the  Piano 


Ernest  Ch.'^usson Poeme 

Celia  Gomberg 
*  Joseph  Rubanoff  at  the  Piano 


Alex^^ndre  Glazounov Grand  Adagio  and  Waltz  from  the 

Ballet  ''Raymonda" 
Franz  Ries La  Capriccioso 

Heinrich  Ernst Hungarian  Airs 

Judith  Poska 
*  Theodore  Saidenberg  at  the  Piano 


*  Srudent  of  Ms..  K.aufvc.\n   in  Accompanying 


^: 


The  Curtis  Institute  of  Music 

CASrMIR  HALL 
Sixth  Season— 19:9'1950 

Fifth  Students'  Concert 

Thursday  Afternoon,  December  S,  1929,  at  4.30  o'chc\ 
Students  of  Mr.  Bailly  in  Chamber  Music 

R\LPH  Vaughan  Wllll\ms String  Quartet  in  G  minor 

Allegro  moderato 
Minuet 
Romance 
Finale 

Gama  Gilbert         Xy  v  ^^'^  Aronoff,  Viola 

Benjamin  Sharlipj  Orlando  Cole,  Violoncello 

LuDwiG  VAN  Beethoven String  Quartet  in  F  major,  Opus  IS.  No.  1 

Allegro  con  brio 

Adagio  affettuoso  ed  appassionato 

Scherzo — Allegro  molto 

Allegro 

Leonid  Bolotine")  ...  ,.  Leon  Frengut,  Viola 

Paul  Gershman  j  Tibor  de  J^Iachula,  Violoncello 


The  Steinwat  is  the  ofBcial  piano  of  The  Curtis  Institute  of  Music 

a  i 

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The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Sixth  Students'  Concert 

Thursday  Afternoon,  December  12,  1929,  at  4.00  o'cloc\ 
Students  of  Mr.  Bailly  in  Chamber  Music 

Jean-Philippe  R.\meau From  Concerts  for  Three  Violins,  Viola, 

Violoncello  and  Double  Bass 
Le  Vezinet 
La  Boucon 
Menuet  in  G  major 
La  Timide 
Tambourins 

Judith  Poska         ")  Paull  Ferguson,  Viola 

Lois  Putlitz  >  Violins        Frank  Miller,  Violoncello 

Carmela  Ippolito  )  Jack  Posell,  Double  Bass 

Johannes  Brahms Two  Songs  with  accompaniment  of 

Viola  and  Piano,  Opus  91 
Gestillte  Sehnsucht 
Geistliches  Wiegenlied 

Josephine  Jirak,  Contralto 
Max  Aronoff,  Viola  Florence  Frantz,  Piano 


LuDWiG  VAN  Beethoven Septet  in  E  flat  major,  Opus  20,  for  Violin, 

Viola,    Violoncello,    Double   Bass,    Clarinet, 

Bassoon,  and  Horn 
Adagio — Allegro  con  brio 
Adagio  cantabile 
Tempo  di  Menuetto 
Tema  con  variazioni — Andante 
Scherzo — Allegro  molto  e  vivace 
Andante  con  moto  alia  marcia — Presto 

Leonid  Bolotine,  Violin  Jack  Posell,  Double  Bass 

Leon  Frengut,  Viola  James  Collis,  Clarinet 

TiBOR  de  Machula,  Violoncello      Frank  Ruggieri,  Bassoon 
Henry  Whitehead,  Horn 

The  Steinway  is  the  official  piano  of  The  Curtis  Institute  of  Music 

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I 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Seventh  Students'  Concert 

Tuesday  Evening,  December  17,  at  8.30 

Students  of  Mr.  Zimbalist 
*  Theodore  Saidenberg  at  the  Piano 

Antonio  Vivaldi CorxertO  in  F  major,  for  Three  Viohns  (with 

accompaniment  of   String  Orchestra) 
Cadenza  b>  Joseph  Achron 
Allegro 
Adagio 
Allegro 

Harry  Ben  Gronsky  Felix  Slatkin 

Franklin  Siegfried 

String  Orchestra 

Philip  Frank      \  Sam  Goldblum  1  yj^j^ 

Robert  Levine   /  Herbert  van  den  Burg  j 

Henry  SiEGL  !     ,     ,.  c  i^r  i 

T         V  VVioIitw  Frank  Miller  I         ,         ... 

Jack  Kash  /  o  ,-,  )  Violoncell; 

_  1  Samuel  Geschichter  1 

James  Bloom  V 

David  Cohen     )  Jack  Posell,  Double  Bass 

Conducted  by  Louis  Wvner  •• 

Peter  I.  Tschaikowsky  . . .  Allegro  moderato  from  Concerto  in  D  major. 

Opus  35 
Paul  Gershman 

Max  Bruch Scotch  Fantasie,  Opus  46 

Grave — Adagio  cantabile 
Allegro — Andante  sostenuto 
Finale 

Lois  Putlitz 

Maurice  Ravel Tzigane 

Erich  Wolfgang  Korngold Madchen  im  Brautgemach 

Karol  Szymanowski Tarantella 

Leonid  Bolotine 


*  Student  of  Mr.  Kaufman  in  Accompanying 
**  Student  of  Mr.  Mlynarski  in  Conducting 

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^E 


Tnis^concert  wi.e  given  on  j^nu:_iy  loth,  on   account  of 
Ivir.  Ed  ward  Bok's  death  on  January  9th. 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season,  1929-1930 

Eighth  Students'  Concert 

Thursday/  Evening,  January  9,  1930,  at  8.30  o'cloc\ 
Max  Aronoff,  Violist 

Student  of  Mr.  Bajlly 
*Florence  Frantz  at  the  Piano 

I. 

Jeno  Hubay Morceau  de  Concert,  Opus  20 

XL 

Karl  Stamitz Concerto  in  D  major,  Opus  1 

Allegro 

Andante  moderato 

Rondo 

III. 

Edward  Willlam  Elgar La  Capricieuse,  Opus  17 

Georges  Bizet Aria  from  'TArlesienne" 

NiccoLO  Paganini Moto  Perpetuo 


'Student  of  Mr.  Kaufman  in  Accompanying 
The  Steinw.^t  is  the  official  piano  of  The  Curtis  Institute  o/  Music 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Ninth  Students'  Concert 

'Monday  Evening,  January  13,  J 930,  at  S.'iO  o'clock^ 
Students  of  Mr.  Bachm-\nn 

PlETRO  NaRDINI Sonata   in  D  major 

Adagio — Allegro  con  fuoco 

Larghetto 

Allegretto  grazioso 

Alfredo  d'Ambrosio Concerto  in  B  minor,  Opus  29 

Grandioso,  moderato  e  sostenuto 

Andante 

Finale:    Allegro 

Lily  Matison 
*  Joseph  Rubanoff  at  the  Piano 

CorellI'Kreisler La  Folia 

Alexandre  Glazounow Concerto  in  A  minor.  Opus  82 

Moderate — Andante — Allegro 

L4szl6  Steinhardt 
*  Earl  Fox  at  the  Piano 


*  Student  of  Mr.  Kaupman   in  Accompanying 
The  Steinway  is  the  official  piano  of  The  Curtis  Institute  0/  Music 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Tenth  Students'  Concert 

Thursday  Ajternoon,  January  li,  J 930,  at  4.30  o'c\oc\ 
Students  of  Mr.  Bailly  in  Chamber  Music 

Gama  Gilbert        Iv  r  '^^^^^^  Aronoff,  Viola 

Benjamin  Sharlip  J  Orlando  Cole,  WiolonccWo 

Assisted  by 

Florence  Frantz,  Piano 

Leon  Frencut,  Viola  James  Collis,  Clarinet 

Wolfgang  Amadeus  Mozart  , .  String  Quintet  in  C  minor,  Kochel  No.  406, 

for  Two  Violins,  Two  Violas  and 

Violoncello 
Allegro 
Andante 

Menuetto  in  canone 
Allegro 

Serge  Prokofieff Overture  on  Hebrew  Themes,  Opus  34, 

for  String  Quartet,  Piano  and  Clarinet 

Johannes  Brahms Quintet  in  F  minor,  Opus  34,  for 

String  Quartet  and  Piano 
Allegro  non  troppo 
Andante,  un  poco  adagio 
Scherso 
Finale  (Poco  sostenuto) — Allegro  non  troppo 


The  Steinwat  is  the  official  piano  of  The   Curtis  Institute  0/  Music 

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The  Curtis  Institute  of  Music 


CASIMIR  HALL 
Sixth  Season,  1929-1930 

Eleventh  Students'  Concert 

Monday  Evening,  February  10,  1930,  at  S.iO  oc\oc\ 
Students  of  Mr.  Tabuteau  in  Wind  Ensemble 

«^» 

LUDWIG  VAN  Beethoven Quintet  in  E   flat  major,   Opus 

71,  for  Flute,  Oboe,  Clarinet, 
Bassoon,  and  Horn 

Adagio — i\llegro 

Adagio 

Menuetto 

Rondo:   Allegro 

Maurice  Sharp,  Flute  Robert  McGinnis,  Clarinet 

Robert  Bloom,  Oboe  Ervin  Swenson,  Bassoon 

Henry  Whitehead,  Horn 

Paul  DE  WaiLLY Aubade  for  Flute,  Oboe  and  Clarinet 

Maurice  Sharp,  Flute  Robert   Bloom,   Ohoe 

Robert  McGinnis,  Clannet 

Alexandre  Tansman La  Danse  de  la  Sorciere  for  Flute,  Oboe, 

Clarinet,  Bassoon,  Horn  and  Piano 
Maurice  Sharp,  Flute  Ervin  Swenson,  Bassoon 

Robert  Bloom,  Ohoe  James  Thurmond,  Horn 

Robert  McGinnis,  Clarinet         Theodore  Saidenberg,  Piano 


Gabriel  Pierne, 


Pastorale  Variee  for  Flute,  Oboe, 

Clarinet,  Two  Bassoons  and  Horn 
Andantino 
Tema  in  canone 
Tourbillon 
Tempo  di  minuetto 
Alia  siciliana 
Final 


Richard  Townsend,  Flute 
Robert  Bloom,  Ohoe 
Robert  McGinnis,  Clarinet 


Ervin  Swenson      1  „ 

„ ,  e  VBassoons 

WILLIAM    SaNTUCCI) 

James  Thurmond,  Horn 


The  Steinwat  is  the  official  piano  of  The  Curtis  Institute  of  Music 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
Sixth  Season— 1929-1930 


Twelfth  Students'  Concert 

Monday  Afternoon,  February  17.  1930,  at  5.00  o'cloc\ 
Students  of  Mr.  Bailly  in  Chamber  Music 


*^» 


LuDwiG  VAN  Beethoven  . 


.Quartet  in  E  flat  major.  Opus  16,  for 
Piano.  Violin,  Viola  and  Violoncello 


Grave — Allegro,  ma  non  troppo 

Andante  cantabile 

Rondo — Allegro,  ma  non  troppo 


Cecille  Geschichter,  Piano 
Carmela  Ippolito,  Violin 


Samuel  Goldblum,  Viola 
Katherine  Conant,  Violoncello 


Johannes  Brahms. 


Trio  in  E  flat  major.  Opus  40,  for 

Piano,  Violin  and  Horn 

Andante 

Scherzo — Allegro 

Adagio  mesto 

Finale — Allegro  con  brio 

Joseph  Levinb,  Piano 
Iso  Briselli,  Vioh'n  Henry  Whitehead,  Horn 


The  Steinway   is  the  official   piano  of  The   Curtis   Institute   of  Music 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Thirteenth  Students'  Concert 

'Monday  Evening,  February  24,   1930,  at  8.i0  o'cloc\ 
By  Students  of  Mr.  Salzedo 

Concert   of  Music  for   Eight   Harps 

in  Orchestral  Formation 

William     Cameron  Victoria   Mlrdock 

Alice     Chalifoux  Edna    Phillips 

Flora    Greenwood  Reva    Reatha 

Mary    Griffith  Flor.mne    Stetler 

Conducted  by  Carlos  Salzedo 
«^> 

I. 

Jean-Philippe  Rameau Gavotte  from  "Le  Temple  dc  la  Gloire" 

1683-1764 

FR.\Ngois  Couperin |  Musette  de  Choisy 

1668-1733  (  Musette  de  Taverny 

II. 

Johann  Sebastian  Bach Sixth  French  Suite 

1685-1750 

Allemande 
Courante 
Sarabande 
Polonaise 
Gavotte 
Menuet 
Bourree 

III. 

Carlos  Salzedo Fifteen  Preludes 

(1927) 

Preludes   I,   II,   III,   IV,  V,  VI,   VII,  VIII, 

IX,  X,  XI  have  no  title 
Prelude   XII  —Fanfare 
Prelude  XIII— Cortege 
Prelude  XIV — La  Desirade 
Prelude   XV  — Chanson   dans  la   nuit 

IV. 

Enrique  Gr.^nados Spanish  Dance,  No.  5 

Claude  Debussy Clair  de  lune 


Lyon   (f  Healy  Harps 
The  Steinwav  is  the  official   piano  of  The   Curtis   Institute   of   Music 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Fourteenth  Students'  Concert 

Thursday  afternoon,  February  27,  1930  at  4:30  o'cloc\ 
Students  of  Mr.  B.\illy  in  Chamber  Music 

Casimir  Quartet 

Leokid  Bolotine  1  „.  ,.  Leon    FaENCUT,   Viola 

Paul   GztSBUAS    j  ^'^  ""  Tibor   db   Machula,    Violoncello 

Swastika  Quartet 

Gama   Gilbert           \  v    I  Max   Aronopp,    Viola 

Benjamin    Sharlip  j  Orlando  Cole,  Violoncello 

and 

Maurice   Sh.\rp,  Flute 

«^> 

Peter  I.  TsCHAIKOWSKY String  Quartet  in  D  major,  Opus  1 1 

Moderate  e  semplice 

Andante  cantabile 

Scherzo — Allegro  non  tanto  e  con  fuoco 

Finale — Allegro  giusto 

Casimir  Quartet 

Louis  Bourgault-DucoudR-AY Abergavenny:  "Suite  de  themes 

populaires  Gallois"  — for  String 
Quartet  and  Flute 

Moderato 

Andantino  con  moto 

Allegro  moderato 

Lentissimo 

Allegro  ma  non  troppo 

Moderato 

Modere 
Casimir  Qu.artet  and  Mr.  Sharp 

RhEINHOLD  MORITZOVITCH  GlIERE  .  Octet,  Opus  5,  for  Four  Violins,  Two 

Violas,  and  Two  Violoncelli 
Allegro  moderato 
Allegro 
Andante 
Allegro  assai 
Casimir  and  Swastik.\  Quartets 


The  Steinw.^t  is  the  official   piano  of  The   Clrtis  Institute   of  Mvsic 


^™ 


i""" 'I  in!!.:riii- 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Fifteenth  Students'  Concert 

Monday  Evening,  March  24,  1930,  at  8.30  o'cloc\ 

Students  of  Professor  Auer 

♦Theodore  Saidenberg  at  the  Piano 


v^ 


Edward  Elgar First  movement  from  Concerto  in  B  minor. 

Opus  61 

JoHANN  Sebastian  Bach Chaconne 

OSKAR  ShUMSKY 


LUDWIG  VAN   Beethoven Sonata,  No.  8,  in  G  major,  for  Violin 

and  Piano 
Allegro  assai 

Tempo  di  minuetto 

Allegro  vivace 

Johannes  Brahms First  movement  from  Concerto  in 

D  major,  Opus  77 
George  Pepper 


•Student  of  Mr.   K.\upman   in  Accompanying 
The  Steinwat  is  the  official  piano  of  The  Curtis  Institute  of  Music 

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The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season,  1929-1930 

Sixteenth  Students'  Concert 

Thursday  Evening,  March  27,  1930,  at  8:2>0  oWoc\ 

Students  of  Mr.  Bailly  in  Chamber  Music 

Celia  GombergK..  j.  Esther  Hare,  Viola 

Eva  Stark  J  Katherine  Conant,  Violoncello 

Josef  Haydn String  Quartet  in  C  major.  Opus  54,  No.  2 

Vivace 

Adagio 

Menuetto — Allegretto 

Finale :    Adagio — Presto 

Paul  HiNDEMITH Acht  Stiicke  in  der  ersten  Lage  fiir 

Fortgeschrittenere,  Opus  44 
Massig  schnell 
Schnell 

Massig  schnell 
Lustig — Massig  schnell 
Schnell 

Massig  schnell 
Lebhaft 
Massig  schnell,  munter 

Franz  Schubert String  Quartet  in  A  minor.  Opus  29 

Allegro  ma  non  troppo 

Andante 

Menuetto — Allegretto 

Allegro  moderato 


The  Steinway  is  the  official  piano  of  The  Curtis  Institute  o^  Music 

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The  Curtis  Institute  of  Music 


CASIMIR  ^L^LL 
Sixth  Season— 1929-1930 


Seventeenth  Students'  Concert 


Students  of 
MR.  CARLOS  SALZEDO 

assisted  by  soloists  from  the  Department  of  Woodwind 

and   a  Chamber  Orchestra 

Conducted  by  Mr.  Salzedo 


'Monday  Evening,  April  1 ,  1939 

at  8:?)0  o'c\oc\ 


The  Steinway  is  the  official  piano  of  The  Curtis  Institute  of  Music 


Programme 


.Concerto  for  Flute  and  Harp 


Wolfgang  Amadeus  Mozart 

1756-1791 

Allegro 

Andantino 

Rondo 

*Maurice   Sharp,   Flute  William  Cameron,  Harp 

Accompanied  by 


Sidney  Divinsky  |  „, 
Robert  Hester     j 


Carmela  Ippolito] 
Henry  Siegl  ' 

James  Bloom  i 

Robert  Gomberc   J 


>  Violi 


Theodore  Seder     \„ 
Luke    del   Negro  J 


Samuel  Goldblum 
Paull  Ferguson 


■  Viole 


Frank     Miller,  Violoncello 
Jack    Posell,  Double  Bass 


II. 

George  Frederic  Handel Concerto  in  B  flat,  for  Oboe  and  Harp 

1685-1759 

Adagio — Allegro 

Siciliana 

Vivace 


**RoBERT  Bloom,  Ohoe 


Victoria  Murdock,  Harp 


*Student  of  Mr.   Kincaid   in   Flute 
**Student  of  Mr.  Tabuteau   in   Oboe 


p'l 


Programme 


ni. 

CARLOS  Salzedo Preambule  et  Jeux* 

(1929)  for  harp  prindpale, 

flute,  oboe,  bassoon, 
horn  and  string 
quintet 

Edna  Phillips,  Harp 
M.'\URICE  Sharp,  Flute  Carmela  Ippolito,  First  violin 

Robert  Bloom,  Oboe  James  Bloom,  Second  violin 

William   Saktucci,  Bassoon  Samuel  Goldblum,  Viola 

Theodore  Seder,  Horn  Frank  Miller,  Violoncello 

Jack  Posell,  Double  Bass 


♦Preambule  et  Jeux  was  commissioned  by  Mrs.  Elizabeth  S.  CooHdge,  last  summer,  for 
her  International  Festivals  of  Contemporary  Chamber  Music.  The  first  performance 
took  place  at  Salle  Gaveau,  in  Paris,  on  October  28,   1929. 

Lyon  if  Healy  Harps 


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The  Curtis  Institute  of  Music 

CASrMlR  HALL 
Sixth  Season — 1929-1930 

Eighteenth  Students'  Concert 

'Wednesday  Evening,  April  9,  1930  at  S.iO  oc\oc\ 
Students  of  Mr.  Salmond 

ArCANGELO  CoRELLI Sonata  in  D  minor 

Preludio :   Largo 
Allemanda:   Allegro 
Sarabanda :   Largo 
Giga:   Allegro 

Katherine  Conant 
*YvoNNE  Krinsky  at  the  Piano 

CaMILLE  SaINT'SaENS Concerto,  No.  l,  in  A  minor,  Opus  33 

Adine  Barozzi 
*Earl  Fox  at  the  Piano 

Ernst  von  DoHNANYI Vrotn  Sonata  in  B  flat  minor,  Opus  8, 

for  Violoncello  and  Piano 
Allegro  ma  non  troppo 
Scherzo:  Vivace  assai 

Orlando  Cole 
*Earl  Fox  at  the  Piano 

LuiGi  Boccherini Vrom  Concerto  in  B  flat  major 

Adagio 
Allegro 

TiBOR  DE  MaCHULA 

*YvoNNE  Krinsky  at  the  Piano 
David  Popper Requiem,  for  Three  Violoncelli,  with 

Piano  Accompaniment 
TiBOR   DE    MaCHULA 

Orlando  Cole 
Katherine  Conant 
*YvoNNE  Krinsky  at  the  Piano 

•  Student  of  Mr.    Kaufman    in    Accompanying 
The  Steinwat  is  the  official  piano  of  The   Curtis  Institute   of  Music 

■Ml 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 

Sixth  Season— 1929-1930 

Nineteenth  Students'  Concert 

Thursday  afternoon,  April  10,  1930  at  4:00  o'doc\ 

Students  of  Mr.  B.\illy  in  Chamber  Music 

«^> 

Henry  PuRCELL Chacony  in  G  minor  for  Strings 


Cakmela  Ippolito 
Lilt  M,^tison 

FlL^NCES  T^'lEXER. 
M.\E.IAN  He. AD 

Gama  Gilbert 
Benjamin  Sh.arlip 
James  Bloom 
George  Pepper 


>•  Violins 


Esther  H.\re        "] 

Margaret  Hates  I    ,,    , 
T  c  r  Violas 

Leon  trengut      | 

Paull  Ferguson  ) 

Katherine  Conant   I 

Florence  Williams   I    ,,.  ,        „. 
_  .  ,  >  Violoncelli 

Frank  Miller 


r 


Samuel  Geschichteb 
*  Conducted  by  LociS  Wyxer 

LuiGI   BOCCHERINI Quintet   in  C  major,  for  Two  Violins, 

Viola  and  Two  Violoncelli 

Andante  con  moto 

Menuetto 

Grave 

Rondo 

Gama  Gilbert  ),,   ,.  Orlando  Cole)...  ,        „ 

„  „  ^VjoIiti5         „  -,  >Vwloncelh 

Benjamin  Sharlip  J  Frank  Miller  J 

Max  Aronoff,  Viola 


SeRGIUS  TanEIEV Quartet  in  E  major.  Opus  20,  for  Piano, 

Violin,  Viola  and  Violoncello 

Allegro  brillante 
Adagio  piu  tosto  largo 
Finale:   Allegro  molto 

Jennie  Robinor,  Piano  Paull  Ferguson,  Viola 

Lois   Putlitz,  Violin  Frank  Miller,  Violoncello 

♦Student  of  Mr.  Mlynarski  in  Conducting 
Tte  Steinwat  is  the  official  piano  of  The  Curtis  Institute  of  Music 


The  Curtis  Institute  of  Music 

CASDvOR  HALL 
Sixth  Season,  1929-1930 

Twentieth  Students'  Concert 

Tuesda>'  Evening,  April  15,  1930,  at  8:2,0  oc\oc\ 
Students  of  Mr.  Torello  in  Double  Bass 

and 

Students  of  Mr.  Kincaid  in  Flute 

*Earl  Fox  at  the  Piano  for  Mr.  Torello's  Students 
*JosEPH  RLB.\X0Fr  at  the  Piano  for  >.!r.  Kincaid's  Students 

•^* 

CoRELLi'ToRELLO Three  Pieces,  for 

T  VioHn   and  Double  Bass 

Largo 

Sarabande 

Gavotte :    Allegro 

**M\x   G0BERM.\N,  Violin 

Oscar  Zimmerm.-.n,   Double   Bass 

Giorgio  Antoniotti Sonata  in  G  minor,  for 

.  J     .  1^         ^       .         Double  Bass 

Adagio  molto  sostenuto 

Allegro 

Adagio 

Vivace 

Osc.\R  Zimmerman 

L0REN2ITTI'N.\NNY GavOtte  >    for 

EmLE  RatEZ Scherzo  j  Double   Bass 

Jack  Posell 

Giovanni  Bottesini Tarentella 

Oscar  Zimmerman 


Johann  Seb.\stl\n  B.\ch Polonaise  and  Badinerie  from  Suite  in 

B   minor,    for   Flute   and   Piano 
Ardelle   Hookins 

Ch.\rles  T.  Griffes Poem,   for  Flute 

Maurice  Sharp 

C^ciLE  Chaminade Concertino,  for  Flute 

Rich.^rd  Townsend 

AlBELARDO  AlbISI "La  Sorgente"   from  "Second   Suite 

Miniature"    for   Three   Flutes 
MwRiCE  Sharp  George  Drexler  John  Hreachmack 

•Student  of  Mr.  K.aufman   in  Accompanying.        **Student  of  Madame  Luboshutz. 
The  Steixu-.\t  is  the  ofBdal  piano  of  The  Curtis  Institute  of  Music 


The  Curtis  Institute  of  Music 

CASI\nR  HALL 
Sixth  Season— 1929-1930 

TWENTY^FIRST  STUDENTS'  CONCERT 

Thursday  Ajtemoon,  April  17,  1930,  at  4:20  o'cloc\ 
Students  of  Mr.  Horner 

LUDWIG  VAN  Beethoven Sonata  in  F  major,   for  Horn  and  Piano 

Allegro  moderate 
Poco  adagio,  quasi  andante 
Rondo:    Allegro  moderato 
James  Thurmond,  Horn 
*RuTH  Jewett,  Piano 

Wolfgang  Amadeus  Mozart Concerto  in  E  flat  major,  for  Horn 

Allegro 

Romance :     Larghetto 
Rondo:     Allegro 
First  movement:    Theodore   Seder 
Second  and  third  movements:    Henry  \Vhitehe,\d 
**J0SEPH  RuBANOFF  at  the  Piano 

HeiNRICH    HiJBLER Concertstiick    in  F  major,  for  Four  Horns 

Allegro  maestoso 

Adagio  quasi  andante 

Vivace 

James  Thurmon-d  '  r     .   u 

=r  c  ?  txrst    Horns 

Iheodore  oeder     ( 

Hexrt  Whitehead    )  e         j   u 
A  -D  r  iiicona  norm 

Attillio  de  Palma  I 

Harry  Berv,  Third  Horn 

SuNE  Johnson        It-      ^-l    u 

T  XT  t  Fourth   Horns 

Luke  del  Negro  J 

**JosEPH   RtBANOFF  at  the  Piano 

*Student  of  Mr.    Saperton   in  Piano 
**Student   of   Mr.    Kaufman   in   Accompanying 

The  Steinwat  is  the  oflicial  piano  of  The  Curtis  Institute  of  Music 

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The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season,   1929-1930 

TWENTY=SECOND   STUDENTS'  CONCERT 

Monday  Everdng,  April  28,  1930,  at  8:?,0  o'cloc\ 
Students  of  Mr.  Zimbalist 

■^* 

Robert   Schumann Sonata  in  A  minor.  Opus  105,  for  Violin 

and  Piano 

Mit  leidenschaftlichem  Ausdruck 

Allegretto 

Lebhaft 

Iso  Briselli,  Violin 

*J0SEPH  Levine,  Via-no 


Frederick  A.  Stock Concerto  in  D  minor 

Molto  moderato 

Adagio:    Molto  tranquillo 

Finale:    Allegro  ma  non  troppo 

Carmela  Ippolito 

**Theodore  Saidenberg  at  the  Piano 


CaMILLE     SaINT'SaENS Concerto,  No.  3,  in  B  minor.  Opus  61 

Allegro  non  troppo 
Andantino  quasi  allegretto 
Molto  moderato  e  maestoso 

Philip  Frank 

**THEOnoRE  Saidenberg  at  the  Piano 


*Studcnt   of  Mr.   Hofmann    in  Piano 
**Student   of   Mr.    Kaufm.\n    in   Accompanying 

The    Steinway    is    the   official    piano   of   The    Curtis    Institute    o\   Music 


The  Curtis  Institute  o/ Music 


CASIMIR  HALL 
Sixth  Season— 1929-1930 


TWENTY-THIRD  STUDENTS'  CONCERT 

Students  of 
MR.  DE  GOGORZA 

Miss  Helen  Winslow  at  the  Piano 


V^ednesday  Evening,  April  30,  1930 

at  8:30  o'cloc\ 


The    Steinway    is    the   official    piano   of   The    Curtis    Institute    of   Music 

(fe^rTTrnrr iiiiiiinniiiiiiiiiiiinmin ininiMiiiiiMiniiiiiiiiiniiiniiiiiiiiiiiiiiiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiillllllllinillllllllllllllirijnilinillllllllllllJIIIIIIIIIIITnTTTn 


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Programme 


'Z? 


I. 

George  Frederic  Handel "Revenge,  Thimotheus  Cries"   from 

"Alexander's   Feast" 

Old  English The  Bailiff's  Daughter  of  IsHngton 

Anton  Rubinstein Der  Asra 

Benjamin  de  Loache,  Baritone 
Accompaniments  played  by  Theodore  Saidenberg* 

II. 

CHARLES'pRANgoiS  GoUNOD.  ."Avant  de  quitter  ces  Heux"  from   "Faust" 

Modest  Moussorgsky Song  of  the  Flea 

Abraham  Robofsky,  Baritone 

III. 

Old  English Shepherd!  Thy  Demeanor  Vary 

Giuseppe  Verdi "Ritorna  Vincitor"  from  "Aida" 

Dagmar  Rybner Pierrot 

tf    Agnes  Davis,  Soprano 

IV. 

Christoph  Willibald  Gluck Air  des  Pelerins  de  la  Mecque 

Maurice  Ravel "Kaddisch"    from  "Deux 

Melodies  Hebraiques" 

(Organ   accompaniment   played   by   Lawrence   Apgar**) 

Modest  Moussorgsky J  ^repak 

)  Schaklovity's   Aria  from  "Khovantchina" 
Benjamin   Groban,  Baritone 
Accompaniments  played  by  Theodore  Saidenberg* 


#MisE  Dsvis  ill.   Did  not  sin,f> 

'Student  of  Mr.   Kaupman   in  Accompanying 
•*Student  of  Mr.  Farnam  in  Organ 


Programme 


tf 


V. 
Ottorino   Respighi Nebbie 

PlETRO     CiMARA Stomcllo 

GiocoMO  Puccini "E  lucevan  le  stelle"  from  "Tosca" 

FlORENZO  Tasso,  Tenor 

VI. 

GusTAV  Mahler Nun  seh'  ich  wohl,  warum  so  dunkle  Flammen 

Johannes  Brahms Die  Mainacht 

Reynaldo  H.\hn Trois  jours  de  Vendange 

Emmanuel  Chabrier Llle  Heureuse 

Henri   Duparc Soupir 

Claude  Debussy Void  que  le  Printemps 

Conrad  Tkibault,  Baritone 

VII. 

Giuseppe  Verdi Duet :  "Miserere"  from  "II  Trovatore" 

for   Soprano,   Tenor   and   Chorus 
if   Agnes  Davis,  Soprano 
F10REN20  Tasso,  Tenor 

Benjamin   de  Loacke    J 

***Daniel   Nealt        )  _  Benjamin    Groban  f  _ 

»...,  .  ,  ,  }  Tenon  a  r>  )•  baritones 

*■" Albert   XvIahler    )  Abraham    Robofsky         1 

Conrad   Thibault  J 


if   On  account  o^  VXss   D^vis^  illness,  ^'..ildred  Gable 
substituted. 


•**Student  of  Mr.   Connell   in  Voice 
The   Organ   is   an   Aeolian 


m 


The  Curtis  Institute  of  Music 


CASIMIR   HALL 
Sixth  Season— 1929-1930 


Twenty-fourth  Students'  Concert 


Students  of 
MISS  VAN  EMDEN 


T^hursday  Evening,  May  I,  1930 

at  8:30  o'doc\ 


The  Steinwat  is  the  official   piano  of  The   Curtis  Institute   of  Music 


Programme 
I. 

GiOACCHiNO  Rossini Selections  from  "Stabat  Mater" 

Duet  for  two  sopranos: 

Irene  Singer  Paceli  Diamond 

Soprano  solo  and  Quartet: 

Irene  Singer 

Eleanor  Lewis  ***Albert  Mahler   fy 

Paceli  Diamond  ***Arthur  Holmgren 

*Alexander  McCurdy,  Jr.,  at  the  Organ 

II. 

Modest  Moussorgsky The  Song  of  Solomon 

Reinhold  Becker Friihlings^eit 

„               ^  /Die  Nacht 

Richard  Strauss j  Y)er  Pokal 

";    Paceli  Diamond,  Soprano 

**Theodore  Saidenberg  at  the  Piano 

III. 

Bergerette Jeunes  Filletes 

Georges  Bizet Chanson  de  la  Rose 

Robert  Schumann Friihlingsnacht 

Johannes  Brahms Der  Jager 

Charles  Huerter Pirate  Dreams 

Liza  Lehmann The  Cuckoo 

Frances  Sheridan,  Soprano 
*'''Earl  Fox  at  the  Piano 


#0n  c.ccoiiiit  of  Ivir.  Mahler's  illness,   Daniel  Healy 
substituted, 

/ivaviisfc'  Diamond  ill.        Did  not  sin;:. 

*Student  of  Mr.  Farnam   in   Organ 
**Student  of  Mr.  Kaufman    in    Accompanying 
***Student  of  Mr.  Connell  in  Voice 


^5 


Programme 

IV. 

C.\RL  M.\RLA  VON  Weber "Annchen's  Aria"  from  "Der  Freischijtz" 

Richard  Strauss "Du  meines  Herzens  Kronelein" 

Johannes  Brahms Treue  Liebe 

GusTAV  Mahler "Blicke  mir  nicht  in  die  Lieder" 

Hugo  Wolf Verborgenheit 

Eleanor  Lewis,  Soprano 

**Earl  Fox  at  the  Piano 


V. 

Alfredo  Casella Tre  Canzone  Trecentesque 

Rudolph    MeNGELBERG JDU    Schlafst  \  First  performance 

|Der  Nebel  Zerrissj      >«  America 

Peter  I.  Tsch.\ikowsky J  Warum 

(^  Standchen  des  Don  Juan 

Selma  Amansky,  Soprano 

**Theodore  Saidenberg  at  the  Piano 


VI. 

Abram  Chasins i  Dreams 

)  Thou    art    Mine  (Fim  performance) 
The  Composer  at  the  Piano 

Felk  Fourdr.\in Le  Soleil  et  La  Mer 

CharleS'Fr.\ncois  Gounod "Jewel  Song"  from  "Faust" 

Selma  Amansky,  Soprano 
**Theodore  Saidenberg  at  the  Piano 


**Student  of  Mr.   Kaufman    in   Accompanying 


The  Curtis  Institute  of  Music 


CASIMIR  H.\LL 
Sixth  Season— 1929-1930 


TWENTY=FIFTH  STUDENTS'  CONCERT 


Programme  of  Original  Compositions 

by  Students  of 

MR.  ROSARIO  SCALERO 

in  Composition 


lAonday  Evening,  May  5,  1930 

at  8:30  o'doc\ 


The  Steinwat  is  the  official   piano  of  The   Curtis   Institute   of  Music 


SyJIilirilillim 


I.    !i"i;'n~TT: 


I       Hllil0^g> 


Programme 
I. 

Alice  Noon  an Choral  and  Fugue  in  B  minor,  for  Organ 

Played  by  Carl  Weinrich* 

11. 

Eleanor  Meredith.  .  .Choral  Prelude  and  Fugue  in  F  minor,  for  Organ 
Played  by  Lawrence  Apgar* 

III. 

Jeanne  BeHREND Fugue  in  D  major,  for  Piano 

Played  by  the  Composer 

IV. 

Gl\N'CaRLO  Menotti Eleven  Variations  for  Piano  on  a  Theme 

of  Robert  Schumann 
Played  by  Jeanne  Behrend** 


Berenice  Robinson Three  Songs  for  Soprano — 

Denn  muss  ich  Sterben 
Schlusse  mir  die  Augen  Beide 
An  Einen  Botin 
Sung  by  Helen  Jepson*** 
Edith  Evans  Braun  at  the  Piano 


*Student  of  Mr.  Farnam   in  Organ 

**Student  of  Mr.  Hofmann   in  Piano 

***Student  of  Mr.  Connell    in   Voice 


Programme 

VI. 

Edith   Evans   BrAUN Adagio   from   Piano   Sonata 

Played  by  Martha  Halbwachs** 

Edith  Evans  Bil^un Two  Songs  for  Soprano — 

She  goes  all  so  Softly 
The  Fountain 
Sung  by  Helen  Jepson*** 
The  Composer  at  the  Piano 


VII. 
Samuel  B.\rber Serenade  for  String  Quartet 

Adagio — ^Allegro  con  spirito 

Andante 

Dance 

Finale:  Allegro  moderate 

Played   hy  the   Swasti\a   Quartet**** 
Gama  Gilbert  )...  ,.  Max  Aroxoff,  Viola 


} 


Benjamin  Sharlip  j  Orlando  Cole,  Violoncello 


••Student  of  Mr.  Hofmaxn   in  Piano 
•**Student  of  Mr.  Connell   in   Voice 
•***Student3  of  Mr.  Baillt  in  Chamber  Music 


The  organ  is  an  Aeolian 


The  Curtis  Institute  of  Music 


CASIMIR    K.\LL 
Sixth  Season — 1929-1930 


TWENTY=SIXTH  STUDENTS'  CONCERT 


Students  of 
MR.  CONNELL 


Thursday  Evening,  May  8,  1930 

at  8:30  o'doc\ 


The   Steinway    is    the   official   piano   of   The    Curtis    Institute    of   Music 

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Programme 
I. 

Franz  Schubert Der  Atlas 

Negro  Spiritual — (Arranged  by  J.  R.  Johnson) 

O,  Gambler,  git  up  off  o'  yo'  Knees 

Giuseppe  Verdi "Eri  tu  che  macchiavi"    from  "Un  Ballo 

in  Maschera" 
Walter  Vassar,  Baritone 
*J0SEPH  RuBANOFF  at  the  Piano 

II. 

GiACOMO  Puccini "Che  gelida  Manina"  from  "La  Boheme" 

Maurice  Besly Listening 

Jules  Massenet "Ah!  Fuyez,  douce  image"  from  "Manon" 

Albert  Mahler,  Tenor 
*  Joseph  Rubanoff  at  the  Piano 

III. 

Wolfgang  Amadeus  Mozart "Deh  vieni,  non  tardar?"  from  "Le 

Nozze  di  Figaro" 

Charles  E.  Horn Fve  been  Roaming 

Carl  Maria  von  Weber "Leise,  leise,  f romme  Weise"   from 

"Der  Freischiitz;" 

Florence  Irons,  Soprano 
*Earl  Fox  at  the  Piano 

IV. 

PlETRO   MasCAGNI    "Siciliana"     from   "Cavalleria  Rusticana" 

Johannes  Brahms Auf  dem  Schiffe 

Jacques  Halevy "Rachele,  allor  chi  Iddio"  from   "L'Ebrea" 

Herman  Gatter,  Tenor 
*Elizabeth  Westmoreland  at  the  Piano 

V. 

Johannes  Brahms.  . .  .Quartet:  "How  Lovely  is  Thy  Dwelling  Place" 

from  "The  Requiem" 
Florence   Irons,   Soprano  Daniel   Healy,   Tenor 

Rose  Bampton,  Contralto  Arthur  Holmgren,  Baritone 

♦Elizabeth  Westmoreland  at  the  Piano 


•Student   of   Mr.    Kaufman    in   Accompanying 

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Programme 

VI. 

JoHANN  Sebastian  Bach "Agnus  Dei"  from  "Mass  in  B  minor" 

(Organ  accompaniment  played  by  Alexander  McCubjjy,  Jr.**) 
Franz   Schubert    Liebesbotschaft 

Charles-Fran gois  Gk)UNOD. .  ."O,  ma  lyre  immortelle"  from  "Sappho" 

Rose  Bampton,  Contralto 

♦Joseph  Rubanoff  at  the  Piano 

VII. 

LuDWTG  VAN  Beethoven Adelaide 

Old  French Bergere  Legere 

Richard  Wagner Siegmund's  Liebeslied  from  "Die  Walkiire" 

Daniel  Healy,  Tenor 
♦Elizabeth  Westmoreland  at  the  Piano 

VIII. 
Fr.'IlNZ  Schubert An  die  Leier 

RlCH.MlD  Wagner "Blick'  ich  umber"   from  "Tannhauser" 

(Harp  accompaniments  played  by  Edna  Phillips***) 

RlCH.\RD   Wagner ,.  .  .  ."Schuster   Lied"     from  "Die  Meistersinger" 

Arthur  Holmgren,  Baritone 
*Earl  Fox  at  the  Piano 

IX. 

Joseph  Marx Hat  dich  die  Liebe  beriihrt 

Max  Reger Maria  Wiegenlied 

Charles-Fran gois  Gounod "Jewel  Song"  from  "Faust" 

Helen  Jepson,  Soprano 
*Earl  Fox  at  the  Piano 

X. 

Giuseppe  Verdi  ....  Quartet :  "Bella  figlia  dell'amore"  from  "Rigoletto" 

Helen   Jepson,   Soprano  Albert   Mahler,   Tenor 

Rose   Bampton,   Contralto  Clarence    Reinert,    Baritone 

Gaetano  Donizetti Sextet:   "Chi  mi  frenza"   from 

"Lucia  di  Lammermoor" 
Helen   Jepson,    Soprano  Daniel   Healy,    Tenor 

Rose   Bampton.   Contralto  Clarence    Reinert  1  „     . 

Albert  Mahler,  Tenor  Arthi-r   Holmgren  j       "     " 

•Earl   Fox   at   the   Piano 

•Student   of   Mr.    Kaufman    in   Accompanying 
•*Student   of   Mr.    Farnam    in   Organ 
•••Student   of   Mr.    Salzedo   in   Harp 


Sni'iriMiiMiii II iiimiiiiiiMiiiiiiiiiiii iiiiriiiiMliii;iiiiiiili[iiiiiiiiiliiiiiiiilillil;iii!i[iliMliiililiiiiiiillililiiillliliilllliiiiiiiiiiiiiii,iiiiiiiMiiiiiiililiiMi[iiii[iin'f^ 


The  Curtis  Institute  of  Music 


CASIMIR  HALL 
Sixth  Season,  1929-1930 


TWENTY-SEVENTH  STUDENTS'  CONCERT 


Students  of 
MADAME  SEMBRICH 

Sylvan  Levin  at  the  Piano 


Friday  Evening,  May  9,  1930 

at  8:30  o'cloc\ 


The  Steinwat  is  the  official   piano  of  The   Curtis  Institute  of  Music 

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Programme 
'?? 
I. 

Giuseppe  Torelli Tu  lo  sai 

Georges  Bizet Micaela's  Aria  from  "Carmen" 

TosEF  Marx  I  ^^"^  gestem  hat  er  mir  Rosen  gebracht 

I  Der  Bescheidene  Schafer 

Edward  Horsman You  are  the  Evening  Cloud 

Richard  Hageman At  the  Well 

Natalie  Bodanskaya,  Lyric  Soprano 


II. 

Marc'  Antonio  Cesti Ah!  Quanto  e  Vero 

Giuseppe  Verdi "Caro  nome"  from  "Rigoletto" 

Richard  Strauss I  ?T,  •^i.^''^^ w 

( Schlechtes  Wetter 

Wintter  Watts Stresa 

Richard  Hageman "Me  Company  Along" 

Charlotte  Simons,  Lyric  Soprano 


III. 

Amilcare  Ponchielli "Suicidio"  from  "La  Gioconda" 

Peter  I.  Tschaikowsky Warum  (sung  in  Russian) 

Richard  Wagner Traume 

Giuseppe  Verdi "Ritorna  Vincitor"  from  "Aida" 

Genia  Wilkomirska,  Dramatic  Soprano 


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Programme 

'TS' 

IV. 

Robert  Schumann Roselein,  Roselein 

Hugo  Wolf Elfenlied 

[Der  Stem 

Richard  Strauss ^Einerlei 

I  Zerbinetta's  Aria  from 
^    "Ariadne  auf  Naxos" 

ff     Henrietta  Horle,  Coloratura  Soprano 


V. 

George  Frederic  Handel.  ."O,  Thou  that  tellest  good  tidings  to  Zion" 

from  "Messiah" 
(Organ  accompaniment  played  by  Alexander  McCurdy,  Jr.*) 

Richard  Strauss Ruhe,  meine  Seele 

Robert  Schumann Widmung 

Erich  J.  Wolff Faden 

Richard  Wagner "Erda's  Warnung  an  Wotan" 

from  "Das  Rheingold" 

Franz  Schubert Gruppe  aus  dem  Tartarus 

Josephine  Jirak,  Contralto 


#  On  account  ol'  iUiss  Horle 's  illness,  Edna 
Hochs tetter  Gorday  substituted. 


•Student  of  Mr.  Faenam  in  Organ 
The   organ   is   an   Aeolian 

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The  Curtis  Institute  of  Music 

CASEMIR   HALL 
Sixth  Season— 1929-1930 

Twenty-eighth  Students'  Concert 

Monday  Evening,  Mav  12,  1930  at  S-.^iO  oc\oc\ 
Students  of  M.\dame  Luboshutz 

*J0SEPH   RuBAXOFF   at  the  Piano 

I. 

BaCH'SiLOTI Partita  in  E  minor 

Prelude:  Maestoso 
Adagio  ma  non  troppo 
Allemande 
Gigue 

Eva  Stark 

n. 

Ernst  vox   Dohxaxyi First  movement   from  Concerto  in 

D   minor 
Hexry  Siegl 

III. 

G.^BRIEL  Faure Berceuse 

S.\iXT'S.\EXS — YsAYE Valse   Caprice 

Robert  Gomberg 

rv. 

Edward  Elg.\r First  movement  from  Concerto  in 

B  minor,  Opus  61 
James  Bloom 

♦Student  of  Ms..   K.acfviak  in  Accompan5^ng 
The  Steixwat  is  the  official   piano  of  The   Clrtis  Ixstitlte   of  Music 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

TWENTY=NINTH  STUDENTS'  CONCERT 

Tuesday  Evening,  May  13,  1930  at  8:30  o'cloc\ 

Students  of  Mr.  Bailly  in  Chamber  Music 

«^» 

LUDWIG  VAN  Beethoven Trio  in  B  flat  major,  Opus  97,  for  Piano, 

Violin  and  Violoncello 
Allegro  moderato 
Scherzo — Allegro 

Andante  cantabile,  ma  pero  con  moto 
Allegro  moderato 

Joseph  Levine,  Piano 
Iso  Briselli,  Violin  Orlando  Cole,  Violoncello 

Francis  Poulenc Le  Bestiaire  ou  cortege  d'Orphee,  for 

Voice,    Flute,    Clarinet,    Bassoon,    Two 
Violins,  Viola,  Violoncello 

Le  Dromadaire 

La  Chevre  du  Thibet 

La  Sauterelle 

Le  Dauphin 

L'Ecrevisse 

La  Carpe 
Rose  Bampton,  Contralto  Samuel  Geschichter,  Violoncello 

Philip  Frank  )  y  j.  Maurice  Sharp,  Flute 

Ladislaus  Steinhardt  f  James  Collis,  Clarinet 

Samuel  Goldblum,  Viola  William  Santucci,  Bassoon 

Johannes  Brahms Sonata  in  E  flat  major.  Opus  120,  No.  2,  for 

Clarinet  and  Piano 
Allegro  amabile 

Appassionato,  ma  non  troppo  Allegro 
Andante  con  moto — Allegro 
Robert  McGinnis,  Clarinet  Jean-Marie  Robinault,  Piano 

The  Steinway  is  the  official   piano  of  The   Curtis  Institute   of  Music 

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The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Thirtieth  Students'  Concert 

'Wednesday  Evening,  May  14,  1930  at  8:30  o'cloc\ 
Students  of  Madame  Vengerova 

I. 

Wolfgang  Amadeus  Moz.\rt Pastorale  Variee 

Carl  Marl\  von  Weber Perpetuum  Mobile 

Nikolai  Medtner Fairy  Tale  in  E  minor.  Opus  26 

Ernst  Toch Der  Jongleur 

Selma  Frank 

II. 

RameaU'Leschetizky Gavotte  and  Variations 

Nikolm  Medtner Fairy  Tale  in  F  minor,  Opus  26 

Anton   ArenSKY Etude  in  F  sharp  major 

Frederic  Chopin Scherzo  in  B  flat  minor 

Cecille  Geschichter 

III. 

BacH'Busoni Prelude  and  Fugue  in  D  major 

Sergei  Rachmaninov T  Moment  Musical  in  B  minor 

1^  Moment  Musical  in  E  minor 

Eugene  Helmer 

IV. 

Gluck — SainT'Saens Caprice  on  the  Ballet  Airs    from  "Alceste" 

Robert  Schumann First  movement  from  Sonata  in  G  minor 

WagneR'Brassin  Feuerzauber 

Bella  Braverman 

V. 

Johannes  Brahms Intermezzo  in  A  minor.  Opus  116 

Maurice  Ravel Jeux  d'Eau 

Claude  Debussy La  fille  aux  cheveux  de  lin 

Franz  Liszt Spanish  Rhapsody 

Florence  Frantz 

The  Steinway  is  the  official   piano  of  The   Curtis  Institute   of  Music 


m 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Thirty^fiust  Students'  Concert 

Thursday  Evening.  "May  15,  1930  at  S:iO  o'c\oc\ 

Leonid  Bolotine,  Violinist 
Graduate  Student  of  Mr.  Zimbalist 

*Theodore  Saidenberg  at  the  Piano 

I. 

RosARio  ScALERO Fourteen  Variations  on  a  Theme  by 

W.  A.  Mozart,  Opus  8 

n. 

Jean  Sibelius Concerto  in  D  minor.  Opus  47 

Allegro  moderate 
Adagio  di  molto 
Allegro,  ma  non  tanto 

III. 

Johannes  Brahms Intermewo,  Opus  117,  No.  2 

(Transcribed  for  Violin  by  Leonid  Bolotine) 

Nikolai  Rimsky-Korsakov The  FHght  of  the  Bumble-bee 

Fritz  Kreisler La  Gitana 

Rimsky-Korsakov — Zimbalist  ....  Concert  Phantasy — "Le  Coq  d'Or" 


•Student  of  Mr.   K.^upMAN  in  Accompanying 
The  Steinway  is  the  official   piano  of  The   Curtis  Institute   oj  Music 

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The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 19294930 

Thirty-second  Students'  Concert 

Tuesday  Ajternoon,  May  20,  1930,  at  4:30  o'cloc\ 

Students  of  Mr.  Cailliet  in  Clarinet 

and 
Students  of  Mr.  Guetter  in  Bassoon 

*Earl  Fox  at  the  Piano  for  Mr.  Cailliet's  Students 
♦Joseph  Rubanoff  at  the  Piano  for  Mr.  Guetter's  Students 

Johannes   Brahms Sonata   in    F    minor    for    Clarinet    and    Piano 

(First  and  last  movements) 

James  Collis 

Wolfgang  AmADEUS  Mozart.  .  .Trio  in  E  flat  major,  for  Two  Clarinets 

and  Piano    (First  movement) 

Leon  Lester  and  Robert  Hartman 

Reynaldo  Hahn Sarabande  et  Theme  Varie,  for  Clarinet 

Felix  Meyer 

Claude  Debussy l?f^^Pi''^l  oT  ■    . 

(Rhapsodie    )    Clannet 

Robert  McGinnis 


Wolfgang  Amadeus  Mozart Two  movements  from  Concerto 

in  B  flat  major,  for  Bassoon 
First  movement  (Allegro)  :  William  Polisi 
Second  movement  (Andante  ma  adagio):  Frank  Ruggieri 

Julius  Weissenborn (Ballade  |   for 

( Scherbo  )     Bassoon 
Ervin  S  wen  son 


•Student  of  Mr.   Kaufman   in  Accompanying 
The  Steinway   is  the  official  piano  of  The   Curtis  Institute  of  Music 


T?iE  Curtis  Institute  of  Music 

CASIMIR    HALL 
Sixth  Season— 1929-1930 

Thirty=thirjd  Students'  Concert 

'Wedr.esday  Evening,  May  21,  1930,  at  8.30  o'cloc\ 
Students  of  Mr.  Hofnlann 

Robert  Schumann Kreisleriana,  Opus  16 

Anton  Rubinstein *First  movement  from  Concerto  in  D  minor 

Joseph  Levine 

Wolfgang  Anl\deus  Mozart. Nine  Variations  on  a  Minuet  by  Duport 

Johannes  Br.ahms Ballade  in  D  minor.  Opus  10,  No.  l 

Robert  Schumann Intermezzo  in  B  minor,  Opus  4,  No.  6 

(  Etude  in  C  sharp  minor.  Opus   10,  No.   4 

Frederic  Chopin -(Etude  in  G  sharp  minor.  Opus   25,  No.   6 

f  Etude  in  A  minor.  Opus  25,  No.   11 
Martha  Halbwachs 

Frederic  Chopin *First  Movement  from  Concerto 

in   E   minor.   Opus    11 

Franz  Liszt Venezia  e  Napoli 

Leonard  Cassini 

Ces.^  Fr-ANCK Prelude,  Choral  and  Fugue 

Frederic  Chopin Scherzo  in  B  flat  minor.  Opus  31 

Jeanne  Behrend 

Johann  Sebastian  Bach Fantasy  in  D  major 

Is.\.^c  Albeniz IS^?}'^'!'^^^^ 

™  c        -  ( Prelude 

Tatiana  de  Sanzewitch 


•Orchestral  part  played  on  a  second  piano  by  Theodore  Saidenberg — 
student  of  Mr.  Kaufman  in  Accompanying 

The   Steinway   is  the  offidal   piano  of  The   Curtis   Institute    of  Music 


The  Curtis  Institute  of  Music 

CASIMIR   HALL 
Sixth  Season— 19294930 

Thirty-fourth  Students'  Concert 

Thursday  Evening,  May  22,  1930,  at  8:30  o'cloc\ 
By  Students  of  Mr.  Bailly  in  Chamber  Music 

Anton  ArENSKY Trio  in  D  minor.  Opus  32,  for  Piano,  Violin,  and 

Violoncello 

Allegro  moderato 
Scherzo — Allegro  molto 
Elegia — Adagio 
Finale — Allegro  non  troppo 

Yvonne  Krinsky,  Piano 
Iso  Briselli,  Violin  Frank  Miller,  Violoncello 


Felix  Mendelssohn.  .  .  .Octet,  in  E  flat  major,  Opus  20,  for  Four  Violins, 

Two  Violas,  Two  Violoncelli 

Allegro  moderato,  ma  con  fuoco 

Andante 

Scherzo — Allegro  leggierissimo 

Presto 

OsKAR  Shumsky  J  Max  Aronoff  /,,.  , 

Henry  Siegl        (y.  ,.  Leonard  Mogill  ^violas 

James  Bloom       C    *° '"  Florence  Williams     K^.  ,        „. 

Jack  Kash  )  Samuel  Geschichter  r'°^°"""' 


The  Steinway  is  the  official  piano  of  The   Curtis  Institute   of   Music 

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The  Curtis  Institute  of  Music 


CASIMIR  H.\LL 
Sixth  Season— 1929-1930 

Thihty-fifth  Students'  Concert 

Monday  Evening,  May  26,  1930  at  8:30  o'doc\ 

Students  of  Mr.  Saperton 

«^» 

JOHANX    SeBASTUN    BaCH Fantasy  in   C  minor 

Jeaxette  W'einsteix 

Ces.\r  Fr.\nck Prelude,  Choral  and  Fugue 

Jorge  Bolet 

Felix  Mendelssohn j  Rondo  Capriccioso 

Lilian  Bat  kin  ^  Scherzo  in  E  minor 

I  Des  Abends 

Robert  Schu.xl.nn ,'  Traumcsvdrren 

\  rabel 

(in  der  Nacht 

Jorge  Bolet 

Felix  Mendelssohn Fantasy  in  F  sharp  minor,  Opus  28 

Jeanette  Weinstein 

(Nocturne   in  E  major,  Opus  62,  No.  2 

Frederic  Chopin -^Marurka  m  C  sharp  minor.  Opus  30,  No.  4 

(Etude  in  A  minor.  Opus  10,  No.  2 
LiLUN  Bat  KIN 

MANUEL  DE  F.\LLA |  Cubana 

( Andaluza 

Strauss— Schulz-Evler Concert  Arabesques  on  the 

Blue  Danube  Waltz 
Jorge  Bolet 


The  Steinwav   is   the  official   piano  of  The    Curtis   Institute    of  Music 


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The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season,  1929-1930 

Thirty=sixth  Students'  Concert 

Tuesday  Evening,  May  27,  1930,  at  8:30  o'doc\ 
Students  of  Mr.  F.\rnam 

Ch.\RLES'1v1^RIE   WiDOR Scherzo   from  the  Eighth  Symphony 

JOHANN  Sebastian  Bach Fugue  in  G  major  (i2/8  time) 

Helen  M.  Hewitt 

Robert  Schumann Canon  in  B  minor 

JOHANN   Sebastian   Bach Vivace   from   Second   Trio-Sonata 

Alexander  McCurdy,  Jr. 

William  Byrd Pavane  (The  Earl  of  SaHsbur>0 

Joh.\nn  Sebastl\n  Bach Prelude  and  Fugue  in  G  major 

Lawrence  Apgar 

Louis  Vierne Scherzo  and  Finale  from  Fifth  Symphony 

Carl  Weinrich 

(Un  Poco  Allegro   from  the  Fourth 

JoHANN  SeBASTL\N  Bach <      Trio- Sonata 

(Prelude  and  Fugue  in  A  minor 
Robert  Cato 


The  Organ  is  an  Aeolian 
The  Steimwat   is  the  official  piano  of  The   Curtis   Institute   of  Music 


The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Sixth  Season— 1929-1930 

Thirty-seventh  Students'  Concert 

"Wednesday  evening.  May  28,  1930,  at  8:30  o'cloc\ 
By  Students  of  Mr.  Bailly  in  Viola 

*«^ 

JoHAXN  Sebastl\n  Bach  .  .  SLxth  Brandenburg  Concerto,  in  B  flat  major, 

for  Two  Violas  and  Orchestra  (Piano  reduction) 
Allegro  moderato 
Adagio   ma   non   tanto 
Allegro 

Leonard  Mogill  Paull  Ferguson 

*Theodore  SAroEXBERG  at  the  Piano 

Joseph  JoXGEN Suite  for  Viola  and  Orchestra,  Opus  48 

(Piano  version  by  composer) 
Poeme  filegiaque 
Final 

Leox  Frexgut 
*Yvoxxe  Krinsky  at  the  Piano 

Georges  Hue Theme  varie  (in  one  movement) 

Leoxard  Mogill 
*Yvoxxe   Krixsky  at  the  Piano 

Paul  Kexri  Busser Catalane  sur  des  airs  populaires  Basques 

(in  one  movement) 

Max  Aroxoff 
*YvoxxE  Krixsky  at  the  Piano 


♦Student   of   Mr.    K.\lfman    in   Accompanying 
The   Steinwat   is   the  official   piano  of   The    Curtis   Ixstitute    oj  Music 

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THE   PHILADELPHIA  FORUM 

PRESENTS 

The  Curtis  Institute  Orchestra 

Emil  Mlynarski,  Conductor 

IN  CONCERT 

THE  ACADEMY  OF  MUSIC 
Wednesday  Evening,  February  5,  1930,  at  8.30 

PROGRAM: 

Ludwig  van  Beethoven Overture  to  Egmont 

Johannes   Brahms Double  Concerto  in  A  minor, 

for    Violin    and    Violoncello 
with  Orchestra 
Allegro 
Andante 
Vivace  non  troppo 

Judith  Poska,  Violinist 
TiBOR  DE  Machula,  ViolonccUist 

Richard   Straus Sj^mphonic  Tone-Poem — 

"Don  Juan" 

Cesar  Franck Symphonic  Variations   for 

Piano  and  Orchestra 
Tatiana  de  Sanzewitch,  Pianist 

Friedrich    Smetana Overture  to  "The  Bartered 

Bride" 
The  Piano  is  a  Steinivay 


BRYN  MAWR  COLLEGE 

Goodhart  Hall,  Wednesday,  February  12th,  1930 
At  8.20  P.  M. 


THE  CURTIS  INSTITUTE  ORCHESTRA 
Emil  Mlynarski,  Conductor 

ASSISTED   BY 

Judith  Poska,  Violinist 

TiBOR  DE  Machula,  VioloncelUst 

Tatiana  de  Sanzewitch,  Pianist 


Ludwig  van  Beethoven Overture  to  "Egmont" 

Johannes  Brahms Double  Concerto  in  A  minor 

For  Violin  and  Violoncello  with  Orchestra 
Allegro 
Andante 
Vivace  non  troppo 

Judith  Poska 
Tibor  de  Machula 


INTERMISSION 


Richard  Strauss Symphonic  Tone-Poem — "Don  Juan" 

Cesar  Franck Symphonic  Variations 

For  Piano  and  Orchestra 
Tatiana  de  Sanzewitch 

Friedrich  Smetana Overture  to  "The  Bartered  Bride" 


Bryn  Mawr  College  wishes   to   express   its  gratitude   to    Mrs.  Mary 
Louise  Curtis  Bok  for  her  generosity  in  giving  this  concert. 


The  Piano  is  a  Steinway 


The  Curtis  Institute  of  Music 

Josef  Hofmann,  Director 


Presents 

THE  CURTIS  ORCHEST 


ConJucior:  EMIL  MLYNARSKI 


Soloists:  ARTIST  STUDENTS 
TIBOR  DE  MACHULA,  Violoiicellisi 
JUDITH  POSKA,  Violinist 
TATIANA  DE  SANZEWITCH,  Pianist 


Symphony  Hall 
Boston 


Sunday  Evening,  March  'H.inth 

at  8:15  o'cloc\ 


The  Curtis  Orchestra,  composed  of  one  hundred 
three  students  of  The  Curtis  Institute  of  Music. 
Philadelphia,  Pennsylvania,  is  augmented  for  this 
occasion  by  five  professionals,  all  of  whom  are 
faculty  members  of  the  Institute. 


^J 


r^ 


PROGRAMME 

Richard  Wagner Prelude  to  "Die  Meistersinger" 

Johannes  Brahms Double  Concerto  in  A  minor, 

for    Violin    and    Violoncello 
with  Orchestra 

Allegro 

Andante 

Vivace  non  troppo 

Richard  Strauss Symphonic  Tone-Poem — -"Don  Juan" 

INTERMISSION 

CiSAR  FraNCK Symphonic  Variations  for  Piano  and  Orchestra 

Friedrich  Smetan a Overture  to  "The  Bartered  Bride" 


The  Steihwat  is  the  official  piano  of  The  Cuetis  Institute  of  Music 


Orchestra  Fersonnel 


First  Violins 

Iso  Briselli 
Jacob  Brodsky 
David  Cohen 
Philip   Frank 
Paul  Gcrshman 
Gama  Gilbert 
Max  Goberman 
Celia  Gomberg 
Carmela  Ippolito 
Robert  Levine 
Anita   Malkin 
Lily  Matison 
George  Pepper 
Ruth   Perssion 
Judith  Poska 
Jay  Savitt 
Benjamin   Sharlip 
Henry  Siegl 
Meyer   Simkin 
Ethel   Stark 
Ladislaus  Steinhardt 
Frederick  Werner 

Second  Violins 

James  Bloom 
Abe  Burg 
Maurice  Cramer 
Thaddeus  Dyczkowskl 
Robert   Gomberg 
Laura  GrifEng 
Marian  Head 
Charles  Jaffe 
Jack  Kash 
Nathan  Snader 
Herbert  Sokolove 
Eva   Stark 
James  Vandersall 
Frances  Wiener 
Garry   White 
Lcona   Wolson 
Eva  Young 
Clara  Zager 

Violas 

Max  Aronoff 
Simon   Asin 
Paull   Ferguson 
Leon   Frengut 
Sam  Goldblum 
Esther  Hare 
Margaret  Hayes 
Sheppard  LehnhofF 
Leonard  Mogill 
Herbert  Van  den  Burg 


Violoncellos 

Adine  Barozzi 
Orlando  Cole 
Katherine  Conant 
Stephen  Deak 
Tibor  de  Machula 
Samuel   Gcschichter 
John   Gray 
Josephine  Herrick 
Frank  Miller 
Harry  Neeter 
Brunetta  Peterson 
Florence  Williams 

Basses 

•Anton  Torello 
Frank  Eney 
Harold  Garratt 
Sigmund  Hering 
Jack   Posell 
Irven  Whitenack 
Oscar  Zimmerman 


Harps 

William  Cameron 
Victoria  Murdock 
Edna  Phillips 
Floraine  Stetler 


Flutes 

Maurice  Sharp 
George  Drexler 
John  Hreachmack 
Richard  Townsend 

Oboes 

Robert  Bloom 
Sidney  Divinsky 
Robert  Hester 


Clarinets 

Robert  McGinnis 
James  Collis 
Leon  Lester 
Felix  Meyer 


Bassoons 

William  Polisi 
Frank  Ruggieri 
Ervin  Swenson 


Horns 

•Anton  Horner 
Harry   Berv 
Luke  del  Negro 
Attillio  de  Palma 
Sune  Johnson 
Theodore  Seder 
James  Thurmond 
Henry  Whitehead 


Trumpets 

•Sol  Cohen 
Charles  Barnes 
John  Harmaala 
Melvin  Headman 
John  Schuler 


Trombones 

•Gardcll  Simons 
Guy  Boswell 
John  Coffey 
Gerald  Woerner 


Tuba 

•Philip   Donatelli 

Tympani 
Frank  Schwart? 

Battery 

Samuel    Krauss 
Salvatore  Pcrrone 
Frank  Sinatra 

Librarian 
Charles  N.  Demarest 


•Member  of  the  faculty  of  The  Curtis  Institutb  of  Music 


Local  Management:  W.  H.  Brennan  and  G.  E.  Judd 

Concert  Manager  for  The  Curtis  Institute  of  Music:  Richard  Copley. 

10  East  43rd  Street,  New  York 


The  Curtis  Institute  of  Music 

Josef  Hofmann,  Director 

THE  CURTIS  ORCHESTRA 

Con^ucfor:  EMIL  MLYNARSKI 

Soloisfs:  ARTIST  STUDENTS 

TIBOR   DE  MACHULA,  Violoncellist 

JUDITH  POSSA,  Violinist 

TATIANA  DE  SANZEWITCH,  Pianist 


Tuesday  Evening,  April  29,  1930 

at  S:20  o'c\oc\ 


THE  ACADEMY  OF  MUSIC 

PHILADELPHIA 


The  Curtis  Orchestra,  composed  of  one  hundred 
one  students  of  The  Curtis  Institute  of  Music, 
is  augmented  for  this  occasion  b^j  seven  professionals, 
five  of  whom  are  facuhy  members  of  the  Institute. 


■§^1 


PROGRAMME 

Richard  Wagner   Vorspiel  und  Liebestod  from 

"Tristan   und   Isolde" 
Johannes  Br.ahms   Double  Concerto  in   A   minor, 

for     Violin      and      Violoncello 
with  Orchestra 

Allegro 

Andante 

Vivace  non  tropro 

RiCH.\RD  Str.\uss SjTnphonic  Tone-Poem — "Don  Juan" 

INTERMISSION 

CeS.'^R  Fr.\NCK SjTnphonic  Variations  for   Piano  and   Orchestra 

Ffjedrich  Smetana Overture  to  'The  Bartered  Bride" 


Orchestra  Personnel 


First  Violins 

Iso  Briselli 
Jacob  Brodsky 
David   Cohen 
Philip    Frank 
Paul   Gershman 
Gama   Gilbert 
Max  Goberman 
Celia  Gomberg 
Carmela  Ippolito 
Robert  Levine 
Anita  Malkin 
Lily  Matison 
George  Pepper 
Ruth    Perssion 
Judith  Poska 
Jay   Savitt 
Benjamin   Sharlip 
Henry  Siegl 
Meyer   Simkin 
Ethel   Stark 
Ladislaus  Steinhardt 
Frederick  Werner 


Second  Violins 

James  Bloom 
Abe   Burg 
Maurice  Cramer 
Thaddeus    Dyczkowski 
Robert   Gomberg 
Laura  Griffing 
Marian  Head 
Charles  Jaffe 
Jack  Kash 
Nathan   Snader 
Herbert  Sokolove 
Eva   Stark 
James  Vandersall 
Frances  Wiener 
Leona    Wolson 
Eva  Young 
Clara  Zager 

Violas 

Max  Aronoff 
Simon   Asin 
Paull   Ferguson 
Leon   Frengut 
Sam  Goldblum 
Esther  Hare 
Margaret  Hayes 
Sheppard  Lehnhoff 
Leonard  Mogill 


Violoncellos 

Adine  Barozzi 
Orlando  Cole 
Katherine  Conant 
Stephen   Deak 
Tibor  de  Machula 
Samuel   Geschichter 
John   Gray 
Josephine  Herrick 
Frank  Miller 
Harry  Neeter 
Brunetta  Peterson 
Florence  Williams 


Basses 

•Anton   Torello 
Frank   Eney 
Harold  Garratt 
Jack  Posell 
Irven  Whitenack 
Oscar  Zimmerman 

Harps 

William  Cameron 
Victoria  Murdock 
Edna  Phillips 
Floraine  Stetler 

Flutes 

Maurice  Sharp 
George  Drexler 

John  Hreachmack 
Richard  Townsend 


Oboes 

Robert  Bloom 
Sidney  Divinsky 
Robert  Hester 

Clarinets 

Robert  McGinnis 
James  Collis 
Leon  Lester 
Felix  Meyer 


Bassoons 

William  Polisi 
Frank  Ruggieri 
Ervin  Swenson 


Horns 

•Anton  Horner 
Harry   Berv 
Luke  del   Negro 
Attillio  de  Palma 
Sune  Johnson 
Theodore  Seder 
James  Thurmond 
Henry  Whitehead 


Trumpets 

•Sol  Cohen 
Charles  Barnes 
John  Harmaala 
Melvin  Headman 
John  Schuler 


Trombones 

•Gardell  Simons 
Guy  Boswell 
John  Coffey 
Gerald   Woerner 


Tuba 

•Philip  Donatelli 

Tympani 

Frank  Schwartz 


Battery 

Samuel    Krauss 
Salvatore  Perrone 
Frank  Sinatra 


Librarian 

Charles  N.  Demarest 


•Member  of  the  faculty  of  The  Curtis  Institute  of  Music 


(5^ ^^ 


THE  PENNSYLVANIA  MUSEUM 
AT  F.AIRMOUNT 


19294930 


A  Series  ov  Concerts  of 
Chamber  Music 


by  ArtisT'Students 

of 

The  Curtis  Institute  of  Music 

These  Concerts  Are  Under  the  Direction  of  Mr.  Louis  Bailly 
Head  of  the  Department  of  Chamber  Music 

First  Concert 

Sunday  Evening,  T^ovemher  10,  1929 
at  8:15  o'chc\ 


SWASTIKA  QUARTET 

Gama  Gilbert  ^  v  r  ^'^  Akq-soff,  Viola 

Benjamin    Sh.^^rlip  )  Orxando  Cole,  Violoncello 

Assisted  by  Joseph  Le\ine,  Pianist 


<f^ ^'^^ 


Programme 

I.    LuDWiG  VAN  Beethoven.  String  Quartet  in  E  flat  major,  Opus  74 

(Harfenquartett) 

Poco  adagio — Allegro 

Adagio  ma  non  troppo 

Presto 

Allegretto  con  variazioni 

Note:  Ludwig  van  Beethoven  (1770'1827)  ranks  among  the  immortal 
geniuses  in  musical  composition.  The  greater  part  of  his  life  was  passed 
in  Vienna  where  he  was  the  admired  favorite  of  the  aristocratic  musical 
circles.  Erratic  in  his  conduct,  ungovernable  in  temper,  almost  totally  deaf 
in  the  latter  part  of  his  life,  he  surrendered  himself  more  and  more  to  the 
contemplation  of  his  inner  life  and  of  nature  and  its  expression  in  his  music. 
Nine  great  symphonies,  an  opera  ("FideHo"),  songs,  pianoforte  sonatas,  trios, 
and  sixteen  quartets  are  superb  examples  of  his  astounding  creative  powers. 
The  quartets  (1800- 1826)  may  be  considered  as  belonging  to  three  periods 
of  Beethoven's  development.  Of  these,  the  first  period  is  characterized  by 
a  close  following  of  the  acknowledged  laws  of  quartet  composition  and  the 
models  of  classical  style  such  as  the  works  of  Mozart  and  Haydn.  The  second 
period  is  that  in  which  as  a  mature  man,  conscious  of  his  own  power,  he 
dares  to  express  his  own  individuality,  with  increasing  freedom  from  arbitrary 
rules,  while  in  the  third  he  transcends  all  rigid  bonds  of  musical  form,  and 
attempts  to  express  his  intellectual  and  philosophical  life  and  convictions 
through  great  originality  in  themes  and  an  untrammeled  inspiration  in  develop' 
ing  them  in  musical  form. 

The  Harfen,  or  "Harp"  Quartet,  is  so  called  because  in  it  Beethoven  has 
reproduced  the  effect  of  an  harp  by  means  of  pizzicati  arpeggios  played  by 
all  the  instruments  of  the  quartet.  Such  an  idea  was  a  complete  novelty  to 
the  audiences  of  Beethoven's  time,  and  naturally  created  a  sensation.  The 
quartet  marks  the  close  of  a  period  of  strife  and  unrest  in  the  composer's 
life  and  expresses  a  reawakening  of  his  spirit  in  sheer  delight  of  creation. 
The  adagio  movement  is  especially  beautiful,  a  song  with  variations,  sung  by 
the  first  violin  against  a  very  rich  contrapuntal  accompaniment  by  the  other 
instruments.  It  points  clearly,  in  style  and  structure,  to  the  beginning  of 
Beethoven's  third  and  most  fully  developed  and  characteristic  style. 

The  scherzo  and  finale,  by  way  of  another  innovation  on  the  composer's 
part  are  combined  into  one  movement  instead  of  the  conventional  two.  The 
gaiety  of  the  second  part  of  this  double  movement  with  its  brilliant  varia- 
tions gives  the  impression  that  the  four  instruments  are  four  voices  of  as  many 
persons  conversing  together:  as  question  and  answer,  story  and  comment 
follow  each  other.  One  may  picture  to  himself  any  background  he  pleases 
but  perhaps  the  master  had  in  mind  some  tavern  scene  where  four  congenial 
spirits  meet  for  pleasant  association,  talking,  laughing,  drinking,  smoking 
together. 

Such,  at  least,  is  the  impression  left  by  the  joyous  spirit  of  the  charm- 
ingly simple  yet  piquant  song  theme  with  which  the  genius  of  Beethoven 
plays,  turning  it  to  this  side  and  to  that  as  one  might  some  brilliant  gem, 
that  all  the  facets  may  be  illuminated  and  the  full  beauty  of  its  colour  and 
light  be  evident. 


CJ^ c^ 


d^ eS^ 


Programme 

II.    Louis  Nicholas  Clerambault Sonata  in  E  minor,  for  Two 

Violins  and  Piano 
(La  Magnifique) 
Symphonic 
Allegro 
Adagio 
Sarabande 
Gigue 
Allegro 

Benjamin  Sharlip,  VioMn         Gama  Gilbert,  VioUn 
Joseph  Levine,  ^ia-no 

Note:  Louis  Nicholas  Clerambault  (1676-1749)  was  the  son  of  a 
violinist  attached  to  the  French  Court  at  St.  Germain  en  Laye  in  the  latter 
part  of  the  17th  century,  and  must  thus  have  been  from  early  childhood 
accustomed  to  a  musical  atmosphere  as  well  as  to  the  environment  of  the 
Court.  He  appears  in  1702  as  the  composer  of  a  book  of  "Pieces  for  the 
Clavecin"  and  later  as  "commissioned  to  publish  vocal  and  instrumental  music 
'including  sonatas'  "  which  in  the  I7th  century  were  so  much  the  vogue  that 
practically  every  musician  was  composing  in  that  form.  Clerambault  was  no 
exception  to  the  rule,  and  as  organist  at  two  important  churches,  one  at  St. 
Cyr  and  the  other  in  Paris,  published  numerous  collections  of  Cantatas,  many 
of  them  composed  for  Court  or  Church  functions.  Daquin  refers  to  the 
"famous  organist  Clerambault"  and  the  composer  himself  mentions  with  pride 
the  fact  that  Louis  XIV  had  greatly  appreciated  certain  of  his  "Cantatas" 
when  performed  at  Court.  Mme.  de  Maintenon  as  well  as  Mme.  de  Pompa- 
dour were  interested  in  Clerambault  and  attended  some  of  the  performances 
of  his  works.  "From  which,"  says  a  writer  of  the  times,  in  rather  equivocal 
fashion,  "every  one  went  away  well  pleased." 

The  violin  sonatas  left  by  Clerambault  are  preserved  in  the  National 
Library  in  Paris  in  manuscript  and  belong,  probably,  to  the  first  years  of  the 
18th  century.  There  are  seven  in  all,  including  a  "Simphonia."  Each  one 
bears  a  title  such  as  "La  Felicite,"  "L'Abondance,"  "L'Impromptu,"  and  so 
on.  "La  Magnifique"  is  the  seventh  in  the  collection,  and,  with  numbers  one 
and  two,  is  in  trio  form  with  two  basses.  The  other  sonatas  have  but  one 
bass.  In  type  they  are  related  to  the  form  used  by  Corelli,  having  a  variable 
number  of  movements,  four  to  six,  written  in  the  key  of  sol  on  the  first  line. 
Commencing  with  a  slow  movement,  they  invariably  end  in  an  allegro  or 
gigue,  but  "L'Impromptu"  and  "La  Magnifique"  contain  two  succeeding 
movements  in  slow  or  tranquil  tempo.  The  final  allegro  is  almost  always  in 
fugue  form  which  the  composer  handles  with  great  cleverness.  The  compo- 
sitions of  Clerambault  are  interesting  and,  at  their  best,  charming  examples  of 
composition  for  string  instruments  of  the  early  18th  century. 


d^ H^ 


d^— «^ 

Programme 

III.  Hugo  Wolf.  Italian  Serenade  for  String  Quartet  (in  one  movement) 

Hugo  Wolf  (1860-1903)  was  born  in  the  small  town  of  Windischgraz  in  Styria,  Austria, 
and  spent  practically  all  his  life  in  or  near  Vienna.  His  father  had  musical  tastes  and  gave 
Hugo  his  first  instruction  in  violin  and  piano  playing.  After  various  unfortunate  experiences 
in  different  schools  it  was  decided  that  the  boy's  passion  for  music  must  be  allowed  to  develop, 
and  he  was  in  1875  entered  in  the  Conservatory  of  Vienna.  Here  he  remained  two  years 
only,  for  such  an  independent  spirit  as  Hugo  Wolf  apparently  could  find  no  resting  place  or 
satisfaction  in  any  of  the  schools,  or  with  any  of  the  teachers  with  whom  he  came  in  contact. 
It  was  obvious  that  the  gifted  but  "difficult"  boy  must  work  out  his  own  salvation.  This  he 
proceeded  to  do  in  direst  poverty  amid  disappointments.  He  studied  incessantly,  gave  lessons 
and  was  for  some  time   musical   critic  for  one  of   the  Viennese  papers. 

In  many  ways  Wolf's  career  may  be  considered  the  modern  parallel  of  Franz  Schubert's. 
Both  were  Viennese,  both  were  master  song  writers,  both  lived  in  poverty  and  without  any 
adequate  appreciation  of  their  work,  and  both  died  miserably.  Wolf  developed  into  a  fine,  but 
not  a  superlative  pianist,  and  it  was  in  1878  that  he  began  to  realize  that  his  particular  bent 
lay  in  writing  songs.  He  had  a  very  extraordinarily  keen  sense  of  the  poetic  values  of  words 
and  of  the  rhythm  of  verse  and  was  a  most  impressive  reader  of  poetry.  His  method,  later 
in  life,  was  to  read  aloud  the  poems  he  had  set  to  music,  while  he  accompanied  himself  on 
the  piano,  indicating  in  an  astonishing  performance  of  the  accompaniment,  the  colour  and  the 
imaginative  suggestion  he  wished  the  words  of  the  poem  to  acquire  when  sung.  He  developed 
another  idea  also,  which  was  to  compose  settings  in  sequence  for  numbers  of  poems  of  the 
same  author,  steeping  himself  so  deeply  in  the  spirit,  style  and  meaning  of  the  writer  that 
he  was  for  the  time  being  translated  into  the  creations  of  the  poet.  Thus  we  have  long  series 
of  songs   to   words   by   Goethe,   Moericke,   Heyse,   Michel   Angelo   and   other   standard   poets. 

Wolf's  extraordinary  gifts  as  a  song  writer  were  so  far  in  advance  of  the  taste  of  his  day 
that  even  yet  his  work  has  not  met  its  full  appreciation.  Five  choral  works,  of  which  the 
Feuerreiter  and  Elfenlied  are  the  finest,  an  opera  and  hundreds  of  songs  attest  his  fertility  ot 
musical  expression.  When  he  composed,  he  was  like  one  possessed  of  a  demon,  and  often  two 
magnificent  songs  were  completed  in  one  day. 

Of  a  highly  sensitive  and  overstrung  nervous  temperament,  heightened,  doubtless,  by  the 
terrible  hardships  and  struggles  of  his  early  life,  Wolf  finally  suffered  a  complete  nervous 
collapse  and  spent  the  last  four  years  of  his  life  in  an  asylum  near  Vienna,  cared  for  by 
friends  and  the  "Hugo  Wolf  Verein"  which  had  been  founded  to  further  an  appreciation 
of  his  work  and  to  aid  the  composer.  In  all  the  tragic  annals  of  the  lives  of  great  musicians 
none  can  be  found  more  heart  breaking   than  the  story  of  Hugo  Wolf. 

The  Italian  Serenade  was  written  in  1886  and  must  not  be  confused  with  the  "Italian 
Serenade  for  small  orchestra,"  using  some  of  the  same  themes,  which  was  written  four  years 
later.  In  this  delightful  and  unique  tour  de  force.  Wolf  has  combined  the  purity  and  elegance 
of  the  Mozartian  style  with  the  romantic  spirit  of  Schubert.  So  entirely  has  he  compre- 
hended the  Italian  temperament,  so  avidly  has  he  reproduced  the  colour  and  atmosphere  of  an 
Italian  episode,  that  it  would  be  impossible  to  find  in  all  musical  literature  of  short  compositions 
for  string  quartet  any  other  work  so  sparkling,  so  picturesque  or  so  poetic.  It  is  a  gift  to 
the  world  from   the  hand  of  a  musical   genius. 

IV.  Cesar  FhANCK.  Quintet  in  F  minor,  for  Piano  and  String  Quartet 

Molto  moderato  quasi  lento — Allegro 
Lento,  con  molto  sentimento 
Allegro  non  troppo,  ma  con  fuoco 

Cesar  Franck  (1822-1890),  a  native  of  Liege,  was  by  birth  a  Walloon  or  South  Belgian, 
yet  he  is  rightly  regarded  as  a  French  composer  who  rehabilitated  French  music  after  a  dark 
night  lasting  at  least  a  century.  He  very  early  manifested  decided  musical  talent  and  was 
admitted  to  the  Conservatory  in  Paris  in   1837,  where  he  studied  composition  and  the  piano. 

The  real  career  of  Franck  began  in  1858  when  he  became  Maitre  de  Chapelle  at  the 
Church  of  Ste.  Clothilde  in  Paris.  From  that  date  to  1872  nearly  all  his  compositions  were 
designed  for  use  in  the  Church.  He  poured  forth  a  wonderful  succession  of  masses,  motets, 
symphonic  pieces  and  compositions  for  the  organ,  sacred  songs  to  Latin  words  and  the  like.  Not 
since  the  time  of  Bach  had  the  organ  been  so  enriched  with  masterpieces.  His  immense 
service  consists  in  having  stood  out  for  "pure  music,"  especially  in  the  symphony  and  chamber 
music. 

The  Quintet  in  F  minor  may  be  considered  as  in  all  respects  typical  of  the  Latin  tempera- 
ment, and  does  not  exhibit  the  later  tendencies  of  Franck  in  what  may  be  called  his  ecclesi- 
astical style.  In  this  composition  he  has  combined  the  violins  into  one  voice,  the  viola  and 
'cello  into  a  second,  and  united  the  two  with  the  piano  in  an  effect  of  great  solidarity  and 
richness  entirely  orchestral  in  effect  and  not  in  the  strictest  adherence  to  the  accepted  con- 
ventions of  chamber  music  structure.  Particularly  is  this  true  in  the  finale  whose  brilliancy 
and  passion  electrify  the  listener  so  that  he  is  carried  away  by  the  irresistible  effects  produced, 
and  willingly  allows  himself  to  disregard  the  fact  that  the  composer  has  wandered  far  from 
the  style   of  pure   chamber   music. 


The  next  concert  will  he  given  on  December  IS,  J 929 

The  piano  is  a  Steinway 
d^ — ^^ 


c5^.^ ^^ 


THE  PENNSYLVANIA  MUSEUM 
AT  FAIRMOUNT 

19294930 


A  Series  of  Concerts  of 
Chamber  Music 


hy  Artist'Students 

of 

The  Curtis  Institute  of  Music 


These  Concerts  Are  Under  the  Direction  of  Mr.  Louis  Bailly 
Head  of  the  Department  of  Chamber  Music 


Second  Concert 

Sunday  Evening,  December  15,  1929 
at  8:15  o'chc\ 


The  piano  is  a  Steinway 

(S^. ^ 


d^ ^^^ 

Frogramme 

I.      JeAN'PhILIPPE  RaMEAU.  .  .From  Concerts  for  Three  Violins,  Viola, 

Violoncello  and  Double  Bass 

Le  Vezinet 
La  Boucon 
Menuet  in  G  major 
La  Timide 
Tambourins 

Judith  Poska  "|  Paull  Ferguson,  Viola 

Lois  Putlitz  r  Violins  Frank  Miller,  Violoncello 

Carmela  Ippolito   )  Jack  Posell,  Double  Bass 

Note:  Jean-Philippe  Rameau  (1683-1764)  was  the  son  of  an  organist  of 
Dijon,  and  from  earliest  age  exhibited  brilliant  gifts  as  a  musician — but 
strangely  enough  reached  the  age  of  40  years  before  his  extraordinary 
abilities  found  any  public  appreciation.  From  youth  he  made  a  profound 
study  of  the  analysis  and  construction  of  musical  composition,  and  through 
twenty  years  of  service  as  organist  in  various  situations,  continued  his  lonely 
researches.  As  organist  of  the  Cathedral  at  Clermont-Ferrand,  an  isolated 
town  of  central  France,  he  had  time  to  devote  to  the  preparation  and  comple- 
tion of  a  monumental  and  epoch-making  work,  which  was  published  in  Paris 
in  1722.  In  this  "Treatise  on  Harmony,"  Rameau  systematized  and  explained 
the  rules  and  laws  of  musical  harmony  and  discovered  and  described  the  laws 
of  the  inversion  of  chords.  The  publication  of  such  a  work  naturally  created 
a  profound  sensation  and  placed  Rameau  in  a  prominent  position  musically. 

He  removed  to  Paris  where,  owing  to  his  fame  as  a  theorist,  he  found  him- 
self well  received.  For  a  time  things  went  well,  but  when,  at  the  age  of  fifty, 
after  some  minor  attempts  at  light  comic  operatic  forms,  his  full  powers  as  an 
original  and  powerful  composer  burst  forth  in  the  production  of  his  operas 
Hippolyte  and  Aricee,  Les  Indes  Galantes,  Castor  and  Pollux,  Dardanus,  and 
several  others,  a  powerful  cabal  of  writers  and  musicians  began  to  belittle 
and  attack  their  dangerous  rival.  The  result  was  to  close  the  opera  to 
Rameau's  work  for  a  long  period,  and  on  the  other  hand  to  turn  the  com- 
poser's attention  to  other  forms  of  music  such  as  his  "Suites  de  pieces  en  con- 
certs" for  violin,  flute  and  harpsichord,  which  are  played  today  in  the  form  of 
string  sextet,  arranged  by  Saint-Saens. 

Rameau  was  accused  during  his  lifetime  of  "putting  too  much"  music 
into  his  operas — a  criticism  which  marks  the  transition  from  the  artificiality 
of  most  operatic  works  preceding  him,  to  the  attempt,  as  Rameau  himself  says 
"to  throw  himself  into  all  the  characters  he  depicts"  and  again  "to  seek  as  a 
musician  to  study  nature  before  painting  her  and  then  be  able  to  choose  colors 
and  shades,  the  relation  of  which  with  the  required  expressions  is  borne  in 
upon  him  by  his  judgment  and  taste."  "Nature,"  says  he,  "has  not  entirely 
denied  me  her  gifts,  and  I  have  not  devoted  myself  to  combinations  of  notes 
to  the  extent  of  forgetting  their  intimate  connection  with  natural  beauty." 

Rameau  was  an  exact  contemporary  of  Handel  and  their  styles  are  simi- 
lar— in  a  mastery  of  recitative,  the  introduction  of  "little  symphonies"  into 
longer  works,  grandiose  and  impressive  tonal  effects,  vitality  of  conception  and 
the  expression  of  human  emotion. 


(5^^ H^ 


Programme 

II.     Johannes  Brahms Two  Songs  with  accompaniment  of 

Viola  and  Piano,  Opus  91 
Gestillte  Sehnsucht 
Geistliches  Wiegenlied 

Josephine  Jirak,  Contralto 
Max  Aronoff,  Viola  Florence  Frantz,  Piano 

Note:  Johannes  Brahms  (born  in  Hamburg,  1833 — died  in  Vienna, 
1897)  spent  the  greater  part  of  his  Hfe  in  Vienna.  His  original  genius  and 
his  unswerving  devotion  to  his  own  personal  ideals  set  him  apart  from  the 
older  school  of  composers,  of  which  Beethoven  was  the  consummation,  as  well 
as  from  the  "Romanticists,"  led  by  Schumann,  the  dramatic  ideas  of  Wagner, 
and  the  sensational  descriptive  school  of  Berlioz,  Liszt,  and  other  contempo- 
raries. During  his  whole  life  Brahms  was  a  storm  center  of  criticism  and 
discussion,  but  today  a  fuller  appreciation  of  the  nobility  and  majesty  of  his 
conceptions,  and  an  understanding  of  his  very  original  style  have  replaced  the 
old  hostility.  Four  great  symphonies,  many  songs,  choral  works,  chamber  music 
in  various  forms,  as  well  as  numerous  compositions  for  the  pianoforte  (for 
Brahms  was  in  early  life  a  professional  pianist)  are  the  fruit  of  incessant  work 
during  64  years  of  his  life. 

Folksong  was  the  inexhaustible  spring  from  which  he  drew  inspiration, 
developing  and  embellishing  it  with  all  the  technical  means  of  which  he  was 
a  master,  and  colouring  it  with  his  own  peculiar  personal  style. 

The  two  songs.  Opus  91,  were  pubhshed  in  1884,  and  are  exceptionally 
interesting  and  beautiful  examples  of  Brahms'  genius  in  a  field  of  composition 
which  has  been  comparatively  neglected:  namely,  that  of  voice  with  varied 
light  instrumental  accompaniment.  The  viola  and  the  contralto  voice  constitute 
a  most  sympathetic  combination  as  to  tone  color,  and  in  both  songs  the  human 
emotion  is  usually  prominent. 

"Gestillte  Sehnsucht"  opens  with  a  twelvcbar  introduction  by  viola  and 
piano,  after  which  the  voice  enters  independently,  the  viola  resuming  its 
former  motive  which  is  next  assumed  by  the  voice  to  a  florid  viola  accom- 
paniment. The  song  then  changes  to  the  minor  with  rich  contrasts  of  effect 
until  the  finale. 

"Geistliches  Wiegenlied"  was  written  as  a  congratulatory  gift  from 
Brahms  to  Frau  Joachim  (wife  of  the  great  violinist  and  herself  a  singer) 
upon  the  birth  of  her  first  child.  The  viola  part  possesses  an  independent 
interest,  as  it  is  an  old  traditional  tune  associated  with  the  subject  of  the 
song.     The  words  of  the  old  song  run  as  follows:   (translation) 

"Joseph,  dearest  Joseph  mine. 
Help   me   hush   the  child   divine, 
Thy  reward  is  God's  design 
In  Kingdom  of  the  Virgin's  Son, 
Maria,  Maria." 

This  traditional  tune  given  to  the  viola  serves  as  the  basis  for  contra- 
puntal development  by  the  voice  and  piano  throughout  the  entire  song,  which 
with  its  calm  beauty  is  singularly  fitted  to  express  the  Christmas  spirit. 


d^ «^ 


d^ ^ 

Frogramme 

III.      LUDWIG  VAN   Beethoven Septet  in  E  flat  major,  Opus  20, 

for  Violin,  Viola,  Violoncello, 
Double  Bass,  Clarinet,  Bassoon, 
and  Horn 
Adagio — Allegro  con  brio 
Adagio  cantabile 
Tempo  di  Menuetto 
Tema  con  Variazioni — Andante 
Scherzo — Allegro  molto  e  vivace 
Andante  con  molto  alia  marcia — Presto 
Leonid  Bolotine,  Violin  Jack  Posell,  Double  Bass 

Leon  Frengut,  Viola  James  Collis,  Clarinet 

TiBOR  DE  Machula,  Violoncello  Frank  Ruggieri,  Bassoon 

Henry  Whitehead,  Horn 

Note:  Ludwig  van  Beethoven  (1770-1827)  ranks  among  the  immortal 
geniuses  in  musical  composition.  The  greater  part  of  his  life  was  passed 
in  Vienna  where  he  was  the  admired  favorite  of  the  aristocratic  musical 
circles.  Erratic  in  his  conduct,  ungovernable  in  temper,  almost  totally  deaf 
in  the  latter  part  of  his  life,  he  surrendered  himself  more  and  more  to  the 
contemplation  of  his  inner  life  and  of  nature  and  its  expression  in  his  music. 
Nine  great  symphonies,  an  opera  ("Fidelio"),  songs,  pianoforte  sonatas,  trios, 
and  sixteen  quartets  are  superb  examples  of  his  astounding  creative  powers. 
The  quartets  (1800-1826)  may  be  considered  as  belonging  to  three  periods 
of  Beethoven's  development.  Of  these,  the  first  period  is  characterized  by 
a  close  following  of  the  acknowledged  laws  of  quartet  composition  and  the 
models  of  classical  style  such  as  the  works  of  Mozart  and  Haydn.  The  second 
period  is  that  in  which,  as  a  mature  man,  conscious  of  his  own  power,  he 
dares  to  express  his  own  individuality,  with  increasing  freedom  from  arbitrary 
rules,  while  in  the  third  he  transcends  all  rigid  bonds  of  musical  form,  and 
attempts  to  express  his  intellectual  and  philosophical  life  and  convictions 
through  great  originality  in  themes  and  an  untrammeled  inspiration  in  develop' 
ing  them  in  musical  form. 

The  Septet,  composed  at  the  end  of  the  18th  century,  was  first  performed 
in  April,  1800,  at  Beethoven's  opening  concert  before  the  Court  in  Vienna. 
On  that  occasion  the  program  was  made  up  of  the  first  performance  of  the 
First  Symphony;  of  the  Septet,  and  a  piano  concerto  played  by  Beethoven 
himself. 

The  Septet  received  an  instantaneous  and  hearty  appreciation  and  is  today 
judged  to  be  one  of  the  finest  of  the  early  works  of  the  composer.  It  marks 
the  end  of  the  experiments  Beethoven  had  been  carrying  on  in  combinations 
of  wind  and  string  instruments  for  chamber  music.  Henceforward,  for  thir- 
teen years  the  piano  will  cease  to  have  any  part  in  the  chamber  music 
compositions,  and  Beethoven  will  begin  his  marvelous  series  of  orchestral 
symphonic  works.  Throughout  the  experiments  in  writing  trios,  quartets, 
quintets  and  sextets  Beethoven  had  been  seeking  to  get  an  evenly  developed 
ensemble  in  which  the  string  and  wind  instruments  should  be  carefully 
balanced.  The  Septet  presents  his  solution  of  the  problem;  thus  the  violin, 
needing  the  partnership  of  some  wind  instrument  akin  to  it  in  quality  of  tone 
and  flexibihty  of  utterance,  receives  the  clarinet  as  a  partner;  the  'cello  and 
viola  are  mated  to  bassoon  and  horn,  while  the  double  bass  provides  the  secure 
harmonious  basis  for  the  whole.  This  arrangement  allows  each  instrument  to 
develop  its  full  individual  capacity  and  also  permits  a  contrasting  choral  effect 
that  is  really  orchestral.  The  work  may,  in  fact,  be  considered  in  the  light 
of  being  a  precursor  of  the  orchestral  symphonies  and  is  filled  with  the  cour' 
age  and  pride  of  a  rising  genius,  now  thirty  years  of  age,  who  feels  secure  of 
his  powers  and  confidently  presses  forward  along  unbeaten  paths  into  new 
and  unexplored  fields  of  musical  expression. 


The  next  concert  will  he  given  on  January  26,  J 930 
d^ ^ ^^ 


d^— '<;^ 

THE  PENNSYLVANIA  MUSEUM 
AT  FAIRMOUNT 

19294930 

Second  Season  of 
Chamber  Music  Concerts 

b}'  Artist'Students 

of 

The  Curtis  Institute  of  Music 

These  Concerts  Are  Under  the  Direction  of  Mr.  Louis  Bailly 
Head  of  the  Department  of  Chamber  Music 

Third  Concert 
Sunday  Evening,  January  26,  1930 

at  8: IS  o'cloc\ 

SWASTIKA  QUARTET 

Gama  Gilbert         )  Max  Aronoff,  Viola 

Benjamin  Sharlip  )      '''  '"^  Orlando  Cole,  Violoncello 

Assisted  by 

Florence  Frantz,  Piano 
Leon  Frengut,  Viola  James  Collis,  Clarinet 


The  Piano  is  a  Steinway 


d^ '^ 


Programme 

I.    Wolfgang  Amadeus  Mozart  .  .  String  Quintet  in  C  minor,  Kochel 

No.  406,  for  Two  Violins,  Two 
Violas  and  Violoncello 

Allegro 

Andante 

Menuetto  in  canone 

Allegro 

Wolfgang  Amadeus  Mozart  (born  in  Salzburg,  1756 — died  in  Vienna, 
1791)  was  one  of  the  most  instinctive  musical  geniuses  of  all  time.  His 
precocity  was  phenomenal,  so  that  at  five  he  was  playing  in  public  and  com- 
posing, progressing  so  rapidly  that  at  ten  he  was  able  to  play  at  sight  almost 
anything  then  written  for  clavier  or  violin  and  already  composing  for  chorus 
and  orchestra.  Throughout  his  life  in  demand  as  a  pianist  and  receiving 
admiration  and  applause  for  his  compositions,  he  was,  nevertheless,  often  in 
straitened  circumstances.  He  died  at  the  age  of  35,  involved  in  a  tangle  of 
sordid  cares,  and  was  buried  in  a  common  grave  of  the  city's  paupers  in 
Vienna. 

In  spite  of  the  brevity  of  his  life,  his  achievements  were  colossal  and  his 
genius  was  the  consummate  flower  of  the  classical  period.  He  was  one  of 
the  most  accomplished  keyboard  performers  of  the  time  and  was  equally 
expert  upon  the  viohn  and  the  viola  (for  which  he  had  a  special  liking).  His 
600  works  represent  all  forms  of  composition:  operas,  oratorios,  cantatas, 
church  music,  orchestral  works  (including  49  symphonies  and  25  concertos), 
chamber  music  (including  9  string  quintets,  26  string  quartets,  7  piano  trios, 
42  violin  sonatas),  and  keyboard  works    (piano  sonatas,  organ  sonatas,  etc.). 

The  year  1782  was  an  eventful  one  in  Mozart's  life.  It  marked  his 
emancipation  of  himself  artistically;  was  the  year  of  his  marriage;  of  his  first 
success  with  an  opera,  "Entfiihrung  aus  dem  Serail";  of  his  meeting  with 
Joseph  Haydn  from  whom  he  learned  much;  and  in  general,  was  a  year  marked 
by  great  musical  productivity.  Among  the  numerous  beautiful  compositions  of 
this  date  there  was  a  "Serenade  for  Wind  Instruments."  Whether  Mozart  felt 
that  the  performance  of  this  delightful  work  would  be  rendered  infrequent 
(as  it  is)  owing  to  the  difficulties  of  assembling  wind  instrument  performers, 
or  whether  he  felt  that  the  material  in  the  composition  was  worthy  of  a  second 
and  different  scoring  (which  is  certainly  true),  is  not  known,  but  at  any  rate, 
rewrite  the  Serenade  he  did,  in  the  form  of  the  Quintet  for  two  violins,  two 
violas,  and  violoncello,  changing  the  musical  content  very  little.  In  some 
respects  the  peculiar  piquancy  of  the  wind  instrument  quality  of  tone  is 
missing  in  the  string  quintet  variant  of  the  themes,  but  if  we  listen  to  this 
quintet,  with  ears  unprejudiced  by  the  unique  quality  of  the  original  scoring, 
we  cannot  fail  to  be  impressed  with  the  purity  of  style,  fertility  of  imagination 
and  elegance  of  conception  of  this  composition. 

The  first  movement,  dignified  and  impressive,  but  not  heavy,  is  followed 
by  the  Andante,  which  is  as  tender,  as  exquisite,  and  pure  as  a  flower  of  spring. 
The  third  movement,  constructed  in  imitation  of  canonic  form,  is  written  in 
a  spirit  of  fantasy,  dressed  in  a  garment  of  involved,  yet  delicate  counterpoint, 
in  the  gayest  of  spirit;  while  the  last  movement,  taking  a  very  simple  theme, 
presents  it  in  a  series  of  variations,  grave  and  gay,  simple  and  elaborate,  so  full 
of  charm  and  vitality,  that  none  but  the  greatest  master  could  have  conceived 
them.  We  may  think  of  this  whole  composition  as  a  perfect  carving  in  clearest 
crystal,  every  line  full  of  grace;  mathematically  correct  in  proportion,  untouched 
by  spot  or  stain  of  human  passion — the  expression  of  purest  music  from  the 
mind  of  a  divine  genius. 


d^ ^<^ 


.c<^ 


Programme 


v5^ 

II.    Serge  Prokofieff Overture  on  Hebrew/Themes,  Opus  34, 

for   String   Quartet,   Clarinet   and   Piano 

Serge  Prokofieff  (born  in  1891)  is  a  native  of  South  Russia,  and  a 
graduate,  with  highest  honors,  from  the  St.  Petersburg  Conservatory.  Thor- 
oughly  equipped  as  a  composer,  pianist,  and  conductor,  he  is  best  known  as 
a  pianist  whose  technique  is  as  remarkable  as  his  style  and  compositions  are 
original.  An  opera,  "The  Love  of  the  Three  Oranges,"  was  first  produced  in 
Chicago,  also  later  in  New  York,  and  in  excerpts  for  the  concert  program  has 
been  played  by  various  large  orchestras.  Prokofieff  is  a  leader  in  the  new 
musical  thought;  original,  daring,  full  of  life  and  power  and  he  does  not  fear 
to  overstep  conservative  rules  of  harmony  and  counterpoint. 

The  "Ouverture  sur  des  Themes  Juifs,"  Opus  34,  is  dated  1919.  Without 
ado  the  composer  introduces  a  theme  which  is  a  direct  transcript  of  a  Jewish 
popular  song,  so  old,  so  traditional,  that  its  history  and  origin  are  lost  in 
antiquity.  With  an  oriental  treatment  by  accompanying  instruments,  the 
clarinet,  whose  quality  of  tone  is  preeminently  fitted  to  produce  and  preserve 
the  atmosphere,  introduces  this  air,  which  reappears  at  frequent  inter\'als  and 
in  various  guises  up  to  the  whirlwind  climax  of  the  piece. 

The  popular  note  of  this  theme  is  succeeded  by  a  very  beautiful  and 
typical  one  of  religious  character,  which  is  played  by  the  violoncello.  The 
dignity  and  searching  melancholy  of  this  hymn,  for  that  is  what  it  really  is, 
seem  to  complete  the  picture  which  Prokofieff  is  painting  of  the  deep  religious 
life  of  the  Hebrew  in  contrast  with  the  life  of  the  streets  and  of  the  bazaar. 
We  hear  the  chant  gradually  fading  away,  to  descending  chords  in  the  piano 
score,  which  resemble  bells  tinkling  in  the  distance  and  becoming  less  and  less 
distinct,  as  the  whirling,  turning,  round  of  the  street  theme  returns  with  insist' 
ence  and  ever  increasing  rapidity  of  utterance.  The  freshness,  originality, 
directness  and  vigor  of  this  composition  and  its  clever  scoring,  create  a  vivid 
and  charming  impression  full  of  picturesque  and  striking  effects. 


(^ c^ 


d^ r^ 


Programme 

III.    Johannes  Brahms Quintet  in  F  minor.  Opus  34,  for 

String  Quartet  and  Piano 
i^llegro  non  troppo 
i^ndante,  un  poco  adagio 
Scherzo 
Fiha^e  (Poco  sostenuto) — Allegro  non  troppo 

Johannes  Brahms  (born  in  Hamburg  183  3 — died  in  Vienna  1897)  spent 
the  greater  part  of  his  life  in  Vienna.  His  original  genius  and  his  unswerving 
devotion  to  his  own  personal  ideals  set  him  apart  from  the  older  school  of 
composers,  of  which  Beethoven  was  the  consummation,  as  well  as  from  the 
"Romanticists,"  led  by  Schumann,  the  dramatic  ideas  of  Wagner,  and  the 
sensational  descriptive  school  of  Berlioz,  Liszt,  and  other  contemporaries.  Dur' 
ing  his  whole  life  Brahms  was  a  storm  center  of  criticism  and  discussion,  but 
today  a  fuller  appreciation  of  the  nobility  and  majesty  of  his  conceptions, 
and  an  understanding  of  his  very  original  style  have  replaced  the  old  hos' 
tility.  Four  great  symphonies,  many  songs,  choral  works,  chamber  music  in 
various  forms,  as  well  as  numerous  compositions  for  the  pianoforte  (for 
Brahms  was  in  early  life  a  professional  pianist)  are  the  fruit  of  incessant  work 
during  64  years  of  his  life. 

The  Piano  Quintet  in  F  minor  was  written  originally  as  a  string  quintet 
and  subsequently  rewritten  for  two  pianos.  Although  no  less  distinguished 
artists  than  the  great  pianist  Tausig  and  Brahms  himself  joined  in  a  public 
performance  of  the  two-piano  version  of  this  work,  in  1864,  it  met  with  no 
success,  and  the  composer  rewrote  it  in  the  present  form.  From  the  moment 
when  the  work  opens  with  the  broad,  majestic  flowing  announcement  of  the 
first  theme,  through  the  exultation  of  the  first  movement  with  its  great  choral 
effect,  so  characteristic  of  Brahms;  through  the  tenderness  of  the  second  move 
ment,  at  times  resembling  a  lullaby;  through  the  scherzo  of  the  third  movement 
with  its  staccato  passages  rising  in  a  triumphant  chorus-like  passage,  to  the 
overwhelming  finale,  the  composer's  inspiration  never  for  a  moment  fails  him. 

Nothing  that  Brahms  has  written  is  more  characteristic  of  his  style,  of  his 
power  of  producing  new  and  grander  effects  from  material  already  used,  which 
the  hearer  may  have  thought  exhausted  of  possibilities  of  further  development 
and  power.  This  work  is  to  be  classed  as  one  of  the  greatest  of  chamber  music 
works  for  piano  and  strings,  in  respect  to  its  grandeur  of  proportion,  impetu' 
osity  and  deep  pathos,  unusual  fertility  of  ideas  and  the  supreme  power  of 
the  composer  in  handling  and  building  up  his  material  into  a  solid,  well' 
proportioned  and  magnificent  whole. 


The  next  concert  luill  be  given  on  March  2,  1930 


d^ c<^ 


THE  PENNSYLVANIA  MUSEUM  OF  ART 

19294930 

Second  Season  of 
Chamber  Music  Concerts 

b}!  Artist-Students 

of 

The  Curtis  Institute  of  Music 


These  Concerts  Are  Under  the  Direction  of  Mr.  Louis  Bailly 
Head  of  the  Department  of  Chamber  Music 


Fourth  Concert 
Sunday  Eveyiing,  March  2,  1930 

at  8:1  S  o'clock 

CASIMIR  QUARTET 

Leonid  Bolotine     ]  Leon  Frengut,  Viola 

Paul  Gershman       )      ^°  Tibor  de  Machula,  Violoncello 


SWASTIKA  QUARTET 
Gama  Gilbert         )  Max  Aronoff,  Viola 

Benjamin  Sharlip  j  ^'°''"^  Orlando  Cole,  Violoncello 

and 

Maurice  Sharp,  flute 


The  Piano  is   a   Steinway 

d^ ^p^ 


Programme 

I.     Peter  I.  Tschaikowsky String  Quartet  in  D  major,  Opus  11 

Moderate  e  semplice 

Andante  cantabile 

Scherzo — Allegro  non  tanto  e  con  fuoco 

Finale — Allegro  giusto 

The  Casimir  Quartet 

After  a  desultory  and  not  especially  musical  education,  Tschaikowsky  at  a  suitable  age 
entered  the  School  of  Jurisprudence  at  St.  Petersburg,  and  was  fully  twenty-one  years  of  age 
before  the  serious  thought  of  making  music  a  career  was  entertained.  During  his  years  of 
study  of  the  law,  he  was  thrown  with  musical  amateurs  and  professionals,  and  became  a  fairly 
good  pianist.  The  St.  Petersburg  Conservatory  under  the  direction  of  Anton  Rubinstein 
opened  to  the  young  student  an  opportunity  for  intense  study  and  was  the  first  strong  in' 
fluence  in  the  artistic  life  of  the  future  composer.  Study  of  the  piano  with  Rubinstein,  com' 
position  with  Laroche,  and  of  the  flute  in  order  to  help  out  in  the  Conservatory  orchestra, 
prepared  Tschaikowsky  for  his  life  work. 

In  1866  he  received  an  appointment  as  Professor  of  Harmony  at  the  Conservatory  of 
Moscow  then  under  the  directorship  of  Nicholas  Rubinstein,  brother  of  Anton.  So  great 
were  the  interest  and  friendship  of  the  new  Director  that  he  insisted  upon  Tschaikowsky's 
living  with  him  in  Moscow,  an  arrangement  which  continued  for  a  number  of  years. 
Tschaikowsky  thus  was  introduced  to  a  brilliant  coterie  of  musicians,  scientists  and  literary 
men,  whose  companionship  could  not  fail  to  broaden  the  mind  and  inspire  the  genius  of  the 
young  professor.  He  began  at  once  to  compose  serious  and  ambitious  pieces,  two  quartets, 
an  overture  "Romeo  and  Juliette"  and  an  opera  followed  one  another  with  gradually  increasing 
successes. 

Tschaikowsky  even  as  a  child  had  been  subject  to  attacks  of  extreme  nervousness,  and  as 
he  grew  older  he  became  the  prey  of  periods  of  great  physical  and  mental  depression  which 
increased  with  the  responsibilities  of  his  career  as  a  teacher  and  composer.  A  strange  and 
unfortunate  marriage  brought  him  to  the  verge  of  insanity,  when  in  his  dire  need,  a  rich 
Russian  widow  by  the  name  of  Madame  von  Meek  came  to  his  rescue  with  the  offer  of  six 
hundred  rubles  annually,  in  order  to  permit  the  composer  to  work  unhampered  by  material 
cares.  For  thirteen  years  this  arrangement  was  continued,  during  which  time  Madame  von 
Meek  and  her  protege  exchanged  an  immense  number  of  most  interesting  letters,  but  never 
once  spoke  together  nor  met  except  upon  one  occasion  when  they  happened  to  be  present  at 
the  same  concert.  In  one  of  the  letters,  the  composer  writes  "You  ask  me  how  I  manage  my 
instrumentation  ...  I  invent  the  musical  idea  and  the  instrumentation  simultaneously  .  .  . 
As  regards  the  Russian  element  in  my  works,  I  may  tell  you  that  not  infrequently  I  begin  a 
composition  with  the  intention  of  introducing  some  folk  melody  .  .  .  As  to  this  national 
element  in  my  work  ...  it  proceeds  from  .  .  .  having  from  my  earliest  years  been  im- 
pregnated with  the  characteristic  beauty  of  our  Russian  folk  songs  ...  In  a  word  I  am 
Russian  in  the  fullest  sense  of  the  word."  At  the  time  of  the  beginning  of  this  singular 
friendship  with  Madame  von  Meek,  Tschaikowsky  was  thinking  over  his  Fourth  Symphony 
which  he  dedicated  to  her  as   "My  best   friend." 

From  now  on  the  fame  of  the  composer  became  more  and  more  secure  and  began  to 
spread  to  other  European  capitals.  An  opera,  "Eugen  Oniegin"  and  two  more  symphonies, 
with  numerous  smaller  works,  "Pique  Dame,"  "Casse  noisette,"  et  cetera,  followed. 
Tschaikowsky  made  several  European  tours  and  in  1891  was  invited  to  New  York  to  conduct 
some  of  his  works  at  the  opening  of  Carnegie  Hall.  Two  years  later,  arriving  in  St.  Peters- 
burg  to  attend  the  first  performance  of  his  Sixth  or  "Pathetic"  Symphony,  he  fell  a  victim  to 
the  prevailing  cholera  epidemic  and  died  in  the  arms  of  his  favorite  brother,  Modeste,  to  whom 
the  world  owes  a  most  interesting  account  of  the  career  and  works  of  this  truly  Russian 
composer. 

The  Quartet,  Opus  11,  was  written  in  1871  and  had  an  immediate  success.  The  work  is 
dedicated  to  an  intimate  scientific  and  musical  friend  in  Moscow,  Rochinsky  by  name,  who 
said  regarding  the  dedication,  "I  have  received  a  brevet  of  immortality."  The  work  creates 
at  once  an  atmosphere  of  languid  melancholy,  very  oriental  in  type,  strange  in  its  rhythmical 
as  well  as  its  melodic  line,  increasingly  polyphonic  in  effect  with  the  introduction  of  a  second 
theme  carried  side  by  side  to  a  magnificent  climax — a  favorite  device  of  the  composer. 

The  famous  and  beautiful  Andante  is  based  upon  a  Russian  folk  song  noted  by  Tschaikow- 
sky while  visiting  in  the  country  in  1869,  from  the  singing  of  a  gardener  at  work  beneath 
his  windows.  It  is  so  familiar  that  it  is  useless  to  dilate  upon  its  beauty,  as  fresh  and 
deeply  moving  in  its  fluent  melody  after  half  a  century  of  familiarity  as  it  was  in  its  first 
hearing.  "Never  in  the  course  of  my  life"  wrote  Tschaikowsky  in  his  diary,  "did  I  feel  so 
flattered,  never  so  proud  of  my  creative  power,  as  when  Leo  Tolstoi,  sitting  by  my  side, 
listened  to  my  Andante  while  the  tears  streamed  down  his  face."  Not  only  does  this  move' 
ment  characterize  the  soul  of  the  Russian  people,  but  it  goes  even  deeper  into  the  well  spring 
of  melody,  whose  origin  is  as  yet  untraced  to  its  fountain  source  in  the  heart  of  the  Eastern 
peoples. 

The  Scherzo,  by  its  virility  in  rhythm,  recalls  the  popular  Moujik  dance,  with  a  touch  of 
syncopation  in  the  struggle  of  the  rhythm  of  two  against  three  beats. 

The  Finale  is  the  least  inspired  of  the  movements  and  not  so  happy  in  its  choice  of 
themes,  but  its  "Allegro  giusto"   develops  into  one  of  Tschaikowsky's  vividly  colored  climaxes. 


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Programme 

II.     Louis  Bourgault-Ducoudray. Abergavenny;  "Suite  de  themes 

populaires  Gallois''  —  for  String 

Quartet  and  Flute 
Moderato 

Andantino  con  moto 
Allegro  moderato 
Lentissimo 

Allegro  ma  non  troppo 
Moderato 
Modere 
The  Casimir  Quartet  and  Mr.  Sharp 

Louis  Albert  Bourgault-Ducoudray  (born  Nantes  1840 — died  Vernouillet 
1910)  belonged  to  an  old  family  of  the  Breton  nobility.  He  was  a  nephew 
of  Billault,  the  famous  minister  of  the  Second  Empire  and  was  himself  a  man 
of  extraordinary  gifts  and  scholarship. 

Although  a  lawyer  by  profession,  he  early  gave  serious  attention  to 
musical  study  and  in  1862  carried  off  the  first  prize  for  composition  at  the 
Paris  Conservatory  with  a  cantata  "Louise  de  Mezieres."  He  also  wrote  an 
opera  "Thamar,"  produced  in  Paris,  orchestral  symphonies,  a  "Symphonic 
Rehgieuse"  in  five  movements  for  mixed  voices,  a  Stabat  Mater  in  Gregorian 
style,  et  cetera.  He  was  for  many  years  lecturer  at  the  Paris  Conservatory 
on  the  History  of  Music,  and  so  briUiant  and  erudite  were  his  courses  that 
crowds  of  auditors,  students,  musicians  and  the  general  pubHc  attended.  The 
French  government,  recognizing  the  unusual  gifts  of  Bourgault'Ducoudray, 
sent  him  on  special  missions  to  Greece  and  to  Cambodgia,  from  which  coun- 
tries  he  returned  with  collections  of  melodies,  folk'songs  and  notes  on  music 
which  were  most  valuable  and  which  were  embodied  in  pamphlets  and  lee 
tures.  In  fact  he  was  one  of  the  first  to  recognize  the  importance  of  folk- 
song in  the  development  of  musical  form.  This  natural  interest  in  his  native 
province,  Brittany,  resulted  in  the  publication  of  "Thirty  popular  melodies 
of  lower  Brittany,"  collected  and  harmonized  with  French  translation  into 
verse  by  Francois  Coppee.  To  his  interest  in  and  connection  with  the  Gallic 
— still  spoken  in  Brittany — may  be  referred  the  composition  "Abergavenny" 
which  is  based  upon  GaUic  airs  and  is  named  for  the  English  market  town 
Abergavenny  on  the  river  Usk  near  the  town  of  Monmouth. 

The  profound  scholarship  and  brilliant  and  unique  musical  gifts  of 
Bourgault-Ducoudray  were  combined  with  a  nature  singularly  modest  and 
averse  to  self-advertisement  and  publicity.  For  this  reason,  his  work,  original 
and  charming  as  it  is,  is  so  little  known  outside  of  France. 

"Abergavenny"  is  a  suite  of  seven  short  pieces  simply  transcribed  and 
undeveloped  thematically,  although  each  in  itself  has  a  definite  mood  or  char- 
acter. Their  origin  is  Gallic  and  Welsh  and  one  at  least  is  famiHar  to  all  the 
English  speaking  world. 

The  first  movement  is  martial  in  mood,  in  a  very  severe  style  approach- 
ing the  Church  Gregorian  chant.  The  second,  an  Andantino,  is  a  very 
beautiful  melody  given  to  the  viola  and  flute.  The  tender  character  of  the 
theme  though  very  simple  has  a  very  pure  and  deep  emotion  recalHng  the 
direct  and  pure  style  of  some  of  Bizet's  airs.  Number  three  is  a  choric  dance 
for  male  and  female  voices,  doubtless  used  in  some  old  festival.  Number 
four  is  "Lento"  of  a  most  emotional  and  mysterious  mood.  Elegiac  in  char- 
acter, it  evokes  the  exalted  state  of  mind  of  one  who  feels  himself  in  the 
sway  of  some  mysterious  external  force,  such  as  the  early  superstitious 
beliefs  of  the  Irish,  Celt  and  Gaul,  or  such  as  a  poet  may  feel  in  inspirational 
rapture.  Number  five  has  a  decided  rhythm  of  Minuet  form  in  tempo  and 
may  have  been  an  old  dance  song.  The  sixth  movement  has  a  theme  of 
eight  bars  for  the  male  chorus  with  female  voices  replying  and  an  ensemble 
of  both.  The  air  is  familiar  as  the  Welsh  song  "The  Ash  Grove"  and  sug- 
gests the  "Star  Spangled  Banner."  The  last  movement  is  very  energetic  and 
martial  in  character  and  may  be  a  battle  chant. 

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Programme 

III.      RhEINHOLD    MoRITZOVITCH    GliERE  ...  Octet,  Opus   5,  for  Four 

Violins,    Two    Violas, 
and  Two  Violoncelli 
Allegro  moderato 
Allegro 
Andante 
Allegro  assai 
The  Casimir  and  Swastika  Quartets 

Rheinhold  Moritzovitch  Gliere  (1875'1926)  composer  and  teacher  at 
the  Moscow  Conservatory  was  of  a  Belgian  family,  but  so  thoroughly 
Russianized  that  he  may  be  called  the  leader  and  final  product  of  the  Russian 
Classical  school  to  which  such  men  as  Tschaikowsky,  Glazounov,  Scriabin, 
RimskyKorsakoff  and  Balakirev  belong.  He  excels  as  a  melodist  and  in  his 
masterly  understanding  of  the  qualities  and  use  of  the  various  instruments. 
As  gold  medallist  of  the  Moscow  Conservatory,  whose  faculty  has  possibly 
never  been  equalled  for  brilliancy  and  sheer  musicality,  Gliere  from  the  very 
beginning  showed  extraordinary  gifts  in  writing  for  the  larger  forms  of 
chamber  music,  seldom  attempted  by  chamber  music  composers.  Symphonies 
and  symphonic  poems,  octets  and  septets  and  various  other  compositions 
testify  to  his  prolific  genius. 

The  Octet,  Opus  5,  is  evidence  of  Gliere's  superb  control  of  form  and 
unique  understanding  of  the  tone  color  and  effective  use  of  the  various 
instruments,  individually  and  in  combinations.  It  exhibits  also  the  absolute 
sympathy  and  absorption  of  Gliere  and  the  Russian  barbaric  and  Asiatic 
melodic  form  as  well  as  a  certain  tendency  to  absorb,  or  reflect  style  from 
other  composers,  instead  of  keeping  exclusively  to  his  own  exceptionally 
fertile  and  unique  gift  for  composition.  The  Octet  is  dedicated  to  J.  W. 
Hfimaly.  The  first  movement  begins  with  a  theme  of  four  bars  of  a  beau- 
tifuUy  melodious  Russian  churchlike  character,  developed  rhythmically  until 
the  'cello  introduces  a  new  melody — a  love  song,  so  fluent,  so  suave,  so  rich 
that  it  seems  as  natural  and  warm  as  the  sunshine  in  summer.  It  is  carried 
along  in  a  flood  of  melody,  with  eight  voices  joining  together  to  reach  a 
climax  as  powerful  as  those  devised  by  Tschaikowsky. 

The  second  number  is  a  beautiful  and  voluptuous  dance  motiv  of 
oriental  character,  leading  to  the  third  movement  which  with  extraordinary 
dramatic  force  and  color  paints  for  the  imagination  a  scene  from  the  Arabian 
nights — an  amorous  scene  in  an  Arabian  garden,  the  powerful  Caliph,  the 
fair  slave  and  bands  of  dancers  seem  to  pass  before  us  in  musical  imagery. 
The  last  movement  opens  with  a  rude  and  barbaric  theme  developed  side  by 
side  with  one  of  pure  Russian  character  of  such  wildness  that  the  composer 
denotes  it  by  the  direction  "feroce." 


The  next  concert  will  he  given  on  April  13,  J930 


(5^ — r<;^ 


(SJp c^ 


THE  PENNSYLVANIA  MUSEUM  OF  ART 

19294930 

Second  Season  of 
Chamber  Music  Concerts 

hy  Artist-Students 

of 

The  Curtis  Institute  of  Music 


These  Concerts  Are  Under  the  Direction  of  Mr.  Louis  Bailly 
Head  of  the  Department  of  Chamber  Music 


Fifth  and  Last  Concert 


Sunday  Evening,  April  13,  1930 

at  8:15  o'doc\ 


The  Piano  is  a  Steinway 

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Programme 


v^ 


LuiGI  BOCCHERINI Quintet  in  C  major,  for  Two  Violins,  Viola  and 

Two  Violoncelli 

Andante  con  moto 

Menuctto 

Grave 

Rondo 

Gama  Gilbert         1,,,  ,.  Orlando  Cole 


yViolins  wiM-fiiNL^u^  K^Kji^c  (. yjg[Q^(.g[j^ 


Benjamin  SharlipJ  Frank  Miller  j 

Max  Aronoff,  Viola 

Luigi  Boccherini  (born  Lucca,  1743 — died  Madrid,  180?)  received  a 
part  of  his  musical  education  in  Rome  where  he  rapidly  became  famous  as  a 
composer  and  player.  He  returned  to  Lucca  where  several  original  composi' 
tions  of  his  were  performed  with  success.  The  field  there  however  was  not 
promising  enough  for  this  brilliant  young  Italian  and  he  made  his  way  through 
the  south  of  France  to  Paris  where  his  gifts  found  a  warm  reception.  He 
became  the  rage  and  many  distinguished  persons  became  his  patrons;  among 
them,  the  Spanish  Ambassador,  who  urged  him  to  visit;  Madrid  where  he 
promised  him  a  warm  reception.  Somewhere  about  1769,  Boccherini  reached 
Madrid,  only  to  find  that  he  was  not  received  by  anyone  of  importance.  At 
length,  however,  the  brother  of  the  King  brought  him  into  favor  and  he 
found  himself  again  welcomed  as  an  original  and  briUiant  composer.  He 
seems  to  have  travelled  in  Germany  and  received  from  Frederich  Wilhelm  H, 
King  of  Prussia,  the  post  of  Chamber  Composer  to  the  King  with  an  annual 
salary.  He  remained  about  ten  years,  when  the  King  having  died,  he  re- 
turned  to  Spain  to  end  his  days  in  direst  want. 

Boccherini,  Haydn,  Mozart  and  Gluck  may  be  classed  together  in  a 
general  way.  Boccherini's  facility  was  very  great — the  total  number  of  his 
works  amounts  to  four  hundred  and  sixtyseven  of  which  many  are  still  un' 
published.  His  style,  though  far  simpler  than  Mozart's,  has  many  Mozartian 
characteristics  of  elegance  while  in  depth  of  feehng  and  sincerity  of  emotion 
he  comes  nearer  the  classic  severity  of  Gluck.  The  first  movement  of  the 
String  Quintet  in  C  major  is  remarkable  for  its  contrapuntal  cleverness;  the 
third,  or  slow  movement  for  a  gravity  and  profundity  of  feeling  which  is  very 
rarely  found  among  composers,  especially  Italians  of  Boccherini's  date,  while 
the  Rondo  has  become  equally  famous  with  the  Minuetto  of  Boccherini  with 
which  the  whole  world  is  familiar. 


(^ cSNp 


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Programme 

JOHANN  Sebastux  Bach SLxth  French  Suite,  for  Eight  Harps 

in  Polyphonic  Formation 

Allemande 
Courante 
Sarabande 
Polonaise 
Gavotte 
Menuet 
Bourree 

W'lLLUM  Cameron  Victoru  Murdock 

Alice  Chalifoux  Edna  Phillips 

Flora  Greenwood  Reva  Reatha 

Mary  Griffith  Flor^mne  Stetler 

Conducted  by  Mr.  Carlos  Salzedo 

(Head  0/  the  Htpiinmint  of  Harp,  The  Curtis  Institute  0/  Music) 

Johann  Sebastian  Bach  (bom  Eisenach,  March,  1685 — died  Leipzig,  July,  1750)  was  the 
culminating  flower  of  a  long  series  of  Bachs,  a  family  which  was  originally  of  peasant  class 
and  may  be  traced  back  to  the  sixteenth  century.  A  family,  which  for  extraordinary  and 
consistent  musical  gifts,  presents  an  example  of  musical  heredity  uruque  in  history.  Details 
concerning  the  personal  life  of  Johann  Sebastian  Bach,  the  greatest  of  all  the  family  and  one 
of  the  outstanding  musical  geniuses  of  the  world,  are  unfortunately  very  meager  from  the 
beginning  to  the  end  of  his  extraordinarily  busy  life,  whose  duration  coincided  with  a  period  of 
deep  and  profound  religious  feeling  among  the  German  people  following  Luther  and  the 
religious  revolution.  Practically  the  only  openings  for  a  professional  musidan  of  that  time 
were  to  become  a  cantor  or  organist  of  some  church  or  of  some  chapel  connected  with  one  of 
the  many  princely  courts  or  to  become  a  member  of  the  town  band  whose  duties  were  con- 
nected with  municipal   and  religious  affairs. 

Johann  Sebastian  Bach,  after  studying  the  violin  and  the  organ,  made  his  professional 
career  and  his  tremendous  reputation  as  a  composer  and  reformer,  first  an  organist  in  email 
local  churches  in  the  vicinity  of  Hamburg  and  later  in  more  important  ones  in  U'eimar  and  in 
Coethen.  The  church  services,  having  been  shorn  of  many  elaborations  introduced  through  the 
Roman  Catholic  service,  were  developing  the  chorale  or  hymn  sung  by  the  congregation  and 
choir.  There  were  also  employed  in  the  church  services,  types  of  masses  and  motets  as  well 
as  cantatas,  so  called,  which  were  primarily  simple  musical  settings  for  Scriptural  verses  or 
dramatic  Biblical  scenes.  In  all  of  these  different  fields  Bach  produced  almost  countless  original 
compositions — in  fact  his  duties  compelled  him  to  compose  original  material  for  every  Sunday 
service,  every  municipal  festival  or  affair  of  importance  and  he  met  all  of  these  demands  with 
increasing  technical  ability,  facility  of  thought  and  enormous  originality  of  invention.  Besides 
his  duties  in  the  church  proper  he  became  extremely  interested  in  development  of  the  technique 
and  literature  for  the  piano  of  his  time.  The  importance  of  his  work  in  this  respect  may  be 
realized  when  we  recall  that  before  the  day  of  Bach  the  use  of  the  thumb  in  playing  the 
clavecin  or  pia.no  was  praaically  unknown  and  that  Bach  instituted  an  entirely  new  technique 
of  playing  which  gave  the  performer  practically  two  extra  fingers  through  his  use  of  the  thumbs. 

In  the  year  1723,  having  already  achieved  a  national  reputation  as  organist  and  composer. 
Bach  received  a  very  important  appointment  to  St.  Thomas's  Church  in  Leipzig.  He  had 
already  made  some  attempt  in  the  way  of  composing  music  for  the  Passion  services  of  the 
church  but  it  was  during  the  last  twenty-five  years  of  his  life  which  were  spent  in  the  service 
of  St.  Thomas's  Church  and  choir  that  he  completed  his  marvellous  "Passions"  of  St.  Matthew 
and  St.  John,  works  which  have  never  been  equalled  in  majestic  power.  Although  Bach  pro- 
duced an  immense  number  of  works,  in  none  of  them  can  be  found  a  passage  which  is  not 
sincere  and  genuine  and  which  does  not  speak  of  the  tender  feeling  and  extreme  susceptibility 
of  the  composer  to  the  power  of  the  words  from  the  Scriptures  to  which  he  was  composing 
music.  It  is  said  "he  produced  the  finest  suites,  the  finest  organ  music,  the  finest  church 
cantatas,  the  finest  solo  violin  music,  the  finest  chorale  motets,  the  finest  chorale  preludes  and 
the   finest   passions." 

Lyon-    SP   He.ilt   Harps 
(i^-- — H^ 


(>;b>i- 


.r<^ 


Programme 


'^Cn 


Henry   PuRCELL Chacony    in   G   minor   for   Strings 


Carmela  Ippolito 
Lily  Matison 
Frances  Wiener 
Marian  Head 
Gama  Gilbert 
Benjamin  Sharlip 
James  Bloom 
George  Pepper 


*V\o\\ni 


Esther  Hare 
Margaret  Hayes  I 
Leon  Frengut      | 
Paull  Ferguson 


Violas 


Katherine  Conant 
Florence  Williams 
Frank  Miller 
Samuel  Geschichter 


Violoncelli 


Conducted  by  Louis  Wyner 

(Student    in    Conducting    of    Mr.    £mil    Mlynarski,    Htai    oj    the    Departments    of 
Opera  and  Orchestra,  The  Curtis   Institute   of  Music) 


Henry  Purcell  (born  in  London,  1659 — died  1685)  was  buried  in 
Westminster  Abbey  "in  a  magnificent  manner."  The  span  of  his  life  fell 
during  the  reigns  of  King  Charles  the  Second,  called  the  Merry  Monarch, 
and  King  James  the  Second.  He  thus  appears  as  a  prominent  figure  in  Eng' 
lish  musical  Hfe  at  the  time  when  music,  both  for  Church  and  pubUc,  was 
at  its  lowest  ebb  following  the  destruction  brought  by  the  Enghsh  revolution. 
In  fact,  even  at  the  time  Purcell  had  worked  his  way  up  to  positions  of  im' 
portance  as  organist  at  Westminster  and  the  Chappel  Royal,  there  were 
practically  no  organs,  very  few  musical  scores,  and  no  trained  singers,  either 
boys  or  men,  to  supply  the  necessary  materials  for  the  services  of  which 
Henry  Purcell  had  charge.  He  set  to  work  with  inexhaustible  courage  to  try 
to  supply  some  of  the  deficiencies  by  copying  with  his  own  hand  many  of  the 
scattered  half  ruined  manuscripts  of  Church  music  and  what  was  more,  to 
compose  himself  a  fine  series  of  choral  and  instrumental  works  which  may  be 
classed  with  Handel  or  even  Bach. 


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d^^ «<^ 


Programme 


Kl^URiCE  Ravel  .  .  Sheherazade — Three  Poems  for  \'oice  and  Orchestra 

I.     Asie 

II.     La  Flute  enchantee 
III.      Llndifferent 

Selma  Amansky,  Soprano 

(Student  of  Miss  Hauliet  van  Emoen) 

Conducted  by  Sylvan  LE\aN 

(Student   in  Conduaing  of  Ms..    £mil   Mltn-.\rski) 

Maurice  Ravel  (born  Ciboure,  near  St.  Jean  de  Luz,  Basses-Pyrenees, 
France,  March,  187?)  was,  through  his  mother,  of  Basque  lineage;  in  itself 
an  indication  of  a  temperament  and  character  ardent  and  at  the  same  time 
restrained.  He  received  his  musical  education  at  the  Paris  Conservatory 
where  from  his  first  attempt  at  composition  it  appeared  that  his  conception  of 
music  was  well  outlined,  since  his  earliest  compositions  show  his  indi\'iduality 
unmistakably  matured.  This,  however,  did  not  create  any  favorable  impres- 
sion for  the  young  composer  among  the  critics  who  regarded  the  young  Ravel 
as  a  dangerous  revolutionist  musically,  a  legend  which  proved  very  detri- 
mental to  his  aspirations.  He  was  refused  the  Grand  Prix  de  Rome  for 
several  years  from  a  mere  prejudice  against  his  musical  innovations.  His 
"Jeux  d'eau"  and  "Pavane"  for  piano  as  well  as  his  String  Quartet  had 
already  been  performed  and  published  so  that  there  was  no  doubt  as  to  his 
abihty  and  the  prejudices  of  the  juries  and  critics.  He  continued  to  write 
many  beautiful  songs,  especially  during  the  years  1903-1906,  among  others 
the  set  Sheherazade,  first  published  with  piano  accompaniment  and  after- 
wards orchestrated. 

In  all  of  his  works  Ravel  is  revealed  as  a  typical  product  of  ?rench 
thought.  Always  self-restrained  with  an  instinctive  sense  of  form,  his  style 
is  characterized  by  finish,  point  and  piquancy  to  the  last  detail.  Strangely 
enough,  although  one  of  the  most  expert  and  original  of  orchestrators,  a  large 
proportion  of  his  orchestral  works  consists  of  rearrangements  of  piano  works. 
He  is  recognized  today  as  one  of  the  most  expert  manipulators  in  orchestral 
color.  While  often  being  classed  with  and  compared  to  Debussy  one  may 
say  that  where  Debussy  is  a  dreamer  whose  music  is  often  an  expression  of 
fleeting  mood,  Ravel  on  the  contrary*  is  direct,  picturesque  and  poetic,  making 
straight  for  clear  cut  character  and  effects  where  Debussy  would  prefer  to 
have  blurred  the  outline  or  merely  suggested  an  atmosphere. 


d^ h;^ 


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.cS^ 


Trois  Poemes  sur  des  vers  de 
Tristan  Klingsor 

I.     Asie 

Asie,    Asie,   Asie, 

Vieux   pays  mervcilleux  des  contes  de  nourrice, 
Oil   dort  la   fantaisie   comme   une   imperatrice 
En  sa  forf't  tout  emplie  de  mystere. 

Je  voudrais  m'en  aller  avec  la  goelette 
Qui  se  berce  ce  soir  dans  le  port 
Mystf'rieuse   et   solitaire, 
Et  qui  di'ploie  enfin  ses  voiles  violettes 
Comme  un  immense  oiseau  de  nuit  dans  le  ciel 
d'or. 

Je  voudrais   m'en  aller  vers  des  ties  de  fleurs 

En   t'coutant   chanter   la   mer   perverse 

Sur  un   vieux   rythme   ensorceleur. 

Je   voudrais  voir   Damas  et   les  villes  de   Perse 

Avec  les  minarets  li'gers  dans  I'air. 

Je  voudrais  voir  de  beaux   turbans  de  soie 

Sur   des  visages   noirs   aux   dents   claires. 

Je   voudrais   voir  des   yeux   sotnbres   d'amour 
Et  des  prunelles  brillantes  de  joie, 
En  des   peaux    jaunes   comme   des   oranges; 
Je  voudrais  voir  des  vetements  de   velours 
Et  des  habits  a  longues  franges. 

Je  voudrais  voir  des  calumets  entre  des  bouches 

Tout   entourc'es  de  barbe  blanche; 

Je  voudrais  voir  d'apres  marchands  aux  regards 

louches, 
Et  des  cadis,  et  des  vizirs 
Qui    du    seul    mouvement    de    leur    doigt    qui    se 

penche 
Accordent   vie   ou   mort   au   grC   de  leur  desir. 

Je   voudrais  voir   la    Perse,   et  I'lnde,   et   puis  la 

Chine, 
Les    mandarins    ventrus    sous    les    ombrelles, 
Et  les  princesses  aux  mains  fines, 
Et  les  lettres  qui   se  querellent 
Sur  la  poesie  et  sur  la  beautfi; 

Je  voudrais   m'attarder   au  palais   enchante 
Et   comme   un  voyageur   etranger 
Contemplcr   li  loisir   des  paysages   peints 
Sur  des  t'toffes  en  des  cadres  de  sapin 
Avec   un  personnage   au   milieu  d'un   verger. 

Je  voudrais  voir  des  assassins  souriant 
Du  bourreau   qui   coupe  un  cou  d'innocent 
Avec   son   grand    sabre   courbe   d'Orient. 
Je   voudrais   voir   des   pauvres  et  des   reines; 
Je   voudrais   voir   des    roses    et   du    sang;  _ 
Je    voudrais    voir    mourir    d'amour    ou    bien    de 
haine. 

Et    puis   m'en    revenir    plus   tard 

Narrer  mon  aventure  aux  curieux  de  roves 

En     elevant    comme     Sindbad    ma    vieille    tasse 

arabe 
De   temps   en   temps   jusqu'a   mes   l&vres 
Pour  interrompre  le  conte  avec  art. 


(Translation) 

I.     Asia 

0  Asia,   O   Asia! 

Land    of    wonderful    tales    renowned    in   ancient 

lore. 
Where     fancy's     spirit     dwells     like     some     fair 

sleeping   empress 
'Mid   her    forest   in   mystery   clad. 

Fain  would   I   now   set   forth   in   yon   swift  little 

schooner 
Gently  rocking  in  her  harbour  this  eve 
With   aspect   strange  and   very  lonely, — 
Which    at    tomorrow's   dawn    her    red    sails    will 

i:nfurl 
Like   a   gigantic   bird   of   night   in  a   golden   sky. 

Fain  would   I   now  set  forth  tow'rds  the   islands 

of    flow'rs 
List'ning  the  while   as  chants  the  wilful   sea 
The   theme  of   some   old   magic  spell. 
Fain    would    I    see    Damascus   and    the    cities    of 

Persia 
With  minarets  so  light  high  in  the  air. 
Fain  would  I   see  soft  silken  turbans  twined 
O'er  dusky  faces  with  glist'ning  teeth. 

Fain  would   I   see  dark  eyes  burning  with   love. 
Their   pupils   shining  and    sparkling  with   joy, 
Tlieir    skins    a    yellow    of   the    ripest   orange; 
Fain    would    I    see    the    dress    with    rich    velvet 

folds. 
The  garment  with  long   fringes  bordered. 

Fain    would    I    see    the    calumets    tight    held    in 

mouths 
Hidden   by   beards   grown   long   and   snowy; 
Fain    would    I    see    sour-looking    merchants   with 

eyes  askew; 
The  cadis,   too,   and  the  great  viziers 
Who  have  but   to   raise   up   their   finger  an   inch 
To    grant    either    life    or    death    perchance,    just 

as  they  will. 

Fain  would  I  see  Persia,   India,  ay  even   China, 
Stout    mandarins    who    loll    under    umbrellas, 
Princesses  sweet  with  tiny  hands, 
And   learned   men   loudly  debating 
Over  poetry  and  the  chorus  of  beauty; 

1  would  linger  awhile  at  a  palace  enchanted 
And,   like   some   foreign  travelling   sage. 
Contemplate  at  my  ease  old  landscapes 

Done  in   colours  rare  on  lovely  textures   framed 

with  pine. 
With  someone  in  the  midst  of  an  orchard,  alone. 

Fain  would  I  see  murderous  wretches  who  smile 
Whilst   the   headsman   chops   off   innocent  heads 
With   scimitar   deadly   of   true    Eastern    shape. 
Fain  would  I  see  poor  beggars  and  rich  queens; 
Fain  would  I   see  the  rose  and  trace  of  blood; 
Fain    would    I    see    men    die   of    love   or   else    of 
hate. 

And    then    later,    returning   home. 

My    story    strange    relate    to    those    who    believe 

in   dreams, 
From   time   to   time   raising   up   my  old   Arabian 

cup 
Like   Sindbad   of  yore,  just  to  my  lips. 
Only  to  break  off  the   tale  with  art. 


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II.     La  Flute  enchantee 

L'ombre   est   douce  et   ruon   maitre   dort, 

CoifiFe   d'un   bonnet  conique  de   soie, 

Et   son   long  nez   jaune  en   sa   barbe  blanche. 

Mais  moi,  je  suis  eveillee  encor, 

Et  j'^coute  au  dehors 

Une   chanson   de   flOte  oil   s'fpanche 

Tour  k  tour  la  tristesse  ou  la  joie. 

Un  air   tour   a    tour   langoureux   ou   frivole 

Que   men  amoureux   cheri   joue, 

Et   quand   je   m'approche   de   la   croisfe 

II   me   semble   que   chaque   note   s'envole 

De  la  flflte  vers  ma  joue 

Comme  un   mvstOrieux  baiser. 


II. 


(Translation) 

The  Enchanted  Flute 


Cool   the   shade  and  deep   my   master's   sleep, 

Wearing   his    soft    silken   conical    cap. 

His   long  yellow  nose  in  bis   snow-white  beard. 

But   I,  who  patiently  vigil  keep, 

I   can  hear  far  away 

Sweet   music   of   a   flute  which   creates   in   turn 

The   yearning   to   laugh  and  to   weep, 

A    tune    now    of    languorous    charm,    now    quite 

gay. 
Which   my   own   belovM   doth   play, 
And  when  I   draw  near  to  the  casement  high 
Then  each  note,  as  'twould  seem,  doth  hither  fly 
From   the   flute   to   touch   my    face 
In    mysterious    sweet    embrace. 


III.     Llndifferent 

Tes   yeux    sont   doux   comme   ceux   d'une   fille, 

Jeune   etranger, 

Et   la  courbe   fine 

De  ton  beau  visage  de  duvet  ombragS 

Est   plus    si'duisante   encor   de    ligne. 

Ta   l&vre   chante   sur   le   pas  de   ma   porta 

Une   langue  inconnue  et   charmante 

Comme    une    musique    fausse. 

Entre!     Et   que   men   vin   te   rOconforte 

Mais   non,   tu   passes 

Et  de   mon   seuil  je  te  vois  t'eloigner 

Me   faisant  un  dernier  geste  avec  grace 

Et   la   hanche   Ifgfrement   ployee 

Par   ta   demarche  feminine  et  lasse. 


III. 


(Translation) 

The  Heedless  One 


Soft  as  a   maid's  those  sad  eyes  of  thine, 

O   youth   unknown. 

And    the    noble    curve 

Of  thy  classic  features  newly  shaded  with  down 

Looks    far    more    seductive    still   in   line. 

And    in    the    song   which   at    my   door   thou   dost 

sing 
Speaks    a    tongue    unfamiliar    yet    dulcet. 
Like  music   false   in  ring. 

Enter!      Perchance   a   cup   will   lend   thee   spirit. 
But  no,   thou  goest ; 

So  from  my  threshold  I  see  thee  depart 
With  a  graceful   sign  to  shew   thou'lt  not  tarry. 
And  with  hip  ever  so  lightly  bent 
By  a   step  as  of  a  girl  who's  weary. 


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Orchestra  PersonneJ 


cVPl 


First  Violins 

Paul  Gershman 
Philip  Frank 
Ladislaus  Steinhardt 
Lily  Matison 
Robert  Levine 
Marian  Head 


Second  Violins 

James  Bloom 
George  Pepper 
Henry  Siegl 
Frances  Wiener 
Jack  Kash 
Charles  Jaffe 


Violas 

Leon  Frengut 
Sam  Goldblum 
Leonard  Mogill 
PauU  Ferguson 


Violoncelli 

Frank  Miller 
Katherine  Conant 
Florence  Williams 
Samuel  Geschichter 


Basses 

Jack  Posell 
Irven  Whitenack 
Frank  Eney 

Harps 

William  Cameron 
Edna  Phillips 

Flutes 
Maurice  Sharp 
Ardelle  Hookins 

Piccolo 
George  Drexlcr 

Oboes 

Robert  Bloom 
Sidney  Divinsky 

English  Horn 
Robert  Hester 

Clarinets 
Robert  McGinnis 
James  CoUis 

Bassoons 

Frank  Ruggieri 
Ervin  Swenson 


Horns 

Theodore  Seder 
Harry  Berv 
Henry  Whitehead 
Sune  Johnson 

Trumpets 

John  Harmaala 
Clement    Schuler 

Trombones 

Guy  Boswell 
John  Coffey 
Gerald  Wocrner 

Tuba 

Oscar  Zimmerman 

Tympani 
Frank  Schwartz 

Battery 

Samuel  Krauss 
Salvatore  Perrone 
Frank  Sinatra 

Celesta 
Joseph  Levine 


The  above  orchestral  group  has  been  chosen  from  the 
members  of  The  Curtis  Orchestra,  which  is  com- 
posed   of    110   players. 


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Columbia  Borough  School  District 
High  School  Auditorium,  Columbl\,  Pennsylvania 

Monday  Evening,  T^ovemher  18,  1929,  at  8. IS  o'c]oc\ 


w 

The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*  Joseph  Levine,  Piano 
**  Josephine  Jirak,  Contralto 
***  Iso  Briselli,  Violin 

t  Theodore   Saidekberg,  Accompanist 

Programme 

I.     Claude  Debussy Claire  de  Lune 

NiCOL.JJ  Medtner Fairy  Tale  in  E  minor 

M.  DvoRSKY East  and  West 

Mr.  Levixe 

II.     LuDWiG  VAN  Beethoven In  Questa  Tomba  Oscura 

Johannes  Br.ahms Der  Schmied 

Erich  Wolff Faden 

fRuhe  Meine  Seele 
jueignung 
Miss  Jirak 


Richard  Strauss s  _ 


III.  Christlan  Sinding Suite,  Opus  10 

Tempo  Giusto 

Adagio 

Presto 

Mr.  Briselli 

IV.  FiL\N2  Liszt Mephisto  Valse 

Mr.  Levine 

V.     Richard  Hageman Do  Not  Go,  My  Love 

Robert  Clarke The  Blind  Ploughman 

Old  Irish  Air Danny  Boy 

(Arranged  by  Weatherly) 

Pe.\rl  Curr-an DauTi 

Miss  Jirak 

VI.      WaGNER-WiLHELM J  .  ..Walther's  Preislied  from  "Die  Meistersinger" 

PugnanI'Kreisler Praeludium  e  Allegro 

Mr.  Briselli 

*  Student  of  Mr.  Josef  Hofmann 
*•  Student  of  Madame  Marcella  Sembrich 
••*  Student  of  Mr.  Efrem  Zimbalist 

t  Student  of  Mr.  Harry  Kaufman  in  Accompanying 

The  Steinway  is  the  official   piano  of  The    Cvrtis  Institute   of  Music 


University  of  Delaware 
Wolf  Hall,  Newark,  Delaware 

Thursday  Evening,  TS^ouember  21,  1929,  at  8:00  o'cloc\ 


£S: 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*  Jeanne  Behrend,  Piano 
**  Arthur  Holmgren,  Baritone 
***  Judith  Poska,  Violin 

t  Theodore   Saidenberg  at  the  piano 

Programme 

I.     George  Frederick  Handel Harmonious  Blacksmith 

Claude  Debussy Soiree  en  Grenade 

Miss  Behrend 

II.     George  Frederick  Handel  .  . .  "Hear  Me,  Ye  Winds  and  Waves" 
P           ^  (  "O  Mistress  Mine" 

KOGER  (^uilter I  .gj^^^  gj^^^  r^^^^  Winter  Wind" 

Mr.  Holmgren 

III.  Max  Bruch Concerto  in  G  minor,  Opus  26 

Allegro  moderato 
Adagio 

Allegro  energico 
Miss  Poska 

TV      FRFDFRTr  Chopin  I  ^^^^"^^^  ^^  ^  sharp  minor,  Opus  28,  No.  8 

IV.  i-REDERlC  CHOPIN -j  ^^Y^etzo   in    B    flat   minor,  Opus  31 

Miss  Behrend 

V.     Thomas  Koeneman "When  the  King  Went  Forth  to  War" 

Old  English "Drink  to  Me  Only  With  Thine  Eyes" 

Negro  Spiritual "Git  on  Board,  Little  Chillen" 

(Arranged  by  James  Johnson) 

Mr.  Holmgren 

VI.    Alexandre  Glazounow From  the  Ballet  "Raymonda" 

Grand  Adagio 
Valse 

Franz  Ries La  Capricciosa 

Franz  Ernst Hungarian  Airs 

Miss  Poska 

•  Student  of  Mr.  Josef  Hofmann 

**  Student  of  Mr.  Horatio  Connell 

***  Student  of  Mme.  Lea  Luboshutz 

t  Student  of  Mr.  Harry  Kaufman  in  Accompanying 

The  Steinway  is  the  official  piano  of  The  Curtis  Institute  of  Music 

"iinllilMlll  ininillMirillll ' lilliin,niliiliiiMl|||||i|||h|||i!l;  ![  ■!l!::i''    !i;    ,il!,,l  :.,ir"lil'!i      I'l       '      il'illli    l[":':i;il'\''l'lliir :ii:":'i:!l!l!!l!llllllll!M5 


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George  School 

George  School,  Pennsylvania 
Saturday  Evening,  T^ovemher  23,  1929,  at  8.00  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST' STUDENTS 

*  M.\x  Aronoff,  Viola 
**  W'lLLL^M  Harms,  Piano 
***  Lois  Putlitz,  Violin 

t  Florence   Frantz,  Accompanist 

I.     Jeno  Hubay Morceau  de  Concert,  Opus  20 

Mr.  Aronoff 

II.    Felix  Mendelssohn Variations  Serieuses 

Mr.  Harms 

III.  Camille  S.\inT'S.\ens Havanaise 

Miss  Putlitz 

IV.  Sergei  Rachmaninoff Prelude  in  G  sharp  minor 

Abil\m  Chasins Three  Chinese  Pieces 

Shanghai  Tragedy 
Flirtation  in  a  Chinese  Garden 
Rush  Hour  in  Hong  Kong 
Mr.  H.\rms 

V.      AlEX.-\NDRE  GlaZOUNOV.  Grand  Adagio  from  the  Ballet  "Raymonda" 

ChopiN'Spalding Valse  in  G  flat,  Opus  70,  No.  l 

Pablo  de  Sarasate Introduction  and  Tarantella 

Miss  Putlitz 


*  Student  of  Mr.  Louis  Bailly 
•*  Student  of  Mr.  Abram  Chasins 
••*  Student  of  Mr.  Efrem  Zimbalist 

t  Student  of  Mr.  Harry  Kaufman  in  Accompanying 


The  Steinwat  is  the  official  piano  of  The   Curtis  Institute   oj  Music 


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Western  Maryland  College 

Westminster,  Maryland 
Monday  Evening,  T^ovemher  25,  J 929^  at  8  o'c\oc\ 


The  Curtis  Institute  of  Music 
artist-students 

*  Clarence  Reinert,  Bass-Baritone 
**  Paul  Gershman,  Violin 
***  Helen  Jepson,  Soprano 

t  Theodore  Saidenberg,  Accompanist 

PROGRAMME 

I.     Secchi "Lungi  Dal  Caro  Bene" 

Gl\como    Carissimi "Vittoria  mio   core" 

George  Frederick  Handel "Hear  Me,  Ye  Winds  and  Waves" 

Mr.  Reinert 

II.     Henri  Wieniawski Souvenir  de  Moscow 

Mr.  Gershman 

III.     Giacomo  Puccini "In  Quelle  Trine  Morbide" 

Fr.'lNCEsco   Cavalli "Donzelle   Fuggite" 

Pietro  a.  Tirindelli "Portami  Via" 

Miss  Jepson 

rv.     Wolfgang  Am.\deus  Mozart "Within  This  Sacred  Dwelling" 

Felix  Mendelssohn "I  am  a  Roamer  Bold" 

Richard  Wagner "Die  Frist  ist  um" 

Mr.  Reinert 

V.     Felix  Mendelssohn From  Concerto  in  E  minor.  Opus  64 

Andante 

Allegretto  non  troppo 
Allegro   molto  vivace 
Mr.  Gershman 

VI.     Henry  Hadley "My  True  Love  Hath  My  Heart" 

Franco    Leoni "Tally    Ho!" 

Old  Irish  Air "Would  God  Were  I  a  Tender  Apple  Blossom" 

(Arranged  by  Percy  Grainger) 

Richard  Hageman "At  the  Well" 

Miss  Jepson 

*  Student  in  Operatic  Acting 
*•  Student  of  Mr.  Eprem  Zimbalist 
•**  Student  of  Mr.  Horatio  Connell 

t  Student  of  Mr.  Harrt  Kaufman  in  Accompanying 

The  Steinw.\y  is  the  official  piano  of  The  Curtis  Institute  oj  Music 

illl  lillinillllllllllll|i|llllllllllllllillllllllHII!'        ,        :i' iLinMIIIIIUIIIHIII  inMiiiiii[ii'.iiiiiiiiihii:!!ii i;iii imi^.  iir;  'ir:!ii!"in;:wiM==== 


Westtown  School 

Westtown,  Pennsylvania 
Friday  Evening,  December  6,  1929,  at  7. IS  o'clock 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*  Paul  Gershman,  Violin 
**  Daniel  Healy,  Tenor 
***  Joseph  Levine,  Piano 

t  Theodore  Saidenberg,  Accompanist 

«^» 

PROGRAMME 

I.     Henri  Wieniawski Souvenir  de  Moscow 

Mr.  Gershman 

II.      Stefano  Donaudy Spirate,  pur  Spirate 

Carl  Bohm Calm  as  the  Night 

Mr.  Healy 

III.  Claude  Debussy Claire  de  Lune 

NicOLAi  Medtner Fairy  Tale,  in  E  minor 

M.   Dvorsky East  and  West 

Mr.  Levine 

IV.  Felix  Mendelssohn From  Concerto  in  E  minor,  Opus  64 

Andante 

Allegretto  non  troppo 
Allegro  molto  vivace 
Mr.  Gershman 

V.     Gaetano  Donizetti "Una  furtiva  Lagrima"  from  "L'Elisir  d'Amore" 

Arthur  Penn Sunrise  and  You 

Mr.  Healy 

VI.     Franz  Liszt Mephisto  Valse 

Mr.  Levine 


•  Student  of  Mr.  Efrem  Zimbalist 
**  Student  of  Mr.  Horatio  Connell 
***  Student  of  Mr.  Josep  Hofmann 

t  Student  of  Mr.  H.\rry  Kalpman  in  Accompanying 

The  Steinwat  is  the  official  piano  of  The  Clrtis  Institute  oj  Mlsic 


State  Teachers'  College 

auditorium 

East  Stroudsburg,  Pennsylvania 

Friday  Evening,  December  13,  1929,  at  8  o'doc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*  Martha  Halbwachs,  Piano 
**  Edna  Hochstetter,  Soprano 
***  C.\RMELA  Ippolito,  VioUn 
t  Soma  Hodge,  Piano 
j  Earl  Fox,  Accompanist 

PROGRAMME 

I.     Johannes  Brahms Capriccio  in  F  sharp  minor 

i:„ '^-„,„    r>„„„,^,  i  Etude  in  C  minor,  Opus  10,  No.  12 

Frederic   Chopin "^p^j-nu  •         r\        tcxt     x 

1,  Etude  in  \j  sharp  minor,  Upus  25,  No.  6 

Franz  Liszt Gnomenreigen 

Miss  Halbwachs 

II.     Leo  Delibes Regrets 

Paul  Vidal Ariette 

Benjamin  Godard <  /.     ?^*f 

I  Air  de  Leonora 

Peter  Iljitch  Tschaikowsky Toujours  a  Toi 

Miss  Hochstetter 

III.  JoHANN  Sebastian  Bach Adagio 

Jean   Senaille Allegro 

Christoph  Willibald  Gluck Melodie 

Wolfgang  Amadeus  Moz.\rt Rondo 

Miss  Ippolito 

IV.  Johannes  Brahms First  Movement  \rom  Concerto  in  B  flat  major 

Miss  Halbwachs 
(Orchestral  part  played  on  a  second  piano  by  Miss  Hodge) 

V.     Frederic  Chopin Lithuanian  Song 

Sergei  R.\chmaninoff Deep  in  Love  Was  I 

L.^NDON  Ron.\ld Life 

Liza  Lehmann The  Cuckoo 

Miss  Hochstetter 

VI.     Felix  Mendelssohn from.  Violin  Concerto  in  E  minor 

Andante 

Allegro  molto  vivace 
Miss  Ippolito 

*  Student  of  Mr.  Josep  Hofmann 
**  Student  of  M.\dame  Marcella  Sembrich 
***  Student  of  Mr.  Efrem  Zimbalist 

t  Student  of  MAD.^ME  Is.\belle  Vengerova 

%  Student  of  Mr.  H-arry  K.\ufman  in  Accompanying 

The  Steinwat  is  the  official  piano  of  The  Curtis  Institlte  of  Misic 


i||ll!M!.Hi    -i    M'.    .H'i"    l.liH 


Cedar  Crest  College  for  Women 

Allentown,  Pennsylvania 
Saturday  Evening,  December  14,  1929,  at  8  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*  Martha  Halbwachs,  Piano 
**  Edna  Hochstetter,  Soprano 
***  Carmela  Ippolito,  Violin 
t  SoNiA  Hodge,  Piano 
j  Earl  Fox,  Accompanist 

<^^ 

PROGRAMME 

I.     Johannes  Brahms Capriccio  in  F  sharp  minor 

„    .    ,         ^  i  Etude  in  C  minor,  Opus  10,  No.  12 

Frederic   Chopin |  ^^^^^  ^^  ^  ^^^^p  ^^^^^^  Qp^^  25,  No.  6 

Franz  Liszt Gnomenreigen 

Miss  Halbwachs 

II.     Leo   Delibes Regrets 

Paul  Vidal Ariette 

Benjamin  Godard [  ^^^  de  Yeonora 

Peter  Iljitch  Tschaikowsky Toujours  a  Toi 

Mss  Hochstetter 

III.  JoHANN  Sebastian  Bach Adagio 

Jean   Senaille Allegro 

Christoph  Willibald  Cluck Melodic 

Wolfgang  Amadeus  Mozart Rondo 

Mss  Ippolito 

IV.  Johannes  Brahms First  Movement  from  Concerto  in  B  flat  major 

Miss  Halbwachs 
(Orchestral  part  played  on  a  second  piano  by  Mss  Hodge) 

V.     Frederic  Chopin Lithuanian  Song 

Sergei  Rachmaninoff Deep  in  Love  Was  I 

Landon  Ronald Life 

Liza  Lehmann The  Cuckoo 

Mss  Hochstetter 

VI.     Felix  Mendelssohn From  Violin  Concerto  in  E  minor 

Andante 

Allegro  molto  vivace 
Miss  Ippolito 

*  Student  of  Mr.  Josep  Hofmann 
**  Student  of  Madame  MUrcella  Sembrich 
***  Student  of  Mr.  Efrem  Zimbalist 

t  Student  of  Madame  Isabelle  Vengerova 

J  Student  of  Mr.  H-^rrv  Kaufman  in  Accompanying 

The  Steinway  is  the  official  piano  of  The  Cl-rtis  Institlte  oj  Music 


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The  Contemporary  Club 

Trenton,  New  Jersey 

Thursday  Evening,  January  9,  1930,  at  8.30  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*Tatiana  Sanzewitch,  Piano 
**Arthur  Holmgren,  Bass-baritone 
***Paul  Gershman,  Violin 

tJoSEPH  Rubaxoff,  Accompanist 

«^» 

PROGRAMME 

I.     Johann  Sebastian  Bach Chromatic  Phantasy  and  Fugue 

Frederic  Chopin Etude  in  C  minor,  Opus  25,  No.  12 

Miss  Sanzewitch 

II.      Secchi Lungi  Dal  Caro  Bene 

Johannes  Brahms Auf  Dem  Schiffe 

Franz   Schubert Der  Wanderer 

Roger  Quilter Blow,  Blow,  Thou  Winter  Wind 

Mr.  Holmgren 

III.  Camille  Saint-Saens Havanaise 

Henri  Wieniawski Souvenir  de  Moscow 

Mr.  Gershman 

IV.  Frederic  Chopin Nocturne  in  F  sharp  major,  Opus  15,  No.  2 

Franz  Liszt Mephisto  Valse 

Miss  Sanzewitch 

V.     Thomas  Koeneman When  the  King  Went  Forth  to  War 

Negro  Spirituals J  De  Gospel  Train 

(Arranged  by  Henry  Burleigh)  I  Deep  River 

Modeste  Moussorgsky The  Siege  of  Kazan 

Mr.  Holmgren 

•Student  of  Mr.  Josep  Hofmavn 

**Student  of  Mr.  Hor.'\tio  Conn  ell 

•**Student  of  Mr.  Efrem  Zimbalist 

tStudent  of  Mr.  Harry  K.m;pman   in  Accompanying 

The  Steinway  is  the  official  piano  of  The  Curtis  Institute  oj  Music 


^1 


The  Hill  School 
memorl\l  auditorium 

PoTTSTOWN,  Pennsylvania 
Sunday  Evening,  January  12,  1930,  at  7:30  o'doc\ 


The  Curtis  Institute  of  Music 
artist-students 

*  Florenxe  Fraktz,  Piano 
**  George  Pepper,  Violin 
***  Max  Aronoff,  Viola 

t  Theodore  S.\idenberg,  Accompanist 

«^» 

PROGRAlvlME 

I.  Frederic  Chopin Ballade  in  F  minor,  Opus  52 

Miss  Frantz 

II.  Ernest  Bloch "Nigun"  from  Suite — "Baal  Shem" 

Mr.  Pepper 

III.  Jeno  Hubay Morceau  de  Concert,  Opus  20 

Mr.  Aronoff 

IV.  Strauss — Schulz-Evler.  .  .Concert  Arabesques  on  the  Blue  Danube  Waltz 

Miss  Frantz 

V.  Peter  I.  Tschaikowsky Danse  Arabe 

Johannes  Brahms Hungarian  Dance 

Mr.  Pepper 

*  Student  of  Mad.ame  Isabelle  Vexgerova 
•*  Student  of  Professor  Leopold  Aler 
•**  Student  of  Mr.  Louis  Baillt 

t  Student  of  Mr.  Harry  Kaufman  in  Accompanying 

The  Steinumt  is  the  official  piano  of  The  Curtis  Institute  of  Music 


Auspices  of  Crescendo  Club 

Vernon  Room— K^ddon  Hall 
Atlantic  City,  New  Jersey 

'Wednesday  Evening,  ]amia/ry  22,  1930,  at  8.30  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

f  The  Swasti\a  Quartet 
Gama  Gilbert         1...  ,.  Max  Aronoff,  Viola 

Benjamin  Sharlip  j  Orlando  Cole,  Violoncello 

Assisted  by 

*  Leon  Frengut,  Viola  **  Joseph  Levine,  Piano 

***  Edna  Phillips,  Harp 

PROGRAMME 

I.     Wolfgang  Amadeus  Mozart String  Quintet  in  C  minor,  Kochel 

No.  406 
Allegro 
Andante 

Menuetto   in   canone 
Allegro 
Swastika  Quartet  and  Mr.  Frengut 

n.     Jean-Philippe  Rameau Gavotte  from  "The  Temple  of  Glory" 

(1683-1764) 

Karl  Philipp  Emanuel  Bach Solfeggietto 

(1714-1788) 

i  Mirage 
Carlos  Salzedo J  Introspection 

Miss  Phillips  ^  Whirlwind 

III.     Robert  Schumann Piano  Quintet  in  E  flat  major,  Opus  44 

Allegro  brillante 

In  modo  d'una  marcia  (Un  poco  largamente) 

Scherzo,  molto  vivace 

Allegro  ma  non  troppo 

Swastika  Quartet  and  Mr.  Levine 

*  Student  of  Mr.  Louis  Bailly 
**  Student  of  Mr.  Josef  Hofmann 
•**  Student  of  Mr.  Carlos  Salzedo 

t  Students  of  Mr.  Bailly  in  Chamber  Music 

The  Steinway  is  the  official  piano  of  The  Curtis  Institltf,  of  Music 

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Marywood  College 

SciL'\NTON,  Pennsylvania 
Thursday  Evening,  January  ?>0,  1930,  at  8.00  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*  William  Harms,  Pianist 
**  Florence  Irons,  Soprano 
***  Ladislaus  Steinhardt,  Violinist 
t  Earl  Fox,  Accompanist 

PROGRAMME 

I.     Felix  Mendelssohn Variations   Serieuses 

Mr.  Harms 

II.     Frederic  Chopin Lithuanian  Song 

Alexander  Gretchaninoff Over  the  Steppe 

Charles  Gilbert  Spross Will  o'  the  Wisp 

Miss  Irons 

III.  CorellI'Kreisler La   Folia 

Mr.   Steinhardt 

IV.  Frederic  Chopin Nocturne  in  C  sharp  minor,  Opus 

27,  No.   1 

Strauss- — Schulz-Evler Concert  Arabesques  on  the  Blue 

Danube  Waltz 
Mr.  Harms 

V.     Maurice  Besly Three  Little  Fairy  Songs 

Landon  Ronald Away  on  the  Hill 

Charles  Willeby Coming  Home 

Richard  Kountz The    Sleigh 

Miss  Irons 

VI.     Ponce-Heifetz Estrellita    (Mexican    Serenade) 

Henri  Wieniawski Souvenir  de  Moscow 

Jeno    Hubay Zephir 

Mr.  Steinhardt 

*  Student  of  Mr.  Abram  Chasins 

**  Student  of  Mr.  Horatio  Connell 

***  Student  of  Mr.  Edwin  Bachmann 

t  Student  of  Mr.  Harry  Kaufman  in  Accompanying 

The  Steinway  is  the  official  piano  of  The  Curtis  Institute  o/  Music 


State  Teachers  College 

the  auditorium 
East  Stroudsburg,  Pennsylvania 

Friday  Evening,  January  Zl,  1930,  at  8:00  o'c\oc\ 


The  Curtis  Institute  oj  Music 

ARTIST-STUDENTS 

*WiLLiAM  Harms,  Fianist 
**Florence  Irons,  Soprano 
***Ladislaus  Steinhardt,  Violinist 
fEARL  Fox,  Accompanist 

PROGRAMME 

I.     JoHANN  Sebastian  Bach Chaconne 

Mr.  Harms 

II.     Frederic  Chopin Lithuanian  Song 

Alexander  Gretchaninoff Over  the  Steppe 

Charles  Gilbert  Spross Will  o'  the  Wisp 

Miss  Irons 

III.  CorellI'Kreisler La  Folia 

Mr.  Steinhardt 

IV.  Abram  Chasins /  Fhrtation  in  a  Chinese  Garden 

\  Rush  Hour  in  Hong  Kong 

Strauss — Schulz-Evler Concert  Arabesques  on  the  Blue 

Danube  Waltz 
Mr,  Harms 

V.     Maurice  Besly Three  Little  Fairy  Songs 

Landon  Ronald Away  on  the  Hill 

Charles  Willeby Coming  Home 

Richard  Kountz The  Sleigh 

Miss  Irons 

VI.     Ponce-Heifetz Estrellita  (Mexican  Serenade) 

Henri  Wieniawski Souvenir  de  Moscow 

Jeno   Hubay Zephir 

Mr.  Steinhardt 

*Student  of  Mr.   Abram  Chasins 

**Student  of  Mr.  Horatio  Connell 

***Student  of  Mr.  Edwin  Bachmann 

tStudent  of  Mr.   Harry  Kaufman   in  Accompanying 

The  Steinwat  is  the  official  piano  of  The  Curtis  Institute  o/  Music 

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The  Hill  School 

memorial  auditorium 
PoTTSTOWN,  Pennsylvania 

Sunday  Evening,  February  2,  1930,  at  7.30  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*  Edna  Phillips,  Harpist 
**  Conrad  Thibault,  Baritone 
***  Philip  Frank,  Violinist 

t  Yvonne  Krinsky,  Accompanist 

PROGRAMME 

I.     JOHANN  Sebastian  Bach Bourree 

Karl  Philipp  Emanuel  Bach  .  . Solfeggietto 

Josef  Haydn Theme  and  Variations 

JeaN'Philippe  Rameau Gavotte  from  "Le  Temple  de  la 

Gloire" 
Miss  Phillips 


-,•,      ^            ^       ^                r.  f  The  Happy  Love 

II.     Three  Old  English  Songs J  y^^  Lovely  Celia 

(Arranged  by  Lane  Wilson)  (  The  Pretty  Great 


Mr.  Thibault 


III.  Fritz  Kreisler La  Gitana 

Henri  Wieniawski Scherzo-Tarantelle 

Mr.  Frank 

IV.  Carlos  Salzedo J  intrSpection 

Miss  Phillips  (  Whirlwind 

V.     Josephine  McGill Duna 

Edward  German Charming  Chloe 

Deems  Taylor Captain  Stratton's  Fancy 

Mr.  Thibault 

VI.     Pablo  de  Sarasate Gypsy  Airs 

Mr.  Frank 


•  Student  of  Mr.  Carlos  Salzedo 
**  Student  of  Mr.  Emilio  de  Gogorza 
***  Student  of  Mr.  Efrem  Zimbalist 

t  Student  of  Mr.  Harry  Kaufman  in  Accompanying 

The  Steinway  is  the  official  piano  of  The  Curtis  Institute  o/  Music 


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Haddon  Fortnightly  Club 

Artisans'  K\ll 

Haddonfield,  New  Jersey 

Wednesday  Evening,  February  S,  1930,  at  8.30  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*  Selma  Amansky,  Soprano 
**■  Beniamino  Grobani,  Baritone 
***  Martha  Halbwachs,   Pianist 
t  Sonia  Hodge,  Pianist 
ft  Earl  Fox,  Accompanist 

PROGRAMME 

I.     Wolfgang  Amadeus  Mozart "La  ci  darem  la  Mano" 

from  "Don  Giovanni" 
Miss  Amansky  and  Mr.  Grobani 

II.     Pietro  Cimara Non  Piu 

_           ,  ,  f  Neue  Liebe 

Felix  Mendelssohn \  Hexenlied 

Peter  Iljitcsh  Tschaikowsky Deception 

Frank  La  Forge To  a  Messenger 

Charles  Gounod "Jewel  Song"  from  "Faust" 

Miss  Amansky 

III.  Johannes  Brahms O,  wusst'  ich  doch  den  Weg  zuriick 

Robert  Schumann Wanderlied 

Edward  Horsman The  Shepherdess 

!  Death  and  the  Peasant  (Sung 
in  Russian) 
"Varlaam's  Air"  from  "Boris 
Godounoff" 
Mr.  Grobani 

IV.  Johannes  Brahms Piano  Concerto,  No.  2,  in  B  flat 

Major,  Opus  83 
Allegro  non  troppo 
Allegro  appassionato 
Andante 

Allegretto  grazioso 
Miss  Halbwachs 
(Orchestral  part  played  on  a  second  piano  by  Miss  Hodge) 

*  Student  of  Miss  Harriet  van  Emden 
**  Student  of  Mr.  Emilio  de  Gogorza 
***  Student  of  Mr.  Josef  Hofmann 

t  Student  of  Madaxie  Isabelle  Vengerova 
tt  Student  of  Mr.  Harry  Kaufman  in  Accompanying 

The  Steinwat  is  the  official  piano  of  The   Curtis  Institute  of  Music 


State  Teachers'  College 

West  Chester,  Pennsylvania 

Thursday  Evening,  February  6,  1930,  at  8  o'clock^ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*  Florence  Frantz,  Pianist 
**  Henriette  Horle,  Soprano 
***  Judith  Poska,  Violinist 
t  Earl  Fox,  Accompanist 

Theodore  Si:-idenberg,   Accompanist 

PROGRAMME 

I.     Frederic  Chopin /  Prelude  in  B  flat,  Opus  28,  No.  21 

\  Ballade  in  F  minor.  Opus  52 
Miss  Frantz 

II.      Stefano  Donaudy Spirate,  pur  Spirate 

Fritz  Kreisler The  Old  Refrain 

Francesco  Verdi "Ah,  fors'  e  lui"  from  "La 

Traviata" 
Miss  Horle 

III.  Bach-Kreisler Preludium  in  E  major 

WagneR'Wilhelmj "Preislied"  from  "Die  Meistersinger" 

Saint- Saens — Ysaye Valse- Caprice 

Miss  Poska 

IV.  Glinka-Balakirew The  Lark 

Strauss — Schulz-Evler Concert  Arabesques  on  the  Blue  Danube 

Waltz 
Miss  Frantz 

V.     Thomas  Brown Shepherd,  Thy  Demeanor  Vary 

Werner  Josten The  Wind  Flowers 

Anton  Dvorak Songs  My  Mother  Taught  Me 

Richard  Strauss Voci  di  Primavera 

Miss  Horle 

VI.     Fritz  Kreisler Caprice  Viennoise 

Henri  Wieniawski Scherzo-Tarantelle 

Miss  Poska 


*  Student  of  Madaxie  Isabelle  Vengerova 
**  Student  of  Madame  Marcella  Sembrich 
***  Student  of  Madame  Lea  Luboshutz 

t  Student  of  Mr.  Harry  Kaufman  in  Accompanying 

The  Steinw.w  is  the  oflScial  piano  of  The   Curtis  Institute  of  Music 

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Dorset  Players — incorporated 

Dorset,  Vermont 

Saturday  Evening,  February  15,  J 930,  at  8.00  o'doc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

♦Florence  Fraxtz,  Pianist 
**LOIS   PUTLITZ,  \''ioIiTiist 


*^^ 


PROGRAMME 

I.      Ces.«lR  Franck Sonata  in  A  major,  for  Violin  and  Piano 

Allegretto  ben   moderate 
Allegro 

Recitative — Fantasia 
Allegretto  poco  mosso 
Miss  Putlitz  and  Miss  Frantz 

INTERMISSION 

„       ^    ,    ,         ^  f  Prelude  in  B  flat,  Opus  28,  No.  21 

II.     Frederic  Chopin ^^  B^^d^  ^^  p  ^„„,^  Qpus  52 

Miss  Frantz 

III.  Camille  Saint-Saens Havanaise 

Miss  Putlitz 

IV.  Glixka-Balakirew The  Lark 

Strauss — Schulz-Evler.  .Concert  Arabesques  on  the  Blue  Danube  Waltz 

Miss  Frantz 

V.      WagneR'Wilhelm J "Preislied"  from  "Die  Meistersinger" 

PoncE'Heifetz Estrellita  (Mexican  Serenade) 

Pablo  de  Sarasate Introduction  et  Tarantelle 

Miss  Putlitz 


•Student  of  Mad.ime   Isabelle   Vekgerova   in   Piano  and  of  Mr.   H\rry    Kaipman 
in   Accompanying 

••Student  of  Mr..   Efrem  Zimbalist 


^^ 


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NoRRisTOWN  Octave  Club 
Y.  W.  C.  A.  Hall 

NoRRiSTOWN,  Pennsylvania 

"Wednesday  Afternoon,  February  19,  1930,  at  2.30  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*Agnes  Davis,  Soprano 
**Sara  Newell,  Accompanist 

***Casimir  Quartet 
Leonid  BoLOTiNELy^.  ,.  Leon  Frengut,  Viola 

Paul  GershmanJ     '° '"^  Tibor  de  Machula,  Vioionceno 

PROGRAMME 

I.     Claude  Debussy "Beau   Soir" 

Georges  Hue "J'ai  pleure  en  reve" 

Georges  Bizet "Je  dis  que  rien  ne  m'epouvante" 

from  "Carmen" 
Miss  Davis 

II.     LuDWiG  VAN  Beethoven String  Quartet  in  F  major,  Opus  18,  No.  1 

Allegro  con  brio 

Adagio  aiTettuoso  ed  appassionato 

Scherzo — Allegro  molto 

Allegro 

Casimir  Quartet 

III.  Roger  Quieter Go  Lovely  Rose 

Sergei  Rachmaninoff The  Soldier's  Bride 

Edward  Horsman The  Bird  of  the  Wilderness 

Miss  Davis 

IV.  Peter  Iljitsch  Tschaikowsky String  Quartet  in  D  major.  Opus  11 

Moderato  e  semplice 

Andante  cantabile 

Scherzo — Allegro  non  tanto  e  con  fuoco 

Finale — Allegro  giusto 

Casimir  Quartet 


*Student  of  Mr.  Emilio  de  Gogorza 
**Student  of  Mr.  Harry  Kaufman   in  Accompanying 
***Students  of  Mr.  Louis  Bailly  in  Chamber  Music 

The  Steinway  is  the  official  piano  of  The  Ci^rtis  Institute  of  Music 

Illllllllll'IIIIIIIIIIIUIIIIIIIIIIIIIIIIIIIIIIIIIinil I I lllllllllllll iTiliilililllllllllll iiiiiniiinilllllllllllllllllll lllllllllllllllllllllllll llllliilniiiij 


University  of  Delaware 

wolf  hall 

Newark,  Delaware 

Auspices:  7^ewar\  Music  Society 
Thursday  Evening,  February  20,  1930  at  8:00  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*Celia  Gomberg,  Violinist 
**Clarence  Reinert,  Baritone 
***Florence  Frantz,  Pianist 

tJoSEPH  RuBANOFF,  Accompanist 

PROGRAMME 

I.     DvoraK'Kreisler Slavonic  Dance  in  G  minor 

Henri  Wieniawski Romance  from  Concerto  in  D  minor 

Christian  Sinding Presto  from  Suite  in  A  minor,  Opus  10 

Miss  Gomberg 

II.     LuDwiG  VAN  Beethoven In  Questa  Tomba  Oscura 

Wolfgang  Amadeus  Mozart Within  this  Sacred  Dwelling 

Charles  Gounod The  Smithy  Song 

Mr.   Reinert 

III.  Frederic  Chopin /  Prelude  in  B  flat.  Opus  28,  No.  21 

I  Ballade  in  F  minor.  Opus  52 
Miss  Frantz 

IV.  Ponce-Heifetz Estrellita   (Mexican   Serenade) 

Fritz  Kreisler La  Gitana  (Arabo-Spanish  Gipsy  Song) 

Godowsky-Press Waltz    (Old  Vienna) 

PugnanI'Kreisler Praeludium   and   Allegro 

Miss  Gomberg 

V.     Frances  Allitsen The  Lute  Player 

Felix  Mendelssohn I  am  a  Roamer  Bold 

Walter  Damrosch Danny  Deever 

Mr.   Reinert 

VI.     GlinkA'Balakirew The    Lark 

Strauss — Schulz-Evler.  .Concert  Arabesques  on  the  Blue  Danube  Walts 
Miss  Frantz 

*Student  of  Madame  Lea  Luboshuti 
**Student   in  Operatic  Acting 
***Student  of  Madame    Isabelle   Vengerova 

tStudent  of  Mr.    Harry    Kaufman    in  Accompanying 

The  Steinway  is  the  official  piano  of  The  Curtis  Institute  oj  Music 

Jiiuiiin]iiMi|i|||||||||||||||||||||||||||||||||||||||||||i||||i|||||||||[||||||||||||||||||||iiiiiiMinniiiiiiiiMiHnniMniMiiiiiiiiiiiiiiiinijiiiiiiiiiiiiniiiiiiiiiiiii]iMiM mmiiriinii 


University  of  Delaware 

wolf  hall 
Newark,  Delaware 

Auspices;  7^ewar\  Music  Society 
Thursday  Evening,  March  20,  1930  at  8.00  o'doc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*Tatiana  de  Sanzewitch,  Pianist 
**Daniel  Healy,  Tenor 
***George  Pepper,  Violinist 

fTHEODORE  Saidenberg,  Accompanist 

*^ 

PROGRAMME 

I.     JoHANN  Sebastian  Bach Fantasy,  Fugue  and  Toccata  in  D  major 

Josef   Hofmann Berceuse 

Isaac   Albeniz Seguidilla 

Miss  Sanzewitch 

II.      Stefano  Donaudy O  Del  Mio  Amato  Ben 

Old  French Bergere  Legere 

Franz  Schubert Serenade 

Johannes  Brahms Roslein   Dreie 

Mr.   Healy 

III.  Ernest  Bloch "Nigun"  from  Suite  "Baal  Shem" 

E.  Gresser Chassidic  Dance 

Mr.   Pepper 

IV.  Frederic  Chopin Nocturne  in  F  sharp  major,  Opus  15,  No.  2 

Franz  Liszt Mephisto  Valse 

Miss  San:;ewitch 

WiendelSSOhn  /Recitative:  "Ye  People  Rend  "J  ^         ..t^, 

V.      Geurub  rKHUEKKrHATTOFi.  \      Your  Hearts"  l^'"°V'-  u- 

(.Aria:  "If  With  All  Your  Hearts" j      ^^'^^^ 
Arthur  Sullivan O,  Mistress  Mine 

Roger  Quilter Im°  ^'kT     tk       w  ^      w  ^ 

(blow,   Blow,    Ihou    Winter   Wind 

Mr.   Healy 

VI.      Wagner- Auer Lohengrin's   Farewell    from   "Lohengrin" 

Brahms-Kreisler Hungarian  Dance,  No.   17 

Mr.   Pepper 

*Studcnt  of  Mr.   Josef   Hofm.'^nn 

**Student  of  Mr.   Hor.atio   Connell 

***Student  of  Professor    Leopold    Aier 

fStudent  of  Mr.  Harry   K.'vufm.-xn    in  Accompanying 

The   Steinway   is   the   official   piano  of  The   Curtis   Institute    oj   Music 

«■  <i 

•  I'liiiiiiii iiii»iiiin||i|ii|||ii,j|illlinil]u;lll[llllllllllllllli;lllllilllll'lllllllllli:illlliHllililllliiiinniiiiijiniiiiiiiiiiiiniiiini in i  ii i ii iiiiiiimiiiii  j 


State  Teachers'  College 

West  Chester,  Pennsylvania 
Thursday  Evening,  March  27,  1930,  at  8:00  o'c\oc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*RoBERT  Cato,  Organist 
**Florence  Irons,  Soprano 
***Philip  Frank,  Violinist 
fEARL  Fox,  Accompanist 


Assisted  by  Chamber  Orchestra 

I 

f  Oboes 


Philip  Frank   )  w.  ,.  Jack   Posell,   Double   Bass 

James   Bloom     (      '"  ""  Ervin    Swenson,    Bassoon 

Leon    Frengut,    Viola  Robert   Bloom 

Frank    Miller,    Violoncello  Robert    Hester 

Conducted  by  Sylvan  Levin 


PROGRAMME 

I.     Charles-Marie  Widor Allegro  from  Sixth  Symphony 

Johannes  Brahms Chorale  Prelude:  "A  Rose 

breaks  into  Bloom" 

Paul  de  Maleingreau "The  Tumult  in  the  Praetorium"  from 

"Symphonie  de  la  Passion" 

JoHANN  Sebastian  Bach Fugue  in  D  major 

Mr.   Cato 

II.     Wolfgang  Amadeus  Mozart "Deh  Vieni,  Non  Tardar"  from 

"Le  Nozze  di  Figaro" 

Johannes  Brahms J  Botschaft 

Miss  Irons  (Von  Ewiger  Liebe 

III.  Pablo  de  Sarasate j  Romance  Andalusia 

Mr.   Frank  1  Introduction   and   Tarantelle 

IV.  Alexandre  Gretchaninoff Over  the  Steppe 

Sergei  Rachmaninoff The  Floods  of  Spring 

Frederic  Chopin Lithuanian   Song 

Charles  Gilbert  Spross Will  o'  the  Wisp 

Miss  Irons 

V.     George  Frederic  Handel Concerto,  No.  5,  in  F  major,  for 

Organ,    with    accompaniment 
played  by  Chamber  Orchestra 
Larghetto — Allegro 
Alia  Siciliana — Presto 
Mr.  Cato 

*Student  of  Mr.  Lynnwood  Farnam 

**Student  of  Mr.  Horatio    Connell 

***Student  of  Mr.  Eprem    Zimbalist 

fStudent  of  Mr.  Harry    Kaufman    in    Accompanying 

The  Steinwav   is  the  official  piano  of  The   Curtis   Institute   of  Music 


¥B 


COATESVILLE  CeNTURY  ClUB 

HIGH  SCHOOL  AUDITORIUM 

COATESVILLE,   PeNNSYLVANL^ 

Monday  Evening,  April  14,  J 930  at  8:00  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*Jeanne  Behrend,  Pianist 
**FlORENZO  Tasso,  Tenor 
***Iso  Briselli,  Violinist 

tJoSEPH  RuBANOFF,  Accompanist 

PROGRAMME 

I.     George  Frederick  Handel Harmonious  Blacksmith 

Maurice  Ravel Jeux  d'Eau  (The  Fountain) 

Miss  Behrend 

II.     Francesco  Tosti Vorrei 

Ruggiero  Leoncavallo "Vesti  la  Giubba"  from  "PagHacci" 

Tito  Mattei Non  e  Ver 

Mr.  Tasso 

III.  TartinI'Kreisler Fugue  in  A  major 

Christian  Sinding Adagio  and  Presto  from 

Suite  in  A  minor 
Mr.  Briselli 

IV.  Frederic  Chopin f  Fantaisie-Impromptu,  Opus  66 

j  Scherzo  in  B  flat  minor.  Opus  31 

Miss  Behrend 

V.     Ottorino    Respighi Nebbie 

GiACOMO  Puccini "E  lucevan  le  stelle"  from  "Tosca" 

Pietro  Cimara Stornello 

Mr.  Tasso 

VI.     Wagner- WiLHELM J "Wakher's   PreisHed"   from    "Die 

Meistersinger" 

Tor   Aulin Humoresque 

Cartier-Kreisler La   Chasse 

Mr.  Briselli 

•Student  of  Mr.  Josep  Hofmann 
**Student  of  Mr.   Emilio  de   Gogorza 
•**Student  of  Mr.   Eprem   Zimbalist 

fStudent  of  Mr.  Harry    Kaufm.\n    in   Accompanying 

The  Steinway   is  the  official  piano  of  The   Curtis   Institute   of  Music 


The  Salon  Music  Club 

strand  theatre 

Lambertville,  New  Jersey 

Thursday  Evening,  May  1,  1930,  at  8. J  5  o'cloc\ 


The  Curtis  Institute  of  Music 

ARTIST-STUDENTS 

*The  Swasti\a  Sluartet 

Gama  Gilbert         "I  Max  Aronoff,  Viola 

Benjamin  Sharlip  )     '°  '"*  Orlando  Cole,  Violoncello 

**J0SEPHINE   Jirak,   Contralto 

***Leonard  Cassini,  Pianist 

fSARA   Newell,   Accompanist 

PROGRAMME 

I.     Wolfgang  Amadeus  Mozart Quartet  in  D  minor,  Kochel  No.  421 

Allegro  moderato 

Andante 

Menuetto — Allegretto 

Allegretto  ma  non  troppo 

The  Swastika  Quartet 

II.     Richard  Strauss Ruhe,  Meine  Seele! 

Robert  Schumann Widmung 

Erich  Wolff Faden 

Richard  Wagner.  . .  "Erda's  Warnung  an  Wotan"  from  "Das  Rheingold  " 

Franz    Schubert Gruppe  aus  dem  Tartarus 

Miss  Jirak 

III.  Frederic  Chopin Scherzo  in  B  minor.  Opus  20 

Franz  Liszt Tarantella — "Venezia  e  Napoli" 

Mr.  Cassini 

IV.  Robert   Clarke The   BHnd   Ploughman 

Old    Irish    Air Danny    Boy 

(Arranged  by  Weatherly) 

Pearl  Curran Dawn 

Miss  Jirak 

V.     Charles  T.  Griffes Two  Sketches  for  String  Quartet, 

based  on  Indian  Themes 
I.  Lento  e  mesto  (Farewell  Song 

of  the  Chippewa  Indians) 
II.  Allegro  giocoso 
The  Swastika  Quartet 

'Students  of  Mr.  Loi'is  Baillv  in  Chamber  Music 
•*Student  of  Madame  Marcell.\  Sembrich 
***Student  of  Mr.   Josef   Hopmann 

•j-Student   of   Mr.    Harry   K.\ufman    in   Accompanying 

The  Steinwav  is  the  official  piano  of  The  Curtis  Institute  of  Music 


AMhKlUAN    AUAUUMI    o]    MUML. 


GRAND  OPERA  —  SEASON    1929-1930 
WEDNESDAY  EVENING,  OCTOBER  23rd,   AT  8  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

WILUAM  C.  HAMMER,  General  Manager 

CARMEN 

OPERA    IN    FOUR    ACTS 

Text  by  Henri  Meilhac  and  Ludovic  Halevy,  From  the  Story  by  Prosper  Merimee 

(In    French) 

Music  by  Georges  Bizet 

DON   JOSE    RALPH    ERROLLE 

ESCAMILLO    CHIEF    CAUPOLICAN 

DANCAIRO   BENIAMINO  GROBANI 

REMENDADO   ALBERT  MAHLER 

ZUNIGA    IVAN    STESCHENKO 

MORALES    ALBERT    MAHLER 

MICAELA    CHARLOTTE    SYMONS 

FRASQUITA  HELEN  JEPSON 

MERCEDES ROSE    B AMPTON 

CARMEN    SOPHIE   BRASLAU 

Time— 1820.  Place— Seville.    Spain. 

Incidental   D.ince  in  Act  II  by  Catherine  Little6eld,   Premiere  Danseuse,  anJ  Misses  lannone,  Gamson  and  Schoenberg 

BALLET   IN    ACT   IV 

I.   Entr'acte    Dorothy   Littlefield,   Thomas   Cannon   and   Group 

II.   Menuet    Catherine   Littlefield,   Premiere   Danseuse;   Virgil  Coiidy  and   William   Dollar 

III.    Farandole    Entire    Corps   de    Ballet 

Conductor   EMIL  MLYNARSKI 

Stage  Director WILHELM  VON  WYMETAL,  JR. 

SYNOPSIS  OF  SCENES 
ACT       I — Public    Square    in    Seville 
ACT     II— The   Inn  of  LiUas  Pastia 
ACT  III— A    Mountain    Pass 
ACT  IV— Before   the  Bull  Ring   in   Seville 


HONORARY  MUSICAL  DIRECTOR    LEOPOLD   STOKOWSKI 

DIRECTOR   MRS.   WM.   C.    HAMMER 

MUSICAL  DIRECTOR  AND  CONDUCTOR    EMIL   MLYNARSKI 

STAGE   DIRECTOR    WILHELM  VON   WYMETAL.   Jr. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN    LEVIN 

ASSISTANT   STAGE   MANAGER CHARLES   DEMAREST 

BALLET  DIRECTOR    CAROLINE    LITTLEFIELD 

PREMIERE  DANSEUSE   CATHERINE   LITTLEFIELD 

ORCHESTRA  MANAGER    ALEXANDER   HILSBERG 

PUBLICITY    MARGARET   M.    WALTON 


Scenery    Designed    by    Prof.    Alfred    Roller,    Vienna,    and    Executed    by    A.    Jarin    Studios,    Philadelphia. 

Miss  Braslau's   costumes  designed  and  executed  by   Faina   Mindell.   New  York. 

Costumes   and    Wigs    by    Charles    Saake,    1212-1214    North    Tenth    Street 

The  Piano  Used  is  the  Henry  F.  Miller — C.  J.   Heppe  is'  Son,  Agents,    1 1 19  Chestnut  Street. 

NEXT  OPERA 

.    LE  JONGLEUR  DE  NOTRE  DAME 

(In   French) 

THURSDAY  EVENING,  OCTOBER  31,  1929,  AT  EIGHT 

With    the    following    brilliant    cast    of    lyric    artists.       Miss    Mary     Garden,     Miss    Sally    Gibbs;     Messrs.     Chief 
Caupolican,    Ivan    Steschenko,    John    Barclay,    Albert    Mahler,    Beniamino    Grobani,    Arthur    Holmgren. 

Conductor— EMIL   MLYNARSKI 
Stage   Director— WILHELM  VON   WYMETAL,   JR. 
New    scenery    and    lighting   effects    designed   by    Prof.    Alfred    Roller    and    executed    by    A.    Jarin    Scenic    Studio.s. 
Philadelphia. 


NO  ADVANCE  IN  PRICES— ^J.50  to  50c.     Tax  exempt.     Ar  Heppe's,   1119  Chestnut  Street,  and  Philadelphia 
Grand  Opera  Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets.     (Telephone,  Rittenhouse  3981). 


AMERICAN  ACADEMY  of  MUSIC 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 
1929 — Season — 1930 

(Subject  to  Change) 


CARMEN   (In  French)— Wednesday  Evening,  October  23,   1929 

LE  JONGLEUR  DE  NOTRE  DAME   (In  French)— Thursday  Evening, 

October  31,  1929 
MADAMA  BUTTERFLY   (In  Italian)— Thursday  Evening,  November   14,   1929 
LAKME    (In  French)— Thursday  Evening,  November  28,    1929 
UN  BALLO  IN  MASCHERA   (In  ItaHan)— Monday  Evening,  December  9,   1929 
IL  SERRAGLIO  (In  ItaHan) 
JUDITH   (American  Premiere)    (Ir 

LOHENGRIN    (In   German)— Thursday  Evening,   February  6,    1930 
RIGOLETTO   (In  Italian)— Thursday  Evening,  February   20,    1930 
TIEFLAND  (In  German)— Wednesday  Evening,  February  26,  1930 
PIQUE  DAME   (In  Russian)— Thursday  Evening,  March  6,   1930 


[     F      1    M   r  Thursday  Evening,  December  26,   1929 


I  PAGLIACCI  (In  Italian) 


,     ,     ,       ,    ^Thursday    Evening,    April    10.    193 
In  Italian)  J  '  &        t 


CAVALLERIA  RUSTICANA  (In  Italian) 

AIDA   (In  Italian)— Thursday  Evening,  April  24,   1930 

NOTE: — All  performances  begin   at  8  o'clock 

The  repertoire   for  the  season    1929-1930  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  following  is  a  partial  list: 
SOPRANOS:    Mary  Garden,  Marianne  Gonitch,  Josephine  Lucchese,  Eleanor  Painter, 

Selma    Amansky,     Beatrice     Belkin,     Natalie     Bodanskaya,     Agnes     Davis,     Paceli 

Diamond,    Edna    Hochstetter,    Henrietta    Horle,    Florence    Irons,    Helen    Jepson, 

Eleanor  Lewis,  Elsa  Meisky,  Genia  Mirska,  Charlotte  Symons. 
MEZZO-SOPRANOS:     Sophie   Braslau,   Faina   Petrova,    Cyrena   Van    Gordon,    Rose 

Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 
TENORS:     Ralph    Errolle,    Alexander    Kourganoff,    Josef    Wolinski,    Daniel    Healy, 

Albert  Mahler. 
BARITONES:    John  Barclay,  Chief  Caupolican,  Giuseppe  Martino'Rossi,  John  Charles 

Thomas,   Beniamino  Grobani,  Arthur  Holmgren,   Conrad   Thibault. 
BASSES:    Augusto   Ottone,  Ivan   Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine   Littlefield,   Premiere   Danseus'e 

PRICES  —  Tax  Exempt 
0.50,  0.00,  ^2.50  ^2.00,  0.50,  0.00,  75  Cents  and  50  Cents 

Advance  orders  for  all  performances  will  have  prompt  attention  if  sent  to  office  of  Philadelphia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhouse  3981).  Public 
sale   of   tickets  at   Heppe's,    1119   Chestnut   Street,   one   week   in   advance   of   the   dates   of  the   respective   performances. 


AMERICAN  ACADEMY   of  MUbIC 


GRAND   OPERA  —  SEASON   1929-1930 
THURSDAY  EVENING,  OCTOBER   31st,  AT  8  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

WILLIAM  C.  HVMMER.  <;«neral  Manager 

Le  Jongleur  de  Notre  Dame 

A  MIRACLE  PLAY  IN  THREE  ACTS 

Adapted  by  Maurice  Lena  from  a  Mediaeval  Legend 

(In    French) 

Music  by  Jules  Massenet 

JEAN,   the  Juggler MARY   GARDEN 

BONIFACE,   the   Cook V  / CHIEF    CAUPOLICAN 

THE  PRIOR   /  \ IVAN    STESCHENKO 

THE  POET f  1 ALBERT    MAHLER 

THE  PAINTER  /'  MONKS  < BENIAMINO    GROBANI 

THE    MUSICIAN  ' \  j JOHN  BARCLAY 

THE    SCULPTOR    ,'  V ARTHUR    HOLMGREN 

THE    APPARITION   OF   THE    VIRGIN SALLY    GIBBS 

Time— Fourteenth   Century.  Place— Place   dc    Cluny,    Paris. 

Conductor   EMIL  MLYNARSKI 

Stage  Director WILHELM  VON  WYMETAL,  JR. 

SYNOPSIS  OF  SCENES 


ACT      I.     THE   MARKET  PLACE. 
ACT    II.     A   ROOM    IN    THE    ABBEY. 
ACT  III.     THE   CHAPEL  OF  THE   ABBEY. 


HONORARY  MUSICAL  DIRECTOR    LEOPOLD  STOKOWSKI 

DIRECTOR    MRS.   WM.   C.   HAMMER 

MUSICAL  DIRECTOR  AND  CONDUCTOR    EMIL  MLYNARSKI 

STAGE   DIRECTOR    WILHELM  VON   WYMETAL,   Jr. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT  CONDUCTOR    SYLVAN    LEVIN 

ASSISTANT   STAGE   MANAGER CHARLES   DEMAREST 

BALLET  DIRECTOR    CAROLINE   LITTLEFIELD 

PREMIERE  DANSEUSE    CATHERINE   LITTLEFIELD 

ORCHESTRA  MANAGER    ALEXANDER   HILSBERG 

PUBLICITY        MARGARET  M.    WALTON 


Scenery   Designed   by   Prof.    Alfred   Roller,   Vienna,   and  Executed   by   A.   Jarin 
Costumes    and    Wigs    by    Charles    Saake,    1212-1214    North    Tenth    Street 

The  Piano  Used  is  the   Henry  F.   Miller — C.  J.   Heppe  &?  Son,   Agents,    1119  Chestnut  Street. 
The    Organ    Used    is    the    Estey — Estcy   Reed   Organ    Studios,    1702    Walnut    Street. 

The  Statue   in   Act  II,  and  its  counterpart  in  Act   III,  were   designed  and  executed  by  Mr.   Frank  B.   A. 
Linton,    recently    decorated   by   the    Government   of   France    with   the   rank    of    "Officier    d"Academie."' 
The    Viola    d'Amour   used    in   the    Orchestra    is   from    the    collection   of   Dr.    Thaddeus    Rich. 

NEXT  OPERA 

MADAMA  BUTTERFLY 

Founded    on   the    Book    of    John    Luther    Long   and    the    Drama    of    David    Bclasco 

(In   Italian) 

Thursday  Evening,   November   14th,    1929,  at  8  o'clock 

Mmcs.    Eleanor    Painter,    Berta    Levina,    Helen    Jcpson;    Mm.    Ralph    Errollc,    John    Barclay,    Albert    Mnhlcr 
Arthur    Holmgren,    Clarence    Reinert,    Beniamino    Grobani,    Abraham    Robofsky 

Conductor    EMIL   MLYNARSKI 

Stage   Director    WILHELM  VON   WYMETAL,   Jr. 

New   scenery   designed   by    Prof.    Alfred   Roller,    of   Vienna,    and    executed   by   A.    Jarin 

PRICES:     ^3.50    to    50    Cents  —  Tax    Exempt 

Tickets   now   on  sale  at  Heppc's,    1119  Chestnut  Street,   and  Philadelphia  Grand   Opera   Company,   818   Harrison 

Building,    S.   W.   Cor.    15th  and   Market   Streets  —  Telephone:     RITtenhouse   3981 


AMERICAN  ACADEMY  of  MUSIC       X 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 
1929 — Season — 1930 

(Subject  to  Change) 


CARMEN  (In  French)— Wednesday  Evening,  October  23,   1929 

LE  JONGLEUR  DE  NOTRE  DAME   (In  French)— Thursday  Evening, 

October  31,  1929 
MADAMA  BUTTERFLY   (In  Italian)— Thursday  Evening,  November   14,   1929 
LAKME   (In  French)— Thursday  Evening,  November  28,   1929 

I  PAGLIACCI  (In  Italian)  It.,      j       i.        ■        t^  u      o    iqoo 

^  .,  r  .  T  T  T^^x  .    T^T  T^r^T^  A -vT  A     /T      T    ,       X    ? M o tt d 3 v  E V c n HI g ,  D c c c HI b c r  9 ,  1929 
CAVALLERIA  RUSTICANA  (In  Italian)  J  >  s. 

IL  SERRAGLIO  (In  ItaHan) 

TT  Tn>T-rTj-   /A         ■         T>  \    /J     T!     V  u\    ^  Thursday  Evening,  December  26,  1929 

JUDITH  (American  Premiere)   (In  English)  ■'  " 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6,   1930 

RIGOLETTO   (In  Italian)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26,  1930 

PIQUE  DAME   (In  Russian)— Thursday  Evening,  March  6,   1930 

UN  BALLO  IN  MASCHERA  (In  Italian)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Italian)— Thursday  Evening,  April  24,   1930 

NOTE: — All  performances  begin  at  8  o'clock 

The  repertoire  for  the  season   1929-1930  will  be  interpreted  by  eminent  artists  of 

the  lyric  world,  of  which  the  following  is  a  partial  hst: 

SOPRANOS:  Mary  Garden,  Marianne  Gonitch,  Josephine  Lucchese,  Eleanor  Painter, 
Bianca  Saroya,  Selma  Amansky,  Beatrice  Belkin,  Natalie  Bodanskaya,  Agnes  Davis, 
Paceli  Diamond,  Edna  Hochstetter,  Henrietta  Horle,  Florence  Irons,  Helen  Jepson, 
Eleanor  Lewis,  Elsa  Meiskey,  Genia  Mirska,  Charlotte   Symons. 

MEZZO-SOPRANOS:  Sophie  Braslau,  Faina  Petrova,  Cyrena  Van  Gordon,  Rose 
Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 

TENORS:  Ralph  ErroUe,  Alexander  Kourganoff,  Josef  Wohnski,  Daniel  Healy, 
Albert  Mahler. 

BARITONES:  John  Barclay,  Chief  Caupohcan,  Giuseppe  Martino'Rossi,  John  Charles 
Thomas,  Beniamino  Grobani,  Arthur  Holmgren,  Conrad  Thibault. 

BASSES:    Augusto  Ottone,  Ivan  Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine   Littlefield,  Premiere   Danseuse 

PRICES  —  Tax  Exempt 
^.50,  0.00,  ^2.50  ^2.00,  0.50,  0.00,  75  Cents  and  50  Cents 

Advance  orders  for  all  performances  will  have  prompt  attention  if  sent  to  office  of  Philadelpliia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhouse  3981).  Public 
sale  of  tickets  at   Heppe's,    1119   Chestnut   Street,   one   week   in  advance   of   the   dates   of  the  respective   performances. 


AMLKIUAN   AL^AUbMI    ot    MUML. 


GRAND  OPERA  —  SEASON   1929-1930 
THURSDAY  EVENING,  NOVEMBER  14th,  1929,  AT  8  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

VtlLLIAM  C.  H  VMMKK,  <;«-neral  Mana^.r 

Madama  Butterfly 

OPERA  IN  TWO  ACTS 

Founded  on  the  Book  of  John  Luther  Long  and  the  Drama  of  David  Belasco 

(In    Itahan) 

Music  by  GIACOMO  PUCCINI 

CIO-CIO-SAN    ELEANOR   PAINTER 

SUZUKI    BERTA    LEVINA 

KATE   PINKERTON    HELEN   JEPSON 

B.   F.   PINKERTON    RALPH   ERROLLE 

SHARPLESS    JOHN    BARCLAY 

GORO  ALBERT    MAHLER 

THE   EONZE  '  ..CLARENCE   REINERT 

PRINCE  YAMADORI    ARTHUR  HOLMGREN 

IMPERIAL    COMMISSIONER    BENIAMINO    GROBANI 

OFFICIAL   REGISTRAR    ABRAHAM   ROBOFSKY 

TROUBLE    (Cio-Cio-San's    Child)     JOAN    SMITH 

Time:     The    Present.  Place:     Nagasaki.    Japan. 

CONDUCTOR    EMIL    MLYNARSKI 

STAGE  DIRECTOR  WILHELM  VON  WYMETAL,  Jr. 

SYNOPSIS  OF  SCENES 
ACT     I — The    garden    of    Cio-Cio-San's    house. 
ACT  II — Scene   1:    A   room    in    Cio-Cio-San's    house.      Night. 
Scene   2:     The    same.      Dawn. 

HONORARY  MUSICAL  DIRECTOR   LEOPOLD   STOKOWSKI 

DIRECTOR    MRS.   WM.   C.   HAMMER 

MUSICAL  DIRECTOR  AND  CONDUCTOR   EMIL  MLYNARSKI 

STAGE   DIRECTOR    WILHELM  VON   WYMETAL,   Jr. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER  HENRI  ELKAN 

ASSISTANT  CONDUCTOR    SYLVAN    LEVIN 

ASSISTANT   STAGE   MANAGER CHARLES   DEMAREST 

BALLET   DIRECTOR    CAROLINE   LITTLEFIELD 

PREMIERE  DANSEUSE    CATHERINE   LITTLEFIELD 

ORCHESTRA  MANAGER    ALEXANDER   HILSBERG 

PUBLICITY    MARGARET   M.    WALTON 

Scenery    designed    by    Prof.    Alfred    Roller,    Vienna,    iind    executed    by    A.    Jarin    Scenic    Studios,    Philadelphia. 

Costumes  by  Charles  Saake,    1212-1214  North    10th  Street,   Philadelphia. 
Wigs   by   William   Punzel,    New   York. 

The   Piano    used   is   the   Henry   F.    Miller — C.    J.    Heppe   is'   Son,   Agents,    1119   Chestnut   Street,    Philadelphia. 

NEXT  OPERA 

THURSDAY    (THANKSGIVING)    EVENING 
NOVEMBER  28th,  1929,  at  8.15  O'CLOCK 

L  A  K  M  E 

Mmes.    Josephine    Lucchese,    Lucia    Chagnon,    Helen    Jepson,    Agnes    Davis,     Rose    Bampton;     Mm.     Ralph    Errolle, 

John    Barclay,    Ivan    Steschenko,    Albert    Mahler,    Arthur    Holmgren,    Daniel    Healy,    Abraham    Robofsky;    Catherine 

Littlefield,    Premiere    Danseuse    and    entire    Corps   de    Ballet 

Conductor    EMIL    MLYNARSKI 

Stage    Director    "WILHELM   VON   WYMETAL,    Jr. 


New   scenery   designed   by   Prof.    Alfred   Roller,   Vienna,    and   executed   by   A.    Jarin   Scenic   Studios,    Philadelphia. 
NO  ADVANCE  IN  PRICES:     ^.50  to  50  Cents— Tax  Exempt.     Tickets  on  sale  at  Heppe's,    1119  Chestnut  Street, 
and    Philadelphia    Grand    Opera    Company    Office,    818    Harrison    Building,    S.    W.    Cor.     15th    and    Market    Streets 

(Telephone:     RITtenhouse    3981) 


AMbKlL.AN  AUAUtMY   of   MUblU 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1929 — Season — 1930 

(Subject  to  Change) 

CARMEN   (In  French)— Wednesday  Evening,  October  23,   1929 

LE  JONGLEUR  DE  NOTRE  DAME   (In  French)— Thursday  Evening, 

October  31,  1929 
MADAMA  BUTTERFLY   (In  ItaHan)— Thursday  Evening,  November   14,   1929 
LAKME   (In  French) — Thursday  Evening,  November  28,   1929 

*I   PAGLIACCI    (In   Italian)  ^^^  t.  , 

/-•  A\r  AT  T  cnr  A    r.1  TCT-T/^  AXT  A    /T     T    1-     \    ? Monday  E vcning,  Dcccmber  9,  1 929 

CAVALLERIA  RUSTICANA  (In  Italian)  j  '  &' 

IL  SERRAGLIO   (In  Italian) 

TT  TriTTT-r  /A™  „■         D  \    /T     c     1-  i.\    f  Thursdav  Evening,  December  26,  1929 

JUDim   (American  fremiere)    (In  English)     '  z  &' 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6,   1930 

RIGOLETTO   (In  Italian)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German) — Wednesday  Evening,  February  26,  1930 

PIQUE  DAME   (In  Russian)— Thursday  Evening,  March  6,   1930 

*UN  BALLO  IN  MASCHERA  (In  Italian)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Italian)— Thursday  Evening,  April  24,   1930 

*Please  note  change  in  schedule. 

NOTE: — All  performances  begin  at  8.15  o'clock 

The  repertoire  for  the  season   1929-1930  will  be  interpreted  by  eminent  artists  of 

the  lyric  world,  of  which  the  following  is  a  partial  list: 

SOPRANOS:  Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 
Eleanor  Painter,  Bianca  Saroya,  Selma  Amansky,  Beatrice  Belkin,  Natalie  Bodan- 
skaya,  Agnes  Davis,  Paceli  Diamond,  Edna  Hochstetter,  Henrietta  Horle,  Flor- 
ence Irons,  Helen  Jepson,  Eleanor  Lewis,  Elsa  Meiskey,  Genia  Mirska,  Charlotte 
Symons. 

MEZZO-SOPRANOS:  Sophie  Braslau,  Faina  Petrova,  Cyrena  Van  Gordon,  Rose 
Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 

TENORS:  Ralph  Errolle,  Alexandre  Kourganoff,  Josef  Wolinski,  Daniel  Healy, 
Albert  Mahler. 

BARITONES:  John  Barclay,  Chief  Caupolican,  Giuseppe  Martino-Rossi,  John  Charles 
Thomas,   Beniamino  Grobani,  Arthur  Holmgren,  Conrad   Thibault. 

BASSES:    Augusto  Ottone,  Ivan  Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine   Littlefield,   Premiere   Danseuse 

^>:^^ 

PRICES  —  Tax  Exempt 
^3.50,  ^3.00,  ^2.50  ^2.00,  ^1.50,  ^1.00,  75  Cents  and  50  Cents 

Advance  orders  for  all  performances  will  have  prompt  attention  if  sent  to  office  of  Philadelphia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhouse  3981).  Public 
sale  of  tickets  at   Heppe's,    1119   Chestnut   Street,   one   week   in  advance   of   the  dates   of  the  respective   performances. 


AMbKICAN   AL-AUtMI    of    MU5H^ 


GRAND  OPERA   —   SEASON    1929-1930 
THURSDAY  EVENING,  NOVEMBER  28,   1929,  AT  8.15  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

WILLIAM  C.  HAMMER,  (General  Manager 

LAKME 

opera  in   Three  Acts 

Text  by  Edmond   Gondinet  and   Philippe   Gille,   from  the   story   "Le  Mariage  de  Loti" 

(In   French) 
Music  by  Leo   DeHbes 

LAKMK  lOSEPHINE   LUCCHESE 

NILAKANTHA     IVAN    STESCHENKO 

GERALD  RALPH    ERROLLE 

FREDERICK MARIO    VALLE 

MALLIKA     LUCIA     CHAGNON 

HAD  II  ALBERT    MAHLER 

ELLEN    HELEN    JEPSON 

ROSE       AGNES    DAVIS 

MRS.    BENSOn'  ■.'.■.■.■.■.■.■.".■.'.■.■.■ ROSE    BAMPTON 

A     FORTUNE    TELLER     ARTHUR     HOLMGREN 

A    CHINESE    MERCHANT    DANIEL    HEALY 

A    THIEF    ABRAHAM    ROBOFSKY 

Dances    by    Catherine    Littleficld,    Premiere    Danseiise    and    Corps    de    Ballet 
Time— Middle    of    14th    Century.  Place — India. 

CONDUCTOR    EMIL    MLYNARSKI 

STAGE   DIRECTOR    WILHELM   VON   WYMETAL,    JR. 

SYNOPSIS  OF   SCENES 

ACT      I — A  temple   garden. 

ACT     II — A  public  square. 

ACT   III— A  forest    refuf^e. 

HONORARY  MUSICAL   DIRECTOR    LEOPOLD   STOKOWSKI 

DIRECTOR   MRS.   WM.   C.   HAMMER 

MUSICAL  DIRECTOR  AND  CONDUCTOR   EMIL   MLYNARSKI 

STAGE  DIRECTOR    WILHELM  VON   WYMETAL.   Jr. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN    LEVIN 

ASSISTANT   STAGE   MANAGER CHARLES   DEMAREST 

BALLET  DIRECTOR    CAROLINE   LITTLEFIELD 

PREMIERE  DANSEUSE    CATHERINE  LITTLEFIELD 

ORCHESTRA  MANAGER    ALEXANDER   HILSBERG 

PUBLICITY    MARGARET   M.    WALTON 

Scenery   designed    by   Prof.    Alfred    Roller,    Vienna,    and    executed    by   A.    Jarin   Scenic   Studios,    Philadelphia. 

Costumes   by   Charles  Saake,    1212-1214    North    10th   Street,    Philadelphia. 

Wigs    by    William    Punzel,    New    York 

The   Piano   used   is   the   Henry   F.   Miller — C.   J.   Heppe   &   Son,    Agents,    1119   Chestnut   Street,    Philadelphia. 

NEXT  PERFORMANCE— DOUBLE  BILL 
MONDAY  EVENING,  DECEMBER  9,  1929,  AT  8.15  O'CLOCK 

CAVALLERIA  RUSTICANA 

Mmes.   Bianca   Saroya,    Genia    Mirska,    Rose   Bampton;    Mm.   Josef   Wolinski,    Giuseppe    Martino-Rossi 

To   Be   Followed    by 


I  PAGLIACCI 


Mme.    Nanette   Guilford    (Courtesy   of   Mr.    Giulio   Gatti-Casazza,    General    Manager,    Metropolitan   Opera    Company); 
Mm.    Alexandre    Kourganwif    (Debut    in    America),    John    Charles   Thomas,    Albert    Mahler,    Conrad    Thibauk. 

CONDUCTOR    EMIL   MLYNARSKI 

STAGE   DIRECTOR    WILHELM   VON   WYMENTAL,   JR. 

NO  ADVANCE  IN  PRICES:     ^3.50  to  50  Cents — ^Tax  Exempt.     Tickets  on  sale  at  Heppe's,   1119  Chestnut  Street, 
and    Philadelphia    Grand    Opera    Company    Office,    818    Harrison    Building,    S.    W.    Cor.     15th    and    Market    Streets 

(Telephone:     RITtenhouse   3981) 


AMtKlCAN   ACADEMY   of   MUblC 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1 929  —  Season  —  1 930 

(Suhject  to  Change) 

CARMEN  (In  French)— Wednesday  Evening,  October  23,   1929 

LE  JONGLEUR  DE  NOTRE  DAME   (In  French)— Thursday  Evening, 

October  31,  1929 

MAD  AM  A  BUTTERFLY   (In  ItaUan)— Thursday  Evening,  November   14,   1929 

LAKME   (In  French) — Thursday  Evening,  November  28,   1929 

*I   PAGLIACCI    (In   Italian)  ^ .,      ,       r. 

/-.  Air  AT  T  rr.T  A    ni  TCT-T/^  A>T  A    /T     T    1-     V    ? Mon day  E vcttin g,  Dccembcr  9,  1929 

CAVALLERIA  RUSTICANA   (In  Itahan)  j  -^  e.' 

IL  SERRAGLIO  (In  Itahan)  \ 

TT  TT^TT^xj  /  &      ~         D  x/T     Tj      ii,\     f  Thursday  Evening,  December  26,  1929 

JUDITH  {American  Fremiere)    (In  English)   j  '  &' 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6,   1930 

RIGOLETTO   (In  Italian)— Thursday  Evening,  February  20,    1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26,  1930 

PIQUE  DAME   (In  Russian)— Thursday  Evening,  March  6,   1930 

*UN  BALLO  IN  MASCHERA  (In  Italian)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Italian)— Thursday  Evening,  April  24,   1930 

*Please  note  change  in  schedule. 

NOTE: — All  performances  begin  at  8.15  o'clock 

The  repertoire  for  the  season    1929'1930  will  be  interpreted  by  eminent  artists  of 

the  lyric  world,  of  which  the  following  is  a  partial  list: 

SOPRANOS:  Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 
Eleanor  Painter,  Bianca  Saroya,  Selma  Amansky,  Beatrice  Belkin,  Natalie  Bodan- 
skaya,  Agnes  Davis,  Paceli  Diamond,  Edna  Hochstetter,  Henrietta  Horle,  Flor- 
ence Irons,  Helen  Jepson,  Eleanor  Lewis,  Elsa  Meiskey,  Genia  Mirska,  Charlotte 
Symons. 

MEZZO-SOPRANOS:  Sophie  Braslau,  Faina  Petrova,  Cyrena  Van  Gordon,  Rose 
Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 

TENORS:  Ralph  Errolle,  Alexandre  Kourganotf,  Josef  Wolinski,  Alessandro  Angelucci, 
Daniel  Healy,  Albert  Mahler. 

BARITONES:    John  Barclay,  Chief  CaupoHcan,  Giuseppe  Martino'Rossi,  John  Charles 

Thomas,  Mario  Valle,  Beniamino  Grobani,  Arthur  Holmgren,  Abraham  Robofsky, 
Conrad  Thibault. 
BASSES:    Augusto  Ottone,  Ivan  Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine   Littlefield,   Premiere   Danseuse 

PRICES  —  Tax  Exempt 
^3.50,  ^3.00,  ^2.50  ^2.00,  ^1.50,  ^1.00,  75  Cents  and  50  Cents 

Advance  orders  for  all  performances  will  have  prompt  attention  if  sent  to  office  of  Philadelphia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhouse  3981).  Public 
sale  of  tickets  at   Heppe's,    1119  Chestnut   Street,   one  week   in  advance   of   the  dates   of  the   respective   performances. 


AMtKlUAN    AUAULMl    of    MU:)1L. 


GRAND  OPERA   —  SEASON   1929-1930 
MONDAY  EVENING,  DECEMBER  9,  1929,  AT  8.15  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

WILLIAM  C.  HAMMER.  General  Manager 

CAVALLERIA  RUSTICANA 

OPERA  IN  ONE  ACT 
Text   by   Giovanni   Targioni-Toggetti   and   Guido   Menasci   from   the    story   by   Giovanni   Verga 

(In    Italian) 
Music  by  PIETRO  MASCAGNI 

TURIDDU  JOSEF    WOLINSKI 

ALFIO GIUSEPPE  MARTINO-ROSSI 

LOLA    GENIA  WILKOMIRSKA 

mamma'lucia' .■:::::: ::::::  ::.■.■.■.■ -^^llf^f^rrSr^. 

SANTUZ2A BIANCA  SAROYA 

Scene — The    Public    Square    of   a    Village    in    Sicily 

To   be  followed  by  * 


PAGLIACCI 


OPERA   IN  TWO   ACTS,   WITH   A   PROLOGUE 

(In    Italian) 
Text   and   Music   by   RUGGIERO    LEONCAVALLO 

NEDDA NANETTE  GUILFORD 

(Courtesy  of  Metropolitan  Opera  Company) 

CANIO ALEXANDRE  KOURGANOFF 

(Debut  in  America) 

TONIO  JOHN  CHARLES  THOMAS 

BEPPE     ALBERT  MAHLER 

SILVIO  '.'.".'.'.".".".' CONRAD  THIBAULT 

SYNOPSIS  OF  SCENES 
ACT     I — Outskirts    of    a    Village    in    Calabria — Afternoon. 
ACT   II— The    Same— Evening. 

CONDUCTOR EMIL  MLYNARSKI 

STAGE  DIRECTOR WILHELM  VON  WYMETAL,  Jr. 

HONORARY    MUSICAL   DIRECTOR    LEOPOLD    STOKOWSKI 

DIRECTOR  MRS.   WM.   C.   HAMMER 

MUSICAL  DiREctoR  AND  CONDUCTOR   EMIL  MLYNARSKI 

STAGE   DIRECTOR   WILHELM  VON   WYMETAL,   Jr. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN    LEVIN 

ASSISTANT  STAGE  MANAGER   CHARLES  DAMAREST 

BALLET   DIRECTOR    CAROLINE   LITTLEFIELD 

PREMIERE   DANSEUSE    CATHERINE   LITTLEFIELD 

ORCHESTRA  MANAGER    ALEXANDER  HILSBERG 

PUBLICITY    MARGARET   M.    WALTON 

Scenery  designed  and  executed  by  A.  Jarin  Scenic  Studios,   Philadelphia. 

Costumes  by  Charles  Saake,    1212-1214  North   10th  Street,   Philadelphia. 

Wigs  by  William  Pumel,   New  York. 

The  Piano  used  is  the  Henry  F.   Miller — C.   J.   Heppe   3C  Son,   Agents,    1119  Chestnut  Street,   Philadelphia. 

The  Organ  used  is  the  Estey — Estey  Reed  Organ  Studios,    1702  Walnut  Street,   Philadelphia. 

NEXT  PERFORMANCE— DOUBLE  BILL 

Thursday  Evening,  December  26,  1929,  at  8.15  o'CIock 
AMERICAN  PREMIERE  OF  EUGENE  GOOSSENS'  OPERA 

JUDITH 

(In   English) 
Mmes.  Bianca  Saroya,   Berta  Levina.     Mm.  Ralph  Errolle,  Ivan  Steschenko,   Carroll  Ault. 
Dances   by   Catherine   Littlefield,    Premiere   Danseuse,   and   Corps   de   Ballet. 

CONDUCTOR   EUGENE  GOOSSENS 

STAGE  DIRECTOR   WILHELM  VON  WYMETAL,  Jr. 

To    Be    Followed    by 
FIRST  PERFORMANCE  IN  PHILADELPHIA  OF  MOZART'S  OPERA 


IL  SERRAGLIO 


(In   Italian) 
Mmes.  Josephine  Lucchese,  Beatrice  Belkin.     Mm.  Josef  Wolinskl,  Ivan  Steschenko,   Mario  Valle,   Albert  Mahler 

CONDUCTOR    EMIL    MLYNARSKI 

STAGE   DIRECTOR    WILHELM  VON   WYMETAL,    Jr. 

NO  ADVANCE  IN  PRICES:   $3.50  to   50  Cents— Ta.v  E.xempt.     Tickets  on  sale  at  Heppe's,    1119  Chestnut  Street, 
and    Philadelphia    Grand    Opera    Company    Office,    818    Harrison    Building,    S.    W.    Cor.    15th    and    Market    Streets 

(Telephone:    RITtenhouse    3981) 


AMLKIUAN   AUAUhMY    of    MUbiC       |X 

Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1 929  —  Season  —  1 930 

(Subject  to  Change) 

CARMEN  (In  French)— Wednesday  Evening,  October  23,   1929 

LE  JONGLEUR  DE  NOTRE  DAME  (In  French)— Thursday  Evening, 

October  31,  1929 
MADAMA  BUTTERFLY   (In  Italian)— Thursday  Evening,  November  14,   1929 
LAKME   (In  French) — Thursday  Evening,  November  28.   1929 


[►Monday  Evening,  December  9,  1929 


PAGLIACCI   (In   Italian) 

CAVALLERIA  RUSTICANA  (In  Italian) 

IL  SERRAGLIO  (In  ItaUan)  \ 

TTT-n.TTTj-  I A  T>       •      \    / T     Tj     1  •  u \    f  Thursday  Evening,  December  26,  1929 

JUDITH  {American  Premiere)    (In  English)  j  '  ^' 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6,   1930 

RIGOLETTO   (In  Italian)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26,  1930 

PIQUE  DAME   (In  Russian)— Thursday  Evening,  March  6,   1930 

UN  BALLO  IN  MASCHERA  (In  Itahan)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Itahan)- Thursday  Evening,  April  24,   1930 

NOTE: — All  performances  begin  at  8.H  o'clock 

The  repertoire  for  the  season   1929-1930  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  following  is  a  partial  list: 
SOPRANOS:    Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 

Eleanor  Painter,  Bianca  Saroya,   Selma  Amansky,  Beatrice  Belkin,  Natalie  Bodan- 

skaya,  Agnes   Davis,   Paceli   Diamond,   Edna   Hochstetter,   Henrietta   Horle,  Flor- 

ence    Irons,    Helen    Jepson,    Eleanor    Lewis,    Elsa    Meiskey,    Charlotte    Symons, 

Genia  Wilkomirska. 
MEZZO-SOPRANOS:     Sophie   Braslau,   Faina   Petrova,    Cyrena   Van    Gordon,   Rose 

Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 
TENORS:  Ralph  Errolle,  Alexandre  Kourganoff,  Josef  WoHnski,  Alessandro  Angelucci, 

Daniel  Healy,  Albert  Mahler. 
BARITONES:    Carroll  Ault,  John  Barclay,  Chief  Caupohcan,  Giuseppe  Martino-Rossi, 

John    Charles    Thomas,    Mario    Valle,    Beniamino    Grobani,    Arthur    Holmgren, 

Abraham  Robofsky,  Conrad  Thibault. 
BASSES:    Augusto  Ottone,  Ivan  Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine   Littlefield,   Premiere  Danseuse 

..^^^ 

PRICES  —  Tax  Exempt 
^3.50,  ^3.00,  ^2.50  ^2.00,  ^1.50,  ^1.00,  75  Cents  and  50  Cents 

Advance  orders  for  all  performances  will  have  prompt  attention  if  sent  to  oflScc  of  Philadelphia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhouse  3981).  Public 
sale  of  tickets  at   Heppe's,    1119   Chestnut   Street,   one   week   in  advance   of   the  dates  of  the  respective   performances. 


/\MnKl^/\iN   /\L>/\UJ::iVi  1    o]   iViuoiL. 


GRAND  OPERA  —  SEASON    1929  -  1930 
THURSDAY  EVENING,  DECEMBER  26,  1929,  AT  8.15  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

\X  II.LI  \M  <:.  H  VMMKH.  (;entTal  Mana^.r 

The   Philadelphia   Grand  Opera  Company  has  the   honor 
of    presenting,    for    the    first    time    in    America 


JUDITH 


Opera   in   One   Act 

Text   by   Arnold   Bennett,    from   the    Book   of  Judith 

(One   of  the   fourteen   Apochryphal   Books   of  The   Bible) 

(In    English) 

Music  by  Eugene  Goossens 

JUDITH      BIANCA    SAROYA 

HAGGITH,   her  servant    BERTA   LEVINA 

HOLOFERNES.  an  Assyrian  general   IVAN   STESCHENKO 

BAGOAS,  his  chief  eunuch    RALPH   ERROLE 

ACHIOR,   a   captain   in   Holofernes"   army    CARROLL   AULT 

Dances   by   CATHERINE    LITTLEFIELD,    Premiere    Danseuse,    and   the    Misses   Zeller,    Axford,    Flynn,    Loewenthal. 
Campbell,   Smythe,   lonone.   Cohen,   Roncase,   Jacob,   Garrity,   Gamson.      Guards — Thomas  Cannon,   Virgil   Coudy. 

CONDUCTOR    EUGENE    GOOSSENS 

STAGE  DIRECTOR   WTLHELM  von  WYMETAL.  JR. 

To   be   followed  by 
First  Performance  in  Philadelphia  of 


IL  SERRAGLIO 


(In    Italian) 
Opera  in  Three  Acta 
Text  from  the  story  Belmont  und  Constanze,  by  Christoph  Friedrich  Bretzner 
MUSIC    BY    WOLFGANG    AMADEUS    MOZART 

CONSTANCE    HARRIET  VAN  EMDEN 

BLONDA  NATALIE  BODANSKAYA 

BELMONT    JOSEF   WOLINSKI 

OSMIN    IVAN   STESCHENKO 

PEDRILLO    ALBERT    MAHLER 

SELIM    MARIO   VALLE 

AN  OFFICER  ALESSANDRO  ANGELUCCI 

CONDUCTOR     EMIL    MLYNARSKI 

c-T-Az-c   i-,iDcr>-r/^D  w/impixj WV\/fFTAT       IR     


Miss  Harriet  van  Emden  has  kindly  con' 
sented  to  sing  the  role  of  Constance  m 
II  Serraglio,  in  place  of  Miss  Josephine 
Lucchese,  who,  on  account  of  illness,  is 
unable  to  appear. 


DECEMBER  26.    1929 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1 929  —  Season  —  1 930 

(^Subject  to  Change) 

CARMEN   (In  French)— Wednesday  Evening,  October  23,  1929 

LE  JONGLEUR  DE  NOTRE  DAME  (In  French)— Thursday  Evening, 

October  31,  1929 
MADAMA  BUTTERFLY  (In  Italian)— Thursday  Evening,  November  14.   1929 
LAKME   (In  French) — Thursday  Evening,  November  28,   1929 


>^Monday  Evening,  December  9,  1929 


PAGLIACCI   (In  Italian) 

CAVALLERIA  RUSTICANA  (In  Italian) 

IL  SERRAGLIO  (In  ItaHan)  \ 

TTTrNT-ru  /A  D        ■      \    /T     vt     V  u\    r  Thursday  Evening,  December  26,  1929 

JUDITH  (American  Premiere)    (In  English)   j  •'  «" 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6,   1930 

RIGOLETTO   (In  Italian)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26,  1930 

PIQUE  DAME   (In  Russian)— Thursday  Evening,  March  6,   1930 

UN  BALLO  IN  MASCHERA  (In  Italian)— Thursday  Evening,  April  10,  1930 

AID  A  (In  Itahan )— Thursday  Evening,  April  24,   1930 

NOTE: — All  performances  begin  at  8.1?  o'clock 

The  repertoire  for  the  season   1929' 19 30  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  following  is  a  partial  Hst: 
SOPRANOS:    Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 

Eleanor  Painter,  Bianca  Saroya,   Selma  Amansky,  Beatrice  Belkin,  Natalie  Bodan' 

skaya,  Agnes   Davis,   PaceH   Diamond,   Edna   Hochstetter,   Henrietta   Horle.   Flnr. 

ence    Irons,    Helen    Jepson,    Eleanor    Lewis,    RUa    ^'r-■-' 

Genia  Wilkomirska 


American  ACAX)EMT^of  uubi^ 


GRAND  OPERA  —  SEASON    1929  -  1930 
THURSDAY  EVENING,  DECEMBER  26.  1929.  AT  8.15  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

\»II.I,I\M  <-.  HVMMKK.  <;.ntriil  Manas<  r 

The   Philadelphia   Grand  Opera  Company  has  the  honor 
of    presenting,    for    the    first    time    in    America 


JUDITH 


opera   in  One  Act 

Text   by   Arnold   Bennett,    from   the   Book   of   Judith 

(One   of  the   fourteen   Apochryphal  Books   of  The   Bible) 

(In    English) 

Music  by  Eugene  Goossens 
rnniTH  bianca  saroya 

HAGGITH  ■  her'  servant .........■.■.■.■.■..■.".■.■.■ BERTA    LEVINA 

HOLOFERNES.  an  Assyrian  general   IVAN   STESCHENKO 

BAGOAS.  his  chief  eunuch    •J?-i\J-n  St  t     a  t9t  I 

ACHIOR,   a   captain   in   Holofernes"   army    CARROLL   AULl 

Dances   by   CATHERINE    LITTLEFIELD,    Premiere    Danseuse,    and   the    Misses   Zeller.    Axford.    Flynn,    Loewenthal, 
Campbell,   Smythe,  lonone,  Cohen,  Roncase,  Jacob,   Garrity,   Gamson.     Guards — Thomas  Cannon,  Virgil   Coudy. 

CONDUCTOR    EUGENE    GOOSSENS 

STAGE  DIRECTOR   WILHELM  von  WYMETAL,  JR. 

To  be  followed  by 
First  Performance  in  Philadelphia  of 


IL  SERRAGLIO 


(In    Italian) 
Opera  in  Three  Acts 
Text  from  the  story  Belmont  und  Constanze,  by  Christoph  Fnedrich  Bretzner 
MUSIC    BY    WOLFGANG    AMADEUS    MOZART 

CONSTANCE  HARRIET  VAN  EMDEN 

BLONDA  NATALIE  BODANSKAYA 

BELMONT  ■.  . .".  ..■.■-■ JOSEF   WOLINSKI 

OSMIN  .  IVAN   STESCHENKO 

PEDRILLO    .■..■.■.■.■.'..■.■. ALBERT   MAHLER 

SELIM    MARIO   VALLE 

AN  OFFICER  ALESSANDRO  ANGELUCCI 

CONDUCTOR     EMIL    MLYNARSKI 

STAGE  DIRECTOR  WILHELM  von  WYMETAL,  JR. 

HONORARY  MUSICAL  DIRECTOR LEOPOLD  STOKOWSKI 

DIRECTOR    MRS.   WM.   C.   HAMMER 

MUSICAL  DIRECTOR  AND   CONDUCTOR    EMIL  MLYNARSKI 

STAGE  DIRECTOR  WILHELM  von  WYMETAL,  JR. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER  HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN    LEVIN 

ASSISTANT   STAGE   MANAGER    CHARLES   DEMAREST 

BALLET  DIRECTOR    CAROLINE    LITTLEFIELD 

PREMIERE   DANSEUSE    CATHERINE   LITTLEFIELD 

ORCHESTRA  MANAGER   ALEXANDER   HILSBERG 

PUBLICITY    MARGARET   M.    WALTON 

Scenery  designed   and   e.vecuted   by   A.   Jarin   Scenic   Studios,    Philadelphia 

Costumes  by   Charles  Saake,    1212-1214   North    10th   Street,    Philadelphia. 

Wigs  by  William  Punzel,   New  York. 

The  Piano  used  is  the  Henry  F.   Miller — C.   J.   Heppe   &   Son,   Agents,    1119   Chestnut   Street,    Philadelphia. 

The   Organ   used   is   the   Estey — Estey  Reed   Cfcgan   Studies,    1702   Walnut    Street,    Philadelphia. 

NEXT  PERFORMANCE 
Thursday  Evening,  February  6,  1930,  at  8  o'clock  precisely 

LOHENGRIN 

(In   German) 
-Ml    star    cast,    including    Mmc.    Marianne    Gonitch,    Mm.    Josef    Wolinski,    Chief    Caupolican,    Augusto    Ottone 

CONDUCTOR    EMIL    MLYNARSKI 

STAGE  DIRECTOR WILHELM  von  WYMETAL,  JR. 

NO  ADVANCE  IN  PRICES:  S3. 50  to  50  cents  (ta.x  exempt).  Tickets  on  sale  at  Heppe's,  1119  Chestnut 
Street,  and  Philadelphia  Grand  Opera  Company  Office,  818  Harrison  Building.  S.  W.  Cor.  15th  and  Market  Streets, 
(Telephone   RITtenhouse   3981). 


AMERICAN  ACAUtMT  of  MUblC        « 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1 929  —  Season  —  1 930 

(Suhject  to  Change) 

CARMEN   (In  French)— Wednesday  Evening,  October  23,   1929 

LE  JONGLEUR  DE  NOTRE  DAME  (In  French)— Thursday  Evening, 

October  31,  1929 
MADAMA  BUTTERFLY  (In  Italian)— Thursday  Evening,  November  14.   1929 
LAKME   (In  French) — Thursday  Evening,  November  28,   1929 

PAGLIACCI   (In  Italian)  1  w      ,      t,       •        t^         ,_      «    ,o.. 

/-.A^rATTCDT  A    D I T  c  T^T/-.  A  vT  A    /T     T    1-     \   ^Monday  Evcning,  Deccmber  9,  1929 
CAVALLERIA  RUSTICANA  (In  Italian)  J 

IL  SERRAGLIO  (In  Italian)  \ 

TnTMT-xj   /A  n  \/TDiu\    f  Thutsday  Evening,  December  26,  1929 

JUDITH  {Amencan  Premiere)    (In  Enghsh)  J  '  &' 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6,   1930 

RIGOLETTO   (In  Italian)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26,  1930 

PIQUE  DAME   (In  Russian)— Thursday  Evening,  March  6,   1930 

UN  BALLO  IN  MASCHERA  (In  Itahan)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Italian)— Thursday  Evening,  April  24,   1930 

The  repertoire  for  the  season   1929-1930  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  following  is  a  partial  Ust: 

SOPRANOS:  Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese. 
Eleanor  Painter,  Bianca  Saroya,  Harriet  van  Emden,  Selma  Amansky,  Beatrice 
Belkin,  NataUe  Bodanskaya,  Agnes  Davis,  Paceli  Diamond,  Edna  Hochstetter, 
Henrietta  Horle,  Florence  Irons,  Helen  Jepson,  Eleanor  Lewis,  Elsa  Meiskey, 
Charlotte  Symons,  Genia  Wilkomirska. 

MEZZO-SOPRANOS:     Sophie   Braslau,   Faina   Petrova,   Cyrena  Van   Gordon,   Rose 

Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 
TENORS:  Ralph  Errolle,  Alexandre  Kourganoff,  Josef  Wolinski,  Alessandro  Angelucci, 

Daniel  Healy,  Albert  Mahler. 

BARITONES:  Carroll  Ault,  John  Barclay,  Chief  Caupolican,  Giuseppe  Martino-Rossi, 
John  Charles  Thomas,  Mario  Valle,  Beniamino  Grobani,  Arthur  Holmgren. 
Abraham  Robofsky,  Conrad  Thibault. 

BASSES:    Augusto  Ottone,  Ivan  Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine  Littlefield,  Premiere  Danseuse 


PRICES  —  Tax  Exempt 
^3.50,  ^3.00,  ^2.50  ^2.00,  ^1.50,  ^1.00,  75  Cents  and  50  Cents 

Advance  ordera  for  all  performances  will  have  prompt  attention  if  sent  to  office  of  Philadelphia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhouse  3981).  Public 
m1«  oI  tickets  at   Heppe's,    1119  Chestnut   Street,   one   week   in  advance  of   the  dates  of  the  respective  performances. 


AMLKIUAN    ACAJJhMl    of    MUML. 


GRAND  OPERA  —  SEASON    1929  •  1930 
THURSDAY  EVENING,  FEBRUARY  6.  1Q30.  AT  8  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

\^7LLIAM    C.    HAMMER,    General    Manaaer 

LOHENGRIN 

OPERA   IN  THREE   ACTS 

(In  German) 

Text  and  Music  by  RICHARD  WAGNER 

KING   HENRY    AUGUSTO   OTTONE 

LOHENGRIN    JOSEF   WOLINSKI 

ELSA  OF  BRABANT MARIANNE  GONITCH 

ORTRUD    MARGARET    MATZENAUER 

(Courtesy   of   Metropolitan    Opera    Company) 

TELRAMUND    CHIEF  CAUPOLICAN 

THE   KINGS  HERALD LEO   DE   HIERAPOLIS 

)SELMA   AMANSKY 
AGNES   DAVIS 
RUTH   GORDON 
^    HELEN  JEPSON 

GOTTFRIED.    Elsas    Brother    BERNICE    DOLLARTON 

TIME:     First    half   of   the   Tenth   Century.  PLACE:     Antwerp. 

CONDUCTOR EMIL  MLYNARSKI 

STAGE   DIRECTOR    WILHELM  von  W^MET.\L,   Jr. 

SYNOPSIS  OF  SCENES 
ACT       I.     Banks   of  the   River    Scheldt,    near   Antwerp. 
ACT     II.     E.xterior  of  the  Palace. 
ACT   III.     Scene    1— Elsas   Bridal   Chamber. 
Scene   2 — Same  as  Act   I. 

HONORARY   MUSICAL   DIRECTOR    LEOPOLD    STOKOWSKI 

DIRECTOR    MRS.  WM.   C.  HAMMER 

MUSICAL  DIRECTOR  AND   CONDUCTOR    EMIL   MLYNARSKI 

STAGE  DIRECTOR  WILHELM  von  WYMETAL,  JR. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN   LEVIN 

ASSISTANT  STAGE   MANAGER    CHARLES  DhMARcST 

BALLET  DIRECTOR    CAROLINE    LITTLEFIELD 

PREMIERE   DANSEUSE    CATHERINE   LITTLEFIELD 

ORCHESTRA  MANAGER    ALEX.ANDER   HILSBERG 

PUBLICITY    MARGARET   M.    WALTON 

Scenery   designed  by   Prof.   .Alfred   Roller,   Vienna,   and   e.\ecuted   by   A.   Jarin   Scenic   Srudlos,    Philadelphia. 

Costumes  by  Consolidated  Theatrical  Costume  Company,   New  Y'ork. 

Wigs  by  William  Punzel,   New  York. 

The  Piano  used  is  the  Henry  F.  Miller — C.   J.  Hcppe   &  Son,   Agents,    1119  Chestnut   Street,    Philadelphia. 

The  Organ   used   is  the  Estey — Estey  Reed   C>rgan  Studies,    1702   Walnut   Street,    Philadelphia. 

NEXT  PERFORMANCE 

THURSDAY  EVENING,  FEBRUARY  20,  1930,  AT  8.15  O'CLOCK 

RIGOLETTO 

(In   Italian) 

Mmes.   Josephine   Lucchese,   Josephine   Jirak,    Paceli  Diamond,    Henrietta   Horle,    Selma   Amansky 

Mm.   Josef   Wolinski,   John  Charles  Thomas,    Ivan  Steschenko,   Bcniamino  Grobani,   Conrad   Thibauh 

Albert    Mahler,    Alfred    De   Long,    Alessandro   Angelucci 

CONDUCTOR     EMIL    MLYNARSKI 

STAGE  DIRECTOR   WILHELM  von  WYMETAL,  JR. 

NO  ADVANCE  IN  PRICES:  S3. 50  to  50  cents  (ta.x  exempt).  Tickets  on  sale  at  Heppes.  1119  Chestnut 
Street,  and  Philadelphia  Grand  Opera  Company  Office,  818  Harrison  Building,  S.  \\'.  Cor.  l^th  and  Market  Streets. 
(Telephone   RITtenhouse    5981). 


AMERICAN  AUAUtMY   of   MUblC 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1 929  —  Season  —  1 930 

(^Subject  to  Change) 

CARMEN    (In  French)— Wednesday  Evening,  October  23,   1929 

LE  JONGLEUR  DE  NOTRE  DAME   (In  French)— Thursday  Evening, 

October  31,  1929 

MADAMA  BUTTERFLY   (In  Itahan)— Thursday  Evening,  November   14,   1929 

LAKME   (In  French)— Thursday  Evening,  November  28.   1929 

PAGLIACCI    (In   Italian)  \>^     j       u  -n  u      o    ,qoo 

„  ^Monday  Evening,  December  9,  1929 

CAVALLERIA  RUSTICANA   (In  Italian)  J  "  y  K, 

IL  SERRAGLIO  (In  ItaHan)  \ 

..  r>  ^/Tcii^     f  Thursday  Evening,  December  26,  1929 

JUDITH   (American  Premiere)    (In  English)   J  '  ^ 

LOHENGRIN    (In  German)— Thursday  Evening,  February  6,    1930 

RIGOLETTO   (In  Italian)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26,  1930 

PIQUE  DAME   (In  Russian)— Thursday  Evening,  March  6,   1930 

UN  BALLO  IN  MASCHERA  (In  Itahan)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Italian)— Thursday  Evening,  April  24,   1930 

The  repertoire  for  the  season    1929-1930  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  following  is  a  partial  list: 

SOPRANOS:    Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 

Eleanor  Painter,  Bianca  Saroya.  Harriet  van  Emden,  Selma  Amansky,  Natalie 
Bodanskaya,  Agnes  Davis,  Paceli  Diamond,  Ruth  Gordon,  Edna  Hochstetter, 
Henrietta  Horle,  Florence  Irons,  Helen  Jepson,  Eleanor  Lewis,  Elsa  Meiskey, 
Charlotte  Symons,  Genia  Wilkomirska. 
MEZZO-SOPRANOS:  Sophie  Braslau,  Margaret  Matzenauer,  Faina  Petrova,  Cyrena 
Van  Gordon.  Rose  Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 

TENORS:  Ralph  Errolle,  Alexandre  Kourganoff,  Josef  Wolinski,  Alessandro  Angelucci, 
Daniel  Healy,  Albert  Mahler. 

BARITONES:  Carroll  Ault,  John  Barclay,  Chief  Caupolican,  Giuseppe  Martino-Rossi. 
John  Charles  Thomas,  Mario  Valle,  Alfred  De  Long,  Beniamino  Grobani,  Arthur 
Holmgren,   Abraham   Robofsky,    Conrad   Thihault. 

BASSES:    Augusto  Ottone,  Ivan   Steschenko,  CJlarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine    Littlefield,   Premiere   Danseuse 

PRICES  —  Tax  Exempt 
^3.50,  ^3.00,  ^2.50  ^2.00,  ^1.50,  ^1.00,  75  Cents  and  50  Cents 

Advance  orders  for  all  performances  will  have  prompt  attention  if  sent  to  office  of  Philadelphia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhoutc  3981).  Public 
sale  of   tickets   at   Heppe's,    1119   Chestnut   Street,    one   week   in  advance   of   the  dates   of  the   respective   performances. 


AJVlhKlL.AJN    /\L./\iJbMl    of    MUML. 


GRAND  OPERA  —  SEASON   1929  -  1930 
THURSDAY  EVEMNG,  FEBRUARY  20.  1930.  AT  8.15  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

WILLIAM   C.    HAMMER,    General    Manager 


RIGOLETTO 


OPERA   IN  FOUR  ACTS 

Text   by   Francesco  Maria   Piave,   adapted   from   the   drama    "Lc   Roi   S'Amusc,"    by  Victor   Hugo 

(In    Italian^ 

Music  by  GIUSEPPE  \'ERDI 

THE  DUKE  OF  MANTUA   JOSEF  WOLINSKI 

RIGOLETTO,   the   Court   Jester,    a    Hunchback    JOHN   CHARLES   THOMAS 

SPARAFUCILE,    an   Assassin    IVAN    STESCHENKO 

COUNT    MONTERONE    BENI AMINO    GROBANI 

BORSA    ALBERT    MAHLER 

MARULLO    CONRAD    THIBAULT 

COUNT  CEPRANO   ALFRED  DE  LONG 

AN  OFFICER    ALESSANDRO   ANGELUCCI 

COUNTESS    CEPRANO    HENRIETTA    HORLE 

A   PAGE    SELMA   AMANSKY 

GIOVANNA,    Companion   to    Gilda    PACELI    DIAMOND 

MADDALENA,    Sister   of   Sparafucile    JOSEPHINE    JIRAK 

GILDA,    Daughter   of   Rigoletto    JOSEPHINE    LUCCHESE 

Time — Sixteenth   Century  Place — Mantua 

Incidental  Dance   in   Act   I   by   Corps   de   Ballet 

CONDUCTOR    EMIL   MLYNARSKI 

STAGE    DIRECTOR     U  ILHELM    yon    WYMETAL.    Jr. 

SYNOPSIS   OF   SCENES 
ACT      I.— Hall   in  the  Duke's   Palace 
ACT     II.— House   of  Rigoletto 
ACT  III. — Room  in   the   Duke's   Palace 
ACT  IV. — Sparafuciles    House 

HONORARY   MUSICAL   DIRECTOR    LEOPOLD    STOKOWSKI 

DIRECTOR   MRS.  WM.  C.  HAMMER 

MUSICAL  DIRECTOR  AND   CONDUCTOR    EMIL  MLYNARSKI 

STAGE  DIRECTOR  WILHELM  von  WYMETAL,  JR. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN   LEVIN 

ASSISTANT   STAGE  MANAGER    CHARLES   DEMAREST 

BALLET  DIRECTOR    CAROLINE    LITTLEFIELD 

PREMIERE  DANSEUSE   CATHERINE   LITTLEHELD 

ORCHESTRA  MANAGER    ALEXANDER   HILSBERG 

PUBLICITY    MARGARET   M.    WALTON 

Scenery   designed  by   Prof.   Alfred   Roller,   Vienna,   and   executed   by   A.   Jarin   Scenic   Studios,    Philadelphia. 

Costumes  by  Consolidated  Theatrical  Costume  Company,   New  York. 

Wigs  by  William  Punzel,   New  ^'ork. 

Furniture    and    Decorations    by    Chapman    Decorative    Company,    20th    and    DeLanccy    Streets,    Philadelphia. 

The  Piano  used  is  the  Henry  F.   Miller — C.   J.   Heppe   &i   Son,   Agents,    1119  Chestnut  Street,    Philadelphia. 

The   Organ   used   is   the   Estey — Estey   Reed   Organ   Studies,    1702   Walnut   Street,    Philadelphia. 

NEXT   PERFORMANCE 

WEDNESDAY  EVENING,  FEBRUARY  26,  1930,  AT  8.15  O'CLOCK 

TIEFLAND 

(In   German) 

Mmes.    Genia    Wilkomirska,    Selma    Amansky,    Natalie    Bodanskaya,    Paceli    Diamond,    Eleanor    Lewis 

Sim.   Pavel   Ludikar    (courtesy  of  Metropolitan  Opera   Co.),   Augusto   Ottonc,   Albert    Mahler, 

Beniamino    Grobani,    Daniel    Healy 

CONDUCTOR     EMIL    MLYNARSKI 

STAGE  DIRECTOR   WILHELM  von  WYMETAL,  JR. 

NO  ADVANCE  IN  PRICES:  $3.50  to  50  cents  (tax  exempt).  Tickets  on  sale  at  Heppe's.  1119  Chestnut 
Street,  and  Philadelphia  Grand  Opera  Company  Office,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets. 
(Telephone   RITtenhouse    3981). 


/\jvii:ni^/\iN   /^L./^ujtiJVi  1    of   Muon^         js 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1929       Season  — 1930 

("Subject  to  Change) 

CARMEN   (In  French)— Wednesday  Evening,  October  23,   1929 
LE  JONGLEUR  DE  NOTRE  DAME   (In  French)— Thursday  Evening, 
October  31,  1929 

MADAMA  BUTTERFLY   (In  Italian)— Thursday  Evening,  November   14,   1929 

LAKME   (In  French) — Thursday  Evening,  November  28.   1929 

PAGLIACCI   (In  Italian)  ^^,      ^      ^ 

/^A\7ATTcnTA    D  1 1  c -TT/".  A  x  T  A    /T      T    1-     \    ?  Monday  Evcning,  Deccmber  9,  1929 

CAVALLERIA  RUSTICANA   (In  Italian)  J  ^  S' 

IL  SERRAGLIO  (In  Itahan)  \ 

Ti  inTT'tr  /A ^-^     D \    /T     R      1    u\     [Thursday  Evening,  December  26,  1929 

JUUllxl  (/\.mencan  rremiere)    (In  English)   j  '  &• 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6,   1930 

RIGOLETTO   (In  Itahan)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German) — Wednesday  Evening,  February  26,  1930 

LA  TRAVIATA   (In   Itahan)- Thursday   Evening,  March   6,   1930 

UN  BALLO  IN  MASCHERA  (In  Italian)— Thursday  Evening,  April  10,   1930 

AIDA  (In  Italian) — Thursday  Evening,  April  24,   1930 

The  repertoire  for  the  season   1929-1930  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  following  is  a  partial  list: 

SOPRANOS:  Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 
Eleanor  Painter,  Bianca  Saroya,  Harriet  van  Emden,  Selma  Amansky,  Natalie 
Bodanskaya,  Agnes  Davis,  Paceli  Diamond,  Ruth  Gordon,  Edna  Hochstetter, 
Henrietta  Horle,  Florence  Irons,  Helen  Jepson,  Eleanor  Lewis,  Elsa  Meiskey, 
Charlotte  Symons,  Genia  Wilkomirska. 

MEZZO-SOPRANOS:  Sophie  Braslau,  Margaret  Matzenauer,  Faina  Petrova,  Cyrena 
Van  Gordon,  Rose  Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 

TENORS:  Ralph  Errolle,  Alexandre  Kourganoif,  Josef  Wolinski,  Alessandro  Angelucci, 
Daniel  Healy,  Albert  Mahler. 

BARITONES:  Carroll  Ault,  John  Barclay,  Chief  Caupolican,  Giuseppe  Martino'Rossi, 
Pavel  Ludikar,  John  Charles  Thomas,  Mario  Valle,  Alfred  Le  Long,  Beniamino 
Grobani,  Arthur  Holmgren,  Abraham  Robofsky,  Conrad  Thibault. 

BASSES:    Augusto  Ottone,  Ivan   Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine   Littlefield,   Premiere   Danseuse 


PRICES  —  Tax  Exempt 
^3.50,  ^.00,  ^2.50  ^2.00,  ^1.50,  ^1.00,  75  Cents  and  50  Cents 

Advance  orders  for  all  performances  will  have  prompt  attention  if  sent  to  office  of  Philadelphia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhouse  3981).  Public 
sale  of  tickets  at   Heppe's,    1119  Chestnut   Street,   one  week   in  advance  of   the  dates  of  the  respective   performances. 


A 


i^iViILrtl^/\iN     i^^i^JL^ILiVi  1      0|     iViUlOl^ 


GRAND  OPERA 


SEASON   1929  -  1930 


WEDNESDAY  EVENING,  FEBRUARY  26,  1930  AT  8.15  O'CLOCK 
PHILADELPHIA  GRAND  OPERA  COMPANY 

VtlLLIAM   C.    HAMMER,    General    Manager 

TIEFLAND 

A  Music  Drama  in  Two  Acts,  With  a  Prologue 

Text  by  Rudolph   Lothar,   from  the  original   Catalonian   drama  "Terra   Baixa" 

(The    Lowland),   by   Angel    Guimera 

(In   German) 

Music  by  Eugene  D'Albert 

SEBASTIANO,  a  rich  land  owner PAVEL  LUDIKAR 

(Courtesy    of    Metropolitan    Opera    Co.) 

TOMMASO,  THE  VILLAGE  ELDER AUGUSTO  OTTONE 

MORUCCIO,  A  MILLER 

MARTA  

PEPA    

ANTONL\ 

ROSALIA    

NURI    

PEDRO,    A    SHEPHERD     

NANDO,   A   SHEPHERD    , 


In 

-  Sebastiano"s 
Service 


.BENIAMINO  GROBANI 
..GEXIA  W'lLKOMIRSKA 

SELMA  AMANSKY 

.NATALIE  BODANSKAYA 

PACELI  DIAMOND 

ELEANOR  LEWIS 

ALBERT  MAHLER 

DANIEL  HEALY 


CONDUCTOR    EMIL  MLYNARSKI 

STAGE  DIRECTOR   WILHELM  von  WYMETAL,  Jr. 

SYNOPSIS   OF   SCENES 
Prologue — A  rocky  slope  high  in  the  Pyrenees — Just  before  dawn 
ACT        I — Interior  of  the  mill — Sunset  of  the  same  day 
ACT      II — Same  as  Act  I — Dawn  of  the  following  morning 


HONORARY   MUSICAL   DIRECTOR    LEOPOLD    STOKOWSKl 

DIRECTOR    MRS.   WM.   C.   HAMMER 

MUSICAL  DIRECTOR  AND   CONDUCTOR    EMIL  MLYNARSKI 

STAGE  DIRECTOR  WILHELM  von  WYMETAL,  JR. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN   LEVIN 

ASSISTANT   STAGE  MANAGER    CHARLES   DEMAREST 

BALLET  DIRECTOR    CAROLINE   LITTLEFIELD 

<"•  4  THKn  IME     T  TTTT  FFIFLD 
^G 

3N 


Owing  to  illness  Mr.  PAVEL  LUDIKAR 

will   be   unable    to    appear    this    evening. 

The  role  of  Sebastiano  will    be   sung   by 

Mr.  CONRAD  THIBAULT. 


id; 


nut 
tu. 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1929       Season  — 1930 

(^Subject  to  Change) 

CARMEN   (In  French)— Wednesday  Evening.  October  2 J,   1929 

LE  JONGLEUR  DE  NOTRE  DAME  (In  French)— Thursday  Evening, 

October  31,  1929 

MADAMA  BUTTERFLY   (In  Italian)— Thursday  Evening,  November   U,   1929 

LAKME   (In  French)— Thursday  Evening,  November  28.   1929 

PAGLIACCI    (In   Italian)  ^  w      .       ,.        .        t.  ,       .    ,^.. 

r^  A\7  AT  T  TJDT  A    niic-TT/^AXTA    /T      T    1       \   >^  Monday  Evcning,  Deccmber  9,  1 9  29 
CAVALLERIA  RUSTICANA  (In  Italian)  J 

IL  SERRAGLIO  (In  Italian)  \ 

iTTTM-TT-r   I A  o  \    /T     c      1    u\     [Thursday  Evening,  December  26,  1929 

JUDITH  {Amencan  Premiere)    (In  English)   J  '  &• 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6,   1930 

RIGOLETTO   (In  Itahan)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26,  1930 

LA  TRAVIATA   (In   Italian)— Thursday   Evening,  March   6,   1930 

UN  BALLO  IN  MASCHERA  (In  Italian)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Italian)— Thursday  Evening,  April  24,   1930 

The  repertoire  for  the  season    1929'1930  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  following  is  a  partial  list: 

SOPRANOS:    Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 

Eleanor  Painter,  Bianca  Saroya,  Harriet  van  Emden,  Selma  Amansky,  Natalie 
Bodanskaya,  Agnes  Davis,  Paceli  Diamond,  Ruth  Gordon,  Edna  Hochstetter, 
Henrietta  Horle,  Florence  Irons,  Helen  Jepson,  Eleanor  Lewis,  Elsa  Meiskey, 
Charlotte  Symons,  Genia  Wilkomirska. 

MEZZO-SOPRANOS:    Sophie  Braslau,  Margaret  Matzenauer,  Faina  Petrova,  Cyrena 
Van  Gordon,  Rose  BamDton.  Lucia  nhacmnn     TnspnKi'n^  T.v^i,    r«,»~   t  „..._- 


-[ 


/\MJtKlL./\iN    AL^AULMI    ot    MUML. 


GRAND  OPERA  —  SEASON    1929  -  1930 

WEDNESDAY  EVENING,  FEBRUARY  26,  1930  AT  8.15  O'CLOCK 
PHILADELPHIA  GRAND  OPERA  COMPANY 

WILUAM   C.    HAMMER,    General    Manager 


TIEFLAND 


A  Music  Drama  in  Two  Acts,  With  a  Prologue 

Text   hy   Rudolph   Lothar,   from  the  original   Catalonian   drama  "Terra    Baixa" 

(The   Lowland),   by   Angel   Guimera 

(In  German) 

Music  by  Eugene  D'Albert 

SEBASTIANO,  a  rich  land  owner PAVEL  LUDIKAR 

(Courtesy    of    Metropolitan    Opera    Co.) 

TOMMASO,  THE  VILLAGE  ELDER AUGUSTO  OTTONE 

MORUCCIO,  A  MILLER 

MARTA 

PEPA    

ANTONIA 

ROSALIA    

NURI    

PEDRO,    A    SHEPHERD     

NANDO,   A   SHEPHERD    


In 

Sebastiano's 
Service 


. .  .BENIAMINO  GROBANI 
.  .GENIA  WILKOMIRSKA 

SELMA  AMANSKY 

.NATALIE  BODANSKAYA 

PACELI  DIAMOND 

ELEANOR  LEWIS 

ALBERT  MAHLER 

DANIEL  HEALY 


CONDUCTOR    EMIL  MLYNARSKI 

STAGE  DIRECTOR   WILHELM  von  WYMETAL,  Jr. 

SYNOPSIS   OF   SCENES 
Prologue — A  rocky  slope  high  in  the  Pyrenees — Just  before  dawn 
ACT        I — Interior  of  the  mill — Sunset  of  the  same  day 
ACT       II — Same  as  Act  I — Dawn  of  the  following  morning 


HONORARY   MUSICAL   DIRECTOR    LEOPOLD    STOKOWSKI 

DIRECTOR    MRS.   WM.   C.   HAMMER 

MUSICAL  DIRECTOR  AND   CONDUCTOR    EMIL  MLYNARSKI 

STAGE  DIRECTOR  WILHELM  von  WYMETAL,  JR. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN   LEVIN 

ASSISTANT  STAGE  MANAGER    CHARLES   DEMAREST 

BALLET  DIRECTOR    CAROLINE    LITTLEFIELD 

PREMIERE   DANSEUSE    CATHERINE   LITTLEFIELD 

ORCHESTRA  MANAGER    ALEXANDER   HILSBERG 

PUBLICITY    MARGARET   M.    WALTON 

Scenery  by  Teichner  Studios,   New  York. 

Costumes  by  Consolidated  Theatrical  Costume  Company,   New  York. 

Wigs  by  William  Punzel,   New  York. 

Furniture    and    Decorations    by    Chapman    Decorative    Company,    20th    and    DeLancey    Streets,    Philadelphia. 

The  Piano  used   is  the  Henry  P.   Miller — C.   J.   Heppe   8C  Son,   Agents,    1119   Chestnut  Street,   Philadelphia. 

The   Organ   used   is   the   Estey — Estey   Reed   Organ   Studies,    1702   Walnut   Street,    Philadelphia. 

NEXT    PERFORMANCE 

THURSDAY  EVENING,  MARCH  6,  1930,  AT  8.15  O'CLOCK 

LA   TRAVIATA 

(In  Italian) 

Mmes.  Josephine  Lucchese   (last  appearance  here  this  season),  Helen  Jepson,   Paceli  Diamond; 
Mm.  Alexandre  Kourganoff,   Mario  Valle,  Albert  Mahler,  Arthur  Holmgren,   Enrico   Giovanni, 

Alfred  De   Long 

CONDUCTOR     EMIL    MLYNARSKI 

STAGE  DIRECTOR   WILHELM  von  WYMETAL.  JR. 

NO  ADVANCE  IN  PRICES:  $3.50  to  50  cents  (tax  exempt).  Tickets  on  sale  at  Heppe's.  1119  Chestnut 
Street,  and  Philadelphia  Grand  Opera  Company  Office,  818  Harrison  Building.  S.  W.  Cor.  15th  and  Market  Streets 
(Telephone    RITtenhouse    3981). 


AMbKlUAN    AUAUbMI    ot    MUML. 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1 929  —  Season  —  1 930 

('Subject  to  Change) 

CARMEN   (In  French)— Wednesday  Evening,  October  23.   1929 

LE  JONGLEUR  DE  NOTRE  DAME   (In  French)— Thursday  Evening, 

October  31,  1929 
MADAMA  BUTTERFLY   (In  Italian)— Thursday  Evening,  November   14,   1929 
LAKME   (In  French) — Thursday  Evening,  November  28.   1929 


^Monday  Evening,  December  9,  1929 


PAGLIACCI    (In   Italian) 
CAVALLERIA  RUSTICANA  (In  Italian) 

IL  SERRAGLIO  (In  Italian)  \  x.         ^  «.o 

TTTTMT^u   /A  D        •      \   /T     Tj     T  u\    |  Thursday  Evening.  December  26,  1929 

JUDITH  (American  Premiere)   (In  English)  J  ■'  " 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6.   1930 

RIGOLETTO   (In  Italian)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26.  1930 

LA   TRAVIATA    (In   Italian)— Thursday   Evening,   March   6,    1930 

UN  BALLO  IN  MASCHERA  (In  Itahan)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Italian)— Thursday  Evening,  April  24,   1930 

The  repertoire  for  the  season    1929-1930  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  followii.g  is  a  partial  hst: 

SOPRANOS:    Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 

Eleanor  Painter,  Bianca  Saroya,  Harriet  van  Emden,  Selma  Amansky,  Natalie 
Bodanskaya,  Agnes  Davis,  Paceli  Diamond,  Ruth  Gordon,  Edna  Hochstetter, 
Henrietta  Horle,  Florence  Irons,  Helen  Jepson,  Eleanor  Lewis,  Elsa  Meiskey. 
Charlotte  Symons,  Genia  Wilkomirska. 
MEZZO-SOPRANOS:  Sophie  Braslau,  Margaret  Matzenauer,  Faina  Petrova,  Cyrena 
Van  Gordon,  Rose  Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 

TENORS:  Ralph  Errolle,  Alexandre  Kourganoff,  Josef  Wolinski,  Alessandro  Angelucci, 
Daniel  Healy,  Albert  Mahler. 

BARITONES:  Carroll  Ault,  John  Barclay,  Chief  Caupolican,  Giuseppe  Martino-Rossi, 
Pavel  Ludikar,  John  Charles  Thomas,  Mario  Valle,  Alfred  Le  Long,  Beniamino 
Grobani,  Arthur  Holmgren,  Abraham  Robofsky,  Conrad  Thibault. 

BASSES:    Augusto  Ottone,  Ivan  Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine   Littlefield,   Premiere   Danseuse 


PRICES  —  Tax  Exempt 
^3.50,  ^3.00,  ^2.50  ^2.00,  ^1.50,  ^1.00,  75  Cents  and  50  Cents 

Advance  orderi  for  all  performances  will  have  prompt  attention  if  sent  to  office  of  Philadelphia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittcnhouse  3981).  Public 
sale  of  tickets  at   Heppe's,    1119   Chestnut   Street,   one   week   in  advance   of   the  dates   of   the   respective   performances. 


/\Mi:KlL./\iN    i^L./^UnJVi  I     0|    JViUDlL. 


GRAND  OPERA  —  SEASON   1929  -  1930 
THURSDAY  EVENING,  MARCH  6,   1930,  AT  8.15  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

WILUAM   C.    HAMMER,    General    Manager 

LA  TRAVIATA 

Opera   in   Four   Acts 

Text  by  Francesco  Maria  Piave;  adapted  from  the  play.  "La  Dame  aux  Camclias";  by 

Alexandre   Dumas,   Jr. 
(In   Italian) 

Music  by  GIUSEPPE  VERDI 

VIOLETTA    JOSEPHINE  LUCCHESE 

FLORA HELEN  JEPSON 

ANNINA PACELI  DIAMOND 

ALFREDO  GERMONT   ALEXANDRE  KOURGANOFF 

GIORGIO  GERMONT MARIO  VALLE 

GASTONE   ALBERT  MAHLER 

BARON  DAUPHOL  ALFRED  DE  LONG 

MARQUIS  D'OBIGN Y   ARTHUR   HOLMGREN 

DOCTOR  GRENVIL    ENRICO  GIOVANNI 

GIUSEPPE    ALESSANDRO   ANGELUCCI 

Incidental  Dances  by  Corps  dc  Ballet 

CONDUCTOR    EMIL  MLYNARSKI  - 

STAGE  DIRECTOR WILHELM  von  WYMETAL,  Jr. 

SYNOPSIS    OF   SCENES 
ACT      I — Salon  in  the  house  of  Violetta 
ACT     II — Garden  of  a  country  house  near  Paris. 
ACT  III — Ballroom  in  the  house  of  Flora 
AQT  IV — Violetta's  bed-chamber 


HONORARY   MUSICAL   DIRECTOR    LEOPOLD    STOKOWSKl 

DIRECTOR   MRS.  WM.   C.   HAMMER 

MUSICAL  DIRECTOR  AND   CONDUCTOR    EMIL  MLYNARSKI 

STAGE  DIRECTOR WILHELM  von  WYMETAL.  JR. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN    LEVIN 

ASSISTANT  STAGE  MANAGER    CHARLhS   DEMARhST 

BALLET  DIRECTOR    CAROLINE    LITTLEFIELD 

PREMIERE  DANSEUSE    CATHERINE   LITTLEFIELD 

ORCHESTRA  MANAGER    ALEXANDER   HILSBERG 

Scenery    by    A.^  Jarin    Scenic    Studios,    PliiKidelphia. 

Costumes    by    Consolidated    Theatrical    Costume    Company,    Xcw    York. 

\\  igs   by   William   Punzel,   New   York. 

Furniture   and   Decorations   by   Chapman   Decorative   Company,   20th   and    DeLancey    Sts.,    Philadelphia. 

Banquet    Tables    and     Decora. ions     bv     Beilevue-Strattord     Hotel,     Phdadelphia. 

Flowers  by   H.   H.    Battles,   114   South   12th   St.,   Philadelphia. 

The   Piano   used   is  the  Henry  F.    Miller— C.   J.   Heppe   &   Son,   Agents,    1119   Chestnut    St.,   Philadelphia. 


NEXT   PERFORMANCE 

Thursday  Evening,  April  10,   1930,  at  8.15  ©'Clock 

UN  BALLO  IN  MASCHERA 

(In  Italian) 

Mmes.    Bianca   Saroya.    Faina    Petrova,   Henrietta   Horle. 

Mm.   John   Charles  Thomas,   Alexandre  Kourganoff,   Ivan   Steschenko.   Beniamino   Grobani. 

Abraham  Robofsky,  Alfred  De  Long,   Daniel  Healy. 

CONDUCTOR     EMIL    MLYNARSKI 

STAGE  DIRECTOR   WILHELM  von  WYMETAL,  JR. 

NO  ADVANCE  IN  PRICES:  $3.50  to  50  cents  (tax  exempt).  Tickets  on  sale  at  Heppe's,  1119  Chestnut 
Street,  and  Philadelphia  Grand  Opera  Company  Office,  818  Harrison  Buildmg,  S.  W.  Cor.  15th  and  Market  Streets, 
(Telephone   RITtenhouse    3981). 


/AlVii:rtlV^/MN     /A^^/AL>'ILiVi  1      O]     lViL>l01^^ 


>o 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1 929  —  Season  —  1 930 

("Subject  to  Change) 

CARMEN   (In  French)— Wednesday  Evening.  October  23,   1929 

LE  JONGLEUR  DE  NOTRE  DAME  (In  French)— Thursday  Evening. 

October  31,  1929 
MADAMA  BUTTERFLY   (In  ItaHan)— Thursday  Evening,  November  14.   1929 
LAKME   (In  French)— Thursday  Evening,  November  28.   1929 


^Monday  Evening,  December  9,  1929 


PAGLIACCI   (In  Italian) 

CAVALLERIA  RUSTICANA   (In  Italian) 

IL  SERRAGLIO  (In  ItaUan)  \ 

TT  iTNTTtj  /A  D  \/TDiL\    fThursday  Evening,  December  26,  1929 

JUDITH  (American  Premiere)    (In  English)   J  '  &• 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6.   1930 

RIGOLETTO   (In  Italian)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26.  1930 

LA  TRAVIATA   (In   Italian)— Thursday   Evening,  March   6,    1930 

UN  BALLO  IN  MASCHERA  (In  Italian)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Italian)— Thursday  Evening.  April  24,   1930 

The  repertoire  for  the  season   1929' 1930  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  following  is  a  partial  list: 

SOPRANOS:  Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 
Eleanor  Painter,  Bianca  Saroya,  Harriet  van  Emden,  Selma  Amansky,  Natalie 
Bodanskaya,  Agnes  Davis,  Paceli  Diamond,  Ruth  Gordon,  Edna  Hochstetter, 
Henrietta  Horle,  Florence  Irons,  Helen  Jepson,  Eleanor  Lewis,  Elsa  Meiskey, 
Charlotte  Symons,  Genia  Wilkomirska. 

MEZZO-SOPRANOS:  Sophie  Braslau,  Margaret  Matzenauer,  Faina  Petrova,  Cyrena 
Van  Gordon,  Rose  Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 

TENORS:  Ralph  Errolle,  Alexandre  Kourganoff,  Josef  Wolinski,  Alessandro  Angelucci, 
Daniel  Healy,  Albert  Mahler. 

BARITONES:  Carroll  Ault,  John  Barclay,  Chief  Caupolican,  Giuseppe  Martino-Rossi, 
Pavel  Ludikar,  John  Charles  Thomas,  Mario  Valle,  Alfred  Lc  Long.  Beniamino 
Grobani,  Arthur  Holmgren,  Abraham  Robofsky,  Conrad  Thihaiilt. 

BASSES:    Augusto  Ottone,  Ivan  Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine   Littlefield,   Premiere   Danseuse 


PRICES  —  Tax  Exempt 
^3.50,  ^3.00,  ^2.50  ^2.00,  ^1.50,  ^1.00,  75  Cents  and  50  Cents 

Advance  ordera  for  all  performances  will  have  prompt  attention  if  acnt  to  office  of  Philadelphia  Grand  Opera 
Company,  818  Harriaon  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhouse  3981).  Public 
■ale  ol  tickatt  at   Heppe'a,    1119   Cheatnut   Street,   on*   week   in  advanc*  of   the  datea  of  the  respective   performancea. 


/\wicti,i^/\rsi   /\y^/\uc.£^L  i    ot   iviuioiv^ 


GRAND  OPERA  —  SEASON   1929  -  1930 
THURSDAY  EVENING,  APRIL  10,   1930,  AT  8.15  O'CLOCK 

PHILADELPHIA  GRAND  OPERA  COMPANY 

WILUAM  C.   HAMMER,    General    MaiMgw 

UN  BALLO  IN  MASCHERA 

opera  in  Five  Acts 

Text   by   Francesco   Maria   Piave,   from   Antonio    Somma's   translation   of  the   book   by  Augustin 
Eugene  Scribe  for  the  opera  "Gustave  III  ou  Le  Bal  Masque,"  by  Daniel  Francois  Esprit  Auber. 

(In   Italian) 

Music  by  GIUSEPPE  VERDI 

RICCARDO.   Duke   of  Olivarez    ALEXANDRE   KOURGANOFF 

RENATO.   his   Secretary JOHN    CHARLES   THOMAS 

AMELIA.    Renatos    Wife    BIANCA    SAROYA 

ULRICA,   a   Gypsy   Fortune   Teller    FAINA   PETROVA 

OSCAR,    the    Dukes    Page    HENRIETTA    HORLE 

SILVANO.    a    Sailor    BENIAMINO   GROBANI 

FRANCESCO     )  ^^  ,    u     t^  v    n       ^       n  i IVAN  STESCHENKO 

ANTONIO  )  Officers  of  the   Duke  s  Guards— Conspirators      | ABRAHAM   ROBOFSKY 

THE   SUPREME  JUDGi     ALFRED   DE   LONG 

A  SERVANT  OF  AMELIA    DANIEL  HEALY 

Incidental  Dances  by  Corps  de   Ballet 
Time — Early   part   of   the    17th    Century.      Place — Naples. 

CONDUCTOR    EMIL    MLYNARSKI 

STAGE   DIRECTOR    WILHELM   von    WYMETAL,   Jr. 

NOTE — The   orchestra   is   composed   of   members   of   the    orchestra    of   The    Curtis   Institute   of   Music,    augmented 
for  this  occasion  by  twelve  professional  players. 

SYNOPSIS  OF  SCENES 
ACT       I— Hall    in   the    Palace    of   the   Duke 
ACT     II— House  of   Ulrica 
ACT   III — Rocky    Height    near    Naples 
ACT   IV — A   Room   in   Renatos    House 
ACT     V — Scene    1 — A    Small    Room    in   the    Palace 
Scene   2 — A   Garden  of  the   Palace 


HONORARY    MUSICAL   DIRECTOR    LEOPOLD    STOKOWSKI 

DIRECTOR   MRS.   WM.  C.  HAMMER 

MUSICAL  DIRECTOR  AND  CONDUCTOR   EMIL  MLYNARSKI 

STAGE  DIRECTOR  WILHELM  von  WYMETAL.  JR. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   ...HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN   LEVIN 

ASSISTANT   STAGE   MANAGER    CHARLES   DEMAREST 

BALLET  DIRECTOR    CAROLINE    LITTLEFIELD 

PREMIERE  DANSEUSE   CATHERINE  LITTLEFIELD 

ORCHESTRA  MANAGER   ALEXANDER   HILSBERG 

Scenery    by    A.    Jarin    Scenic    Studios,    Philadelphia. 

Costumes    by    Consolidated    Theatrical    Costume    Company,    New    York. 

Wigs   by   William   Punzel,   New   York.  ,  ,   u- 

Furniture   and   Decorations   by   Chapman    Decorative   Company,   20th  and   DeLancey    Sts.,    Philadelphia. 

The   Piano   used   is   the  Henry  F.    Miller— C.   J.   Heppe   &   Son,   Agents,    1119   Chestnut    St.,    Philadelphia. 

LAST  PERFORMANCE  OF  THE  SEASON 

Thursday  Evening,  April  24,  1930,  at  8.15  o'Clock 

AIDA 

(In    Italian) 

Mmes.  Marianne  Gonitch,  Cyrena  Van  Gordon  (Courtesy  of  the  Chicago  Civic  Opera  Company), 

Florence  Irons. 

Mm.  John  Charles  Thomas,  Josef  Wolinski,  Ivan  Steschenko,  Leo  de  Hierapolis,  Albert  Mahler. 

Spectacular    Ballet    by    Catherine    Littlefield,    Premiere    Danseuse,    and    Corps    de    Ballet    of    80. 

Ensemble   of   300.      New   and  elaborate   scenic   investiture. 

CONDUCTOR     EMIL    MLYNARSKI 

STAGE  DIRECTOR  WILHELM  von  WYMETAL.  JR. 

NO  ADVANCE  IN  PRICES:  $3.50  to  SO  ccnt»  (t»i  eiempt).  Tickets  on  tale  at  Heppe's,  1119  Che«tnut 
Street.  »nd  Philadelphia  Grand  Opera  Company  Office,  lit  Harriion  Building.  S.  W.  Cor.  15th  and  Market  Street!, 
(Telephone   RITtenhouie    3981). 


Philadelphia  Grand  Opera  Company 

REPERTOIRE 

1929  —  Season  — 1930 

('Subject  to  Change) 

CARMEN   (In  French)— Wednesday  Evening,  October  23,   1929 

LE  JONGLEUR  DE  NOTRE  DAME   (In  French)— Thursday  Evening. 

October  31,  1929 
MADAMA  BUTTERFLY   (In  Italian)— Thursday  Evening,  November   14.   1929 
LAKME    (In  French) — Thursday  Evening,  November  28.    1929 


?Monday  Evening,  December  9,  1929 


PAGLIACCI   (In   Italian) 
CAVALLERIA  RUSTICANA  (In  Italian) 

IL  SERRAGLIO  (In  Itahan)  \ 

iiTT-^TT-'Lj  /A  D  \    / T     17      1 '  1  \    [Thursday  Evening,  December  26,  1929 

JUDITH  (American  Premxere)    (In  English)   j  ■'  «" 

LOHENGRIN   (In  German)— Thursday  Evening,  February  6,   1930 

RIGOLETTO   (In  Itahan)— Thursday  Evening,  February  20,   1930 

TIEFLAND  (In  German)— Wednesday  Evening,  February  26,  1930 

LA"  TRAVIATA    (In   Italian)— Thursday  Evening,  March   6,   1930 

UN  BALLO  IN  MASCHERA  (In  Itahan)— Thursday  Evening,  April  10,  1930 

AIDA  (In  Itahan)— Thursday  Evening,  April  24,   1930 

The  repertoire  for  the  season   1929-1930  will  be  interpreted  by  eminent  artists  of 
the  lyric  world,  of  which  the  following  is  a  partial  hst: 

SOPRANOS:  Mary  Garden,  Marianne  Gonitch,  Nanette  Guilford,  Josephine  Lucchese, 
Eleanor  Painter,  Bianca  Saroya,  Harriet  van  Emden,  Selma  Amansky,  Natalie 
Bodanskaya,  Agnes  Davis,  Paceli  Diamond,  Ruth  Gordon,  Edna  Hochstetter, 
Henrietta  Horle,  Florence  Irons,  Helen  Jepson,  Eleanor  Lewis,  Elsa  Meiskey, 
Charlotte  Symons,  Genia  Wilkomirska.  ;\' 

MEZZO-SOPRANOS:  Sophie  Braslau,  Margaret  Matzenauer,  Faina  Petrova,  Cyreniu 
Van  Gordon,  Rose  Bampton,  Lucia  Chagnon,  Josephine  Jirak,  Berta  Levina. 

TENORS:  Ralph  Errolle,  Alexandre  Kourganotf,  Josef  Wolinski,  Alessandro  Angelucci, 
Daniel  Healy,  Albert  Mahler. 

BARITONES:  Carroll  Ault,  John  Barclay,  Chief  Caupolican,  Giuseppe  Martino-Rossi, 
Pavel  Ludikar,  John  Charles  Thomas,  Mario  Valle,  Alfred  Le  Long,  Beniamino 
Grobani,  Arthur  Holmgren,  Abraham  Robofsky,  Conrad  Thibault. 

BASSES:    Augusto  Ottone,  Ivan  Steschenko,  Clarence  Reinert. 

CORPS  DE  BALLET  OF  ONE  HUNDRED 
Catherine   Littlefield,   Premiere  Danseuse 


PRICES  —  Tax  Exempt 
^3.50,  ^3.00,  ^2.50  ^2.00,  ^1.50,  ^1.00,  75  Cents  and  50  Cents 

Advance  orderi  for  all  performances  will  have  prompt  attention  if  sent  to  office  of  Philadelphia  Grand  Opera 
Company,  818  Harrison  Building,  S.  W.  Cor.  15th  and  Market  Streets  (Telephone:  Rittenhouse  3981).  Public 
■ale  of   ticket!  at   Heppe's,    1119   Chestnut   Street,   one  week   in  advance   of   the  dates  of  the  respective   performances. 


AMtlilUAN   ACAUbMY    of   MUblC 


GRAND  OPERA  —  SEASON   1929  -  1930 

Thursday  Evening,  April  24,   1930,  at  8.15  o'Clock 

PHILADELPHIA  GRAND  OPERA  COMPANY 

WILLIAM    C.    HAMMER,    General    Manager 

AIDA 

Opera  in  Four   Acts 

Text  hy  Antonio  Ghislanzcni 

(In    Italian) 

Music  by  GIUSEPPE  VERDI 

THE  KING LEO  de  HIERAPOLIS 

AMNERIS CYRENA  VAN  GORDON 

(Courtesy   of  Chicago   Civic   Opera  Co.) 

AIDA MARIANNE  GONITCH 

RADAMES JOSEF  WOLINSKI 

AMONASRO  JOHN  CHARLES  THOMAS 

RAMFIS IVAN  STESCHENKO 

A  MESSENGER  ALBERT  MAHLER 

A  PRIESTESS    FLORENCE  IRONS 

Dances  by  CATHERINE  LITTLEFIELD,  Premiere  Danseuse 
and  Corps  de  Ballet 

CONDUCTOR    EMIL   MLYNARSKI 

STAGE  DIRECTOR   WILHELM  von  WYMETAL,  Jr. 

SYNOPSIS  OF  SCENES 
ACT       I.      Scene    1 — A  Hall  in  the  Palace  of  Pharaoh 
Scene   2 — The  Temple  of  Ptah 

ACT     II.      Scene    1 — Amneris'  Room  in  the  Palace 
Scene   2 — The  Gates  of  Thebes 

ACT   III.      The  Temple  of  Isis  on  the  River  Nile 

ACT  IV.      Scene    1--A  Hall  in  the  Palace  of  Pharaoh 

Scene   2 — The  Temple  of  Ptah  and  Crypt  Beneath 


HONORARY   MUSICAL   DIRECTOR    LEOPOLD    STOKOWSKI 

DIRECTOR    MRS.    WILLIAM   C.    HAMMER 

MUSICAL  DIRECTOR  AND   CONDUCTOR   EMIL   MLYNARSKI 

STAGE  DIRECTOR  WILHELM  von  WYMETAL.  JR. 

ASSISTANT  CONDUCTOR  AND  CHORUS  MASTER   HENRI  ELKAN 

ASSISTANT   CONDUCTOR    SYLVAN   LEVIN 

ASSISTANT  STAGE   MANAGER    CHARLES   DEMAREST 

BALLET  DIRECTOR    CAROLINE   LITTLEFIELD 

PREMIERE   DANSEUSE   CATHERINE   LITTLEFIELD 

ORCHESTRA  MANAGER    ALEXANDER   HILSBERG 

Scenery    by    A.    Jarin    Scenic    Studios,    Philadelphia. 

Costumes    by    Consolidated    Thea.rical    Costume    Company,    New    York. 

Wigs   by   William   Punzel,   New   York. 

Furniture   and   Decorations   by   Chapman    Decorative   Company,   20th   and   DeLancey    Sts.,   Philadelphia. 

The   Piano   used   is   the  Henry   F.    Miller — C.   J.   Heppe   &   Son,   Agents.    1119   Chestnut   St.,    Philadelphia. 


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STORY  OF  THE  OPERA 

By  Samuel  L.  Laciar 


AIDA 

By   GIUSEPPE   VERDI 

■'Aida,"  the  lueiity-seventh  of  the  thirty  operas  of 
(iius^ppe  \'erdi  (including  two  rewritten  ones  in  thi? 
numher)  is,  in  some  respects,  the  most  remarkable  of  all 
operas.  In  the  first  place,  it  is  one  of  two  instances  where 
a  musical  composition,  written  to  a  definite  order,  has 
proved  to  be  a  great  masterpiece,  the  other  being  the 
"Requiem"  of  Mozart.  The  history  of  music  shows  that 
most  works  composed  in  these  circumstances  have  been 
routine  and  hackneyed.  In  the  second  place,  the  opera 
was  composed  at  an  age  when  most  composers  have  long 
since  ceased  the  labor  of  musical  creation.  Verdi  was 
nearly  sixty  years  of  age  when  "Aida"  was  composed  and, 
when  its  merits  were  instant!}'  accepted,  it  was  generally 
assumed  that  it  would  be  the  last  opera  of  his  distin- 
guished career.  But  sixteen  years  later  he  produced 
"Otello,"  and  some  year.s  later,  in  his  eightieth  year, 
he  composed  "Pals' affo,"  respectively  the  greatest  tragedy 
and  the  greatest  comedy  of  the  Italian  operatic  repertoire. 
But,  in  human  and  musical  appeal,  "Aida"  stands  above 
even   these   superlative   masterpieces. 

"Aida"  was  completed  in  1871,  being  now  (1930)  fifty- 
nine  years  of  age  and  still  retains  all  of  its  power,  if, 
indeed,  its  charm  and  beauty  have  been  enhanced  by  the 
passing  of  the  years.  It  is  certainly,  the  most  popular 
opera  on  the  stage  today  and  this,  too,  appears  to  grow  as 
ime  goes  on.  For  many  years,  "II  Trovatore"  and 
"Faust"  were  the  two  operas  most  frequently  performed, 
but  today,  "Aida,"  although  composed  much  later,  has 
unquestionably  passed  them  both  in  the  matter  of  total 
Ijerformances.  In  one  season,  in  Philadelphia  alone, 
"Aida"  was  presented  seven  times. 

The  opera  was  composed  by  Verdi  on  a  commission 
given  by  Ishmael  Pasha,  then  Khedive  of  Egypt,  for  the 
opening  of  a  new  opera  house  in  Cairo,  which  was  to  be 
one  of  the  largest  and  most  beautiful  in  the  world.  The 
ruler  desired  an  opera  on  an  Egyptian  subject  and  wanted 
the  most  eminent  operatic  composer  then  living  (Verdi) 
to  write  it.  The  terms  were  liberal  and  Verdi  set  about 
the  work  with  enthusiasm.  The  work  of  composition  did 
not  take  long,  although  the  opera  was  not  written  wi.h 
:he  speed  which  marked  the  production  of  "Trovatore," 
"Kigoletto"  and  Traviata"  about  twenty  years  earlier. 

The  story  of  "Aida"  is  actually  a  legendary  Egyptian 
tale  of  great  antiquity  and  not  a  plot  made  up,  as  so 
many  operatic  stories  are,  by  a  librettist.  The  original 
story  was  discovered  by  Mariette  Bey,  a  famous  Egyptol- 
ogist, who  happened  across  it  in  the  course  of  his 
researches.  The  idea  was  submitted  to  \'erdi  by  represen- 
tatives of  the  Khedive  and  met  with  his  instant  approval. 
Great  care  was  taken  with  the  preparation  of  the  libretto, 
the  story  being  first  translated  into  French  prose  by 
C'amille  de  Locle,  with  the  assistance  of  \'erdi,  and  then 
placed  in  the  hands  of  Antonio  (jhislanzoni,  \'erdi's  last 
librettist  before  Arrigo  Boito.  The  opera  was  produced 
wi.h  enormous  success  at  Cairo  on  Christmas  Eve  of 
1871.  Verdi  had  been  invited  to  attend  and  conduct,  but. 
always  averse  to  travel  into  foreign  countries,  he 
declined. 


The  music  is  notable  above  all  things,  with  its  intrinsic 
beauty  and  fitness  to  tbe  dramatic  situations  of  the  opera, 
for    the    fact    that    it    is    a    complete    departure    from    the 


convenional  Italian  style  of  opera  which  Verdi  had  fol- 
lowed consistently  up  to  that  tiine.  It  is  full  of  Egyptian 
color,  but  only  in  the  Temple  Scene  (the  second  seem- 
of  the  first  act)  is  any  authentic  Egyptian  music  useil. 
But,  as  Bizet  did  in  "Carmen,"  the  music,  although  orig 
inal  with  the  composer,  is  so  imbued  with  the  atmosphere 
of  the  land  in  which  the  opera  is  laid,  that  it  sounds  as 
though  the  entire  musical  fabric  were  national  in  its 
origin. 

The  time  of  the  opera  is  that  of  the  later  Pharaohs, 
and  the  scenes  are  laid  in  the  ancient  Egyptian  cities  of 
-Memphis  and  Thebes.  Aida  is  a  slave  girl  who,  unknown 
,o  her  captors,  is  the  daughter  of  the  King  of  Ethiopia 
( Amonasro)  and  has  been  placed  in  the  service  of 
.Vmneris,  daughter  of  the  King  of  the  Egyptians. 
Radames,  a  young  Egyptian  warrior,  is  greatly  in  love 
with  the  beautiful  slave  girl  and  is  beloved  by  her  and 
also   by   the   Princess   Amneris. 

The  first  act  opens  with  the  pioclama  ion  that  the 
ELhiopians  under  King  Amonasro  have  rebelled  againsit 
the  authority  of  the  Egyptians  and  that  a  leader  of  the 
Egyptian  armies  must  be  chosen  at  once.  TIil-  choice  falls 
upon  Radames  who,  in  the  second  scene  of  the  act, 
receives  the  sword  consecrated  to  the  service  of  the  god 
Ptah  (Vulcan)  and  departs  for  the  war.  The  second 
act  opens  in  the  apartment  of  the  Princess  Amneris  and, 
it  the  close,  there  is  a  dramatic  scene  between  Amneris 
aii<l  .\ida.  Th  Princess  suspects  that  she  has  a  powerful 
rival  for  the  affections  of  Radames  and  she  wrests  the 
secret  from  Aida  by  declaring  that  Radames  has  been 
killed  in  battle.  The  second  scene  shows  Radames  return-, 
■.ng  victorious,  with  trophies  and  captives,  among 
latter  the  King,  Amonasro,  althoitgh  his  captors  do 
know  his  identity.  The  priests,  led  by  the  High  Prid 
Ramlis,  demand  the  death  of  all  the  prisoners,  but 
appeals  of  the  people  and  finally  Radames  himself  mo^ 
the  King  to  release  them,  holding  only  Aida  and  Amon 
asro  as  hostages.  This  scene  is  one  of  the  most  impressiv. 
in   all   opera,   musically,  scenically   and   dramatically. 

Thu  third  act  is  the  famous  "Nile  Scene."  .\mneris, 
accompanied  by  the  High  Priest,  repairs  to  the  temple  tu 
pray,  on  the  eve  of  her  marriage  to  Radames.  Aida, 
expecting  to  meet  Radaines,  is  confronted  by  her  father, 
Amonasro,  who  demands  that  she  learn  from  Radames  the 
plans  of  the  Egyptians  in  their  second  invasion  of 
Ethiopia.  She  refuses,  but,  after  a  very  strong  scene, 
finally  consents.  Radames  appears  and,  after  much  plead- 
ing, finally  tells  Aida  the  plans  of  the  Egyptian  army, 
which  Amonasro  overhears.  .'\.t  this  point,  Amneris  and 
the  High  Priest  emerge  from  the  temple.  Radames.  Aid 
:iii<l  Amonasro  flee,  pursued  by  the  guards,  hut  Radami - 
returns,  surrenders  his  swonl  to  the  High  Priest  and 
awaits   his  trial   for  treason. 

The    last    act    is     in     two    scenes.       The    first    is    in    toa 
outer     hall     of     the     temple     where     Amneris     alone    OVtU 
hears  Radames   being  tried  by  the  priests  for  treason,  alS 
stands    almost    alone    in    all    opera    for    contralto,    both  g| 
voice    and    dramatic    action.       Radames    is    convicted    an"* 
sentenced  to  be  entombed   alive   in  the  subterranean  vault- 
of    the   temple   and    .\mneris   appeals   vainly    to   the   i)riest- 
as   they  reappear.     The   final   scene   is  in   the  subterranean 
chamber    to    which    Radames    has    been    taken.      There   li< 
finds    Aida,    who    has    succeeded    in    evading    the    guards 
:^nc    joins   him    in    death.      The   opera   closes   as   the  lovei^ 
die,   while   .\mnev\s,   broken-hearted,   kneels   in   prayer  over 
their    living    tomb. 


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