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The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Fifteenth   Season 

FACULTY  RECITAL 

Monday  EimiKg,  November  21,  193S,  at  ^:}0  o'doik 

MR.     FELIX    SALMOND,    Violoncellist 

'•■Ralph  Berkowitz  at  the  Piano 


Tlic  Curtis    Instifute  of  I^Iusic  congratulates  I^lr.    Salmoncl  on  «i.e 

celetration  of  Lis  Fiftietk  BirtLtlay  and  tke  Tkirtietli 

Anniversary  of  nis  DeLut  in  London 


PROGRAMME 

I 

Sonata  in  F  major,  Opus  99    Johannes  Brahms 

Allegro  vivace 
Adagio   aflfettuoso 
Allegro  passionate 
Allegro  molto 

II 

Prelude,  Sarabande  and  Gigue  in  D  minor  Johann  Sebastian  Bach 

(from  Suite  No.  2  for  unaccompanied  violoncello) 

III 

Sonata  in  D  minor Claude  Debussy 

Prologue 

Serenade    et    Finale 
(Composed  in  summer  of   1915) 

IV 

Sonata  in  A  major.  Opus  69 Ludwig  van  Beethoven 

Allegro  ma  non   tanto 
Scherzo.      Allegro   molto 
Adagio   cantabile 
Allegro  vivace 

■Graduate  pupil  of  Mr.  Kaufman  in  Accompanying 
The  Steinway   is  the  official   piano  of  The  Curtis  Institute  of  Music 


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

FACULTY  RECITAL 

Thursday  Evening,  April  27,  1939,  at  8:30  o'clock 

MADAME  ELISABETH  SCHUMANN,  Soprano 
MR.  LEO  ROSENEK  at  the  Piano 

PROGRAMME 
I 

"L'amero"  from  "II  re  pastore" Wolfgang  Amadeus  Mozart 

Violin   obbligato   played   by   Frederick    Vogelgesang* 

n 

Der  Hirt  auf  dem  Felsen Franz  Schubert 

Clarinet   obbligato   played   by   William   McCormick** 

III 

An  den  Sonnenschein  ^ 

Roselein,  Roselein!       f Robert  Schumann 

Marienwiirmchen         I 
Er  ist's  / 

IV 

Nachtigall  ^ 

Der  Gang  zum  Liebchen  f  Johannes  Brahms 

Lerchengesang  i 

Blindekuh  ) 

*Student  of  Mr.  Zimbalist 
** Student  of  Mr.  McGinnis 

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


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The  Curtis  Institute  of  Music 

CASIMIR  HALL 
Fifteenth  Season — 1938-39 

RECITAL 

BY 

LESTER  ENGLANDER,  Baritone 
Graduate  Pupil  of  Mr.  de  Gogorza 


Thursday  Evening,  December  1,  1938,  at  8:30  o'clock 


Vladimir  Sokoloff  at  the  piano 


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


<^?  fciiMiiiiiiimiiiiiiiii] itm LI] II I 


.immiiniuMinmiiiiiiiiiiiiiiiuniiiiuiiiiiiiniiuiuumiiiu 


PROGRAMME 


I 

Mark,  o  my  heart,  evermore  only  this Johann  Sebastian  Bach 

Two  EHzabethan  Love  Songs 

The  Charm Thomas  Campion 

What  if  I  speede  where  I  least  expected Robert  Jones 

Thou  art  gone  up  on  high  (from  "The  Messiah") 

Georg  Friedrich  Handel 


II 

Winternacht    Richard  Strauss 

Welcome,  moon  of  rainy  and  stormy  December,  and  lead  me  to  my  lady's 
dwelling.  Never  did  I  greet  the  blossoms  of  May  so  gladly  as  I  today  greet 
thy  snowflakes,  for  through  them  my  love  blossoms  secretly  in  the  winter 
night. 

Ach,  weh  mir  unglixckhaftem  Mann Richard  Strauss 

Ah!  woe  is  me,  unlucky  man,  without  money  or  fortune!  Else  would  I 
drive  to  fetch  you  in  a  coach  and  four.  You  would  look  out  of  your 
window  and  ask,  "What  do  you  want?"  "You,"  I  would  answer,  and  you 
would  quickly  kiss  your  parents  goodbye,  and  come  with  me.  Ah!  woe 
is  me,  unlucky  man,  without  money  or  fortune! 

Heimliche  Aufforderung Richard  Strauss 

Come,  lift  the  sparkling  cup  to  your  lips,  and  secretly  nod  to  me;  I  will 
smile  and  drink  silently  also.  Let  us  not  despise  the  convivial  babblers 
about  us,  butf  after  the  meal,  steal  out  into  the  garden,  where  I  shall  be 
waiting  as  often  before. 

Cacilie Richard  Strauss 

If  you  knew  what  it  is  to  dream  of  love,  your  heart  would  assent.  If  you 
knew  what  it  is  to  live  surrounded  by  the  creative  breath  of  God,  to  soar 
up  to  blessed   heights — if  you  knew  that,  you  would  dwell  with  me. 


Ill 

Danse  macabre Camille  Saint-Saens 

Zig!  Zag!  Death,  at  midnight,  plays  the  violin,  rhythmically  stamping 
on  a  tombstone.  The  skeletons  arise  and  begin  to  dance,  choosing  partners 
regardless  of  rank.  The  baroness  dances  with  the  carpenter,  the  king 
gambols  beside  the  serf.  But,  suddenly,  all  flee  away — the  cock  has 
crowed.  What  a  wonderful  night  for  the  poor.  Long  live  death  and 
equality! 


Illlllllllllllllllllinillllllllliiniiiiiiiiini iiiiiiillllllllillm lilliiiiiinirn 


PROGRAMME 


Clair  de  lune Gabriel  Faure 

Your  soul  is  a  choice  landscape,  peopled  by  masqueraders  playing  the  lute, 
dancing  and  singing  in  a  minor  mode  of  victorious  love;  their  song  mingles 
with  the   moonlight. 

Tambourin   (18th  Century  Folk  Song)        Arranged  by  Julien  Tiersot 

Come  into  the  woods,  fair  Aminte,  made  for  pleasures  and  games.  There 
let  us  plight  our  troth,  and  offer  to  Love  a  tender  homage. 

La  Vague  et  la  Cloche Henri  Duparc 

Once,  overcome  by  a  powerful  drink,  I  dreamt  that  I  was  drifting  at  night 
on  the  ocean,  without  a  light,  buffeted  by  huge  waves  and  an  icy  wind. 
Then  it  all  vanished,  and  I  was  alone  in  an  old  bell-tower  astride  a  bell, 
frantically  tugging  at  the  rope.  Why,  o  dream,  did  you  not  tell  whither 
it  all  leads,  and  whether  there  is  ever  an  end  of  useless  struggle  and  eternal 
tumult? 

Chanson  a  boire Maurice  Ravel 

A  rollicking  tavern  song  from  "Don  Quichotte  a  Dulcinee"  in  which  the 
hero  humorously  drinks  to  his   lady-love. 


IV 

chansons  Madecasses  (for  voice,  flute,  'cello  and  piano)    Maurice  Ravel 
Burnett  Atkinson,  Flutist  Samuel  Mayes,  'Cellist 

1.  It  is  night.  A  Madagascan  lover  impatiently  awaits  his  beautiful 
Nahandove.  She  appears,  and  they  embrace.  As  she  leaves,  he  begs  her  to 
return   again   in   the  evening. 

2.  Aoua!  Beware  of  the  white  men  inhabiting  the  coast.  In  our  fathers' 
time,  they  landed  on  this  island.  They  were  given  land  and  treated  as 
brothers,  but  soon  began  to  raise  forts  and  tried  to  enslave  us.  The 
carnage  was  frightful,  but  heaven  helped  us,  and  with  the  aid  of  the 
elements  we  remain  free.  Aoua!  Beware  of  the  white  men  inhabiting 
the  coast. 

3.  It  is  pleasant  to  recline  under  a  tree  in  the  afternoon  heat.  Women, 
approach;  sing  and  dance  for  me.  The  song  pleases  my  soul;  the  dance  is 
almost  as  sweet  as  a  kiss  .  .  .  Now  the  moon  is  rising  through  the  trees  of 
the  mountain.     Go  prepare  the  meal. 


V 

Aria  from  the  opera  "Attila" Giuseppe  Verdi 


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THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMiR  HALL 
Fifteenth  Season— 1938-39 

RECITAL  OF  MUSIC  FOR  THE  HARP 

by 
STUDENTS  OF  MR.  SALZEDO 

Friday  Evening,  December  9,  1938,  at  8:30  o'clock 

PROGRAMME 
I 

Sonata  in  C  minor Giovanni  Battista  Pescetti 

Allegro   vigoroso  1704-1766 

Andantino 

Presto 

Gavotte  from  "Iphigenia  in  Aulis"     Christoph  Willibald  von  Gluck 

1714-1787 

Giga Arcangelo  Corelli 

1653-1713 
Anne  Lois  Greene 

II 

Gavotte  from  "The  Temple  of  Glory" Jean-Philippe  Rameau 

1683-1764 
The  Harmonious  Blacksmith Georg  Friedrich  Handel 

1685-1759 
Theme  and  Variations Josef  Haydn 

1732-1809 
Bourree Johann  Sebastian  Bach 

1685-1750 
Eleanor  Mellinger 

III 

Variations  on  a  theme  in  ancient  style   (1911) Carlos  Salzedo 

Theme — Double — Tempo  di  Bourree — Staccati — Butterflies 
Chords  and  Flux — Jumps — Trills — Scales  and  Arpeggios 
Barcarolle  —  Prelude  —  Fugue  —  Cadenza  —  Conclusion 

Marilyn  Thompson 

Lyon   &  Healy   Harps 


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

CLASS  CONCERT 

by 

SOLFEGE  STUDENTS  of  MADAME  MIQUELLE 
in  Sight  Reading*,  Part  Reading**  and  Score  Reading*** 

Tuesday  Afternoon,  January  24,  1939,  at  5:00  o'clock 

PROGRAMME 

I 

Quartet,  Opus  18,  No.  5  in  A  major Ludwig  van  Beethoven 

1st  movement:   Allegro 

(Played    from    string    quartet    score) 

"■*John  Simms 

Overture  to  "Manfred" Robert    Schumann 

(Played   from   orchestral    score) 

"■"""■David  Stephens 
II 

Quartet,  No.  7(),  No.  2  in  D  minor Josef  Haydn 

1st  movement:   Allegro 

(Played    from    string   quartet    score) 

"■"■Mary  Norris 

Serenade,  Opus  16,  in  A  major Johannes  Brahms 

1st  movement:   Allegro  moderate 
(Played   from   orchestral    score) 

"■■""""Leo   Luskin 
III 

Aux  premieres  clartes  de  I'aube Roger  DuCASSEf 

For  solo  children's  voices,  mixed  chorus   and  orchestra 

Children:    Diane    Steiner,    Abigail    Rachlin,    Charlotte    Cohen,    Margot    Ros, 

Rudolf    Favaloro,    Charles    Libove,    Nathan    Goldstein,    Seymour    Lipkin 

Choral  Croup:    Misses   Carol,    Dean,   Gruhn,   Kuehne,    Lilly,   Nisbet,    Norris,   Robertson. 

Messrs.    Hultgren,    Ruoss,    Tamburini,    Winsor. 

'^"■"■Waldemar  Dabrowski  at  the  piano 

(Playing    from    orchestral    score) 

Veni  creator  spiritus   (for  4  parts  mixed  chorus)        Cl audio  Casciolini 
Crucifixus  (for  8  parts  mixed  chorus) Antonio  Lotti 

Soprani:    Misses   Carol,   Kuehne,    Lilly,    Morse,    Robertson,   Stewart,    Wahlberg,    Worrilow. 

Alti:    Misses    Dean,   Gruhn,    Larson,    Mellinger,    Mitchell,    Nisbet,    Norris,    Robinson. 

Tenors:    Messrs    Cauler,    Duer,    Gilbert,    Lutz,    Maciejewicz,    Shill,    Snyder,    Wohl. 

Basses:    Messrs   Baumel,    DeLancie,   Garstick,    Gibson,    Gomberg,    Rettew,    Ruoss,    Vanderburg. 

Chansons  de  Charles  d'Orleans  (for  mixed  voices) 

Claude  Achilles  DEBUSsvf 

L     Dieu!  q'il  la  fait  bon  regarder 

in.      Yver,  vous  n'estes  qu'un  villain 

"■Jeanne  Lawrence  ijrElsie  MacFarlane 

*  Howard  Vanderburg  ""Robert  Grooters  $Fritz  Krueger 

IV 

Overture  to  "Oberon" Carl  Maria  von  Weber 

(Played   from   orchestral    score) 

Quartet    Maurice  Ravel 

Last  movement:  Vif  et  agite 
(Played    from    string   quartet    score) 

***Walter  Hendl 

tFirst    performance  in    Philadelphia. 
^iGraduate   student. 

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


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

GRADUATION   RECITAL 

of 

SOL    KAPLAN,    Pianist 
Student  of  Madame  Vengerova 

Monday  Evening,   February  13,  1939,  at  8:30  o'clock 

PROGRAMME 
I 

Chromatic  Fantasy  and  Fugue Johann  Sebastian  Bach 

Sonata  in  E  major,  Opus  109 Ludwig  van  Beethoven 

Vivace,  ma  non  troppo — Adagio  espressivo 

Prestissimo 

Thema   con   variazioni — Andante   molto   cantabile   ed   espressivo 


II 

Capriccio  in  F  sharp  minor,  Opus  7G,  ^-.u.  ^  ■ 

^  Johannes    Brahms 


;,  No.  n 

5,  No.  5/ 


Capriccio  in  C  sharp  minor.  Opus  Id, 

Toccata Robert  Schumann 

Nocturne  in  E  major 

Etude,  Opus  10,  No.  6  \^      Frederic  Chopin 

(Arranged  for  left  hand  alone  by  Leopold  Godowsky) 

Polonaise  in  A  flat  major 

m 

Alborada   del   gracioso Maurice   Ravel 

Suite:  Presto — Andante — Vif Francis  Poulenc 

Triana Isaac    Albeniz 

Canqo  i  dansa Frederic  Mompou 

Etude  transcendante  in  F  minor Franz  Liszt 

The  SiEiNWAY  h  the  o0icial  piano  of  The  Curtis  Institute  of  Music. 


qT™mmiimiiiiiiiimiiiiiiinNiiiNiiiiiiiiiiiiiiiiiiiiiiiiii"ii"iiiiii"ii"iiiiiiiHiiiiiiiiiiiiiiiiiiiiMiiiiiiiiiiiiiiiinmiiiin 


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

RECITAL  OF  CHAMBER  MUSIC 

by 

STUDENTS  OF  DR.  BAILLY 

Thursday  Evening,  February  16,  1939,  at  8:30  o'clock 
PROGRAMME 


Quartet  in  E  flat  major  for  piano,  violin,  viola 

and  violoncello  (K.493) Wolfgang  Amadeus  Mozart 

Allegro 

Larghetto 

Allegretto 
Phyllis  Moss,  Piano  Bernard  Milofsky,  Viola 

Noah  Bielski,  Violin  William  Saputelli,  Violoncello 

II 

Trio  in  E  flat  major.  Opus  100,  for  piano,  violin  and  violoncello 

Franz  Schubert 

Allegro 

Andante  con  moto 
Scherzo — Trio 
Finale 

John  Simms,  Piano 
George  Zazofsky,  Violin  True  Chappell,  Violoncello 

m 

Sextet  in  B  flat  major,  Opus  18,  for  two  violins,  two  violas 

and  two  violoncellos Johannes  Brahms 

Allegro,  ma  non  troppo 
Andante,  ma  moderate 
Scherzo — Allegro  molto 
Rondo — Poco    allegretto   e   grazioso 

Marguerite    Kuehne  /  ^7-  ;•  George    Brown     )  ,,.  , 

T)       J       tr  1  f  Violins  cut'  f  Violas 

Broadus   Erie  \  Stephen  Katsaros^ 

Joseph  Druian         I  tr-  t        ii 
Vaiiam  Saputelli   [  V/o/a«c.//a. 

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


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

RECITAL  OF  MUSIC  FOR  THE  HARP 

by 
STUDENTS  OF  MR.  SALZEDO 

Thursday  Evenine,  March  2,  1939,  at  8:30  o'clock 
PROGRAMME 


Three  Short  Stories  in  Music    (1934) 

On  Stilts 

Madonna   and   Child  \ CaRLOS   SaLZEDO 

Memories  of  a  Clock 

Ballade  (1910) 

REBA  ROBINSON 


II 

Five  Poetical  Studies   (1918) Carlos  Salzedo 

Flight 
Mirage 
Idyllic  Poem 
Inquietude 
Communion 

JUNE  NANSON 


III 

Three  Short  Stories  in  Music  (1934)  '\ 

At  Church  I 

Pirouetting  Music  Box  V       CaRLOS   SaLZEDO 

The  Mermaid's  Chimes  ( 

Variations  on  a  theme  in  ancient  style  (1911)  / 

Theme — Double — Tempo  di  Bourree — Staccati — ^Butterflies 
Chords  and  Flux — Jumps — Trills — Scales  and  Arpeggios 
Barcarolle  —  Prelude  —  Fugue  —  Cadenza  —  Conclusion 

LYNNE  WAINWRIGHT 

Lyon  ^  Healy  Harps 


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

RECITAL  OF  MUSIC  FOR  THE  PIANO 

by 

STUDENTS  OF  MR.  KAUFMAN 

Wednesday  Evening,  April  19,  1939,  at  8:30  o'clock 

PROGRAMME 
I 

Sonata  in  C  major,  Opus  5  3    (Waldstein)  .  .  .   Ludwig  van  Beethoven 

Allegro  con  brio 

Molto   adagio 

Rondo:  Allegretto  moderate 

LOUIS  SHUB 

II 

Chorale:  "Jesu,  joy  of  man's  desiring" Bach-Hess 

Toccata  and  Fugue  in  D  minor Bach-Tausig 

EUGENE  BOSSART 

III 

Ballade  in  G  minor,  Opus  23 Frederic  Chopin 

LOUIS  SHUB 


IV 

Perpetuum  Mobile  from  the  Sonata  in  C  major 

Carl  Maria  von  Weber 
Scherzo  in  B  minor.  Opus  20 Frederic  Chopin 

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


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

RECITAL  OF  MUSIC  FOR  THE  VIOUN 

by 
STUDENTS  OF  MADAME  LUBOSHUTZ 

Eugene  Helmer*  at  the  Piano 
Thursday  Evening,  April  20,  1939,  at  8:30  o'clock 

PROGRAMME 
I 

Prelude  in  E  major Bach-Kreisler 

Concerto  in  D  minor  for  two  violins Johann  Sebastian  Bach 

Vivace 

Largo,   ma   non   tanto 
Allegro 
NATHAN  GOLDSTEIN  and  CHARLES  LIBOVE 

II 

Passacaglia  in  G  major Giuseppe  Sammartini 

ZELIK  KAUFMAN 

III 
Concerto  in   C  major Vivaldi-Kreisler 

Allegro  energico,  ma  non  troppo 
Andante  doloroso 
Allegro  molto 

ISABELLE  KRALIK 

IV 

First  movement  of  Concerto  in  D  minor Henri  Wizniawski 

NATHAN  GOLDSTEIN 

V 

Chaconne     Vitali- Auer 

First  movement  of  Concerto  in  A  major  .  .    Wolfgang  Amadeus  Mozart 

CHARLES   LIBOVE 

VI 

First  movement  of  Concerto  in  D  major         Peter  Ilich  Tschaikovsky 

HERBERT  BAUMEL 

VII 

Fugue   (For  9  stands  of  1st  violin  section) Arcady  Dubensky 

HERBERT     BAUMEL,     ISABELLE     KRALIK,     ZELIK     KAUFMAN,     MORRIS     SHULIK, 

RUTH     GRISZMER,     HELEN     WITTE,     CHARLOTTE     COHEN, 

NATHAN    GOLDSTEIN    and    CHARLES    LIBOVE 

*Graduate  pupil  of  Mr.   Kaufman   in   Accompanying 
The  Steinway  is  the  official  piano  of  The  Curtis  Institute  of  Music 

■tS^  .,  „ ., , .,„ , ,,. , , ..}%. 


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

RECITAL  OF  MUSIC  FOR  THE  PIANO 

by 
STUDENTS  OF  MADAME  VENGEROVA 

Tuesday  Evenins,  May  2,  1939,  at  8:30  o'clock 

PROGRAMME 
I 

Romance  in  F  sharp  major,  Opus  28,  No.  2 Robert  Schumann 

Impromptu  in  A  flat  major.  Opus  29 Frederic  Chopin 

Perpctuum   mobile,   Opus    24a Carl   Maria  von    Weber 

BIANCA.  POLACK 


II 

Nocturne  in  B  major,  Opus  9 
Scherzo  in  B  flat  minor,  Opus 


> Frederic  Chopin 

31  / 


EILEEN  FLISSLER 

III 

Papillons,  Opus  2 Robert  Schumann 

Etude  in  G  flat  major,  Opus  24,  No.   1 MoRiz  Moszkowski 

BARBARA  ELLIOTT 

IV 

Prelude,   Choral   and   Fugue Cesar   Franck 

LUCAS  FOSS 

V 

Sonata  in  F  minor,  Opus  57  (Appassionata) Ludwig  van  Beethoven 

Allegro  assai 
Andante  con  moto 
Allegro  ma  non  troppo 
PHYLLIS  MOSS 

VI 

Concerto  in  E  flat  major Franz  Liszt 

Allegro  maestoso.  Tempo  giusto 
Quasi  adagio 
Allegretto  vivace 
Allegro  marziale  animato 
ANNETTE  ELKANOVA 
Orchestra  accompaniment  played   on   a   second   piano  by   Ralph  Berkowitz* 

*Graduate 

The  Steinway  h  the  official  piatw  of  The  Curtis  Institute  of  Music 


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

RECITAL  of  MUSIC  for  the  DOUBLE  BASS 

by 
STUDENTS  OF  MR.  TORELLO 

Leo  Luskin  at  the  Piano* 
Wednesday  Evening,  May  3;  1939,  at  8:30  o'clock 

PROGRAMME 
I 

Largo,  Sarabande  and  Gavotte  for  Violin  and  Double  Bass, 

Arcangelo  Corelli 

Arranged  by  Anton  Torello 

MARGUERITE    KUEHNE,    Violin** 
JANE  TYRE 

II 

Allegro   scherzando Robert    Fuchs 

HARRY  SAtSTROM 

III 

Sonata  in  G  minor Giorgio  Antoniotti 

Adagio  molto  sostenuto 

Allegro 

Adagio 

Vivace 

Harmonized   by   E.   Meriz 
First  performance 

ROGER  SCOTT 

IV 

First  movement  of  Concerto,  Opus  3 Serge  Koussevitsky 

FERDINAND  MARESH 

V 
Suite   for  4   Double   Basses Bernhard   Alt 

Grave 
Menuett 
Adagio 
Humoreske 
FERDINAND   MARESH,  ROGER  SCOTT,   HARRY  SAFSTROM 
and  RUSSELL  BRODINE 
*Student  of  Mr.  Kaufman  in  Accompanying 
**Student  of  Mr.  Zimbalist 

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


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

RECITAL  OF  MUSIC  FOR  THE  VIOUN 

by 

STUDENTS  OF  MR.  HILSBERG     . 

Friday  Evening,  May  5,  1939,  at  8:30  o'clock 

PROGRAMME 
I 

Ciaconna  in  G  minor Tomasso  Vitali 

GEOPvGE   ZAZOFSKY 
Louis  Shub  at  the  piano* 

II 

Concerto  No.  2  in  D  minor,  Opus  22 Henri  Wieniawski 

Allegro  moderato 
Romanza 

Allegro    moderato    (alia    zingara) 

JACOB   KRACHMALNICK 

Ralph   Berkowitz   at   the   piano** 

III 

Poeme,  Opus   25 Ernest   Chausson 

MILTON  WOHL 
Louis   Shub   at   the  piano 

IV 

Concerto  in  D  major,  Opus  3  5 Peter  Ilich  Tschaikovsky 

Allegro    moderato 
Canzonetta 
Allegro    vivacissimo 

PAUL  C.   SHURE 
Ralph  Berkowitz  at  the  piano 

*Pupil  of  Mr.  Kaufman  in  Accompanying 
** Graduate  pupil  of  Mr.   Kaufman   in   Accompanying 

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


HISTORICAL 

SERIES 

4 


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U.UC 


<z=^*ca^H  tke  17 tit  t(^  tke  20tk  ^ettti4.tu 

PRESENTED    BY  A  COMMIHEE   OF 
CURTIS    INSTITUTE    GRADUATES 

RALPH  BERKOWITZ  JOSEPH  S.  LEVINE  VLADIMIR  SOKOLOFF 


^yit^t  (^^ancett 


TUESDAY  EVENING,   OCTOBER  18,  1938 

AT  8:30  O'CLOCK 

CASIMIR     HALL 

The  STE/NWAy  is  the  Official  Piano  of  The  Curtis  Institute  of  Music 


'caa^LdPH 


JOHN  DOWLAND Prom  Silent  Night 

1563-1626  Praise  Blindness,  Eyes 

A  Shepherd  in  a  Shade 
Woeful  Heart 
I  Must  Complain 
Go  Nightly  Cares 

ROBERT   GROOTERS,   Baritone  EUGENE   BOSSART,   Viano 

Assisted   by 

FREDERICK   VOGELGESANG,   V/o//«  NATHAN   STUTCH,   Violoncello 


GIROLAMO  FRESCOBALDI Capriccio  Pastorale 

1583-1644  Toccata  per  TElevazione 

Canzona 
CLARIBEL  GEGENHEIMER,  Organ 


ORLANDO  GIBBONS Two  Fantazias  for  String  Quartet 

1583-1625 

RAFAEL   DRUIAN,   Violin  ALBERT   FALKOVE,   Viola 

PAUL  SHURE,  Violin  NATHAN  STUTCH,  Violoncello 


CLAUDIO  MONTEVERDE Ecco  di  Dolci  Raggi 

1567-1643  Quel  Sguardo  Sdegnosetto 

Maledetto  Sia  I'Aspetto 

BARBARA  THORNE,  Soprano  JAMES  SHOMATE,  Piano 


ARCANGELO  CORELLI Concerto  Grosso  in  C  minor 

1653-1713  Opus  6   No.  3 

Largo — Allegro — Grave — Vivace — Allegro 

EZRA  RACHLIN,  Conducting 

FREDERICK  VOGELGESANG   and   KURT   POLNARIOFF,  Solo  Violins 

NATHAN  STUTCH,  Solo  Violoncello 

First  Violins  Violas 

Rafael  Druian  Marguerite  Kuehne  Albert  Falkove  Milton  Lipshutz 

Milton  Wohl  Noah  Biclski  Jerome  Lipson  Stephen  Katsaros 

Second  Violins  Violoncellos 

Jacob  Krachmalnick  Paul  Shure  True  Chappell  Esther   Gruhn 

Isabelle  Kralik  Baruch  Altman  Hershy  Kay 

Bass 
Russell  Brodine 


By  CURTIN  WiNSOR  I 

IF  WE  had  been  students  at  a  music  school  at  the  end  of  the  17th  Century — let  us  say 
in  the  year  1699 — and  this  program  had  then  been  presented  before  us,  the  odds  are 
even  that  most  of  the  compositions  listed  would  have  been  just  as  unfamiliar  to  many 
of  us  as  they  are  today.     Who  were  we  in  1699? 

Most  of  us  probably  lived  in  Naples  and  were  subjects  (but  not  very  loyal  subjects) 
of  the  imbecile  King  Charles  II  of  Spain.  In  Naples  the  first  real  music  schools  had  been 
established  in  153  5  as  institutions  where  poor  orphans  were  "fed,  clothed,  and  instructed 
in  Musick."  They  were  called  "Conservatori"  (from  the  Latin,  conservare,  to  preserve), 
the  origin  of  which  term  is  doubtful,  some  learned  authors  claiming  that  it  meant  places 
where  music  was  to  be  "preserved  from  corruption,"  others  asserting  that  it  was  the 
orphans  themselves  who  were  to  be  preserved  (but  whether  from  corruption  is  not 
stated).  At  any  rate,  in  the  year  1699  there  were  four  privately  endowed  Conservatori 
flourishing  in  Naples.  We  were  all  attending  this  concert  dressed  in  costume,  for  each 
Conservatorio  had  its  particular  costume  embodying  the  colors  of  the  Institution.  The 
courses  we  took  at  our  Conservatorio,  so  far  as  we  can  judge,  were  pretty  much  like 
those  we  take  today,  although  far  less  emphasis  was  placed  on  technique. 

I.  Some  of  us  were  probably  familiar  in  1699  with  at  least  the  name  JOHN 
DOWLAND  (1563-1626),  who  had  a  considerable  reputation,  even  as  far  away  as 
Naples,  as  a  composer  of  peerless  songs,  a  writer  of  madrigals,  a  good  singer,  and  a 
magnificent  performer  on  the  lute.  Indeed  this  cultured  Irishman  had  come  at  an  early 
age  to  study  in  Italy  and  had  later  travelled  to  most  of  the  courts  in  Europe,  finally 
settling  in  England.  English  madrigals  and  lyrics  (the  latter  ancestors  of  the  i^rt  Song 
of  Schubert)  were  often  superior,  because  they  were  musical  settings  of  the  gems  of 
English  literature  which  at  that  time  (with  Shakespeare  not  long  in  his  grave)  shone 
with  a  fire  bright  enough  to  dazzle  even  the  continent. 

In  1699  memories  of  Dowland's  performances  in  Italy  may  still  have  lingered.  Since 
courses  in  ear  training  were  not  emphasized  in  those  days,  the  ears  of  his  listeners  were 
perhaps  not  offended  by  the  fact  that  his  lute  with  its  six  pairs  of  strings  was  almost 
impossible  to  tune  or  to  keep  tuned  accurately.  As  the  leader  of  that  school  of  English 
lutanists  which  had  no  counterpart  on  the  continent,  his  music  would  be  heard  with 
respect  and  with  considerable  astonishment  at  his  daring  harmonies  and  use  of  chromatics. 

II.  The  last  of  the  English  madrigalists  (among  whom  were  Byrd,  Morley,  Weelkes 
and  Wilbye)  was  ORLANDO  GIBBONS  (1583-1625),  of  whom  few  of  us  in  1699 
had  probably  ever  heard,  for  much  of  his  music  was  written  for  services  of  the  Church 
of  England  and  the  Holy  Inquisition  might  well  have  interested  itself  in  anyone  who 
would  dare  perform  such  heretical  music  in  Italy.  Moreover,  Gibbons  died  at  an  early 
age.  However,  the  directors  of  our  Conservatorio  probably  had  no  qualms  in  listing  his 
Fantazias  for  performance  because  these  were  purely  secular  compositions.  Those  of  us 
who  were  particularly  interested  in  instrumental  music  would  welcome  the  oppor- 
tunity of  hearing  some  fine  contrapuntal  writing,  though  we  could  scarcely  have  fore- 
seen that  these  Fantazias  with  their  exploitation  of  the  device  of  imitation,  were  the  not 
too  distant  harbingers  of  the  Bach  fugue. 

III.  The  most  familiar  name  on  the  program  would  undoubtedly  be  CIAUDIO 
MONTEVERDE  (1567-1643).  As  music  director  at  the  Court  of  Mantua  and  later  at 
St.  Mark's,  Venice,  Monteverde  spent  most  of  his  time  in  northern  Italy.  If  there  had 
been  any  opera  class  at  our  Conservatorio  his  achievements  in  the  operatic  field  would 
have  occupied  a  large  part  of  the  class'  time.  For  Monteverde  had  perfected  the  work 
of  the  "Camerati,"  those  enterprising  Italian  composers  who  had  sought  to  develop  a 
Monophonic  (as  opposed  to  Polyphonic)  style  of  music  to  accompany  dramatic  perform- 
ances in  what  they  conceived  the  style  of  the  ancient  Greeks  to  have  been.  "Making  the 
text  the  master  of  the  harmony,"  he  laid  the  foundations  for  recitative  (declamation) 
and  the  aria  or  formal  melody,  and  he  invented  the  orchestral  prelude. 


By  1699  even  the  most  conservative  professor  of  harmony  would  have  tolerated 
the  unprepared  discords  used  by  Monteverde,  so  at  our  Conservatorio  we  would  have 
"gotten  away"  with  dominant  sevenths  resolved  upwards  to  the  tonic.  Those  of  us 
who  were  instrumentalists  would  still  be  discussing  Monteverde's  revolutionary  reform 
of  the  orchestra,  which  he  greatly  enlarged,  at  the  same  time  eliminating  instruments 
not  suited  for  ensemble.  Moreover,  he  actually  scored  his  works — a  startling  innovation. 
And  the  string  players  would  be  practising  those  modern  effects  such  as  tremolo,  and 
pizzicato  which  he  introduced  so  successfully. 

While  Monteverde's  operas  and  madrigals  offer  the  best  opportunity  for  appreciating 
his  unique  talents,  his  songs  are  also  representative  and  sound  as  fresh  today  as  they  must 
have  in  1699. 

IV.  The  name  GIROLAMO  FRESCOBALDI  (1583-1644)  was  probably  known 
in  1699,  as  it  is  in  193  8,  only  to  organ  students.  As  a  special  privilege,  the  organ 
students  at  the  Conservatorio  some  generations  ahead  of  us  might  have  been  permitted 
to  don  their  colorful  robes  and  make  the  two-day  journey  to  Rome  to  hear  Frescobaldi 
play  the  organ  at  St.  Peter's,  where  he  spent  much  of  his  life.  But  they  would  have 
been  oUiged  to  arrive  at  his  recitals  early,  for  as  many  as  30,000  people  are  said  to 
have  attended  individual  concerts  of  this  great  virtuoso.  They  would  have  been  struck 
by  Frescobaldi's  use  of  the  strict  fugue  in  those  of  his  compositions  which  he  called 
Fantasias  or  Ricercare  by  which  he  paved  the  way  for  Bach. 

V.  If  in  1699  an  evening's  concert  at  a  Neapolitan  Conservatorio  had  closed  with 
a  composition  by  ARCANGELO  CORELLI,  any  embryo  music  critic'^  present  would 
have  praised  or  censured  the  authorities  of  the  Conservatorio  (depending  on  his  tempera- 
ment) for  their  daring  in  including  on  the  program  a  work''"'  fresh  from  the  pen  of 
a  man  who  was  acknowledged  to  be  the  first  great  violinist,  but  whose  theories  of  com- 
position were  ultramodern.  Corelli  was  then  46  years  old  and  living  in  Rome.  He  had 
travelled  widely  in  Europe,  giving  performances  at  the  various  courts.  He  seems  to  have 
been  less  accomplished  as  a  conductor,  for  it  is  related  that  when  Handel  came  to  Italy 
he  was  so  dissatisfied  with  Corelli's  conducting  of  one  of  Handel's  concertos  that  he 
snatched  the  baton  from  the  hand  of  the  remonstrating  Italian. 

Needless  to  say,  the  theories  of  this  radical  composer  were  not  taught  at  the  Con- 
servatorio. For  Corelli  actually  wrote  sonatas  intended  solely  for  performances  by  the 
youngest  member  of  the  family  of  strings,  the  violin,  which  had  just  been  perfected  by 
men  like  Stradivarius,  and  was  now  threatening  to  dominate  its  older  relatives.  This 
music  was  truly  violinistic  in  style,  a  concept  previously  unheard  of.  Before  Corelli 
showed  the  way,  music  was  just  written,  with  no  heed  as  to  what  instruments  were 
to  perform  it,  or  (in  some  cases)  as  to  whether  it  was  to  be  sung  or  played.  Consequently, 
Corelli's  second  great  principle,  that  instrumental  polyphony  demanded  a  different  treat- 
ment from  choral  polyphony,  was  also  revolutionary. 

These  were  not  the  first  concertos  but  they  became  the  models  which  later  com- 
posers (Vivaldi,  Handel,  Bach)  followed.  In  them  the  instrumental  body  was  divided 
into  two  parts:  the  solos  were  given  to  two  violins  and  a  cello;  the  secondary  parts  or 
"concerto  grosso"  (from  which  the  form  took  its  name)  were  carried  by  a  number  of 
accompanying  instruments. 

The  concerto  played  at  this  concert  is  a  Concerto  di  Chiesa  (church  concerto)  as 
opposed  to  a  Concerto  da  Camera  (chamber  concerto,  really  a  dance  suite).  The  church 
concertos  were  designed  for  performance  in  churches  with  alternating  polyphonic  and 
sometimes  fugal  passages  for  organ  and  strings,  the  solo  strings  later  replacing  the  organ. 
The  solos  state  the  solo  subjects,  the  ensemble  the  tutti  subjects. 

We  could  not  have  realized  in  1699  that  this  notion  of  contrasting  themes  was  the 
germ  of  the  sonata  form  to  be  developed  in  the  18th  Century  by  the  Mannheim  school, 
which  led  to  the  symphonies  of  Haydn  and  Mozart. 


*  Music  critics  were  probably  non-existent  in  1699,  as  many  performers  would  wish  them  to  be  today.  Con- 
certs, however,  were  given  at  the  conservatories  when  royalty  or  distinguished  visitors  were  on  hand. 

**The  concerto   on   this  program   was   one   of    6    published    in    1712,    one   .year   before    his   death.     It  is  not 
known  when  it  was  written,  but  we  assume  for  purposes  of  these  notes  that  it  had  been  written  by  1699. 

Next  concert  in  the  series  will  be  on  November  first. 


2il 5i5 


HISTORICAL 
SERIES 

<=z^'ccm  tlte  17 tit  ta  tke  20 tit  ^cnti 


M-t 


PRESENTED    BY  A  COMMIHEE   OF 
CURTIS    INSTITUTE    GRADUATES 

RALPH  BERKOWITZ  JOSEPH  S.  LEVINE  VLADIMIR  SOKOLOFF 


<^ecokiJL  K^oncctl 


TUESDAY  EVENING,   NOVEMBER  1,  1938 

AT  8:30  O'CLOCK 

CASIMIR     HALL 

The  STEINV/AY  is  fhe  Official  Piano  of  The  Curtis  Insfifute  of  Music 


'iB 


p- 


toata^i 


1 


DIETRICH  BUXTEHUDE Prelude,  Fugue  and  Chaconne  in  C  Major 

1637-1707  Two  Chorale  Preludes: 

"Von  Gott  will  ich  nicht  lassen" 
"Vater  unser  im  Himmelreich" 
Fugue  in  C  Major 

WALTER  BAKER,  Organ 


FRANgOIS  COUPERIN, 
1668-1733 


1.  Lulli  and  the  spirits  of  music  hold  concert 
in   the   Champs-Elysees. 

2.  Flight  of  Mercurj'  to  the  Champs-Elysees  to 
announce  the  descent  of  Apollo. 

3.  Descent  of  Apollo,  who  comes  to  offer  liis 
violin  to  Lulli  and  likewise  his  place  on 
Purnassus. 

4.  Subterranean  rumbling  caused  bj-  Lulli's  con- 
temporaries. 

5.  Removal  of  Lulli  to  Parnassus. 

6.  Long-faced  and  studiously  polite  reception 
accorded  Lulli  by  Corelli  and  the  Italian 
muses. 

EUDICE  SHAPIRO,   Violin 
TRUE  CHAPPELL,   Violoncello 


.  .L'Apotheose  de  Lulli 
For  2  violins,  violoncello  and  piano 

7.  Apollo  persuades  Lulli  and  Corelli  that  the 
reunion  of  French  and  Italian  taste  would 
bring  about  the  perfection  of  music. 

8.  Lulli  plays  a  subject  and  Corelli  accom- 
panies. 

9.  Corelli  in  his  turn  plays  a  subject  and  Lulli 
the   accompaniment. 

10.  The  peace  of  Parnassus  made  on  the  condi- 
tions, owing  to  the  remonstrance  of  the 
French  muses,  that  in  speaking  their  lan- 
guage the  words  Sonade,  Cantade,  shall  from 
that  moment  on  be  pronounced  the  same  as 
Ballade,  Serenade,  etc. 

11.  General  rejoicing. 

MARION   HEAD,    Violin 
JAMES  SHOMATE,  Piano 


FRANQOIS  COUPERIN Vingt-deuxieme  Ordre 


1.  Le  Trophee. 

2.  Premier  Air  pour  la  Suite  du  Trophee. 

3.  2me  Air. 

4.  Le  Point  du  Jour.     Allemande. 

MARTHA  MASSfiNA,  Piano 


5.  L'Anguille. 

6.  Le  Croc-en-jambe. 

7.  Menuets  Croises. 

8.  Les  Tours  de  Passe-passe. 


HENRY  PURCELL Three  Rounds 

My  Lady's  Coachman  John 
Prithee  Ben't  So  Sad 
Once  in  Our  Lives 

FRITZ  KRUEGER,  DONALD  HULTGREN,  DONALD   COKER,   Tenors 
EUGENE  BOSSART,  Piano 

HENRY  PURCELL A  Serenading  Song 

FRITZ  KRUEGER,  Tenor  LEONARD  TREASH,  Bass 

ELEANOR  MITCHEL,  Flute  JOHN  KRELL,  Flute 

EUGENE  BOSSART,  Piano 


HENRY  PURCELL Sonata  No.  6  in  3  parts 

For  2  violins,  violoncello  and  piano 


EUDICE  SHAPIRO,    Violin 
TRUE  CHAPPELL,   Violoncello 


MARION    HEAD,    J'iolin 
JAMES   SHOMATE,  Piano 


By  Edward  O'Gorman 


A  CONVENIENT  way  to  pigeon-hole  the  seventeenth  century  in  music  is  to  remember  that  it 
began  with  the  year  generally  given  to  the  birth  of  opera  (Peri's  "Euridice"  was 
.  produced  in  1600  and  Montiverdi's  "Orfeo"  in  1607)  and  ended  with  the  appearance 
on  the  musical  scene  of  Johann  Sebastian  Bach. 

If  Bach  had  only  waited  fifteen  more  years  to  be  born,  in  other  words  until  the  next 
century,  we  could  safely  say  that  the  most  jmportant  event  that  took  place  in  the  musical  world 
between  1600  and  1700  was  the  birth,  in  1658,  of  the  English  composer,  Henry  Purcell.  During 
this  century  English  music,  despite  the  fact  that  it  suffered  a  relapse  when,  for  twenty  years, 
its  public  use  was  banned,  reached  a  lofty  height  which  it  has  hardly  since  attained.  That 
delightfully  readable  historian,  Charles  Burney,  who  wrote  his  General  History  of  Music  close 
on  the  heels  of  seventeenth  century  music  and  a  scant  hundred  years  after  Purcell's  death, 
though  he  suffered  at  times  from  a  pardonable  lack  of  perspective,  hit  the  nail  on  the  head 
when  he  compared  Purcell  to  Shakespeare  in  productions  for  the  stage,  Milton  in  epic  poetry, 
Locke  in  metaphysics,  and  Sir  Isaac  Newton  in  philosophy  and  mathematics. 

However,  a  sizeable  portion  of  the  seventeenth  century  had  been  consumed  before  Purcell 
began  composing,  and  in  it  were  contained  a  number  of  important  musical  figures,  together 
with  their  works  and  the  influence  they  exerted  on  the  times  that  succeeded  them. 

Pre-eminent  among  them  was  Orlando  Gibbons,  organist  at  the  Chapel  Royal,  who  wrote 
exclusively  for  the  church.  Gibbons,  who  unfortunately  died  young,  displayed,  for  his 
antiquity,  an  amazing  fluency  and  freedom  in  composition,  and  his  "services"  for  the  church 
rank  among  the  finest  ever  composed. 

During  this  period  the  English  court  showed  a  reluctance  to  indulge  in  the  practice  or 
enjoyment  of  music,  and  the  only  extra-church  use  to  which  it  was  put  was  in  the  masques 
which  were  performed  for  the  amusement  of  the  royal  family.  These  masques,  which  con- 
tained occasional  songs  and  dances,  were  elaborate  entertainments  in  dialogue,  acted  on  a  stage 
witli  benefit  of  colorful  scenery,  dancing  and  both  vocal  and  instrumental  music.  They  were 
the  forerunners  of  opera  in  England.  They  were  revived  with  royalty  in  the  Restoration,  but 
were  more  on  the  order  of  mere  masked  balls.  The  early  masques  lacked  recitative,  but,  in 
1607,  "Lovers  Made  Men,"  by  Ben  Jonson,  was  set  to  music  in  the  Italian  manner,  stilo 
recitativo,  by  Nicolo  Laniere,  an  Italian  composer  living  in  England,  who,  by  the  way,  also 
executed  the  scenery  for  this  particular  masque.  So,  in  this  piece,  thanks  to  the  stilo  recitativo, 
airs  were  distinguished  from  recitation  and  all  was  operatically  happy. 

At  the  beginning  of  the  seventeenth  centurj',  madrigals,  which  had  enjoyed  a  considerable 
vogue  in  the  chamber  and  had  been  the  mainstay  of  the  repertoire,  took  a  turn  for  the  worse 
when  a  sudden  preference  for  so-called  "Fantasias"  was  exhibited.  These  were  composed  in 
from  three  to  eight  parts  for  viols  and  other  instruments  without  vocal  assistance. 

The  suppression  of  music  occurred  in  1643  and  the  Restoration  in  1660.  During  the  reign 
of  Charles  II  the  music  most  in  favor  was  in  the  French  style  which  had  been  made  famous 
by  the  French-Italian  composer,  Baptiste  Lulli,  who  was  master  of  music  in  the  French  court. 
English  composers  vied  with  each  other  and  Lulli  in  writing  pieces  in  the  French  manner. 


Henry  Purcell,  like  any  number  of  other  famous  composers,  began  his  musical  career  as 
a  chorister.  His  particular  position  was  in  the  Chapel  Royal,  where  he  sang  until  his  voice 
changed  and  was  then  given  a  job  as  copyist.  At  the  tender  age  of  twenty-one  he  was  given 
the  enviable  position  of  organist  at  Westminster  Abbey,  succeeding  the  famous  oi^anist,  John 
Blow.  Shortly  after  acquiring  this  position  he  began  the  series  of  pieces  for  plays  for  which 
he  became  famous.  At  the  same  time  he  wrote  some  odes  and  "occasionar'  songs.  He  was 
then  made  organist  at  the  Chapel  Royal  and  his  first  published  works  appeared.  They  were 
twelve  sonatas  for  string  trio.  In  1691,  when  he  was  thirty-three,  he  was  associated  with 
Dryden  in  the  production  of  "King  Arthur."  The  name  "opera"  which  was  given  to  this  sort 
of  work  was  slightly  incongruous,  as  the  pieces  of  music  are  incidental  to  the  scheme  of  the 
play  and  the  vocal  numbers  which  were  sung  by  "extras"  were  not  connected  in  any  way  with 
the  drama.  Aside  from  his  purely  musical  compositions,  he  revised  an  adition  of  Playford's 
"Introduction  to  the  Skill  of  Music"  and  rewrote  a  good  bit  of  the  end  of  it.  Purcell  is  best 
known  outside  Great  Britain  for  his  music  to  the  play  "Dido  and  Aeneas."  His  works  are 
made  up  of :  incidental  pieces  to  plays ;  fantasias,  in  from  three  to  eight  parts,  for  strings ; 
sonatas  in  three  and  four  parts;  pieces  for  harpsichord  and  organ;  and  innumerable  composi- 
tions for  the  church. 


Delving  into  the  music  produced  in  other  countries  during  this  century  unearthi  little  new 
except  personalities,  and  those  we  are  interested  in  at  the  present  concert  are  FrangoJs  Couperin 
and  Dietrich  Buxtehude. 


Buxtehude,  though  he  was  born  (1637)  in  Helsingborg,  Sweden,  of  a  Danish  father,  is 
generally  considered  a  German  composer,  since,  from  the  age  of  thirty-one  until  his  death,  he 
was  the  organist  at  the  famous  Marienkirche  in  Luebeck.  This  was  a  famous  position,  and 
Buxtehude's  ability  and  extraordinary  flare  for  improvising  created  widespread  attention.  In 
fact,  Bach  walked  as  far  as  from  New  York  to  Washington  to  hear  him  play.  Buxtehude 
inaugurated  concerts  of  orchestra,  chorus  and  vocal  music  vvhich  were  performed  at  the 
Marienkirche  during  Advent  and  which,  in  a  manner  of  speaking,  put  Luebeck  on  the  map. 
Buxtehude  is  famous  for  his  "free"  organ  compositions;  that  is,  free  from  the  restraint  of  a 
choral-tune  as  the  central  subject.  His  works  include  sonatas  for  striiigs,  church  cantatas, 
organ  pieces  and  arrangements  of  chorales. 

***** 

Frangois  Couperin  is  named  "Le  Grand"  to  distinguish  him  from  his  eight  or  nine  relatives 
who  were  musically  famous.  Born  in  1668,  of  an  organist  father  with  whorn  he  studied,  he 
became,  at  the  age  of  seventeen,  the  organist  in  the  church  of  St.  Gervais,  Paris.  He  received 
an  appointment  as  harpsichord  player  and  instructor  to  the  royal  family  and  had  a  great 
reputation  as  a  performer  on  the  clavecin.  His  fame  as  a  composer  spread  throughout  Europe, 
and  his  music  had  an  unmistakable  influence  on  that  of  Johann  Sebastian  Bach.  The  suites 
and  partitas  of  Bach,  as  well  as  his  solo  works  for  violin  and  cello,  are  frequently  imitations 
of  the  French  style  then  in  vogue.  Couperin's  pieces  in  turn  were  influenced  by  the  Italian 
style  which  was  popular  during  this  period,  and  he  was  a  great  admirer  of  the  Italian  composer, 
Corelli. 

Whereas  Couperin's  forerunners  wrote  for  the  organ  as  well  as  the  harpsichord,  he 
confined  himself  solely  to  compositions  for  the  latter  instrument.  His  music  is  curious,  since 
he  went  to  great  pains  to  write  out  in  musical  long-hand  all  the  grace-notes  and  embellishments 
which  were  necessary  to  augment  the  short-lived  tone  of  the  harpsichord.  Beside  his  music 
for  this  instrument,  he  wrote  numerous  compositions  for  various  combinations  of  string  in- 
struments, four  instrumental  suites  with  bass,  and  several  trios,  among  them  sonatas  and  suites 
dedicated  to  LuUi  and  Corelli.  Couperin  first  introduced  in  France  trios  for  two  violins  and 
bass.    His  works  also  contained  a  few  compositions  for  the  church. 


The  Words  of  the  Three  Purcell  Rounds 


My  lady's  coachman,  John, 
Whose  sight  is  almost  gone. 
He  cannot  drive   his  horses; 
His  useful  life  is  done. 
This   poor   old   coachvian,   John. 

My   lady  said:    "  'Tis  irue 

A  pension  is  his  due; 

I'll  give  him  half  his  ivagcs, 

Since   his  rcntaining   years  of   life 

Are  surely  very  feiv!" 

'Tis  tivenly  years  ago. 

And  noiv  he'd  have  you  knoiv 

He's  got  a  gouty  toe: 

He  die? 

Oh,  dear,  no! 


II 


III 


Prithee  hen't  so  sad  and  serious. 
Nothing's  got  by  grief  or  cares; 

Melancholy's  too  imperious,  _ 
When  it  comes,  still  domineers. 

But  if  bus'ness,  love  or  sorrow 

Tha't  possesses  thus  thy  mind. 
Bid  'em  come  again  tomorrow; 

We  are  now  to  mirth  inclin'd. 

Let  the  glass  run  its  round 

And  each  good  fellow  keep  his  ground; 
And  if  there  be  any  flincher  found. 

We'll  Jwvc,  zvc'll  have  his  soul  neiv-coin'd. 


Once  in  our  lives 

Let  us  drink  to  our  wtives. 

Though  their  number  be  btiit  small; 

Heaven  take  the  best. 
And  the  Devil  take  the_  rest, 
And  so  we  shall  get  rid  of  them  all. 

To  this  hearty  wish  _ 
Let  each  man  take  his  dish 
And  drink,  drink  till  he  fall. 


Next  concert  in  the  series  ivill  he  on  November  23 


^l 5iS 


.•'^ 


HISTORICAL 
SERIES 

^ly'ccym  tlte  lit  It  t^  tke  20tk  ^eniuxu 


PRESENTED    BY  A  COMMIHEE   OF 
CURTIS    INSTITUTE    GRADUATES 

RALPH  BERKOWITZ  JOSEPH  S.  LEVINE  VLADIMIR  SOKOLOFF 


J^liLtJi  L^ancetl 


WEDNESDAY  EVENING,   NOVEMBER  23,  1938 

AT  8:30  O'CLOCK 

I 

CASIMIR     HALL  | 

The  STE/NWAY  is  the  Official  Piano  of  The  Curtis  Institute  of  Music 


P' 


'coatam 


ANTONIO  VIVALDI Concerto  in  F  major 

1675-1743  for  Three  Violins  and  Piano 

Allegro — Andante — Allegro 

HERBERT  BAUMEL,  MORRIS  SHULIK,  ISABELLE  KRALIK,  Violins 
LOUIS  SHUB,  Viano 


DOMENICO  SCARLATTI Four  Sonatas 

1685-1757 

F  minor  D  minor 

A  minor  B  flat  major 

ANNETTE   ELKANOVA,   Piano 


JOHANN  SEBASTIAN  BACH Choral  Prelude: 

1685-1750  Christ    lag    in    Todesband 

Prelude  and  Fugue  in  B  minor 
HENRY  BEARD,  Organ 

JOHANN  SEBASTIAN  BACH English  Suite  No.  2  in  A  minor 

Prelude  Sarabande 

Allemande  Bourres    I    and    II 

Courante  Gigue 

BARBARA  ELLIOT,  Viano 

JOHANN  SEBASTIAN  BACH ='The  Peasant  Cantata 

JOSEPH  S.  LEVINE,  Conducting 
FLORENCE   KIRK,  Soprano  LESTER   ENGLANDER,   Baritone 

Burnett  Atkinson,  Flute;  Elwood  Cauler,  French  Horn;  Noah  Bielski,  Herbert  Baumel,   Violins; 
Albert  Falkove,  Viola;  Nathan  Stutch,   'Cello;  Russell  Brodine,  Bass. 

*  English  Translation  by  Henry  S.   Drinker,  Jr. 


d^to-atam    J  Mate^ 


By  John  Briggs 

THE  eighteenth  century  witnessed  a  sharp  cleavage  between  polyphony  and  homo- 
phony.  In  1700  Bach  and  Handel  were  both  fifteen  and  not  yet  seriously  launched 
as  composers.  In  1800,  Beethoven's  first  symphony  appeared,  while  in  between 
occurred  the  "Pigtail  Period,"  a  transitional  phase  culminating  in  the  sonata.  The  Bach- 
Handel  fugue,  though  representing  the  highest  development  of  polyphonic  writing,  was 
also  its  last  stand  against  Beethoven  and  his  successors.  Even  in  his  own  lifetime  Bach's 
sons  considered  his  music  hopelessly  old-fashioned  and  tried  to  open  his  eyes  to  the 
grandeur  of  Modern  Music. 

Essentially  the  fugue  is  a  single  unified  musical  thought,  its  parts  multiplied  in 
infinity.  The  sonata,  on  the  other  hand,  contains  two  conflicting  thoughts.  "When 
reconciled,"  observes  the  erudite  Leo  Smith,  "the  result  is  comedy;  when  they  end  in 
disaster,  tragedy.  Borrowing  a  simile  from  literature,  we  may  say  that  the  fugue  is  to 
the  sonata  what  the  psalm  is  to  the  drama." 

Opera  during  the  eighteenth  century  made  rapid  strides  toward  the  heights  which 
it  was  to  attain  in  the  following  century.  Noteworthy  are  the  achievements  of  Handel, 
who,  in  addition  to  making  of  the  oratorio  a  medium  characteristically  his  own,  also 
made  his  impress  on  operatic  development.  Three  schools  were  contributing  their 
thought  to  music  drama — the  Italian  Opera  Buffa,  the  French  Opera  Comique,  and  the 
school  of  Gluck  and  Mozart.  Works  of  three  men  active  at  this  time — Pergolesi,  Gluck, 
and  Mozart — are  still  being  heard  today. 

The  close  link  of  eighteenth  century  composers  with  our  own  time  is  shown  by  the 
fact  that  when  the  Declaration  of  Independence  was  signed.  Bach  had  been  dead  twenty- 
six  years,  Handel  only  seventeen.  As  an  index  of  England's  cultural  impact  on  the 
colonies,  it  is  interesting  to  note  Handel's  ascendancy  over  Bach;  for  if  contemporary 
recital  programs  are  a  criterion.  Bach  was  a  comparative  stranger  to  Philadelphia  audi- 
ences, while  Handel  figured  prominently  on  most  concerts  of  that  day. 


Vivaldi  (1675-1743)  celebrated  violinist  and  composer,  was  by  birth  a  Venetian. 
Having  been  at  one  time  a  priest,  he  was  called  "il  prete  rosso"  for  his  red  beard.  Vivaldi 
exercised  a  strong  influence  on  Bach's  development.  His  compositions  gave  Bach  the 
idea  of  writing  concerti  for  piano  and  orchestra — at  least  for  this  form.  The  "concerto- 
form"  with  many  hitti-ritornelle  seems  to  have  been  developed  by  Vivaldi. 


Domenico  Scarlatti  (16S5-1757)  son  of  the  famous  Alessandro,  wrote  545  sonatas. 
He  concerned  himself,  however,  neither  with  archetonic  arrangement,  contrasting  fast 
and  slow  movements,  nor  the  problem  of  form.  Most  of  his  sonatas  have  only  one  move- 


ment,  generally  an  allegro.  The  form,  too,  is  almost  invariably  two-paragraph  or  binary, 
with  the  double  bar  nearly  at  the  middle  of  the  composition.  The  same  order  of  keys 
occurs  at  beginning  and  ending.  Scarlatti,  however,  advanced  the  art  of  subject-writing 
considerably,  developing  a  true  keyboard  style,  and  emancipating  instrumental  music. 
He  is  one  of  the  first  composers  whose  works  show  neither  dance  nor  fugal  influence. 


Bach  (1685-1750)  belongs  by  rights  to  the  preceding  period  of  polyphonic  music. 
His  lifetime  fell  in  a  period  of  change,  a  time  in  which  the  old  imitative  style  had  not 
yet  lived  itself  out,  and  the  new  was  still  in  the  first  stages  of  its  development  and  bore 
the  stamp  of  unreadiness.  Bach,  however,  combined  the  best  of  the  materials  at  hand 
into  an  ideal  form  which  is  still  a  mark  for  composers  to  shoot  at.  In  his  hands  counter- 
point becomes  eloquent.  Although  not  without  his  ups  and  downs  (as  what  composer 
from  Beethoven  down  to  Barber  isn't)  his  name  still  emerges  as  the  most  significant  in 
creative  music  of  his  time. 

Of  the  two  "homage"  cantatas  which  Bach  wrote,  the  one  on  this  program  cele- 
brates the  advent  of  Carl  Heinrich  von  Dieskau,  Chamberlain  of  the  Saxon  Exchequer 
as  Lord  of  the  Manor  of  Klein  Zschocher  and  Knauthain,  near  Leipzig,  to  which  he  suc- 
ceeded on  his  mother's  death. 

Charles  Sanford  Terry  has  this  to  say  of  the  work: 

"It  is  generally  known  as  the  'Peasant  Cantata,'  for  its  characters  are  a  couple  of 
peasant  lovers,  and  its  language,  in  parts,  the  dialect  of  Upper  Saxony.  Bach  evidently 
delighted  in  a  text  thoroughly  natural  and  abnormally  negligent  of  the  stilted  demigods 
of  mythology.  It  is  lightly  scored,  in  the  style  of  a  village  orchestra,  has  only  two 
singers,  a  soprano  and  bass,  and  is  unique  in  the  possession  of  an  overture  (a  Quodlibet), 
and  in  Bach's  quotation  of  folk-melodies.  There  is  no  action,  but,  in  short  movements, 
many  of  them  popular  dance  measures,  the  young  sweethearts  praise  the  new  Lord  of  the 
Manor  and  his  wife,  deplore  the  exactions  of  the  taxman  and  recruiting-sergeant,  are 
grateful  to  the  new  squire  for  lightening  them,  and,  with  a  final  duet,  retire  to  a  drink- 
ing booth  to  dance  and  be  merry.  In  no  other  work  is  Bach's  wig  so  evidently  removed 
from  his  brow,  in  none  his  zest  for  the  melodies  of  the  countryside  so  generously  dis- 
played." 


Next  concert  in  the  series  will  be  on  Decetnber  seventh. 


3ii : $is 


/*> 


HISTORICAL 
SERIES 

^i^cm  tlte  ntk  ta  t/te  20tlt  L^entH 


PRESENTED    BY  A   COMMIHEE    OF 
CURTIS    INSTITUTE    GRADUATES 

RALPH  BERKOWITZ  JOSEPH   S.   LEVINE  VLADIMIR  SOKOLOFF 


<=:yai^Lttlt  L^ancett 


WEDNESDAY  EVENING,   DECEMBER  7,  1938 

AT  8:30  O'CLOCK 

CASIMIR     HALL 

The  STE/NWAY  h  fbe  Official  Piano  of  The  Curfis  Institute  of  Music 

pw  , _  . 


/i 


taatdHt 


1 


GIUSEPPE  TARTINI String  Quartet  In  D  major 

1692-1770 

Allegro    Assai — Larghetto — Allegro 
KURT  POLNARIOFF,  Violin  ALBERT  FALKOVE,  Viola 

GEORGE  ZAZOFSKY.  Violin  JOSEPH  DRUIAN,  Cello 

BENEDETTO  MARCELLO Sonata  in  F  major 

1686-1759  for  flute  and  piano 

Adagio — Allegro — Largo — Allegro 
BURNETT  ATKINSON.  ¥hitc  LEO  LUSKIN,  Viano 

CARL  PHILIPP  EMANUEL  BACH Sonata  in  E  flat  major 

1714-1788 

Allegro  di  molto — Adagio — Allegretto 
MARY  NORRIS,  Viano 

GEORG  FRIEDRICH  HANDEL Sonata  in  A  major  Opus  5  No.  1 

1685-1759  for  two  violins  and  piano 

Andante — Allegro — Larghetto — Allegro — Gavotte  allegro 
RAFAEL  DRUIAN  and  MARGUERITE  KUEHNE,  Violin% 
LEO  LUSKIN,  Viano 

GEORG  FRIEDRICH  HANDEL "Cuopre  tal  volta  il  cielo" 

Cantata  for  one  voice  and  strings 
ROBERT  GAY,  Baritone  SYLVAN  LEVIN.  Conducting 

Violins  Celli 

Frederick  Vogelgesang  Jacob  Krachmalnick  True  Chappell 

Rafael   Druian  Paul  Shure  William  Saputelli 

Marguerite  Kuehne  George  Zazofsky  Esther  Gruhn 

Noah  Bielski  Isabelle  Kralik 

Basses 
Ferdinand  Maresh  Harry  Safstrom 

GEORG  FRIEDRICH  HANDEL Concerto  in  F  major  Opus  4  No.  5 

for  Chamber  Orchestra  and  Organ 

Larghetto — Allegro — Alia  siciliana — Presto 
SYLVAN  LEVIN,  Conducting 
CLARIBEL  GEGENHEIMER,   Organ 
Violins  Violas 

Frederick  Vogelgesang  Jacob  Krachmalnick  Albert  Falkove 

Rafael  Druian  Paul   Shure  Stephen  Katsaros 

Marguerite  Kuehne  George  Zazofsky  Philip  Goldberg 

Noah  Bielski  Isabelle   Kralik  Milton  Lipshutz 

Colli  Basses 

True  Chappell  Ferdinand  Maresh 

William  Saputelli  Harry  Safstrom 


Esther  Gruhn 


Oboes  Bassoon 

Martin  Fleisher  Manuel  Zegler 

Perry  Bauman 


By  CURTIN  WlNSOR 

DURING  the  first  half  of  the  18th  Century,  to  which  the  works  listed  on  this  pro- 
gram belong,  two  opposing  currents  swept  the  world  of  music.  One,  typified 
by  Sebastian  Bach  and  Handel,  continued  the  best  traditions  of  the  age  of  poly- 
phony which  was  then  drawing  to  a  close.  The  other,  embodied  by  men  like  Emanuel 
Bach  and  Tartini,  represented  paths  previously  untrod,  where  the  emphasis  was  on 
exploiting  the  resources  and  color  possibilities  of  the  musical  instruments  employed, 
rather  than  on  contrapuntal  treatment.  Out  of  this  eternal  conflict  between  the  old  and 
new,  when  the  two  currents  finally  joined  together,  came  the  music  of  Haydn  and 
Mozart. 


I.  GIUSSEPE  TARTINI  (1692-1770)  of  Padua  was  equally  famous  as  a  violinist, 
theorist,  teacher  and  composer.  In  his  youth  he  wavered  between  fencing  and  fiddling 
as  occupations.  He  was  adept  at  both,  but  music  won  out  as  a  result  of  his  two  years  in 
the  Church  of  St.  Francis  at  Assisi,  where  he  had  taken  refuge  from  arrest  after  eloping 
with  the  niece  of  a  Cardinal.  Here  the  monks  were  accustomed  to  hide  him  behind  a 
heavy  curtain  so  that  none  of  the  worshippers  and  pilgrims  were  able  to  identify  the 
source  of  the  lovely  strains  that  filled  the  Monastery  Chapel,  till  by  accident  the  curtain 
M'^as  pulled  aside  one  day  when  a  number  of  Paduans  who  recognized  him  were  present. 
This  18th  Century  publicity  stunt  insured  the  successful  start  of  a  career  that  became 
a  triumph.  In  1714  Tartini  accidentally  discovered  what  he  called  the  "third  sound,"  a 
phenomenon  which  he  could  not  explain,  but  which  we  know  as  "differential"  or  "result- 
ant tones."  He  also  effected  improvements  in  the  violin  boM'  and  strings  which  have 
been  used  ever  since.  In  1728  he  founded  his  famous  Violin  School  of  the  Nations  at 
Padua,  which  turned  out  a  score  of  virtuosos  in  half  that  number  of  years. 

The  following  analysis  of  Tartini  as  a  composer  is  given  by  Burney,  the  18th  Cen- 
tury English  historian: 

"Tartini  made  Corelli  his  model  in  the  purity  of  his  harmony  and  in  the  simplicity 
of  his  modulations,  but  he  greatly  surpassed  that  composer  in  the  fertility  and  originality 
of  his  invention,  not  only  in  the  fresher  subjects  of  his  melodies,  but  in  his  truly  cantabile 
manner  of  treating  them.  Many  of  his  adagios  want  nothing  but  words  to  be  opera 
songs.  His  allegros  are  sometimes  difficult  but  the  passages  fairly  belong  to  the  instru- 
ment for  which  they  were  composed  and  were  suggested  by  his  consummate  knowledge 
of  the  fingerboard  and  powers  of  the  bow.  These  passages  are  always  good  and  never 
seem  unmeaning  or  fortuitous." 

II.  BENEDETTO  MARCELLO  (1686-1739)  was  a  Venetian  best  known  for  his 
choral  compositions  and  for  his  famous  satirical  essay  on  the  degeneration  of  Italian 
opera,  "The  Theatre  a  la  Mode,"  in  which  he  ridiculed  the  extravagant  and  arbitrary 
liberties  taken  by  opera  singers  with  their  scores  and  other  follies  which  were  degrading 
the  operatic  stage. 


III.  CARL  PHILLIP  EMANUEL  BACH  (1714-88),  second  son  of  Sebastian 
Bach,  was  taught  to  play  and  compose  by  his  father.  In  1740  he  became  piano  accom- 
panist to  that  illustrious  flutist,  Frederick  the  Great  of  Prussia,  a  post  which  he  held  for 
26  years.    He  was  treated  handsomely  by  Frederick,  but  his  job  was  a  difficult  one,  for 


his  royal  master  (who  was  a  real  virtuoso)  was  about  as  arbitrary  in  his  observance  of 
rhythm  as  he  was  in  his  treatment  of  his  non-musical  subjects.  In  1766  Emanuel  suc- 
ceeded Telemann  as  Cantor  of  the  leading  churches  of  Hamburg. 

Burney  writing  of  him  in  1788  says:  "He  has  long  been  regarded  as  the  greatest 
composer  for  and  performer  on  keyed  instruments  in  Europe.  He  used  to  be  censured 
for  his  extraneous  modulations,  cruelties  and  difficulties,  but  like  the  hard  words  of 
Dr.  Samuel  Johnson  to  which  the  public  by  degrees  became  reconciled,  ever}-^  German 
composer  now  takes  the  same  liberties  as  Emanuel  Bach  and  every  English  writer  uses 
Johnson's  language  with  impunity." 

Burney  made  a  special  visit  to  Hamburg  to  meet  him  and  he  quotes  Emanuel  as 
follows:  "Of  all  my  works  those  for  the  piano-forte  are  the  chief  in  which  I  have 
indulged  my  own  feelings  and  ideas.  My  principal  wish  has  been  to  play  and  compose 
in  the  most  vocal  manner  possible.  Music  ought  to  touch  the  heart,  which  can  never 
be  done  by  drumming  or  scrambling,  or  by  rattling  arpeggios." 

Today  we  see  that  Emanuel  Bach  was  important  also  for  the  influence  that  he 
had  upon  his  successors.  Haydn  studied  his  works  carefully  and  Emanuel  maintained 
that  Haydn  was  the  only  man  who  really  understood  him.  Emanuel's  essay,  "On  the 
True  Way  to  Play  the  Clavier,"  led  Mozart  to  observe  "that  he  had  learned  from  this 
Bach  everything  he  did  on  the  piano  that  was  right."  The  slow  movement  of  the  Sonata 
on  the  program  this  evening  shows  that  even  Chopin  was  influenced  by  him.  Emanuel 
has  been  justly  termed  "the  father  of  modern  piano  playing." 


IV.  GEORG  FRIEDRICH  HANDEL  was  born  in  168  5  (the  same  year  as 
Sebastian  Bach)  and  died  in  1759.  He  began  his  brilliant  and  diversified  career  as  an 
organist  at  Halle  and  he  remained  a  virtuoso  on  this  instrument  all  his  life.  After  hear- 
ing his  first  opera  produced  at  Hamburg,  he  spent  three  years  in  Italy  absorbing  much 
music  and  meeting  all  the  musicians  of  the  period,  including  Corelli,  Alessandro  Scarlatti, 
et.  al.  (many  of  whom  belonged  to  the  famous  Arcadian  Academy  (an  organization  of 
nobles,  priests,  painters,  poets  and  musicians  which  did  much  to  stimulate  the  cultural 
life  of  the  period),  who  referred  to  him  invariably  as  "the  Saxon."  The  productions  of 
his  operas  at  Florence  and  Venice  were  so  successful  that  he  was  invited  to  come  to 
London  in  1710.  Despite  the  opposition  of  Addison  and  Steele  in  their  celebrated  paper, 
"The  Spectator,"  Handel  scored  a  great  success.  When  his  master,  George  of  Hanover, 
became  George  I  of  England  in  1714,  Handel  resided  permanently  in  London,  where  his 
opportunism  and  adaptability  enabled  him  to  emerge  unscathed  from  the  ups  and  downs 
of  his  well  known  checkered  career  as  composer  and  producer  of  operas  and  oratorios. 

This  program  presents  the  lesser  known  Handel.  The  Sonata  for  two  violins  and 
piano  is  one  of  seven  published  in  London  in  1739.  The  authorities  differ  as  to  whether 
they  are  in  the  style  of  old  dance  suites  or  represent  a  step  forward  in  the  development 
of  the  Sonata  Form,  but  agree  as  to  their  freshness  and  delicacy  of  expression.  The 
Cantata  to  be  heard  this  evening  is  one  of  many  early  works  in  his  form  written  in  Italy. 
According  to  Romain  Rollans's  "Handel,"  they  show  the  influence  of  the  Arcadian  group. 

The  Organ  Concerto  heard  tonight  is  one  of  several  published  in  173  8.  As  Streatfeild 
points  out  in  his  book  on  Handel,  these  organ  concertos  differ  from  and  are  not  com- 
parable to  Sebastian  Bach's  organ  works  because:  (1)  as  printed  they  are  merely  skele- 
tons to  which  Handel  gave  flesh  by  his  brilliant  improvisations;  (2)  the  English  organs 
for  which  they  were  written  lacked  pedal  boards,  so  Handel  was  obliged  to  write  for 
manuals  only;  (3)  they  are  secular,  not  religious  in  nature,  since  they  were  designed  for 
performance  between  the  acts  of  his  oratorios. 

Burney  remarks  that  these  concertos  were  so  popular  that  English  organists  "sub- 
sisted on  them  exclusively  for  3  0  years." 

Next  concert  in  the  series  will  be  on  January  fourth. 


-—  — _ — _ —  —  ^^ 


HISTORICAL 
SERIES 

^^tant  tke  lltk  ta  tke  20tk  ^enti 


MX 


1 


PRESENTED    BY  A  COMMIHEE   OF 
CURTIS    INSTITUTE    GRADUATES 

RALPH  BERKOWITZ  JOSEPH   S.   LEVINE  VLADIMIR  SOKOLOFF 


cziyMk  L^oncett 
WEDNESDAY  EVENING,   JANUARY  A,  1939 

AT  8:30  O'CLOCK 

CASIMIR     HALL 


The  STEINV/AY  is  fhe  Official  Piano  of  The  Curtis  Institute  of  Music 


/i 


toata^m 


1 


PIETRO  NARDINI Sonata  in  D  major 

1722-1793  for  Violin  and  Piano 

Adagio — Allegro — Allegretto 


EUDICE  SHAPIRO,  Yiolin 


VLADIMIR  SOKOLOFF,  Viauo 


FRANZ  JOSEF  HAYDN String  Quartet  in  F  minor 

1732-1809  Op.  20  No.  5 

Allegro   moderato — Menuetto — Adagio — Finale.    Fuga    a    due   Soggetti 


RAFAEL  DRUIAN,  Yiolin 
MARGUERITE  KUEHNE,  Violin 


ALBERT  FALKOVE,  Yiola 
JOSEPH  DRUIAN,  Violoncello 


WOLFGANG  AMADEUS  MOZART Sonata  in  F  major  K.  497 

1756-1791  for  Piano,  4  Hands 

Adagio — Allegro  di  molto — Andante — Allegro 
RALPH  BERKOWITZ  and  VLADIMIR  SOKOLOFF,  Pianisfs 


WOLFGANG  AMADEUS  MOZART. 


Violins 

Frederick    Vogelgesang 
Rafael  Druian 
Marguerite  Kuehne 
Jacob  Krachmalnick 
Paul  Shure 
Isabelle  Kralik 


Adagio  in  E  major  K.  261 

for  Violin  and  Chamber  Orchestra 


EUDICE  SHAPIRO,  Violin 
SOL  KAPLAN,  Conducting 

Violas 
George  Brown 
Philip  Goldberg 
Stephen  Katsaros 

Celli 
William  Saputelli 
Hershy  Kay 


Flutes 
Burnett  Atkinson 
John  Krell 

French  Horns 

Elwood  Cauler 
James  Chambers 

Bass 
Russell  Brodine 


WOLFGANG  AMADEUS  MOZART Divertimento  in  D  major  K.  205 

Largo- Allegro — Adagio — Menuetto — Finale.   Presto 
SOL  KAPLAN,  Conducting 


Violins 
Frederick  Vogelgesang 
Rafael  Druian 
Marguerite  Kuehne 
Jacob  Krachmalnick 
Paul  Shure 
Isabelle  Kralik 


Violas 
George  Brown 
Philip  Goldberg 
Stephen  Katsaros 

Celli 
William  Saputelli 
Hershy  Kay 


French  Horns 
Elwood  Cauler 
James  Chambers 

Bassoon 
Albert  London 

Bass 
Russell   Brodine 


d^taatam  JVote^ 


By  Ralph  Berkowitz 

THE   end   of   the    18th    century    marked   the    close   of    a    magnificent    experience    in    certain   forms    of 
reality.    Vanishing  perhaps  forever  was  the  combination  of  economic  and  cultural  forces  which  had 
produced  Voltaire   and  Franklin,  Johnson   and  Rousseau,  Haydn   and  Mozart. 
For  toward  the  end  of  this  great  age  there  appeared  below  the  surface  the  undertones  of  coming  revo- 
lution; the  ever  more  vigorous  agitation  which  was  to  bring  to  the  fore  the  problems  and  art-works  of  the 
19th  century. 

This  reaction  to  a  world  consumed  by  a  love  of  exact  thinking,  clarity  and  logic  was  destined  to  set 
forth  in  the  timeless  art  of  Beethoven,  a  communication  which  for  many  is  far  more  valid  than  all 
philosophy  and  wisdom.  | 


The  music  on  tonight's  program  was  written  between  175  5  and  1785 — thus  shortly  before  this  signifi- 
cant revolutionary  period  in  European  history.  These  thirty  years  are  in  a  sense  akin  to  those  of  the 
previous  century  in  which  there  was  a  reaction  by  men  like  Montcverde  and  Purcell  to  the  contrapuntal 
masters  of  the  16th  century.  In  this  case  the  transition  from  the  art-forms  of  Bach  and  Handel  tended 
toward  an  artistic  ideal  which  was  already  expressing  itself  during  their  lifetime.  This  was  due  to  the 
emergence  of  a  great  aristocratic  class  which  created  the  need  of  an  art  peculiar  to,  and  expressing  its 
mode  of  life. 

The  outstanding  aspect  of  instrumental  music  in  this  era  is  the  vigorous  growth  of  sonata-forms  and 
at  the  same  time  the  sound  relationship  between  form  and  content.  For  just  as  in  the  earlier  period  the 
characteristics  of  the  art  had  changed  by  a  revaluation  of  harmony  and  polyphony,  so  at  this  time  a 
further  step  was  made  by  a  new  consideration  of  the  problems  of  form. 

This  is  immediately  apparent  in  Nardini's  Sonata  in  D  major  which  is  heard  at  this  concert.  There  is 
here  a  more  spacious  form  and  a  wider  use  of  musical  materials  than  in  similar  works  of  earlier  composers. 

Today  however,  Pietro  Nardini  is  little  more  than  a  name.  Despite  a  characteristic  grace  and  charm 
in  his  music,  he  has  suffered  the  fate  of  those  who  have  developed  a  certain  province  in  their  art  only  to 
be  succeeded  and  overshadowed  by  a  more  universal  genius,  who  incorporates  in  his  own  works  that  which 
has  gone  before. 

Nardini  follows  in  a  direct  line  from  Tartini,  with  whom  he  studied  in  Padua.  He  is  thus  another  in 
the  long  line  of  Italian  composer-violinists  of  the  17th  and  18th  centuries  whoes  experiments  with  the 
natural  resources  of  their  instrument  produced  a  peculiarly  interesting  phase  of  musical  history. 

Much  importance  is  attached  to  Nardini's  influence  on  violin  playing  in  Germany,  where  he  lived  for 
fifteen  years  as  musician  in  the  ducal  court  of  Stuttgart. 

In  company  with  most  of  his  contemporaries,  Nardini's  style  is  already  far  removed  from  fugal 
influence.  An  expressive  lyricism  marks  the  melodic  line  of  his  music,  to  which  he  adds  a  simple  harmonic 
background.  Here  is  an  art  which  speaks  from  its  time  and  place  as  certainly  as  the  plays  of  Congreve 
and   Sheridan   speak   from   theirs. 


One  of  the  fascinating  properties  of  all  art  is  that  the  artist  may  express  profundity  by  the  simplest 
means.  What  appears  on  the  surface  as  an  innocent  matter  may  ingeniously  contain  a  remarkable  artistic 
expression. 

This  anomaly  contains  an  ironic  side.  For  it  sometimes  happens  that  an  artist's  qualities  are  thus 
falsely  interpreted.  In  literature  this  has  happened  to  Jonathan  Swift  and  in  music  to  Josef  Haydn.  In 
the  former  case  a  man  whose  bitter  indictment  of  society  is  positively  vitriolic,  retains  the  reputation  of  a 
pleasant  writer  for  children,  while  similarly  with  Haydn,  a  good  deal  of  his  music  has  not  been  considered 
important  for  those  above  the  age  of  thirteen. 

Haydn's  musical  career  was  similar  to  that  of  a  great  number  of  his  contemporaries,  who  lived  as 
part  of  the  servant-staff  in  an  aristocratic  household.  To  reach  this  stage  in  one's  early  years  was  a  piece 
of  good  fortune.  Haydn  at  first  suffered  the  usual  trials  of  a  poor  student  and  once  hired  himself  as  a 
valet  to  Porpora,  in  the  hope  of  receiving  instruction  from  him.  When  the  old  Neapolitan's  vocabulary 
occasionally  changed  from  invective  and  abuse,  he  did  help  Haydn's   musical   development. 

But  in  his  early  twenties  Haydn  began  his  years  of  service  in  the  homes  of  noblemen.  At  the  age  of 
twenty-nine  he  became  assistant-Kapellmeister  to  the  Esterhazy  family  and  remained  in  their  employment 
until  his  death  forty-eight  years  later. 

One  may  still  read  the  agreement  which  Haydn  signed  upon  taking  up  his  new  duties.  It  mentions 
such  points  as  the  necessity  of  a  circumspect  and  polite  demeanour,  the  duty  of  seeing  that  the  musician's 
uniforms  and  wigs  were  neatly  worn  and  that  all  necessary  music  be  composed  within  a  stipulated  time. 

In  his  early  years  Haydn  was  much  influenced  by  the  works  of  Carl  Philipp  Emanuel  Bach  and  it  is 
from  this  foundation  that  many   of  his   departures   and  experiments    took  place.     Although   he  was   more 


than  forty  when  he  first  came  to  know  the  works  of  Mozart,  his  modest  and  unassuming  devotion  to 
music  enabled  him  to  accept  a  great  deal  from  the  younger  master.  Needless  to  say  he  in  turn  exerted  a 
strong  influence  upon  Mozart,  who  at  one  time  said,  "It  was  from  Haydn  that  I  first  learned  the  true  way 
to  compose  quartets."  That  astute  critic  Donald  Francis  Tovey  has  spoken  of  the  relation  of  these  men 
in  the  following  words: 

The  mutual  influence  of  Haydn   and   Mozart   is  one  of  the  best-known   wonders  of  musical 
history;  and  the  paradox  of  it  is  that  while  its  effect  on  Mozart  was  to  concentrate  his  style 
and  strengthen  his  symmetry,   the  effect  on  Haydn  was   to  set   him   free,   so   that   his   Urge 
movements  became  as  capricious  in  their  extended  course  of  events  as  his  minuets  had  always 
been  in  the  cast  of  their  phrases. 
The  Haydn  quartet  on  this  program  is   the  fifth   of  the  set  of  six   so-called  "Sun"  quartets   and   was 
composed  in  1771.    The  last  movement  is  a  fugue  with  two  subjects  and  clearly  shows  Haydn's  obligation 
to  older  masters  whom  he  was  studying  at  the  time. 

In  1791  Haydn  was  in  London.  For  the  first  time  in  his  sixty  years  he  forsook  for  a  while  his  duties 
to  the  Esterhazy  family  and  went  abroad  to  accept  the  homage  which  his  fame  brought  from  all  the 
capitals  of  Europe. 

In  the  same  year,  at  the  age  of  thirty-five,  Mozart  died  as  the  direct  result  of  poverty.  He  had  been 
unable  to  obtain  any  position  of  security  despite  the  great  popular  success  of  much  of  his  music. 

The  callous  society  of  Vienna  seems  to  have  been  little  impressed  by  this  fate  of  a  musical  genius,  for 
only  thirty-eight  years  later  it  allowed  Schubert  to  die  in  exactly  similar  circumstances. 

Critics  and  historians  have  ever  marveled  at  the  matchless  genius  of  Mozart.  At  the  fertility  which 
produced  the  E  flat,  G  minor  and  C  major  symphonies  within  six  weeks,  one  can  only  stand  amazed.  And 
one  can  but  rejoice  in  the  realization  that  there  is  included  in  our  heritage  of  music  the  results  of  a 
musical  mentality  which  poured  forth  remarkable  works  in  every  conceivable  form,  from  opera  to 
quartet  and  from  motett  to  concerto. 

Donald  Francis  Tovey  has  this  to  say  of  the  beautiful  work  for  four  hands  on  this  program: 
This  sonata  in  F  is  a  superb  piece  of  chamber-music  in  no  way  inferior  to  the  great  quar<tets 
and  quintets  of  its  period  in  Mozart's  career    (it  was  written  soon   after   Figaro):  .   .    .   The 
adagio  introduction  is  as  impressive  as  any  before  Beethoven  .  .  .  The  slow  movement  is  also 
in  full  sonata  form,  and  is  one  of  Mozart's  broadest  and  most  polyphonic  designs  .  .   .  The 
finale  is  a  Rondo  on  fully  the  same  symphonic  scale  as  the  rest  of  the  work.    Its  first  theme 
may    take    rank    with    the    phrase    in    the    finale    of    his    C    minor    concerto    which    impelled 
Beethoven  to  exclaim  to  a  friend:  "Oh,  my  dear  Ries,  things  like  that  will  never  occur  to  the 
likes  of  us." 
The  Adagio  for  violin   and  orchestra  was  written  for  the  violinist   Brunetti.    He  was   to  perform   the 
A  major  concerto  but  asked  for  another  slow  movement  in  place  of  the  one  already  written.    Mozart  com- 
posed this  work  for  him,  which  despite  its  beauty  is  infrequently  heard. 

The  Divertimento  on  this  program  was  written  in  1773  and  is  also  quite  unknown.  Mozart  used  the 
terms  Divertimento,  Serenade  and  Cassation  indiscriminately,  for  a  work  in  anywhere  from  four  to  ten 
movements,  and  scored  for  various  combinations  of  wind  and  strings.  To  these  works  as  a  whole  one  may 
apply  the  statement  of  a  critic  who  observed  that  Mozart  often  wrote  without  thought  but  never,  even 
when  he  was  six,  without  mastery. 


The  number  of  years  between  John  Dowland  and  Mozart  is  as  great  as  that  between  Mozart  and 
Hindemith.  It  is  however  often  gratuitously  assumed  that  more  advance  has  been  made  in  the  latter  than 
in  the  former  period.  In  this  connection  one  must  realize  that  the  passage  of  time  does  not  bring  con- 
comitantly a  progressive  development  toward  some  ever  receding  horizon.  This  evolutionary  conception 
can  best  be  exemplified  by  the  following  statement  from  a  work  on  "The  Musical  Faculty"  by  "William 
Wallace: 

If  we  contrast  the  highest  musical  achievement  of  even  a  hundred  years  ago  with  the  music 
we  have  today,  we  shall  see  an  advance  in  thought  and  imagination  which  is   almost  incon- 
ceivable .   .   .  practically  every  bar  of  a  modern   music  student  would  have  been   a  gigantic 
achievement  had  it  been  written  in   1762   .  .   . 
But  is  it  not  a  foreshortening  of  historical  perspective  which  gives  this  impression  of  progress? 
For  a  consideration  of  music's  growth  between  1600  and  1775,  namely  between  Dowland  and  Mozart, 
will    show   an    unparallelled    and    remarkable    enlargement    in    the    use    of    musical    materials,    which    were 
organized  to  a  point  where  the  richest  and  most  varied  conditions  of  the  human   mind  could   find  utter- 
ance;  where  the  subtlest  psychological  nuance  could  be  expressed  by   the  turn  of  a  phrase  or  with    some 
modulation  which  even  now  remains  as  breath-taking  as  at  the  moment  it  was  conceived.    And  with   this 
aesthetic   property   related   by  beautiful   balance   to   a  vital   sense    of  organization,   music   was   composed   to 
which  we  can  refer  with  but  one  term — Classic. 


Next  concert  in  the  series  ivill  be  on  Janiuiry  twentieth. 


c^ — — ■ —  /%» 


HISTORICAL 
SERIES 

<z=^^cm  tke  17 tit  ta  tlte  20 tit  K^ettt 


MX 


PRESENTED    BY  A  COMMIHEE   OF 
CURTIS    INSTITUTE    GRADUATES 

RALPH  BERKOWITZ  JOSEPH  S.  LEVINE  VLADIMIR  SOKOLOFF 


FRIDAY  EVENING,   JANUARY  20,  1939 

AT  8:30  O'CLOCK 

CASIMIR     HALL 


The  STE/NWAy  is  fhe  Official  Piano  of  The  Cvrtis  Institute  of  Music 


fi' 


'cc^atiim 


1 


FRANZ  PETER  SCHUBERT Cantata  "Fruhlingsmorgen".   Op.  158 

1797-1828  For  three  voices  and  piano. 

FLORENCE  KIRK,  Soprano  DONALD  HULTGREN,  Tenor 

HOWARD  VANDERBURG,  Baritone      VLADIMIR  SOKOLOFF,  Piano 


LUDWIG  VAN  BEETHOVEN Septet  in  E  flat  major.   Op.  20 

1770-1827 

Adagio.     Allegro  con  brio — Tempo  di  Menuetto — Tema  con  Variazione.     Andante. 

Scherzo.     Allegro  niolto  e  vivace — Andante  con  moto  alia  Marcia.     Presto. 

KURT  POLNARIOFF,  YioUn;  GEORGE  BROWN,  Viola;  SAMUEL  MAYES,  Violoncello; 

IRVEN  WHITENACK,   Doublebass;   WILLIAM   McCORMICK,  Clarinet; 

ALBERT  LONDON,  Bassoon;  ELWOOD  CAULER,  French  Horn. 


FRANZ  PETER  SCHUBERT Meeres   StUle 

Der   Einsame 
Der   Leiermann 
Rastlose  Liebe 

ROBERT   GROOTERS,   Baritone  VLADIMIR    SOKOLOFF,   Piano 


LUDWIG   VAN   BEETHOVEN Three  Equale 

For  4  trombones 

WILLIAM  GIBSON,   GEORGE  A.   GARSTICK,   ROBERT  LAMBERT,   HOWARD   COLE,   Trombones 


LUDWIG  VAN  BEETHOVEN Sonata  in  E  major.    Op.  109 

Vivace,   ma   non   troppo — Prestissimo — Andante    molto    cantabile   ed    espressivo 
YVONNE  KRINSKY,  Piano 


By  CURTIN  WlNSOR 


I.  INTRODUCTION 

With  this  program  we  have  arrived  at  the  19th  Century  after  pursuing  our  pilgrimage  through  the 
music  of  two  centuries.  We  have  scaled  certain  peaks,  at  least  one  of  which  represented  by  Sebastian  Bach, 
stands  preeminent  in  the  recollections  of  the  journey.  We  now  reach  two  summits  so  lofty  that  many 
question  whether  the  path  of  music  has  reached  or  can  ever  reach  such  twin  heights  again.  Those  summits 
are  Beethoven  in  the  field  of  instrumental  music,  and  Schubert  in  the  field  of  vocal  music. 

II.  BEETHOVEN 

Men  of  great  genius  are  not  accidents,  but,  like  accidents,  they  are  often  produced  by  events  of  a 
catastrophic  nature.  Beethoven  and  (to  a  lesser  extent  Schubert)  was  the  product  of  the  French  Revo- 
lution— that  upheaval  which  had  such  profound  consequences  in  every  field  of  art.  The  watchwords  of 
the  Revolution,  "Liberte,  Equalite,  Fraternite,"  influenced  both  Beethoven,  the  man,  and  Beethoven,  the 
composer.  Beethoven,  the  man,  was  an  ardent  Democrat  who  tore  up  the  dedication  from  the  title  page 
of  his  Eroica  Symphony  when  he  heard  that  his  idol,  Napoleon,  the  apostle  of  the  Revolution,  had  made 
himself  Emperor.  In  the  houses  of  the  Viennese  aristocracy  he  regarded  himself,  and  he  was  treated,  as 
an  equal  with  genius  more  than  counterbalancing  low  birth.  As  has  been  said  by  Hugo  Leichtentritt  in 
"Music,  History,  and  Ideas"  Beethoven  was  truly  Napoleonic  in  the  magnificence  of  his  style,  the  boldness 
of  his  conceptions,  and  his  unshaken  belief  in  himself. 

In  keeping  with  the  spirit  of  the  times,  Beethoven  was  the  first  great  composer  who  throughout  the 
greater  part  of  his  life  held  no  post  as  Kapellmeister  or  Music  Director  to  any  court  or  church,  supporting 
himself  largely  by  his  great  talents  as  a  pianist  (he  was  noted  especially  for  his  phenomenal  ability  to 
improvise)    and  later  by  the  proceeds  from  the  publication  of  his  works. 

Beethoven's  genius  in  music  found  its  counterpart  in  the  literature  of  Goethe  and  especially  Schiller, 
which  reflected  the  philosophy  and  aesthetics  of  Kant.  The  influence  of  Schiller  is  largely  responsible  for 
the  dramatic  and  moral  aspects  which  form  so  important  a  part  of  Beethoven's  art.  The  most  concrete 
example  of  this  influence  is  the  9th  Symphony  with  its  finale  designed  as  a  setting  for  Schiller's  "Ode  to 

Like  Schubert,  Beethoven  was  no  orthodox  Christian.  The  serenity  and  lofty  exaltation  ol  many  of 
his  adagios  are  sufficient  musical  proofs  that  he  believed  in  a  supreme  being,  but  his  beliefs,  thoujjh  benevo- 
lent, are  vaguely  pantheistic.  There  have  been  other  composers  who  put  humor  into  their  treatment  of 
music  (one  recalls  Haydn's  "Farewell"  Symphony  and  Bach's  "Peasant  Cantata")  but  none  who  could  on 
occasion  capture  the  essence  of  humor — sometimes  coarse,  boisterous  farce — and  put  it  into  the  actual  notes. 

Like  Bach.  Beethoven  invented  no  new  forms  but  developed  and  enlarged  existing  ones.  Into  the 
mold  of  the  sonata  form  he  poured  the  golden  treasures  of  a  Shakespearian  mind  that  was  universal  in 
character,  embracing  every  variety  of  emotion.  His  use  of  modulations,  dissonance  and  tone  color  were 
among  the  vessels  by  which  this  transfer  was  accomplished. 

Beethoven's  talents  secured  him  innumerable  acquaintances  but  his  irascible  temper  and  suspicious 
nature,  together  with  that  deafness  which  became  complete  in  his  last  years,  effectually  isolated  him  from 
many  intimate  friendships.  No  one  could  long  endure  his  fits  of  fury,  his  jealousy,  ingratitude,  and 
resentment  of  the  slightest  criticism.  The  number  of  cooks  he  discharged  and  patrons  he  alienated  are 
sufficient  to  justify  the  conclusion  that  he  would  not  have  been  "a   nice  man  to   know." 

III.  SCHUBERT 

Grove  observes  that  "apart  from  his  music,  Schubert's  life  was  little  or  nothing,  and  that  is 
its  most  interesting  fact.  Music  .  .  .  was  to  him  all  in  all.  It  was  not  only  his  principal  mode  of 
expression,  it  was  his  only  one."  Everyone  knows  what  few  facts  of  any  importance  about  Schubert  the 
man  there  are  to  know,  and  everyone  can  visualize  the  ridiculously  short,  stumpy  figure  with  tousled  hair 
and  frog-like  spectacles,  who  led  the  life  of  a  half-starved  Viennese  Bohemian,  mingling  only  with  his 
middle  class  friends,  inconspicuous  and  almost  unknown. 

Like  Beethoven,  he  never  held  any  official  court  position,  but  unlike  him,  he  was  too  poor  a  performer 
to  even  attempt  to  support  himself  by  giving  concerts.  When  Schubert  did  attach  himself  to  an  aristo- 
cratic household  like  the  Esterhazy's  he  was  perfectly  content  to  be  treated  like  a  servant.  He  took  no 
interest  in  politics,  was  no  great  aesthetic,  and  had  such  quiet  reserved  ways  and  friendly  manners  that 
not  even  his  friends  recognized  that  he  was  a  genius.  Beethoven  carried  notebooks  with  him  everywhere 
and  jotted  down  themes  which  he  used  sometimes  years  later  and  spent  months  on  individual  works  which 
were  often  laboriously  revised;  Schubert  wrote  his  music  as  fast  as  his  hand  could  cross  the  paper, 
seldom  changing,  never  recopying.  While  Schubert's  output  was  therefore  enormous,  it  was  uneven  in 
quality  and  often  showed  that  lack  of  a  sound  training  in  counterpoint  which  nearly  every  other  great 
composer  received. 


Like  Beethoven,  Schubert  wrote  in  every  form.  His  operas  are  forgotten  because  of  the  absurd 
librettos  he  set.  and  his  cl  oral  works  are  little  known,  but  his  instrumental  works,  pianistic,  chamber 
music  and  orchestral,  are  more  and  more  coming  into  favor.  He  was  not  content  as  Beethoven  had  been 
to  take  the  old  forms  as  he  found  them;  he  created  two  new  forms — the  informal  piano  piece  (such  as 
the  impromptus)    and  the  art  song. 

Generally  speaking,  before  Schubert,  the  song  as  a  serious  form  was  the  stepchild  of  the  family  of 
music.  Schubert  elevated  it  to  a  station  of  the  first  rank.  Some  of  Schubert's  predecessors  wrote  songs 
but  with  a  few  exceptions  none  of  them  wrote  great  songs.  No  one  had  seriously  attempted  to  set  lyric 
poems  for  solo  voice  in  such  a  way  that  music  and  words  were  fused  into  one  mass;  formerly,  the  poetry 
had  been  merely  the  frame  on  which  music  of  a  vaguely  similar  mood  could  be  hung.  Schubert's  harmonies 
and  modulations  often  faithfully  reflect  the  individual  words  of  the  poem  as  well  as  its  general  character. 
He  threw  his  whole  soul  into  his  songs,  nearly  six  hundred  of  them,  of  which  at  least  half  are  good,  while 
perhaps  a  hundred  odd  are  masterpieces  that  have  never  been  surpassed.  He  wrote  three  song  cycles, 
two  of  these  being  settings  of  cycles  of  poems  by  Wilhelm  Muller — "Die  Schone  Mullerin"  and  "Die 
Winterreise,"  while  the  third  "Schwanengesang"  comprises  poems  by  various  authors  published  after 
Schubert's  death  as  a  collection.  These  cycles  include  some  of  Schubert's  finest  lyrics  which  he  sold  to  a 
publisher  for  twenty  cents  a  piece. 

The  fountains  of  melody  that  poured  from  Schubert  flowed  so  copiously  and  easily  that  he  could  set 
eight  songs  in  a  single  morning  or  pick  up  a  poem  of  Shakespeare  or  Goethe,  read  it  through  carefully 
once  or  twice,  and  write  down  the  music  in  final  form  on  the  spot  wherever  he  happened  to  be.  The 
gift  came  early.  He  wrote  the  lovely  "Gretchen  am  Spinnrade"  in  1814  at  the  age  of  17,  but,  generally 
speaking,  his  later  songs  are  his  finest.  Among  the  very  last  are  six  superb  settings  of  poems  by  Heine  whose 
poems    (unfortunately)   he  had  not  previously  encountered. 


IV.     THIS  EVENING'S  PROGRAM 

The  CANTATA  on  this  program,  "Fruhlingsmorgen"  (Spring  Morning)  was  composed  in  August, 
1819,  for  performance  at  Linz  at  an  informal  birthday  party  to  Vogl,  the  great  tenor,  with  whom 
Schubert  was  travelling  through  upper  Austria.  Doubtless  it  was  dashed  off  in  a  couple  of  hours  as  a 
tribute  to  his  friend,  who  was  the  first  interpreter  of  Schubert's  songs  and  who  did  his  best  to  make  them 
known  to  the  indifferent  Viennese. 

MEERES  STILLE  (Calm  Sea),  a  setting  of  a  little  poem  by  Goethe  is  an  admirable  example  of 
Schubert's  power  to  capture  and  underscore  the  essential  mood  of  a  lyric,  in  this  case  one  of  profound 
tranquillity. 

DER  EINSAME  (The  Solitary  One),  poem  by  Carl  Lappe,  is  in  modified  strophe  form  with  a  figure 
of  four  sixteenth  notes  much  repeated,  suggesting  the  cheery  hearthside  where  the  solitary  one  reflects 
in  peace  and  comfort. 

DER  LEIERMANN  (The  Hurdy-Gurdy  Man),  the  concluding  and  one  of  the  finest  songs  in  the 
cycle  of  poems  "Der  Winterreise"  (The  Winter  Journey)  by  Wilhelm  Muller,  was  written  by  Schubert  in 
1827.  "The  fifths  in  the  accompaniment  suggest  the  drone  bass  of  the  hurdy-gurdy  as  the  lovesick 
wanderer  encounters  another  human  wreck  and  asks  if  he  will  accompany  his  songs.  The  analogy  to 
Schubert's  own  life  is  painfully  apparent. 

RASTLOSE  LIEBE  (Restless  Love)  is  a  setting  composed  in  181 J  of  a  lyric  by  Goethe  describing  the 
wanderings  of  a  lover  driven  half  mad  by  his  passion,  who  roams  the  countryside  defying  wind  and  snow. 
The  constant  rhythm  of  the  piano  accompaniment  emphasizes  the  driving  power  of  a  passion  which  will 
not  leave  him  a  moment's  rest. 


Beethoven's  music  really  does  seem  to  fall  into  the  three  periods  into  which  it  is  customarily  divided. 
All  the  authorities  agree  that  the  SEPTET  on  this  program  (written  before  1880)  dates  from  his  first 
period  when  he  was  under  the  influence  of  Mozart.  It  was  one  of  the  works  which  first  established  his 
popularity  in  Vienna,  but  this  fact  seems  to  have  annoyed  him  for  he  once  remarked  to  Czerny  that  he 
"could  not  endure  this  Septet"  and  was  "angry  because  of  the  great  applause  it  received." 

The  EQUALE  for  trombones  on  this  program  were  written  during  Beethoven's  stay  at  Linz  in  1812 
for  performance  on  All  Soul's  Day.  Rearranged  for  trombones  and  voices,  they  were  performed  at  his 
funeral  which  Schubert  attended  as  one  of  the  honorary  pall  bearers. 

The  SONATA  on  this  program  dates  from  Beethoven's  last  period  when  his  total  deafness  had  cut  him 
off  almost  entirely  from  the  rest  of  the  world,  resulting  in  an  isolation  which  is  clearly  reflected  by  the 
"other  world"  character  of  this  music.  To  paraphrase  Wordsworth's  sonnet  on  sonnets  one  may  say  that 
in  his  last  works  Beethoven  unlocks  the  gates  of  his  soul  and  reveals  the  thoughts  of  a  man  who  is  no 
longer  concerned  with  earthly  problems,  and  who  has  suffered  so  much  that  he  can  no  longer  feel  earthly 
sorrows. 

Next  concert  in  the  series  ti/ill  be  on  February  twenty-fourth 


?il _SiS 


/%» 


HISTORICAL 
SERIES 


<^:^aia  an^Ji  \^kambet  y  1/ Li 


itiic 


<=iy>cam  tke  lltlt  ta  tke  20tk  ^entuxu 


PRESENTED    BY  A  COMMIHEE   OF 
CURTIS    INSTITUTE    GRADUATES 

RALPH  BERKOWITZ  JOSEPH  S.  LEVINE  VLADIMIR  SOKOLOFF 


FRIDAY  EVENING,   FEBRUARY  24,  1939 

AT  8:30  O'CLOCK 

CASIMIR     HALL 


The  STEINV/AY  is  the  Official  Piano  of  The  Curtis  Insfifufe  of  Music  I 

5^1  i         In 


fi' 


taa'zci^n 


ROBERT  SCHUMANN Frauenliebe  und  -Leben.  Song-cycle.  Op.  42 

1 8  1 0- 1 8  J  6  Sgjj  i^h  ihn  gesehen. 

i  Er,  der  Herrlichste  von  Allen. 

j  Ich  kann's  nicht  fassen,  nicht  glauben. 

\  Du  Ring  an  meinem  Finger. 

\  Helft  mir,  ihr  Schwestern. 

\  Siisser  Freund,  du  blickest. 

I  An  meinem  Herzen,  an  meiner  Brust. 

Nun  hast  du  mir  den  ersten  Schmerz  gethan. 

ELSIE   MacFARLANE,   Contralto  VLADIMIR   SOKOLOFF,   ?iano 


FELIX  MENDELSSOHN Sonata  in  D  minor.  Op.  65  No.  6 

1809-1847  Chorale  and  Variations 

Fugue 
Andante 

\ 


WALTER  BAKER,  Organ 


FREDERIC  CHOPIN Ballade  in  A  flat  major. 

1810-1849  Largo   and   Finale,   Presto  non   tanto; 

from  the  Sonata  in  B  minor. 

Mazurka  in  A  minor. 

FRANZ  LISZT Etude  de   Concert   in   D   flat   major. 

1811-1886  Paganini  Etude  in  E  flat  major. 

ZADEL  SKOLOVSKY,  Viano 


ROBERT  SCHUMANN Trio  in  F  major.  Op.  80 

Sehr  lebhaft 
',  Mit  innigem  Ausdruck 

\  In  massiger  Bewegung 

i  Nicht  zu  rasch 

RAFAEL  DRUIAN,  Violin  JOSEPH  DRUIAN,  Violoncello 

\  RALPH  BERKOWITZ,  Viano 


By  Ralph  Berkowitz 


ROMANTICISM 

A  Romantic  period  occurs  in  art  when  idealistic  and  spiritual  forces  express  them- 
selves unhindered  by  contemporary  material  problems. 

After  years  of  political  and  social  upheaval  from  the  French  Revolution  to  the 
July  Revolution  of  1830,  a  comparative  calrr^  followed,  which  ushered  in  a  dazzling 
array  of  artists  in  literature,  painting  and  music.  It  was  this  liberated  intellectual  force 
in  men  like  Hugo,  Delacroix,  Schumann  and  Chopin  which  created  that  fascinating  and 
virile  period  known  as  19th  century  Romanticism. 

In  music  Romanticism  manifested  itself  by  an  overwhelming  of  classical  form  by 
subject-matter.  The  mutual  influence  of  all  arts  upon  one  another  released  those  domi- 
nant and  favorite  ideas  of  imaginative  and  emotional  expression,  which  at  the  time 
seemed  irreconcilable  with  the  art-forms  of  the  immediate  past. 

But  from  a  proper  perspective  it  becomes  apparent  that  it  is  not  possible  to  draw 
as  clear  a  line  between  Romanticism  and  Classicism  as  some  theorists  of  that  day  believed. 
Schumann,  who  as  editor  of  the  "Neue  Zeitschrift  fur  Musik"  was  the  most  audible  of 
all  the  enthusiastic,  progressive-minded  artists,  realized  this  when  he  wrote:  "A  new  and 
as  yet  undeveloped  school  is  being  founded  on  the  basis  of  the  Beethoven-Schubert 
Romanticism,  a  school  which  we  may  venture  to  expect  will  mark  a  special  epoch  in  the 
history  of  art.  Its  destiny  seems  to  be  to  usher  in  a  period  which  will  nevertheless  have 
many  links  to  connect  it  with  the  past  century." 

For  just  as  in  all  ages,  so  was  there  here,  where  the  dominant  tendency  seemed  to 
be  in  the  direction  of  new  and  revolutionary  thought,  a  strong  undercurrent  which 
reverted  to  the  older  art-forms  and  sought  to  carry  them  forward,  either  intact,  or  with 
some  modified  elements. 

With  the  exception  of  the  Renaissance,  perhaps  no  other  period  in  European  art- 
history  has  been  productive  of  more  controversial  and  critical  commentary  than  the 
short  space  of  time  in  which  Romanticism  flourished.  Oddly  enough,  the  most  con- 
troversial point  of  all  seems  to  be  concerned  with  a  definition  of  the  term  "Romanticism." 
Depending  on  the  author's  view,  it  has  appeared  as  everything  from  a  "thinly- veiled 
naturalism"  to  "the  aesthetic  fostering  of  the  ugly." 

In  comparison  with  classical  art,  Romanticism  has  generally  been  awarded  a  lesser 
position.  Hugo  Leichtentritt,  for  instance,  speaks  of  the  "objective,  orderly,  positive, 
clearly  assertive  classical  manner"  as  compared  to  the  "subjective,  irregular,  hypothetical, 
and  vague  romantic  statement." 

But  perhaps  the  most  conclusive  words  concerning  this  problem  are  those  which 
Ludwig  Tieck,  one  of  the  founders  of  German  Romanticism,  spoke,  when  he  said:  "If  I 
were  challenged  to  give  a  definition  of  Romanticism,  I  could  not  do  it.  I  cannot  make 
out  any  difference  whatever  between  the  Romantic  and  the  poetic  in  general." 

Nevertheless  there  are  certain  recognizable  elements  in  music  which  we  generally 
define  as  Romantic.  Though  impossible  to  adequately  communicate  with  the  written 
word,  they  yet  bear  unmistakable  characteristics  of  their  own.  For  instance,  where  can 
we  find  a  more  complete  Romanticism  than  in  some  remarkable  pages  of  Haydn,  which 
certainly  contain  expressions  formulated  with  the  use  of  a  Romantic  vocabulary. 

Basically,  then,  it  is  the  characteristic  quality,  the  texture,  which  allows  us  to  recog- 
nize the  romantic  spirit.  We  are  suddenly  confronted  with  a  vista  of  intense  emotional 
expression;  with  an  art  in  which  nature,  the  folk-song  and  a  new  spiritualism  play  roles 
of  importance.  Above  all  we  are  aware,  as  a  modern  historian  has  keenly  qbserved,  of 
"new  spheres  of  harmonic  interest."  I 


TONIGHT'S  PROGRAM 

"William  S.  Rockstro,  the  great  English  scholar,  was  a  pupil  of  Mendelssohn  and  he 
has  spoken  of  him  in  the  following  interesting  manner: 

"Mendelssohn's  title  to  a  place  among  the  great  composers  of  the  century  is  incontestable.  His 
style,  though  differing  little  in  technical  arrangement  from  that  of  his  classical  predecessors,  is 
characterized  by  a  vein  of  melody  peculiarly  his  own.  ...  In  less  judicious  hands  the  rigid 
symmetry  of  his  phrasing  might,  perhaps,  have  palled  upon  the  ear;  but  under  his  skillful  man- 
agement it  serves  only  to  impart  an  additional  charm  to  thoughts  which  derive  their  chief  beauty 
from  the  evident  spontaneity  of  their  conception.  .  .  .  Though  caring  nothing  for  rules,  except 
as  a  means  for  producing  a  good  effect,  he  scarcely  ever  violated  them,  and  was  never  weary  of 
impressing  their  value  upon  the  minds  of  his  pupils.  His  method  of  counterpoint  was  modelled 
in  close  accordance  with  that  practiced  by  Sebastian  Bach.  This  he  used  in  combination  with 
an  elastic  development  of  the  sonata-form,  similar  to  that  engrafted  by  Beethoven  upon  the  lines 
laid  down  by  Haydn.  ...  It  is  thus  that  Mendelssohn  stands  before  us  as  at  the  same  time  a 
champion  of  conservatism  and  an  apostle  of  progress.  .  .  ." 

The  Organ  Sonata  on  this  program  is  one  of  a  set  of  six  composed  in  1844-4S  and 
serves  as  an  excellent  example  of  the  validity  of  Professor  Rockstro's  observations. 

:.<•         =:-         *         *         :>         * 

Very  little  need  be  said  here  of  the  tremendous  contribution  to  the  literature  of  the 
piano  which  was  made  by  Chopin.  It  is  only  necessary  to  think  of  the  artistry  which 
conveys  to  us  such  peculiarly  individual  expressions  as  are  found  in  the  Preludes,  Etudes 
and  Mazurkas  (to  mention  only  some  of  the  smaller  forms)  to  realize  the  authenticity 
of  Schumann's  enthusiasm  when  he  wrote:  "Hats  off,  gentlemen,  a  genius!" 

Even  among  the  great  characters  of  the  19th  century  the  figure  of  Liszt  stands  out" 
as  something  unique.  A  giant  among  giants,  his  influence  can  be  felt  in  musical  thought 
down  to  our  own  time.  In  addition  to  a  formidable  list  of  original  compositions  and 
transcriptions,  he  has  left  interesting  literary  work,  particularly  a  biography  of  Chopin 
and  a  volume  on  Hungarian  Gipsy  music. 

The  musical  world  will  perhaps  never  forget  its  heritage  of  great  piano-playing 
which  stems  directly  from  him,  nor  the  idealism  and  nobility  of  purpose  with  which  he 
aided  the  cause  of  his  son-in-law,  Richard  Wagner. 

*       s:-       s;-       't       s^       * 

Many  of  Schumann's  songs,  because  of  their  imagination,  instinctive  poetic  feeling 
and  penetrating  lyricism,  are  among  the  most  beautiful  expressions  in  all  music.  Some 
of  these  are  in  the  song-cycles  "Frauenliebe  und  -Leben,"  "Liederkreis,"  "Dichterliebe" 
and  "Myrthen,"  all  of  which  Schumann  composed  in  1840.  In  that  year  alone  he  pro- 
duced about  one  hundred  and  fifty  songs;  a  truly  astonishing  feat  in  itself,  and  more  so 
when  we  consider  that  he  had  devoted  the  preceding  ten  years  solely  to  compositions  for 
the  piano. 

The  Trio  in  F  major  dates  from  1847,  and  as  an  example  of  Schumann's  later 
style,  clearly  shows  that  interesting  combination  of  classic  and  romantic  tendencies  which 
is  found  also  in  much  of  Mendelssohn  and  Brahms. 

ROMANTICISM  AND  WHAT  FOLLOWED 

Once  again  it  is  important  to  emphasize  the  fact  that  an  art-period  in  history  is 
closely  related,  either  as  an  expression  of,  or  a  reaction  to,  political  and  material  mani- 
festations of  the  time.  Without  this  broad  view  a  true  conception  of  any  phase  of  art  is 
not  possible. 

Just  as  Romanticism  quickly  emerged  because  of  certain  problems  of  the  early 
19th  century,  so  was  it  in  its  turn  overwhelmed,  after  the  Revolution  of  1848,  when 
forces  and  currents  of  a  diflferent  nature  became  vital  to  the  minds  of  men. 

It  is  the  contribution  to  musical  art  engendered  by  the  realism  and  nationalism  of 
the  later  19th  century  Europe  which  will  form  the  program  of  the  next  concert  in  this 
Historical  Series. 

Nexi  concert  in  the  series  will  be  on  March  eighth 


HISTORICAL 
SERIES 

<:z^cyLa  and  ^^Itamhet  ^ ^ Li 

^riJtom.  tke  ntk  ta  tlte  20tk  \^ent 


PRESENTED    BY  A   COMMIHEE    OF 
CURTIS    INSTITUTE    GRADUATES 

RALPH  BERKOWITZ  JOSEPH   S.    LEVINE  VLADIMIR  SOKOLOFF 


a^Lalttk  K^oncetl 


WEDNESDAY  EVENING,  MARCH  8,  1939 

AT  8:30  O'CLOCK 

CASIMIR     HALL 

The  STEINV/AY  is  the  Official  Piano  of  The  Curtis  Institute  of  Music 


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1 


JOHANNES  BRAHMS 


Intermezzo  in  B  flat  minor,  Op.  117  No.  2 
Ballade  (Edward)  in  D  minor,  Op.  10  No.  1 
Rhapsody  in  E  flat  major,  Op.  119  No.  4 


WILLIAM   HARMS.   ?'iano 


GABRIEL  FAURfi 


Mandoline 

Prison 

Toujours 


LESTER   ENGLANDER,   Baritovc 


RALPH  BERKOWITZ,  Viano 


JOHANNES  BRAHMS Two  Choral-Preludes.  Op.   122   No.  9-10 

I  Herzlich   thut   micli   verlan^cn 

CESAR  FRANCK ChonU  No.  2  in  B  minor 

I  CLARIBEL  GEGENHELMER,  Or^av 


ALEXANDER  DARGOMISZKY To  Her 

ALEXANDER  GLAZOUNOV Oriental  Song 

SERGEI  RACHMANINOFF The  Answer 

PETER  TSCHAIKOWSKY ._ Again  Alone 

ALEXANDER  GRETCHANINOFF Cradle  Song 

MODEST  MOUSSORGSKY Hopak 


VERA  RESNIKOFF,  So^vauo 


RALPH  BERKOWITZ,  VUvo 


CAMILLE  SAINT-SAENS Fantaisie,  Op.  124 

!  MARIAN  HEAD,  Violin  LYNNE  WAINWRIGHT,  Harii 


HUGO  WOLF 


RICHARD  STRAUSS 


LESTER  ENGLANDER,  Baritone 


Der  Tambour 

Anakreons  Grab 

Trunken  miissen  wir  alle  sein 

Ach  weh  mir  ungliickhaf tem  Mann 

Heimliche  Auflforderung 

Wie  soUten  wir  geheim  sie  halten 

RALPH   BERKOWITZ,  Viano 


NICHOLAS  MEDTNER Ein  Marchen,  Op.  20  No.  1 

ALEXANDER  SCRIABIN Etude  in  D  sharp  minor 

ISAAC  ALBENIZ Triana 

,  WILLIAM    HARMS,    Piano 


By    CURTIN     WiNSOR 

THE  latter  part  of  the  19th  Century  was  remarkable  in  the  field  of  European 
politics  for  the  rise  of  nationalism,  evidenced  by  the  fusion  of  many  petty 
kingdoms  into  modern  states,  Germany  and  Italy  being  outstanding  examples. 
As  generally  happens,  the  arts  show  parallel  developments.  There  arose  schools,  highly 
national  in  style — in  painting  and  music  the  French  impressionists  and  in  literature 
and  music  the  Russian  school. 

The  composers  on  this  program  have  been  chosen  as  representative  of  their 
national  schools.  The  music  of  Brahms  and  Strauss  could  only  have  been  written  by 
German  speaking  men.  Albeniz  is  as  Spanish  as  a  bull  fight  and  Faure  is  as  unmis- 
takably French  as  good  champagne.  If  these  men  be  compared  to  the  cosmopolitan 
Bach,  Handel,  and  Couperin,  it  can  be  seen  that  music  in  the  17th  and  18th  Centuries 
was  far  more  international  in  character.  It  is  significant  that  until  recent  times 
scholars  have  attributed  works  by  the  Englishman  Purcell,  and  the  Italian  Vivaldi  to 
the  German  Bach.  Can  one  imagine  authorities  of  the  21st  Century  attributing  piano 
works  by  the  Russian  Scriabin  to  Albeniz? 
SPANISH  SCHOOL— ISAAC  ALBENIZ  (1860-1909) 

This  Catalonian  pianist  and  composer  is  known  chiefly  today  for  his  piano  works 
in  which,  while  showing  the  influence  of  Debussy,  he  succeeded  in  capturing  the  spirit 
and  color  of  Spanish  folk  music  to  an  extent  equalled  only  by  da  Falla.  Collet,  in  his 
book  "Albeniz  et  Granados,"  observes:  '  Thanks  to  Albeniz,  for  the  first  time  since  the 
1 6th  Century  Spain  was  accorded  a  place  in  the  world  of  music." 

An  English  writer,  I.  B.  Trend,  says  of  Albeniz:  "At  the  back  of  his  mind  there  is 
generally  a  guitar  player  who  ends  with  a  Phrygian  cadence,  a  dancer  whose  castanets 
are  always  syncopating   against   each   other,   and   sometimes   the   shake   and  bang  of   a 
tambourine." 
FRENCH  SCHOOL— CfiSAR  FRANCK  (1822-90) 

Though  much  Flemish  blood  was  in  his  veins,  his  music  was  French.  He  was  one 
of  those  composers  whose  talents  were  entirely  unappreciated  by  his  contemporaries, 
although  his  abilities  as  an  organist  gained  him  the  teaching  post  in  this  field  at  the  Paris 
Conservatoire.  Franck's  music  images  the  man  to  an  extent  not  found  with  most  com- 
peers. It  reflects  his  worthy  but  sometimes  commonplace  character  and  his  deeply 
religious  nature.  Writing  in  every  field,  he  was  much  addicted  to  the  use  of  chromatics 
and  to  the  chord  of  the  diminished  seventh.  His  best  known  works  are  the  symphony, 
quartet,  quintet,  violin  sonata,  organ  preludes,  and  tone  poems  such  as  "Redemption." 
CAMILLE  SAINT-SAENS  (1835-1921),  pianist,  organist  and  composer,  successfully 
defended  the  independence  of  the  French  school  against  the  Wagnerian  invasion.  Tech- 
nically, he  had  music  at  his  finger  tips,  and  his  wonderful  mind  lacked  only  that  spark 
of  inspiration  and  invention  we  call  genius.  He  wrote  in  all  fields  but  is  best  known 
today  for  his  opera  "Samson  et  Delilah,"  his  piano  and  violin  concertos,  and  tone  poems 
such  as  "Danse  Macabre." 

GABRIEL  FAURfi  (1845-1924)  was  equally  famous  as  organist  at  the  Madeleine, 
professor  at  the  Paris  Conservatoire  and  as  a  composer  of  songs,  choral,  and  chamber 
mwsic.  Among  his  pupils  were  Ravel,  Enesco,  Roger-Ducasse  and  Mile.  Boulanger. 
Faure's  songs  are  notable  for  their  Gallic  refinement  and  intimacy,  sometimes  approach- 
ing sentimentality,  but  often  deeply  moving. 
RUSSIAN  SCHOOL— 

The  rise  of  the  Russian  school  for  which  Glinka  had  laid  the  foundations  earlier  in 
the  century  brought  noteworthy  results  in  the  field  of  song.  ALEXANDER  DAR- 
GOMISZKY  (1813-69)  introduced  the  spirit  and  colors  of  the  East  into  his  songs. 
Then  came  "The  Five,"  a  group  of  talented  composers  who  championed  Russian 
nationalism  in  music:  Balakirev,  Cui,  Borodin,  Rimsky-Korsakov  and  MODESTE 
MOUSSORGSKY  (183  5-81).  The  amazing  if  untrained  talent  of  Moussorgsky  created 
art  songs   (comparable  to  those  of  the  greatest  German  masters)    which  are  remarkable 


for  their  realism.  Moussorgsky's  fondness  for  setting  the  emotional  experiences  of  those 
in  the  humbler  walks  of  Russian  life  is  illustrated  on  tonight's  program  by  his  "Hopak," 
in  which  a  peasant  woman  while  performing  the  hopak,  a  wild  Cossack  dance,  proclaims 
her  hopes  of  escaping  from  her  drunken  old  husband.  The  later  Russian  song  writers 
(all  romanticists)    include: 

TSCHAIKOWSKY  (1840-93),  GLAZOUNOV  (1865-1936),  RACHMANINOFF 
1873 — ),  and  GRETCHANINOFF  (1864 — ).  Their  songs  are  more  cosmopolitan  and 
therefore  less  original  in  style  but  retain  a  considerable  amount  of  Russian  color. 
ALEXANDER  SCRIABIN  (1872-1914),  pianist,  composer  and  mystic,  believed  that 
the  arts  could  be  combined  to  serve  religion.  He  worked  unsuccessfully  with  a  machine 
(a  ""keyboard  of  light")  to  project  colors  corresponding  to  his  tones.  He  devised  a 
harmonic  system  based  on  a  synthetic  chord  composed  of  intervals  of  a  fourth.  His 
orchestral  works  were  intended  to  express  such  concepts  as  the  joy  of  creation  (""Poem 
of  Ecstasy")  and  the  emancipation  of  the  soul  ("The  Divine  Poem").  His  piano 
works  are  more  enduring  and  less  philosophical  contributions  and  are  often  remark^ 
able  for  the  joyous  ecstatic  moods  they  evoke. 

NICHOLAS  MEDTNER  (1879 — )  is  noted  chiefly  for  his  piano  sonatas  which  depart 
somewhat  from  classical  form.  Fond  of  employing  complex  rhythms  which  offer  dif- 
ficulties to  the  performer,  he  avoids  realism  in  favor  of  absolute  music  and  dilutes  the 
romantic  tendencies  of  his  predecessors. 

GERMAN  SCHOOL— JOHANNES  BRAHMS  (1833-97) 

His  life  flowed  through  channels  relatively  smooth,  for  he  was  one  of  those  fortunate 
composers  who  was  never  seriously  troubled  by  monetary  cares.  His  early  career  as  a 
pianist  raised  him  from  the  Hamburg  slums  where  he  was  born  and  Schumann's  public 
recognition  of  his  genius  for  composition  launched  his  career  as  a  composer  when  he  was 
scarcely  in  his  twenties.    He  settled  ultimately  in  Vienna. 

One  of  the  most  remarkable  accomplishments  of  Brahms,  the  musician,  was  the 
mature  style  he  achieved  at  an  early  age.  While  there  are  of  course  differences  between, 
let  us  say,  his  early  piano  compositions  and  his  last  works  for  organ,  they  are  less  strik- 
ing than  those  that  can  be  found  in  almost  any  other  great  composer.  This  is  doubtless 
due  in  part  to  Brahms'  infinite  capacity  for  relentless  self-criticism  which  led  him,  for 
example,  to  destroy  many  string  quartets  until  he  had  perfected  himself  in  this  form. 
It  is  due  also  to  that  self-imposed  discipline  in  counterpoint  which  caused  him  to 
exchange  daily  a  contrapuntal  exercise  with  the  violinist  Joachim  for  fifteen  years.  He 
was  careful  also  not  to  attempt  large  forms  till  he  had  mastered  smaller  ones.  Thus  he 
wrote  two  serenades  for  orchestra  to  prepare  himself  for  his  first  symphony. 
HUGO  WOLF  (1860-1903) 

Wolf's  life  is  not  of  major  interest.  He  disliked  the  music  of  Brahms  as  much  as 
he  admired  that  of  Wagner,  whose  influence  is  discernible  in  Wolf's  fondness  for 
chromatics  and  modulation.  Wolf  was  the  last  of  those  masters  of  the  Romantic  school 
(Schubert,  Schumann,  Mendelssohn  and  Brahms)  who  enriched  the  music  of  the  19th 
Century  with  their  priceless  art  songs.  None  of  these  great  predecessors  was  so  suc- 
cessful in  welding  words  to  music.  Herein  lies  his  strength  and  weakness,  for  often 
he  seems  to  sacrifice  the  general  mood  of  a  song  to  catch  the  exact  shade  of  meaning  of 
a  single  word.  He  wrote  his  songs  "'for  voice  and  piano" — an  accurate  characterization 
of  the  importance  of  the  part  played  by  the  keyboard  instrument.  Like  Schubert,  Wolf 
could  dash  off  songs  that  were  masterpieces  in  an  incredibly  short  time,  but  unlike 
Schubert  months  would  pass  when  he  wrote  nothing  and  sulked  morbidly — an  early 
symptom  of  the  insanity  which  became  complete  in  1897.  r 

RICHARD  STRAUSS  (1864— ) 

It  is  often  asserted  today  that  Strauss  is  the  last  and  somewhat  decadent  representa- 
tive of  the  Romantic  school,  that  he  has  outlived  his  era  and  that  his  orchestral  works 
(excepting  the  ageless  ""Till  Eulenspiegel")  are  not  holding  their  ground  in  the  concert 
halls,  while  his  songs  mark  a  decline  from  the  peaks  reached  by  his  predecessors.  Cer- 
tainly the  present  popularity  in  America  of  "Salome"  and  "Elektra"  is  remarkable, 
although  it  should  be  noted  that  they  have  been  unheard  in  this  country  until  recently 
because  they  posed  problems  of  alleged  moral  turpitude  and  admitted  vocal  difficulties. 
Next  concert  in  the  series  will  be  on  March  thirty-first. 


m _5iS 


HISTORICAL 
SERIES 

cz^^/^  and  K^^/tam.pet  y  ^ Litiic 

<:=^o^Ht  tke  lit  It  t(^  tke  20  tk  L^ettti 


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PRESENTED    BY  A  COMMIHEE    OF 
CURTIS    INSTITUTE    GRADUATES 

RALPH  BERKOWITZ  JOSEPH  S.  LEVINE  VLADIMIR  SOKOLOFF 


yVintk  y^^oncetl 


FRIDAY  EVENING,   MARCH  31,  1939 

AT  8:30  O'CLOCK 

CASIMIR     HALL 


1\\9  STEINV/AY  is  the  Officio/  Piano  of  The  Curtis  Institute  of  Music 


A 


'ccyatdnt 


ALFREDO  CASELLA Tre  Canzoni  Trecentesche 

1883- 

Selma  Amansky,  Soprano  Ralph  Berkowitz,  ?iano 


CLAUDE   DEBUSSY 
1862-1918 


.  Masques 

La  Puerta  del  Vino 
General  Lavine — eccentric 
La  Terrasse  des  audiences  du  clair  de  lune 
La  Serenade  interrompue 
Mouvement 


Jorge  Bolet,  Picmo 


MAURICE  RAVEL Sonata  for  Violin  and  Violoncello 

1875-1937 

Allegro — Tres    vif — Lent — Vif,    Avec   entrain 


Eudice  Shapiro,  Violin 


Victor  Gottlieb,  Violoncello 


CLAUDE  DEBUSSY. 


Selma  Amansky,  Soprano 


Ariettes  oubliees 

L  C'est  I'extase 
IL  II  pleure  dans  mon  coeur 

III.  L'ombre  des  arbres  dans  la  riviere 

IV.  Paysages  Beiges.     Chevaux  de  bois 
V.  Aquarelles:  No.   1  Green 

VI.  Aquarelles:  No.  2  Spleen 

Ralph  Berkowitz,  Viano 


OTTORINO  RESPIGHI Sonata  in  B  minor 

1879-1936 

Moderate — Andante    espressivo — Passacaglia — Allegro    moderato    ma    energico 


Eudice  Shapiro,  Violin 


Ralph  Berkowitz 


By    CURTIN    WiNSOR 


A 


THE  dawn  of  the  Twentieth  Century  silhouetted  on  the  world's  landscape  many- 
figures  representing  diverse  musical  styles.  Among  them  was  Debussy  whose 
impressionism  followed  the  chromatic  romanticism  of  Wagner  and  the  realism  of 
Strauss.  The  impressionist  painters  in  France,  interested  primarily  in  treating  problems 
of  light,  had  broken  up  their  colours  to  achieve  dazzling  effects.  In  a  somewhat 
similar  manner,  Debussy  did  not  confine  himself  to  the  diatonic  and  chromatic  scales 
and  conventional  harmonies  but  experimented  with  the  more  primitive  modal  and 
pentatonic  systems,  and  devised  novel  chord  combinations,  producing  a  wealth  of  new 
colours  for  the  tonal  palette.  Such  poets  as  Verlaine,  Mallarme  and  Maeterlinck 
obtained  similar  results  in  literature. 

Somewhat  later  Schonberg  introduced  atonality  in  music  while  cubism  and  surreal- 
ism made  their  appearance  in  art.  Although  they  flourished  for  several  decades  all  these 
radical  tendencies  now  seem  to  be  waning. 

Foremost  among  the  impressionists  in  music  was  CLAUDE  DEBUSSY  (1862-1918) 
who  made  his  debut  in  1884  by  emerging  from  the  Conservatoire  with  the  Prix  de  Rome 
bestowed  upon  him  for  his  cantata  "The  Prodigal  Son,"  a  good  but  conventional  French 
work.  The  transition  to  his  second  and  greatest  period  came  with  his  setting  of  Rossetti's 
Pre-Raphaelite  mystery  poem  "The  Blessed  Damozel"  (1887).  Thereafter  followed 
the  string  quartet,  the  celebrated  "Afternoon  of  a  Faun,"  the  Nocturnes  and  "The 
Sea"  (La  Mer)  for  Orchestra,  many  of  the  best  songs  and  piano  pieces,  and  the  opera 
"Pelleas  and  Melisande."  This  incomparable  setting  of  Maeterlinck's  drama  is  con- 
sidered by  many  to  be  Debussy's  most  outstanding  achievement.  In  the  "Afternoon 
of  a  Faun"  he  caught  and  successfully  conveyed  the  mood  of  Mallarme's  poem;  in 
"Pelleas"  he  does  more,  for  many  of  Maeterlinck's  most  subtle  images  are  reflected  in 
the  music  which,  like  the  text,  suggests  much  and  declaims  little.  Many  "Wagnerian 
ideas  (such  as  the  use  of  leading  motives)  are  adapted  but  modified  and  a  relatively 
small  orchestra  is  employed. 

Debussy's  final  period,  doubtless  influenced  by  the  inroads  of  the  malignant  cancer 
which  killed  him,  begins  with  the  music  to  D'Annunzio's  "Martyrdom  of  St.  Sebastian" 
(1911)  and  shows,  generally  speaking,  growing  craftmanship  and  waning  inspiration. 
Technically,  Debussy's  music  combines  the  use  of  the  old  modes  and  parallel  perfect 
intervals  with  the  exploitation  of  the  whole  tone  scale  and  of  chords  of  the  ninth.  It 
is  still  too  early  to  determine  the  security  of  his  present  eminent  rank  in  the  music 
world. 

The  songs  on  this  program  "ARIETTES  OUBLIEES"  are  settings  of  poems  by 
Verlaine.  Written  in  the  late  eighties,  they  are  Debussy's  first  truly  original  works  and 
are  remarkable  for  the  manner  in  which  the  most  fleeting  imagery  of  the  poetry  is 
captured  by  the  composer.  The  analysis  of  these  songs  which  follows  is  taken  in  part 
from  Oscar  Thompson's  "Debussy,  Man  and  Artist:" 

(1)  C'est  I'extase  langoureuse —  The  poet  finds  his  mood  of  dreamy  passion  reflected 
in  the  shadows  and  echoed  in  the  murmvurs  of  the  forest. 

(2)  ll  pleure  daus  mon  coeur — Rain  falls  upon  the  city  as  tears  flow  from  the  poet's 
heart. 

(3)  L'ombre  des  arbres — A  solitary  disillusioned  traveller  broods  by  the  river  over 
which  the  trees  cast  shadows  while  doves  coo  in  the  branches.  There  are  many 
modulations  in  the  accompaniment. 

(4)  Chevaux  des  hois. — The  poem  describes  a  merry-go-round  at  a  fair  in  Belgium 
thronged  with  people  riding  the  wooden  horses.  A  lumbering  uneven  theme  out- 
lines the  merry-go-round  and  various  figures  in  the  crowd  are  suggested.  Finally, 
the  machine  slows  down;  all  is  quiet,  and  the  first  star  appears.  The  realism  is 
unusual  for  Debussy. 

(J)  Green.  This,  one  of  Verlaine's  "Aquarelles"  or  water  colours  in  verse,  is  a  passion- 
ate love  song.  i 


(6)    Spleen.     The   poet   doubts   the  constancy   of  his  lady,   and   nature   and   all  other 
things  of  beauty  depress  and  disgust  him. 

MAURICE  RAVEL  (1875-1937)  is  generally  linked  with  Debussy  as  an  impres- 
sionist. In  the  early  years  of  the  century  he  wrote  many  of  his  best  songs  following 
the  well  known  "Pavane"  for  piano  in  1899.  Other  piano  works  (later  orchestrated) 
were  "Mother  Goose"  and"Alborada  del  Gracioso"  and  "Le  Tombeau  de  Couperin" 
while  of  the  purely  orchestral  compositions,  the  best  known  are  "Rhapsodic  Espagnole," 
"La  Valse,"  the  fine  ballet  suites  for  "Daphnis  and  Chloe"  and  (much  later)  the 
"Bolero."  A  superb  orchestrator,  (his  setting  of  Moussorgsky's  piano  pieces  "Pictures 
at  an  Exhibition"  must  be  mentioned)  he  sometimes  says  little  in  his  music  but  he 
always  says  it  well  and  in  the  most  refined  and  delicate  French  manner,  frequently 
going  back  to  Rameau  and  Couperin  for  inspiration. 

The  sonata  on  this  program  for  the  unusual  combination  of  violin  and  cello 
(unaccompanied)  was  written  in  the  early  twenties. 

ALFREDO  CASELLA  (1883 — )  has  been  a  leading  figure  in  Italian  musical  life 
for  years  as  composer,  conductor,  pianist,  and  writer. 

OTTORINO  RESPIGHI  (1879-1936),  well  known  ItaHan  composer,  studied  for 
a  while  with  Rimsky-Korsakow  and  acquired  much  of  his  master's  skill  in  orchestration. 
His  most  familiar  works  are  two  tone  poems  "The  Pines  of  Rome"  and  "The  Fountains 
of  Rome."  The  sonata  on  this  program  dates  from  1918.  Both  these  composers  have 
absorbed  many  styles. 

Arnold  Schonberg  (1874 — )  was  the  first  of  the  so-called  "Modernists"  of 
the  Twentieth  Century.  Born  in  Vienna,  he  retained  that  city  as  a  headquarters 
until  a  few  years  ago  when  he  settled  in  America.  His  sextet  "Verklarte  Nacht" 
dating  from  1899  is  his  first  outstanding  work  and  remains  the  best  known.  It  stems 
unmistakeably  from  "Wagner,  whose  addiction  to  the  use  of  chromatics  was  extended  by 
Schonberg  to  the  very  limits  of  tonality.  This  tendency  became  even  more  evident  in 
"Gurrelieder"  an  enormous  work  for  soloists,  chorus  and  orchestra  begun  by  Schonberg 
in  1901  and  scored  in  1910,  which  was  given  its  first  American  performance  in  Phila- 
delphia by  Mr.  Stokowski  in  1932.  A  symphonic  poem  "Pelleas  and  Melisande"  was 
followed  by  the  chamber  music  which  introduced  his  second  period,  when  by  the  use 
of  vacillating  dhords  he  made  his  music  definitely  atonal  in  style  while  employing 
classical  forms.  In  this  period  also  are  a  number  of  works  of  a  dramatic  nature  includ- 
ing "Die  Gliickliche  Hand,"  an  opera  (also  given  here  by  Stokowski)  and  "Pierrot 
Lunaire,"  this  last  a  set  of  poems  for  a  "reciter"  and  instrumental  group.  A  third  period 
commencing  in  1920  is  remarkable  for  his  use  of  a  twelve-tone  scale  which  he  arranges 
into  patterns  which  are  inverted,  reversed  or  transposed  and  used  both  horizontally 
and  vertically.     He  thus  goes  back  to  the  Gothic  polytonal  technique  for  his  tools. 

Schonberg's  intellectual  approach  to  music,  which  makes  his  later  compositions 
always  logical  but  utterly  devoid  of  beauty,  has  inspired  him  to  write  a  number  of  text 
books  on  harmony  which  have  had  much  influence  on  current  musical  thought  and 
have  gained  him  pupils  and  disciples  of  whom  the  late  Alban  Berg  ("Wozzeck")  is 
the  best  known.  One  of  his  most  recent  works  a  Concerto  for  violin  and  orchestra 
is  listed  for  its  world  premiere  under  Mr.  Stokowski  in  Philadelphia  this  week. 

In  the  meantime  the  French,  German,  Italian,  and  Russian  national  schools  con- 
tinued, while  new  ones  emerged,  notably  in  England  (Delius,  Vaughan  Williams  and 
Walton)  and  in  Hungary  (Bartok  and  Kodaly).  Finland  produced  Sibelius,  (1865 — ) 
the  master-symphonist  of  our  time  who  in  his  later  works  builds  his  flowing  themes 
from  tiny  germ  motives  instead  of  propounding  broad  melodies  and  then  breaking  them 
up  as  did  his  predecessors. 

Igor  Stravinsky  (1882 — )  who  studied  with  Rimsky-Korsakow  carried  on  the 
best  traditions  of  the  Russian  school  with  his  three  most  famous  compositions  for 
the  Russian  Ballet,  "The  Fire  Bird,"  "Petroushka"  and  "Le  Sacre  du  Printemps"  which 
demonstrate  progressively  his  transition  from  romanticism  to  realism  (1910-13)  while 
retaining  strong  national  characteristics.  Since  the  War  he  has  resided  in  Paris  and 
his  music  has  been  characterized  by  a  cosmopolitan  neo-classicism  which  has  influenced 
the  younger  French  composers. 


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THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

PIANO  AND  VIOLA  RECITAL 

by 
MISS  GENIA  ROBINOR,  Pianist 
DR.  LOUIS  BAILLY,  Violist 

Wednesday  Evening,  December  14,  1938,  at  8:30  o'clock 

PROGRAMME 
I 

Sonata  No.  5 Antonio  Vivaldi 

(Harmonized  by  W.  Morse  Rummel) 

Largo 
Allegro 
Largo 
Allegro 

II 

"Sonata  Opus  3 Egon  Kornauth 

Fest  und  bestimmt 
Langsam,  sehr  ausdrucksvoll 
Wild  und   sturmisch 

III 

*Sonata  Karl  Klingler 

Moderate 

Allegro 

Adagio 

Finale — Allegro 

IV 
*Phantasy  Arnold  Bax 

(In   one   movement) 
*  First  performance 

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


-iO), 


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THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

RECITAL 

by 
RUDOLF  SERKIN,   Pianist 

Guest  Artist 
Tuesday  Evening,  February  7,  1939,  at  8:30  o'clock 

PROGRAMME 
I 

Sonata,  Opus  81a Ludwig  van  Beethoven 

Les  adieux — I'absence — le  retour 
II 

Phantasie,  Opus   15 Franz  Schubert 

Allegro   con   fuoco — Adagio — Presto — Allegro 
III 

Rondo  capriccioso,  Opus  14 Felix  Mendelssohn-Bartholdy 

IV 

Two  Etudes Claude   Debussy 

Pour  les  degres   chromatiques 
Pour  les  notes  repetees 

V 

Two  Etudes,  Opus  25 Frederic  Chopin 

B  minor 
A  minor 

T"E  S''E'T>Jw»Y  '5  *^e  offc'aJ  p<a«o  of  T^"  C'"'"  Jt^tif^it"  of  Mw'c 


The  Curtis  Institute  of  music 

PHILADELPHIA 

CASIMIR   HALL 

Season    1938—1939 


THREE     recitals 

of  Music  for  the  Piano  by 
AMERICAN     COMPOSERS 


JEANNE  BEHREND,  Pianist 

Wednesday,  February  ISth,  at  4:30  P.M. 

Wednesday,  February  22nd,  at  4:30  P.M. 

Wednesday,  March  1st.  at  8:30  P.M. 


4)ca£ 


First     Programme 
FEBRUARY  15,  1939 


Alexander  Reinagle  Sonata  in  E  major 

Allegro 
Adagio 
Allegro  con  brio 

Daniel  Gregory  Mason Cloud  Pageant 

The  Whippoorudll 

Edward  MacDowell Elfin  Dance 

March  Wind 

Edgar  Stillman  Kelley Polonaise  in  B  flat  minor 


John  Powell Sonata  Noble 

Allegro  raoderato 
Andante  con  moto 
Minuetto 
Allegretto  sostenuto 


John  Alden  Carpenter  Three    Diversions 

Charles  E.  Ives "The  Alcotts" 

Mrs.  H.  H.  A.  Beach Improvisation 

Leo  Sowerby The  Lonely  Fiddle-Maker 

Arthur  Shepherd  Exotic  Dance 

Arthur  Farwell   Sourwood  Mountain 


*    *    * 


Miss   Behrend   uses   the  Baldwin   Piano 


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


Second     Programme 
FEBRUARY  22,  1939 


Ernest  Block Five  Sketches  in  Sepia 

Prelude 

Smoke  over  the  City 

Fireflies 

Hesitation 

Epilogue 

George  Gershwin  Three  Preludes 


Charles  T.  Griffes Sonata 

Feroce — Allegretto  con  moto — Molto  tranquillo 
Allegro  vivace 


Leopold  Godowsky  SiciUenne 

Allemande 

Sarabande 

(for  the  Left  Hand  alone) 

David  Guion  Country  Jig 

Frederick  Jacobi    Two  Preludes  on  Traditional  Melodies 

Abr.\m  Chasins   Six  Preludes 

C  major — A  minor — D  minor 
D  major — G  flat  major — B  minor 

Charles  Haubiel   Capriccio 

Frances  McCollin   Sarabande 

Isadore  Freed  March 

Aaron  Copland The  Cat  and  the  Mouse 

Marion  Bauer White  Birches 

Arthur  Farwell Navajo  War  Dance 


Third     Programme 
MARCH  1,  1939 


Jeanne  Behrend  Pastorale 

Scherzo 

Emerson  Whithorne   New  York  Days  and  Nights 

On  the  Ferry 

Chimes  of  Saint  Patrick's 

Pell  Street  (Chinatown) 

A  Greenwich  Village  Tragedy 

Times  Square 

Samuel  Barber  Two  Interludes 


Boris  Koutzen   Sonatina 

Vivo 

Andante  pensieroso 

Allegro  vivo 


R.  Nathaniel  Dett "When  thou  commandest  me  to  sing  .  . ." 

Ulric  Cole   Vignette 

AuRELio  GiORNi Etude  in  E  minor 

Beryl  Rubinstein   Whirhgig 


Amedeo  de  Filippi Prelude,  Passacaglia  and  Toccata 


:)!       4:       4( 


INTRODUCTORY  NOTES 
By  Alexander  Kelherine 

It  is  said  of  Edward  MacDowell  that  he  never  willingly  permitted  his  music  to  be 
performed  on  programs  exclusively  devoted  to  American  music.  He  argued  that  his 
music  should  be  judged  regardless  of  his  nationality.  That  was  more  than  thirty 
years  ago.  Since  then,  much  has  happened  in  the  world  at  large  and  in  the  world  of 
music.  The  American  composer  no  longer  needs  to  be  on  the  defensive.  Although 
not  having  the  deeplyrooted  historical  and  racial  background  of  the  European 
nations,  he  already  has  travelled  far  on  the  road  of  nationalism.  American  national' 
ism,  however,  is  something  apart  from  the  usual.  It  is  a  conglomerate  culture,  com- 
posed of  conflicting  geographical,  racial  and  social  trends  and  schools  of  thought,  and 
it  is  precisely  this  which  makes  it  such  a  fascinating  subject  for  study. 

Contrary  to  the  impression  prevalent  among  musical  performers  that  there  is  not 
enough  good  American  music  for  the  piano  to  warrant  even  one  fulMength  recital 
program  devoted  to  it,  Jeanne  Behrend,  through  her  extensive  search,  found  that  not 
even  a  dozen  complete  programs  would  exhaust  the  material  sent  to  her  by  generous 
publishers  as  well  as  by  some  fifty  composers. 

It  became  a  matter  of  elimination  and  of  selection,  a  matter  of  finding  herself 
distinctly  in  sympathy  with  some  of  the  music,  or  distinctly  at  odds  with  the  rest. 
Only  a  few  works  were  not  worthy  of  consideration. 

The  limited  scope  of  only  three  recitals,  and  consideration  of  matters  of  program- 
building,  naturally  limited  also  the  quantity  of  the  music  chosen.  To  her  great 
dismay,  Miss  Behrend  found  herself  compelled  to  postpone  the  performance  of  some 
music  of  most  excellent  quahty  to  some  other  occasion.  She  trusts  that  those  appar- 
ently neglected  will  understand  the  very  difficulties  her  task  has  imposed  upon  her. 
She  also  wishes  it  to  be  known  that  the  absence  of  many  a  prominent  name  on 
these  programs  is  also  due  to  the  fact  that  many  a  composer  had  avowedly  not 
written  for  the  piano. 


ALEXANDER  REINAGLE  ( 1756-1809) Sonata  in  E  major 

A  few  years  after  the  American  Revolution  this  country  saw  a  wholesale  immi- 
gration of  foreign  musicians,  who  dominated  its  musical  life  until  the  early  part  of 
the  19th  Century,  thus  laying  the  foundation  for  American  music.  Alexander 
Reinagle,  of  Scotch-German  descent,  was  one  of  them.  He  was  a  well-trained 
musician,  and  is  known  to  have  been  an  intimate  friend  of  Philipp  Emanuel  Bach, 
whose  influence  is  evident  on  every  page  of  the  Four  Piano  Sonatas,  the  manuscripts 
of  which  are  now  in  the  Library  of  Congress  in  Washington.  The  Sonata  which 
is  to  open  this  series  was  probably  written  in  about  1800. 


DANIEL  GREGORY  MASON  (born  in  1873) Cloud  Pageant 

The  Whippoorwill 
American  music  owes  a  debt  of  gratitude  to  Daniel  Gregory  Mason,  who  did  much 
in  its  behalf  as  composer,  writer,  and  teacher.  Himself  a  distinguished  disciple  of 
Chadwick  and  of  dTndy,  he  always  fought  valiantly  for  his  principles  and  beliefs, 
even  willing  to  risk  the  reactionary  label.  His  music  is  of  the  frankly  classic-romantic 
type,  and  it  is  individual  rather  than  national,  although  he  has  also  experimented 
with  folk-songs. 

The  two  pieces,  "Cloud  Pageant"  and  "The  Whippoorwill",  are  from  the  Suite 
"Country  Pictures",  Opus  9,  published  in  1914. 


The  affixed  poem  by  Mary  Lord  Mason  describes  the  characteristic  cry  of  the 
Whippoorwill  of  the  Virginia  land: 

"O  bird  who  in  the  twilight  shadows 
Thy  note  of  mystery  sings, 
"Who  art  thou  in  thy  tender  moc\ing. 
Thy  half'revealing  of  infinite  beauty, 
Life's  secret  joy  outpouring. 
Deaf  to  our  futile  pain?" 

EDWARD  MacDOWELL  (1861-1908)   Elfin  Dance 

March  Wind 

When  we  glance  at  the  list  of  Edward  MacDowell's  teachers  and  of  all  the  men 
who  influenced  his  development  into  maturity,  we  read  as  follows:  Juan  Buitrago, 
his  first  teacher,  a  South  American;  Marmontel  of  Paris  Conservatoire,  where  a  lad 
named  Debussy  was  his  classmate;  Heymann  of  Frankfort,  Ehlert  of  Wiesbaden, 
Joachim  Raff,  and  last  but  not  least,  the  great  Franz  Liszt.  In  America  it  was 
Teresa  Carreno  who  first  established  his  reputation  as  a  composer. 

MacDowell  divided  his  time  between  teaching,  conducting,  playing  in  public,  and 
composing,  until  finally  his  health  gave  out  and  he  broke  down.  A  dream  of  his, 
a  place  where  a  composer  would  have  quiet  to  write  down  his  music,  has  been 
reahzed  through  the  efforts  of  his  wife — but  Peterboro  is  only  part  of  the  heritage 
he  left  to  the  young  American  composer. 

The  Twelve  Virtuoso  Studies,  two  of  which  are  included  in  this  series,  were 
written  in  1894  and  show  the  real  MacDowell  as  a  composer  for  the  piano.  Here 
is  MacDowell  at  the  height  of  his  powers — healthy,  dynamic,  and  brilUant. 

EDGAR  STILLMAN  KELLEY  (born  in  1857) Polonaise  in  B  flat  minor 

Edgar  Stillman  Kelley  belongs  to  the  distinguished  group  of  Chadwick,  Foote  and 
Parker,  for  he  dates  from  the  time  when  the  American  composer  had  to  work  very 
much  harder  than  he  does  to'day  to  make  himself  heard.  His  works  reflect  the 
models  of  his  student  days  abroad,  and  the  "Polonaise"  for  the  piano.  Opus  35, 
published  in  1916,  inspired  by  the  composer's  reading  of  the  Polish  author  Sienkic 
wicz's  romance  "With  Fire  and  Sword",  is  slightly  reminiscent  of  the  Polonaises 
of  Liszt  and  Chopin. 

JOHN  POWELL  (born  in  1882)   Sonata  Noble 

John  Powell's  "Sonata  Noble",  a  work  teeming  with  unaffected  melody,  true 
American  optimism  and  squarccut  form  betraying  thorough  European  training,  was 
published  in  1921.  At  first  reading,  this  statement  signifies  nothing  of  singular 
importance.  But  during  this  particular  decade  such  contemporary  music  was  de' 
cidedly  not  in  vogue.  In  what  may  have  been  a  kind  of  self-defense  against  the 
inevitable  tag  of  "unoriginality",  Powell  prefaced  his  Sonata  with  the  following 
quotation  from  Sidney  Lanier  (incidentally  one  of  his  ancestors): 
"Vainly  might  Plato's  head  revolve  it. 
Plainly  the  heart  of  a  child  could  solve  it." 

The  theme  of  the  2nd  movement  is  reminiscent  of  the  old  hymn-tunes  which  fig' 
ured  so  prominently  at  the  beginning  of  the  white  man's  music  history  in  America. 
There  is  a  hint  of  shuffling  feet  in  the  dance-like  opening  of  the  last  movement. 

JOHN  ALDEN  CARPENTER  (born  in  1876) Three  Diversions 

John  Alden  Carpenter  was  once  called  by  Walter  Damrosch  "one  of  the  most 
American  of  our  composers" — and  this  in  spite  of  the  fact  that  his  music  is  frankly 
leaning  toward  the  French  school.  Carpenter  studied  with  Paine  at  Harvard,  and 
later  with  Elgar.  Music  with  him  is  an  avocation,  for  he  is  a  most  successful  busi' 
ness  man. 

As  a  composer  he  is  best  known  for  his  "Skyscrapers",  in  which  he  sought  to 
portray  the  age  of  rivets  and  mechanism,  for  his  "Krazy-Kat",  in  which  he  cari' 
catured  the  comic  strips  of  the  newspapers,  and  for  his  settings  of  Tagore's  poetry. 


In  the  latter  he  showed  a  warmth  of  color  and  a  penetrating  sensitivity  to  moods. 

The  "Five  Diversions",  from  which  Miss  Behrend  plays  three,  are  just  that — 
exquisite  little  pastels  of  refinement  and  elegance.  They  were  published  in   1923. 

CHARLES  E.  IVES  (born  in  1874) "The  Alcotts" 

Charles  E.  Ives,  at  the  age  of  65,  is  one  of  the  most  paradoxical  figures  in  Amer* 
ican  music.  "This  extraordinary  artist  is  one  of  the  pioneers  of  modern  music,  a 
great  adventurer  in  the  spiritual  world,  a  poet,  a  visionary,  a  sage,  and  a  seer", 
says  of  him  the  erudite  and  admirable  Lawrence  Oilman.  Ives  is  equally  enthusiast!' 
cally  upheld  by  the  left'wingers  who  understand  him  least  of  all.  He  is  shunned 
and  distrusted  by  the  conservatives,  and  to  the  general  public  he  is  hardly  known. 
The  latter  is  due  partly  to  the  fact  that  his  works  bristle  with  all  sorts  of  difficulties, 
making  their  performance  somewhat  a  hazardous  adventure.  When  Ives  was  still  a 
pupil  of  Parker  at  Yale,  whence  he  graduated  in  1898,  he  heard  certain  harmonies 
which  would  not  be  denied.  Nor  did  he  stifle  them,  but  stubbornly  adhered  to  his 
own  mode  of  expression,  in  which  he  unwittingly  anticipated  the  formulae  of  Stra' 
vinsky,  Schoenberg  and  Bartok  by  at  least  a  decade.  Ives  has  been  most  prolific  in 
his  avocation  (for  he,  like  Carpenter,  has  followed  a  business  career  as  well),  com' 
pletely  indifferent  to  recognition  of  his  talents.  There  is  no  questioning  Ives'  sin' 
cerity,  nor  the  healthy  vigour  in  much  of  his  music,  nor  the  range  and  versatility 
displayed  in  his  songs.  The  Concord  Sonata,  published  in  1920,  is  in  four  parts: 
"Emerson,"  "Hawthorne,"  "The  Alcotts"  and  "Thoreau."  It  carries  with  it  copious 
annotations,  showing  their  author's  literary  scholarship  and  his  thorough  New  Eng' 
land  culture.     Of  "The  Alcotts",  Ives  says  in  part: 

".  .  .  Concord  village,  itself,  reminds  one  of  that  common  virtue  lying  at  the 
height  and  root  of  all  the  Concord  divinities.  As  one  walks  down  the  broad' 
arched  street,  passing  the  white  house  of  Emerson — ascetic  guard  of  a  former 
prophetic  beauty — he  comes  presently  beneath  the  old  elms  overspreading 
the  Alcott  house.  It  seems  to  stand  as  a  kind  of  homely  but  beautiful  wit' 
ness  of  Concord's  common  virtue — it  seems  to  bear  a  consciousness  that  its 
past  is  living,  that  the  "mosses  of  the  Old  Manse"  and  the  hickories  of 
Walden  are  not  far  away.  Here  is  the  home  of  the  "Marches" — all  per* 
vaded  with  the  trials  and  happiness  of  the  family  and  telHng,  in  a  simple 
way,  the  story  of  "the  richness  of  not  having".  Within  the  house,  on  every 
side,  lie  remembrances  of  what  imagination  can  do  for  the  better  amusement 
of  fortunate  children  who  have  to  do  for  themselves — much-needed  lessons 
in  these  days  of  automatic,  readymade,  easy  entertainment  which  deaden 
rather  than  stimulate  the  creative  faculty.  And  there  sits  the  little  old 
spinet-piano  Sophia  Thoreau  gave  to  the  Alcott  children,  on  which  Beth 
played  the  old  Scotch  airs,  and  played  at  the  Fifth  Symphony.  .  .  .  All 
around  you,  under  the  Concord  sky,  there  still  floats  the  influence  of  that 
human  faith  melody,  transcendent  and  sentimental  enough  for  the  enthusiast 
or  the  cynic  respectively,  reflecting  an  innate  hope — a  common  interest  in 
common  things  and  common  men — a  tune  the  Concord  bards  are  ever  play 
ing,  while  they  pound  away  at  the  immensities  with  a  Beethovenlike  subli' 
mity,  and  with,  may  we  say,  a  vehemence  and  perseverance — for  that  part 
of  greatness  is  not  so  difficult  to  emulate." 

Mrs.  H.  H.  A.  BEACH  (born  in  1867) Improvisation 

This  charming  little  waltz,  one  of  "Six  Improvisations,"  from  Mrs.  Beach  has  been 
a  happy  inspiration,  particularly  from  one  who  is  better  known  among  musicians  for 
her  more  grandiose  conceptions.  Mrs.  Beach  hails  from  New  England  and  is  a  prod' 
uct  of  that  school. 

LEO  SOWERBY  (born  in  1895)   The  Lonely  Fiddle-Maker 

Leo  Sowerby  is  inseparably  identified  with  the  northern  Middle  West.  "The 
Lonely  Fiddle-Maker"  is  an  excerpt  from  the  suite  "From  The  Northland,"  Impres' 
sions  of  the  Lake  Superior  Country.  In  his  prefacing  note,  Sowerby  says:  "Shall  I 
ever  recall  the  half-sad,  half-gay  tune  the  old  hermit  is  playing  on  his  own  pitifully 
wailing  violin?     His  tune  is  not  always  wistful,  for  he  makes  it  tell  of  rough  joy  and 


IIIIIIIIillllUlllllllMliUllilltlll 


gaiety.     It  speaks,  as  through  a  mist,  of  the  long  ago,  when  he  fiddled  and  fiddled  as 
the  simple  country  folk  danced  the  reel  at  time  of  harvest." 

ARTHUR  SHEPHERD  (born  in  1880)   Exotic  Dance 

Arthur  Shepherd,  another  member  of  the  New  England  group,  is  a  composer  of 
unusual  sensitivity.  Certain  works,  such  as  his  "Horizons,"  are  written  in  breezy 
American  style.  Others,  such  as  his  "Triptych"  for  soprano  and  string  quartet,  and 
the  "Exotic  Dance,"  are  more  sensuous  in  their  appeal. 

ARTHUR  FAR  WELL  (born  in  1872)   Sourwood  Mountain 

Arthur  Farwell  did  not  decide  to  become  a  composer  until  after  he  had  graduated 
from  the  Massachusetts  Institute  of  Technology.  Four  years  later  he  went  to  Europe 
and  studied  with  Humperdinck,  Pfitzner  and  Guilmant.  At  present  he  lectures  on 
Music  History  at  Michigan  State  College,  and  can  look  back  with  prideful  gratification 
on  many  years  of  pioneering  in  the  cause  of  American  music.  He  says  he  gets  "a  great 
kick  out  of  a  rip'snorting  development  of  a  good  old  American  tune."  "Sourwood 
Mountain"  gives  ample  proof  of  it.  The  melody  of  this  work,  beginning  at  the 
twentyfirst  measure,  is  one  of  the  various  versions  of  a  well'known  Tennessee  Moun' 
tain  "Cracker"  tune,  the  first  stanza  of  which  runs: 

"Chic\ens  ccrowing  on  Sourwood  Mountain, 
Heydenng-ddng,  doodle  oily  day, 
So  many  jpretty  girls  I  can't  count  'em, 
Heyde-ing'dong,  etc." 

The  original  song  contains  only  eight  measures,  the  composer  having  provided  a 
corresponding  number  to  make  a  sixteen-measure  melody.     The  rest  is  pure  Farwell. 

ERNEST  BLOCH  (born  in  1880)   Five  Sketches  in  Sepia 

Although  born  in  Switzerland,  Ernest  Bloch  is  an  American  by  adoption  and 
naturalization.  It  was  in  America  that  recognition  of  his  genius  came  first  and  it  was 
here  that  his  orchestral  scores  were  first  published.  His  gifts  and  mastery  are  such 
that  he  ranks  with  the  most  outstanding  composers  not  only  of  today  but  of  all  times. 
In  "Five  Sketches  in  Sepia"  he  has  portrayed  his  impressions  of  New  York,  for  it 
was  there  that  he  wrote  them  in  1923 — during  the  days  when  he  was  still  in  the 
process  of  becoming  known. 

GEORGE  GERSHWIN  (1898-1937)    Three  Preludes 

George  Gershwin  went  through  life  carrying  the  stigma  of  immense  popularity, 

success  and  material  wealth.     He  is  under-estimated  by  "ivorytower"  musicians  who 

allow  this  fact  to  influence  their  appraisal  of  him,  and  bHndly  adored  by  the  jitter' 

bugs  and  jazz'maniacs  who  are  convinced  of  his  worth  because  of  this  same  fact. 

Time  will   reveal  that  Gershwin  was   a   truly  great  artist,   a   genuinely  native  one, 

struck  down  on  the  eve  of  greater  things  to  come. 

The  "Three  Preludes"   are  his  only  compositions  for  piano  alone,   and  they  are 

unmistakably   Gershwin,   with   their   lively   Cuban    rhythms   and   poignant   melodies. 

The  second  of  the  group,  a  kind  of  "Blues,"  has  the  direct,  half'primitive  appeal  of 

his  opera  "Porgy  and  Bess,"  and  there  are  fleeting  moments  in  the  third  actually 

approaching  the  soaring  lyricism  of  Schumann. 

CHARLES  T.  GRIFFES  (1884-1920)   Sonata 

Charles  T.  Griffes  died  in  1920  at  the  age  of  36,  of  pneumonia  brought  on  by 
over-work  and  malnutrition.  The  story  would  probably  have  been  different  today, 
but  the  fact  remains  that  the  indifferent,  materialistic  America  of  the  Twenties 
allowed  its  potentially  greatest  composer  to  starve.  He  left  only  a  handful  of  com- 
positions, all  pointing  to  a  steady  growth  in  style  and  expression,  all  shot  through 
with  a  blazing  sincerity.  Earlier  works,  such  as  "The  White  Peacock"  and  "The 
Fountain  of  Acqua  Paola,"  show  the  influence  of  Debussy.  Later  works,  such  as 
"The  Pleasure  Dome  of  Kubla  Khan"  for  orchestra  and  the  Piano  Sonata,  are  in' 
tensely  individual.    Griffes  has  found  himself  in  them,  and  speaks  with  feverish  seal. 


The  Piano  Sonata  was  written  in  December  1917  and  January  1918.  Dark  months 
were  these,  and  they  are  reflected  in  this  restless,  brooding,  tortured  music.  Although 
the  general  feeling  is  pessimistic,  there  are  exultant  cries,  notably  at  the  conclusion 
of  the  last  movement.  The  sonata  form  is  treated  very  freely  in  the  first  movement, 
which  includes  a  slow  episode  taking  the  place  of  the  usual  slow  movement. 

The  Sonata  is  built  on  a  scale  of  Oriental  derivation — B  flat,  C  sharp,  D,  E  flat, 
F,  G  sharp,  A. 

LEOPOLD  GODOWSKY  (1870-1938)    Sicilienne 

AUemande 
Sarabande 

Leopold  Godowsky's  gift  to  the  piano  literature  is  as  great  as  Liszt's — perhaps 
greater.  Following  in  the  tradition  of  Chopin,  he  built  further,  enlarging  the  scope 
of  the  piano'technic,  revealing  its  contrapuntal  possibilities.  For  Godowsky's  was 
essentially  a  contrapuntal  mind,  and  prodigious  were  the  complexities  assumed  in  his 
transcriptions  and  paraphrases,  as  well  as  in  his  original  compositions  such  as  the 
"Java  Suite"  and  the  "Passacagha  on  a  theme  of  Schubert."  But  what  a  rare  sim- 
plicity  was  his  when  he  so  chose!  His  art  is  sheer  perfection  in  the  simple  "Minia- 
tures" for  four  hands. 

He  was  fond  of  writing  for  the  left  hand  alone,  his  opinion  being  that  "the  piano- 
forte,  being  apart  from  its  strongly  individual  character  in  a  sense  a  miniature  orches- 
tra, should  benefit  by  the  important  strides  which  modern  composition  and  instru- 
mentation have  made  in  the  direction  of  polyphony,  harmony,  tone-coloring  and  the 
use  of  a  vastly  extended  range  in  modern  counterpoint.  If  it  is  possible  to  assign 
to  the  left  hand  alone  the  work  done  usually  by  both  hands  simultaneously,  what 
vistas  are  opened  to  future  composers,  were  this  attainment  to  be  extended  to  both 
hands!" 

The  "Sicilienne,"  "AUemande"  and  the  "Sarabande"  are  from  a  Suite  for  the  Left 
Hand  Alone.  In  the  "Sarabande,"  we  glimpse  the  true  Godowsky,  his  warm,  kindly 
smile,  his  nobility  and  utter  selflessness. 

DAVID  GUION  (born  in  1895)   Country  Jig 

David  Guion,  well-known  for  his  "Turkey  in  the  Straw,"  as  a  composer  is  self- 
taught.  His  interest  in  cowboy  songs  and  in  Negro  music  stems  from  his  life  in  the 
Southwest,  where  he  was  brought  up  to  know  both  the  cowboy  and  the  Negro. 

Most  of  his  compositions  are  based  on  the  national  idioms  of  that  region.  This 
"Country  Jig"  is  as  indigenous  to  the  American  soil  as  the  Czardas  is,  let  us  say,  to 
the  Hungarian. 

FREDERICK  JACOBI  (born  in  1891) Two  Preludes  on  Traditional  Melodies 

Probably  the  best  known  work  of  Frederick  Jacobi  is  his  String  Quartet  on 
American  Indian  Themes.  During  his  sojourn  in  the  West  he  made  an  exhaustive 
study  of  the  music  of  the  Pueblo  Indians  of  New  Mexico  and  Arizona.  Jacobi  also 
shares  with  Bloch,  one  of  his  teachers,  the  distinction  of  having  written  music  which 
is  authentically  Jewish,  such  as  the  "Sabbath  Evening  Service."  The  Two  Preludes 
for  the  piano  are  based  on  traditional  Hebrew  chants,  Yigdal  ("May  He  be  magni- 
fied") and  Rachem  na  alav  ("Have  mercy  upon  him,  I  pray  Thee"),  and  are  veritable 
gems  in  masterly  settings. 

ABRAM  CHASINS  (born  in  1903)    Six  Preludes 

Abram  Chasins,  scholastically  a  product  of  Rubin  Goldmark  and  temperamentally 
a  product  of  sophisticate  New  York,  has  derived  much  of  the  liquid  flow  and  ease  of 
his  pianistic  style  through  his  sincere  admiration  for  the  piano  compositions  of 
Godowsky  and  Rachmaninoff.  In  the  delicate  fashioning  of  a  miniature,  he  is  a  skill- 
ful and  consummate  craftsman.  The  Twenty-Four  Preludes  for  the  piano,  written 
in  1927,  therefore  show  him  to  best  advantage.  Frankly  melodious,  ingenuous  har- 
monically, representing  a  curious  mixture  of  the  highly  glittering  West  with  the 
warm  sensuousness  of  the  Orient,  they  are  well  made,  at  times  superficially  brilliant 
but  always  sounding  well. 

Chasins  has  enriched  the  piano  literature  with  his  Preludes  and  Etudes,  the  per* 


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formance  of  which  will  challenge  the  virtuosity  and  musicianship  of  any  of  the  con- 
temporary pianists. 

CHARLES  HAUBIEL  (born  in   1894)    Capriccio 

The  music  of  Charles  Haubiel  is  that  of  a  dreamer  and  a  mystic.  It  is  reticent, 
even  when  impassioned.  In  its  flowing  polyphony  and  striving  for  concrete  form, 
we  see  the  hand  of  a  serious  artist.  Haubiel  studied  with  the  great  Rosario  Scalero. 
Recently  he  has  won  for  himself  an  enviable  place  among  the  contemporary  Ameri' 
cans  in  music. 

FRANCES  McCOLLIN   (born  in   1892)    Sarabande 

Although  Frances  McCollin  has  won  recognition  primarily  for  her  choral  and 
orchestral  compositions,  she  has  written  extensively  also  for  the  piano  and  other 
instruments.  This  "Sarabande"  is  from  the  Suite  in  F.  It  possesses  a  calm  dignity 
and  many  "juicy  sevenths,"  as  she  herself  is  wont  to  call  them. 

ISADORE  FREED  (born  in  1900)    March 

This  March,  from  the  Five  Pieces  for  Piano,  fairly  represents  the  militant  Isadore 
Freed,  well-known  for  his  championship  of  the  young  contemporary  composer.  Freed 
studied  with  Bloch  in  New  York  and  with  d'Indy  in  Paris. 

AARON  COPLAND  (born  in  1900)    The  Cat  and  the  Mouse 

Aaron  Copland,  who  should  not  be  mistaken  for  a  revolutionary,  is,  nevertheless, 
strongly  on  the  left.  One  of  so  many  American  disciples  of  Mile.  Nadia  Boulanger, 
he  always  manages  to  be  well  represented  in  the  press  and  on  programs  of  festivals 
of  various  kinds.  "The  Cat  and  the  Mouse"  stems  from  his  understandable  early 
period.  It  is  an  engaging  piece  of  satire.  The  proverbial  grace  and  nonchalance  of 
the  cat  is  depicted  in  a  ballet-like  theme,  and  the  intrepid  mouse  begins  the  com' 
position  with  a  more  banal  squeak.  There  are  the  usual  feints  and  skirmishes,  then 
evidences  of  a  terrific  pursuit.  Its  result  can  be  guessed  from  the  doleful  dirge 
toward  the  end.  Cat  emerges  victorious — limping  slightly  but  as  always  dainty, 
fastidious  and  sly. 

MARION  BAUER  (born  in  1887)   White  Birches 

A  native  of  Walla  Walla,  Washington,  Marion  Bauer  holds  the  dubious  distinc- 
tion of  having  been  the  first  American  pupil  of  Mile.  Nadia  Boulanger,  teacher  and 
mentor  of  virtually  all  those  American  composers  who  make  of  cacophony  their  spe- 
cial language.  It  is  greatly  to  the  credit  of  Miss  Bauer's  inherent  taste  and  musical 
integrity  that  she  has  not  succumbed  entirely  to  the  blandishments  of  this  prophet 
from  Paris. 

"White  Birches,"  published  in  1922,  is  from  a  piano  suite  entitled  "From  the  New 
Hampshire  Woods."     Composed  apparently  before  the  advent  of  the  more  modern 
style  in  her  work,  it  portrays  effectively  these  lines  by  William  Rose  Benet: 
"What  is  the  meaning  of  their  secret  gleaming, 
What  language  is  in  their  leaves,  that  glitter  and  whisper 
Where  the  ghostly  birches  glimmer  under  the  moon?" 

ARTHUR  FARWELL  (born  in  1872)    Navajo  War  Dance 

Arthur  Farwell  was  one  of  the  first  to  act  upon  Dvorak's  advice  to  American  com- 
posers—to explore  the  music  of  the  Indians  and  the  Negroes.  He  has  made  ex- 
tensive studies  and  research  in  Indian  music.  The  "Navajo  War  Dance,"  with  its 
merciless  rhythm  and  accumulating  excitement  is  comparable  to  de  Falla's  "Ritual 
Dance  of  Fire." 

JEANNE  BEHREND  (born  in   191 1)    Pastorale 

Scherzo 

Jeanne  Behrend  is  not  only  a  pianist  of  exceptional  gifts  but  a  composer  of  strong 

and   original   talent.      American   born    and    educated,   she   was   a   pupil   of   Rosario 

Scalero.     The  1936  Beams  Prize  was  awarded  to  her  for  a  suite  of  children's  pieces. 


"From  Dawn  until  Dusk,"  and  for  a  cycle  of  Teasdale  songs.  She  has  written  a  set 
of  Piano  Variations,  a  Piano  Sonata  quite  amazing  in  its  strength  and  conception,  a 
String  Quartet,  and  various  works  for  chamber  music,  as  well  as  organ  and  choral 
compositions. 

The  "Pastorale"  and  the  "Scherso"  date  from  1933  and  belong  to  a  Piano  Suite. 

EMERSON  WHITHORNE  (born  in  1884)   New  York  Days  and  Nights 

When  it  comes  to  mixing  colors,  evoking  images  and  the  very  smell  of  famiHar 
scenes,  there  are  few  in  this  country  who  can  equal  Emerson  Whithorne.  In  this 
respect  he  can  be  compared  perhaps  to  Deems  Taylor,  who  has  given  us  the  delight' 
fully  descriptive  "Through  the  Looking  Glass"  and  great  splashes  of  color  in  his 
opera  "Peter  Ibbetson."  But  Taylor  writes  with  a  nostalgia  for  the  past  and  for  the 
fantastic.  Such  is  the  spell  of  Whithorne's  music,  however,  that  when  he  uses  an 
old  hit  like  "The  Love  Nest"  in  his  sketch  "Times  Square,"  it  brings  a  reminiscent 
smile,  as  of  something  from  the  dim  past,  with  also  the  realization  that  it  is  very 
much  of  today.  Whithorne  is  never  wholly  the  objective  observer  in  these  scenes: 
he  almost  becomes  a  ferry-boat  chugging  through  oily  water,  and  there  is  real  sym' 
pathy  in  his  depiction  of  some  unfortunate  souls  of  Greenwich  Village.  Of  course 
he  has  his  Achilles  heel — structural  weakness.  But  the  rare  charm  of  his  music  more 
than  compensates  for  this.     His  own  annotations  for  these  pieces  are  as  follows: 

L  "A  murky  autumn  morning;  the  river  teeming  with  scurrying  small  craft; 
moaning  horns  and  shrieking  whistles  sounding  through  the  vibrant  mist;  and 
always  the  rhythmic  chugging  of  paddle  wheels.  Mendicant  musicians  strum 
their  weary  instruments.  Tunes — some  sad,  some  gay;  then  the  clink  of  coin 
dropped  in  suppliant  cap.  Cargoes  of  humanity,  toilers  with  eager  faces, 
these  daily  voyagers  to  the  mighty  towers  of  Manhattan." 
n.  "The  tumultuous  chiming  of  bells  high  in  the  twin  steeples;  a  great  organ 
intoning  the  solemn  Dies  Irae;  vivid  patches  of  color  stretching  in  rich  pat' 
terns  across  the  pavement  of  the  nave,  dropped  down  from  high  warm-hued 
windows.  And  always  we  hear  the  noble  Gregorian  chant,  a  Gothic  column 
of  melody  reaching  upward  to  support  the  mighty  dome  of  sound  of  massive 
bells." 

IIL  "It  is  night  in  Pell  Street.  Out  from  a  little  oriental  cafe  floats  an  ancient 
Chinese  melody,  The  Fifteen  Bunches  of  Blossoms,  a  song  which  has  regaled 
many  a  feast  in  the  land  of  lanterns.  There  in  the  smoky  haze,  swaying  with 
the  rocking  of  his  bow,  sits  an  old  Chinaman,  playing  this  strange  tune  on 
his  singlc'stringed  fiddle." 

IV.  "Greenwich  Village — that  verdant  Italian  pasturage  south  of  Washington 
Square  where  long'locked  male  and  short-cropped  female  graze  the  long 
nights  through.  A  strange  region  of  highly  dramatized  lives,  of  mockery  and 
jest.  There  an  episode  becomes  an  epic;  from  a  trysting  burgeons  a  tragedy. 
Such  a  one  was  this:  it  had  its  vernal  days,  passed  through  summer,  autumn, 
and  to  a  wintry,  somewhat  maudlin  end." 

V.  "And  now  to  a  bazaar  of  the  Occident — Times  Square,  that  riotous  mart  of 
pleasure  and  of  folly.  Flashing  colors,  swirling  crowds,  sounds  of  ribaldry 
and  mirth.  Amidst  the  din  of  nocturnal  revelry  are  heard  snatches  of  tunes 
of  the  day:  La  Veeda,  Alice  Blue  Gown,  Whose  Baby  Are  You,  The  Love 
y^est.  A  dynamic  scene,  a  tonal  projection  of  The  Great  White  Way  with 
all  its  fantastic  movement  of  kaleidoscopic  lights  and  seething  streams  of 
humanity." 

SAMUEL  BARBER  (born  in  1910) Two  Interludes 

These  two  pieces,  composed  during  the  winter  of  1931'32,  are  all  that  Samuel 
Barber  has  contributed  to  the  literature  of  the  piano,  so  far.  This  is  a  pity,  for 
although  Barber  is  only  29,  he  has  a  technical  and  emotional  maturity  many  an 
older  composer  might  well  en\y.  He  has  composed  much,  achieved  much,  and  is 
unswerving  in  his  allegiance  to  his  own  high  standards.  Having  served  his  appren' 
ticeship  with  the  eminent  Scalero.  whose  influence  on  American  creative  talent  is 
being  felt  more  and  more,  much  is  expected  of  him,  as  he  is,  no  doubt,  the  most 
outstanding  among  the  younger  generation. 

Barber  comes  from   Pennsylvania,  of  American  stock  which  can  be  traced  many 


generations  back,  yet  he  scorns  the  arid  and  acrid  dissonance  which  certain  gentlemen 
would  have  us  believe  is  American  music. 

The  first  Interlude  was  performed  by  Miss  Behrend  in  recital  in  1933,  the  second 
will  have  its  first  performance  in  this  series. 

BORIS  KOUTZEN  (born  in  1901)    Sonatina 

This  so'called  "Sonatina" — for  it  transcends  the  limits  of  a  Sonatina  and  is  really 
a  Sonata-— is  built  with  a  most  extraordinary  economy  of  means.  The  whole  work 
has  been  spun  out  of  the  three  segments  of  the  opening  theme,  four  bars  in  length. 
All  the  tricks  of  the  contrapuntal  trade  are  there — diminution,  augmentation  and 
inversion.  The  movements  are  all  well  connected,  and  the  transition  from  the  second 
movement  to  the  third  is  a  fine  change  of  color.  The  third  movement  concludes 
with  a  long  coda,  summing  up  all  three  movements. 

Koutzen's  style  has  changed  since  the  completion  of  this  Sonatina  (it  was  written 
in  1931)  becoming  more  free,  less  geometrically  precise.  He  has  composed  much 
and  with  distinction,  including  a  Symphony,  two  String  Quartets,  a  Sonata  for 
Viohn  and  Piano,  and  other  chamber  music  for  various  combination  of  instruments. 
He  is  a  naturalized  American,  having  been  a  native  of  Russia  and  there  a  pupil  of 
Gliere. 

R.  NATHANIEL  DETT  (born  in  1882). "When  thou  commandest  me  to  sing  .  .  ." 
R.  Nathaniel  Dett  is  one  of  the  most  distinguished  of  the  Negro  composers,  among 
whom  the  best  known  are  William  Grant  Still,  William  Dawson  and  H.  T.  Burleigh. 
Although  Tagorc's  lines  have  inspired  this  piece  (an  excerpt  from  the  suite  "Cinna' 
mon  Grove"),  the  religious  fervor  of  the  Negro  Spiritual  shines  through  it.  Here 
is  the  complete  quotation: 

"When  thou  commandest  me  to  sing 

it  seems  that  my  heart  would  brea\ 

with  pride;  and  I  loo\  to  thy  face, 

and  tears  come  to  my  eyes." 

ULRIC  COLE  (born  in  1905) Vignette 

Among  the  young  women  composers  of  today,  Ulric  Cole  is  perhaps  the  most 
individual.  She  displays  a  sparkHng  humor  and  excellent  workmanship.  The 
"Vignette"  is  one  of  a  group  of  three,  published  in  1936.  She  studied  in  New  York 
with  Goldmark. 

AURELIO  GIORNI  (1895-1938)    Etude  in  E  minor 

A  musician  of  sterling  qualities  and  a  composer  of  great  abiUty,  Aurelio  Giorni 
succumbed  to  discouragement  and  ended  his  life  several  months  ago.  This  Etude  is 
one  of  the  "Twentyfour  Concert  Etudes"  in  all  the  Major  and  Minor  keys,  a  mon' 
umental  achievement.     Giorni  was  a  pupil  of  Humperdinck. 

BERYL  RUBINSTEIN  (born  in  1898) Whirligig 

This  Etude  is  one  which  should  delight  "the  vicious  virtuoso",  a  name  given  our 
exhibitionistic  brethren  by  the  irrepressible  Daniel  Gregory  Mason.  We  plead  that 
this  piece  be  substituted  for  at  least  one  or  two  overworked  war-horses  of  the  con- 
cert hall.  Beryl  Rubinstein  is  the  composer  of  a  Piano  Concerto,  of  the  opera  "The 
Sleeping  Beauty,"  and  of  many  more  scores. 

AMEDEO  DE  FILIPPI  (born  in  1900) Prelude,  Passacaglia  and  Toccata 

The  name  of  Amedeo  de  Filippi  has  a  16th  Century  ring,  as  of  some  old,  half' 
forgotten  master.  The  unassuming  and  virtually  unknown  owner  of  this  name  is 
the  answer  to  the  somewhat  skeptical  question  raised  by  pianists — "What  is  being 
written  for  the  piano  today?"  De  Filippi,  a  pupil  of  Goldmark,  has  written  six 
Sonatinas,  diversified  essays  in  the  sonata-form,  exquisitely  simple;  a  Partita,  and  the 
Prelude,  Passacagha  and  Toccata  premiered  on  this  program.  His  works  show  an 
abiding  love  for  the  old  traditions,  a  firmness  and  seriousness  of  purpose.  There 
are  traces  of  the  influence  of  Franck  and  Ravel,  only  natural  in  a  young  man  con' 
cerned  with  expressing  himself  logically  and  concretely.  All  these  pieces  are  in 
manuscript,  as  yet  unpublished. 


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
FiFteenth  Season— 1938-39 

RECITAL 

by 

TRIO    OF    NEW  YORK 

CARL  FRiEDBERG,  Piano 

DANIIL  KARPiLOWSKY,  Violin 
FELIX  SALMOND,  Violoncello 

Tuesday  Evenins,  March  21,  1939,  at  8:30  o'clock 

PROGRAMME 

I 

Trio  in  C  minor,  Opus  101 Johannes  Brahms 

Allegro  energico 
Preito  lion  assai 
Andante  grazioso 
Allegro   molto 

II 

Trio  in  D  major,  Opus  70,  No.  1   (Geister)  Ludwig  van  Beethoven 

Allegro  vivace  e  con  brio 
Largo  arsai  ed  espressivo 
Presto 

III 

Trio  in  B  flat  major,  Opus  99 Franz  Schubert 

Allegro  moderato 
Andante  un  poco  mosso 
Scherzo.     Allegro 
Rondo.     Allegro  vivace 

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


=^?9» 


THE  CURTIS  INSTITUTE  OF  MUSIC 

CASIMIR  HALL 
Fifteenth  Season— 1938-39 

SONATA    RECITAL 

by 

EDITH  EVANS  BRAUN,  Pianist 

LEA  LUBOSHUTZ,  Violinist 

Tuesday  Evenins,  March  28,  1939,  at  8:30  o'clock 
PROGRAMME 


I 

Sonata  in  A  minor G.  Valentini 

(1681-17  ?  ) 
Praeludio.    Largo 

Allegro  moderato 
Adagio  sostenuto 
Allegro 

II 

Sonata  in  D  minor,  Opus  12 RosARio  Scalero 

Allegro 
Adagio 
Vivace,  ma  appassionato 

III 

Sonata  in  C  minor,  Opus  30,  No.  2 LuDwiG  van  Beethoven 

Allegro  com  brio 
Adagio    cantabile 
Scherzo.     Allegro  trio 
Allegro.      Presto 

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


The  Philadelphia  Forum 

ACADEMY  OF  MUSIC  PROGRAM 


APRIL  10,  1939 


From  the  April  Philadelphia  Forum 
Magazine 

MONDAY  TO  THURSDAY  Inclusive 

The  May  Philadelphia  Forum  Magazine  will 
contain  the  preliminary  announcement  of  The 
Forum's  nineteenth  season,  October  1939  to 
April  1940. 

We  can  promise  confidently  that  the  coming 
season's  program  will  be  at  least  as  interesting 
and  as  high  in  quality  as  any  that  has  preceded  it. 

All  Forum  events  next  season  will  be  on 
Monday,  Tuesday,  Wednesday  or  Thursday 
evenings.  In  response  to  the  request  of  many 
members  there  will  be  no  Friday  evening  events. 

Watch  for  the  May  announcement,  and  mean- 
while you  might  tell  your  friends  about  The 
Forum's  pleasant  evenings. 


Academy  of  Music 

APRIL  10,   1939 

THE  PHILADELPHIA  FORUM 

PRESENTS 

JOSEF  HOFMANN,  Pianist 

and 

THE  CURTIS  SYMPHONY  ORCHESTRA 

Fritz  Reiner  Conducting 


^ 


'Progra 


m 


Egmont  Overture,  Opus  84 Beethoven 

Concerto  No.  5  in  E  flat  major,  Opus  73 Beethoven 

Allegro 

Adagio  un  poco  moto 

Rondo:    Allegro 

Mr.  Hofmann 

INTERMISSION 

Navarra Alheniz 

Habanera Auhert 

The  Swan  of  Tuonela Sibelius 

March  from  the  Karelia  Suite Sibelius 

Wiener  Blut  (Valse) Johann  Strauss 

Steinway  Piano 

This  is  the  final  event  of  the  season. 


THE    PHILADELPHIA    FORUM 

1124-1126  LINCOLN-LIBERTY  BUILDING 


PRESIDENT 

CHARLES  E.  BEURY 

VICE-PRESIDENT 

THOMAS  RAEBURN  WHITE 

TREASURER 

CLARENCE  GARDNER 


CHAIRMAN  OF  THE  BOARD 

CURTIS  BOK 

HONORARY  PRESIDENT 

ROLAND  S.  MORRIS 

EXECUTIVE  DIRECTOR 

WILLIAM  K.  HUFF 


The  Board  oj  Governors 


CHARLES  E.  BEURY 

MRS.  EDWARD  W.  BIDDLE 

FRANCIS  BIDDLE 

CURTIS  BOK 

MRS.  CURTIS  BOK. 

MRS.  EDWARD  BOK 

MRS.  JAMES  CHADWICK  COLLINS 

WILLIAM  H.  FINESHRIBER 


CLARENCE  GARDNER 
JOSEPH  H.  HAGEDORN 
LUTHER  A.  HARR 
EARL  G.  HARRISON 
GEORGE  W.  NORRIS 
SAMUEL  B.  SCOTT 
S.  P.  WETHERILL,  JR. 
THOMAS  RAEBURN  WHITE 


THE  CURTIS  INSTITUTE 
OF  MUSIC 

Presents  a 

RECITAL  OF  COMPOSITIONS 

by 

ROSARIO  SCALERO 

Thursday  Evening,  May  A,  1939,  at  8:30  o'clock 


AT  THE  PLAYS  AND  PLAYERS 

1714   Delancey   Street 
Philadelphia,  Pennsylvania 


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


PROGRAMME 


I 


Sonata  for  Violin  and  Piano,  Opus  12 

Allegro — Adagio — Vivace  ma  appassionato 

Lea  Luboshutz,  Violin 
Edith  Evans  Braun,  Piano 


II 

String  Quartet  with  Voice,  Opus  31 

(Rain  in  the  Pine  Woods) 

The  Curtis  String  Quartet 

Jascha  Brodsky^  Max  Aronoff,  Viola 

Charles  Jaffe  j         '"'*'  Orlando  Cole,  Violoncello 

Selma  Amansky,  Dramatic  Soprano 


Ihis  work  was  first  performed  in  1922  by  the  Flonzaley  Quartet,  but  has  since  been 
entirely  rewritten  by  Mr.  Scalero.  The  text  is  from  "Alcione,"  the  third  book  of 
Gabrielc  d'Annunzio's  "Laudi,"  which  posterity  will  undoubtedly  recognize  as  an  enduring 
work  of  genius.  The  poem  is  a  marvel  of  human  sensitiveness,  in  which  a  woman  whom 
he  calls  Hermione  and  the  poet  himself  are  described.  Walking  in  the  pine  woods  in  the 
rain,  they  arc  so  identified  with  nature  that  they  become  one  with  it.  Owing  to  the  fact 
that  a  literal  translation  into  English  of  d'Annunzio's  classic  Italian  is  not  possible,  the 
following  version  was  prepared  by  Ronald  Clark,  in  the  attempt  to  translate,  at  best  imper- 
fectly, the  pervadinj,   atmosphere  of   the  poem. 


1 

Be  still!  On  the  threshold  of  the  forest  I  no  longer  hear  the  words  that  you  utter, 
but  those  of  a  new  and  unfamiliar  language  which  the  rain-drops  and  leaves  of  the  forest 
are  murmuring. 

Listen!  The  rain  is  falling  from  scattered  clouds  on  the  arid  and  brackish  tamarisk. 
It  falls  on  the  rugged  and  bristling  pines — on  the  sacred  myrtle,  and  golden  gorse  with  its 
clustering  flowers,  and  it  falls  on  the  juniper,  laden  with  pungent  berries.  It  falls  on  our 
faces  tanned  by  the  sun  and  on  our  hands  that  are  bare  to  the  rain.  It  falls  on  our  thin 
raiment — on  the  budding  thoughts  which  the  soul,  newly  born,  has  revealed — on  the 
beautiful   dream   that   yesterday   was   yours    and   is   mine    today,   O'  Hermione! 


Dost  hear?  In  the  lonely  forest  the  rain  is  falling,  its  unending  song  varying  in  tone 
as  the  drops  fall  on  the  denser   foliage  or  on   the  sparse   verdure. 

Listen!  The  cicada  answers  the  plaint  of  the  forest,  and  is  not  alarmed  by  the  threaten- 
ing sky.  One  hears  the  melody  of  the  pine  and  the  myrtle,  and  that  of  the  junip^er  tree, 
separate  instruments  each,  played  upon  by  fingers  innumerable.  The  woodland  magic 
enfolds   us — we   arc  living   the  life  of   the   trees. 

And  your  radiant  face  is  moist  with  the   rain,  like   the  leaves  of   the  forest. 
And  fragrnnt  your  hair  with  the  scent  of  the  gorse, 
O     earth-born     child     called     Hermione! 


Hark!  Hark!  the  song  of  the  crickets  grows  fainter  and  fainter  as  the  plaint  of  the  forest 
increases.  Eut  now  from  the  shadowy  distance  a  harsher  note  is  borne  to  our  ears  and 
mingles  its  hoarse  lament  with  the  song  of  the  forest.  Now  duller,  now  fainter,  it  lingers, 
and  then  expires.  One  note  still  trembles — grows  faint,  only  to  revive,  then  quiver  and 
die.      Stilled    is   the   voice   of   the   sea. 

Again  one  hears  the  downpour  of  the  rain,  the  silvery,  cleansing  rain,  its  unending  song 
varying  in  tone  as  the  drops  fall  on  the  denser  foliage  or  on  the  sparse  \ierdure.  Listen! 
the  cicada,  daughter  of  the  air,  is  mute,  but  the  frog,  offspring  of  the  distant  swamp, 
cro.iks  in  the  shadows — who  knows  where?  Who  knows  where?  And  the  raindrops  fall 
on  your  lashes, 
O  Hermicne! 


The   raindrops   fall   on   your   dark   lashes,   and   it   is   as   though   you   wept — but    for   joy. 

Not  pale  but  almost  transparent,  you  seem  like  the  vital  essence  of  the  trees. 

And    within    our    souls    life    is    fragrant    and    new.       Our    hearts    are    fresh,    like    fruit    still 

untouched. 

Your  eyes   'neath    their  eyelids   are  like  pools   in   the   grass; 

And    your    teeth    like    almonds    white    tipped    in    their    shell. 

And   we  wander   from   bush    to   bush,   now   together,    now   parted. 

While  the  rude  undergrowth  entangles  our  ankles,   and   the  growing   vines   brush   our   knees. 

Who  knows  whither?     Who  knows  whither? 

And  the  rain  falls  on  our  faces  tanned  by  the  sun,  and  on  our  hands  that  are  bare  to  the 

rain.     It  falls  on  our  thin  raiment — on  the  budding  thoughts  which   the  soul,  newly   born, 

has   revealed — on   the  beautiful   dream   that  yesterday   was   mine,   and   is   yours   today, 

O   Hermione! 

Ill 

Eight  Preludes  (Canons  in  all  intervals  from  octave  to  unison) 
for  Piano,  Opus  21 

Jeanne  Behrend 


IV 

Seven  Songs  in  Cyclic  Form  for  Voice  and  String  Quintet, 

Opus  32 

Selma  Amansky 

Jascha    Brodsky|  Orlando  Cole    ^ 

Charles  Jaffe    f^'^^"^'  Nathan  Stutch/^'^^^^^^^^^ 

Max  Aronoff,  Viola 

1.  T  FORZIERI 

{The  Shrines)   Text  by  Peter  Rosegger,   1843-1918 

In  three  divine  shrines  we  lie:  in  a  cradle  of  dreams,  in  a  bed  of  joys,  on 
a    bier    of    peace. 

2.  PEGNO 

(Forgiveness)   Anonymous 

Desires  for  which  I  yearned,  sacred  pledges,  winged  dreams,  all  are  burned 
in  the  adverse  flame  lighted  by  a  blindly  cruel  hand. 

Now  swallow  your  bitter  tears  and  forgive,  O  my  soul,  the  one  who  broke 
faith,  despised   joy,   laughed   at   pain,   then   forgot   and   did   not    regret. 


3.     MESSAGGIO 

{The  Message)    Text  by  Paul  Gauguin 

O  gentle  wind  from  the  south  that  plays  about  my  head,  hurry  to  the 
neighboring  highlands.  Lying  in  the  shadow  of  his  favorite  tree,  there  you  will 
find  the  one  who  abandoned  me.  Tell  him  that  you  have  seen  me  in  tears. 


4.     O  CROCEVIA 

(O  Crossroad)   Text  by  Stefan  George,   1868-193  3 

O  crossroad!  we  have  reached  the  end.  The  night  has  fallen.  Brief 
pilgrimage;  who  is  tired?  To  me  the  way  was  long.  I  suffer;  I  am  tired.  You 
have  refused  my  outstretched  hands;  you  have  not  heard  my  sighs.  My  own 
road  you   will   not   see   again.      Tears   are   falling;    you   do   not   see   them. 


5.     PRIM  A  VERA  D'AMORE 

(Springtime  of  Love)  Text  by  Frederich  Riickert,  1788-1866 

Thou  art  my  life,  my  soul  and  heart,  my  joy  and  sadness,  my  world  of  bliss, 
my  matchless  lover.  Through  thy  love  rest  and  peace  come  to  me.  Thou  art 
the  grave  in  which  I  cast  my  sorrows.  Through  thy  love,  my  inner  self  is 
revealed. 


FIABA 

(A  Tale)    Text  by  Gustav  Falke,    1859-1916 

Near  you,  my  dearest,  I  am  happy;  close  to  you  in  the  shadow  of  your 
lovely  presence,  I  return  to  my  gay  and  ardent  youth.  I  love  you!  Outside  the 
roses  are  already  in  bloom.  So  it  was  once,  O  my  love!  O,  dream  of  a  golden 
day!      In   the  sky,   clouds  float   across   the   valley   of   my   past. 


7.     I.A  NOTTE 

{TJoe  Night)  Text  by  von  Eichendorflf,  1788-1857 

The  night  is  a  silent  sea.  Joy  and  love,  sorrow  and  pain,  are  blended  as 
the  soft  beating  of  the  waves. 

My  desire  is  like  a  cloud,  floating  through  the  sky  in  the  soft  night  wind. 
I  cannot  tell  if  it  is  a  dream  or  a  thought.  I  long  to  tell  the  sky  of  my  pain, 
which   lies  deep  in   my   heart,  like  the  soft  beating  of  the  waves. 


V 

Suite  for  String  Orchestra  and  Quartet,  Opus  20 

Conducted  by  Alexander  Hilsberg 

Frederick  Vogelgesang"1  George  Brown,  YioJa 

Marguerite    Kuehne       I      '  Samuel   Mayes,   Violoncello 


STATE  TEACHERS  COLLEGE 
KutztoViHi,  Pennsylvania 

Wednesday,  October  19,  1933  at  10:30  A.M. 

Frederick  Vogelgesang,  Violin 
Howard  Vanderburg,  Baritone 
Louis  Shub,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 
I 


Fugiae  in  A  major 

Romance  in  G  major.  Opus  40 

Tambourin  Chinois 


Tartini-Kreisier 

Beethoven 

Kreisler 


Frederick  Vogelgesang 
II 


Dank  sei  Dir,  Herr 
0  liebliche  Yvangen 
Die  beiden  Grenadiere 
Chanson  du  Toreador 


n 

Handel 

Brahms 

Schumann 

Bizet 


Howard  Vanderburg 
III 

Alt-Wien  Godowsky-Heifetz 

Moto  perpetuo.  Opus  11  Paganini 

Introduction  et  Taran telle,  Opus  43       Sarasate 

Frederick  Vogelgesang 

IV 


The  green-eyed  dragon 
The  bonnie  Earl  of  Moray 
The  hills  of  home 
Deep  river 
Land  uv  degradashun 


arr. 


arr, 


Wollesley 

by  Kreisler 

Fox 

by  Burleigh 

MacGimsey 


Howard  Vanderburg 


STATE  TEACHERS  COLLEGE 
Millersville,  Pennsylvania 

Wednesday,  October  26,  1938  at  8:00  P.M. 

Joint  Recital 
by 
Noah  Bielski,  Violin   Sol  Kaplan,  Piano 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 


First  movement  of  Sonata  in  A  major  (K305)   Mozart 
Allegro  raolto 


II 


Grand  adagio         Glazounov,  arr.  by  Zimbalist 
Valse  Tschaikovsky 

Etude  in  thirds         Scriabin,  arr.  by  Szigeti 
Noah  Bielski 


III 


Polonaise  in  A  flat  major,  Opus  53 
Can^o  i  dansa 

Etude  d' execution  transcendante, 
No.  10  in  F  minor 

Sol  Kaplan 

IV 

Sonata  in  F  major,  Opus  24 
Allegro 

Adagio  molto  espressivo 
Scherzo 
Rondo 


Chopin 

Morapou 

Liszt 


Beethoven 


WOMAN'S  CLUB  AUDITORIUM 
LYNCHBURG,  VIRGL^IA 

Friday,  November  4,  1936  at  3:50  P.M. 

Sol  Kaplan,  Piano 
Noah  Bielski,  Violin 
Nathan  Stutch,  Violoncello 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

PrograiQjne 

I 


First  movement  from  Trio  in  B  flat 
major,  Opus  99 
Allegro  raoderato 


Schubert 


II 


Grand  adagio 

Valse 

Etude  in  thirds 


Glazounov,  arr.  by  Zimbalist 
Tschaikovsky 
Scriabin,  arr.  by  Szigeti 
Noah  Bielski 


III 


Polonaise  in  A  flat  major.  Opus  53 
Canco  i  dansa 

Etude  d' execution  transcendante, 
No.  10  in  F  minor 

Sol  Kaplan 

IV 

Trio  in  C  minor,  Opus  101 
Allegro  energico 
Presto  non  assai 
Andante  grazioso 
Allegro  molto 


Chopin 
Mompou 

Liszt 


Brahms 


JUNIATA  COLLEGE 
Huntingdon,  Pennsylvania 

Saturday,  November  5,  li^Sd  at  6:15   P.M. 

Sol  Kaplan,  Piano 
Noah  Bielski,  Violin 
Nathan  Stutch,  Violoncello 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Prograrame 

I 


First  movement  from  Trio  in  B  flat 
major,  Opus  99 
Allegro  moderato 


II 


Schubert 


Grand  adagio 

Valse 

Etude  in  thirds 


Glazounov,  arr.  by  Zimbalist 

Tschaikovsky 

Scriabin,  arr.  by  Szigeti 


Noah  Bielski 

III 

Polonaise  in  A  flat  major,  Opus  53 
Can^o  i  dansa 

Etude  d' Execution  trans cendante, 
No.  10  in  F  minor 

Sol  Kaplan 

IV 

Trio  in  C  minor.  Opus  101 
Allegro  energico 
Presto  non  assai 
Andante  grazioso 
Allegro  molto 


Chopin 
Mompou 

Liszt 


Brahms 


THE  CONVENT  OF  THE  SACRED  HEART 
Overbrook,  Pennsylvania 

Tuesday-,  November  8,  1928  at  3:4£  P.M. 

Noah  Bielski,  Violin 
Donald  Hultgren,  Tenor 
Eugene  Bossart 
Louis  Shub    )  Accompanists 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 


Grand  adagio  Glazounov,  arr.  by  Zimbalist 

Valse  Tschaikovsky 

Etude  in  thirds  Scriabin,  arr.  by  Szigeti 

Noah  Bielski 


II 


"Che  gelida  manina"  from  "La  Boheme" 
0  del  mio  amato  ben 
Vaghissima  serabianza-' 

Donald  Hultgren 

III 


Puccini 
Donaudy 


La  fille  aux  cheveux  de  lin 
Tzigane 

Noah  Bielski 


Debussy 
Ravel 


IV 


Where  e'er  you  walk 

The  star 

My  lady  walks  in  loveliness 

Roadways 

Donald  Hultgren 


Handel 

Rogers 

Charles 

Rose 


WASHINGTON  COLLEGE 
Chestertown,  Maryland 

Thursday,  November  10,  1938  at  11  A.M. 

Sol  Kaplan,  Piano 
Noah  Bielski,  Violin 
Nathan  Stutch,  Violoncello 

of 

THE  CURTIS  INSTITUTE  OF  wlUSIC 

Programme 

I 

First  movement  from  Trio  in  B  flat 
major.  Opus  99  Schubert 

Allegro  moderato 

II 

Grand  adagio         Glazounov,  arr.  by  Zimbalist 
Valse  Tschaikovsky 

Etude  in  thirds         Scriabin,  arr.  by  Szigeti 
Noah  Bielski 


III 


Polonaise  in  A  flat  major.  Opus  53 
Cancjo  i  dansa 

Etude  d' execution  transcendante, 
No.  10  in  F  minor 

Sol  Kaplan 

IV 

Trio  in  C  minor,  Opus  101 
Allegro  energico 
Presto  non  assai 
Andante  grazioso 
Allegro  molto 


Chopin 
Mompou 

Liszt 


Brahms 


WESTTOVvN  SCHOOL 
Westtown,  Pennsylvania 

Saturday,  November  12,  1938  at  7:30  P.M. 

Frederick  Vogelgesang,  Violinist 
Donald  Hultgren,  Tenor 
Annette  Elkanova,  Pianist 
Eugene  Bossart,  Accompanist 

of 

THE  CURTIS  INSTITUTE  Of  MUSIC 

Programme 
I 


Fugue  in  A  major 

Romance  in  G  major.  Opus  40 

Tambourin  Chinois 

Frederick  Vogelgesang 


Tartini-Kreisler 

Beethoven 

Kreisler 


II 


^Che  gelida  manina"  from  "La  Boheme" 
0  del  raio  amato  ben 
Vaghissima  sembianza) 

Donald  Hultgren 


Puccini 
Donaudy 


III 


Berceuse 

Scherzo  in  C  sharp  minor^ 

Annette  Elkanova 


Chopin 


IV 


Alt-Wien 

Moto  perpetuo,  Opus  11 

Introduction  et  Tarantelle,  Opus  43 

Frederick  Vogelgesang 


Godowsky-Heifetz 
Pagan in i 


Sarasate 


V/here  e'er  you  walk 

Handel 

The  star 

Rogers 

My  lady  walks  in  loveliness 

Charles 

Roadways 

Donald  Hultgren 
VI 

Rose 

Prelude  in  E  flat  major 

Rachmaninov 

L'isle  joyeuse 

Debussy 

Annette  Elkanova 


DuPONT  COUNTRY  CLUB 
PennsgTove,  New  Jersey 

Sunday,  November  13,  1958  at  5:00  P.M. 

Mary  Norris,  Piano 

Howard  Vanderburg,  Baritone 

James  Shomate,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 

I 


Symphonische  Etuden  in  Form  von 
Variationen,  Opus  13 

Mary  Norris 

II 

Dank  sei  Dir,  Herr 
0  liebliche  Vvangen 
Die  beiden  Grenadiere 
Chanson  du  Toreador 

Howard  Vanderburg 

III 

Poissons  d'or 

Prelude  in  G  major,  Opus  32,  No.  5 

Andaluza 

Mary  Norris 

IV 


Schumann 


Handel 

Brahms 

Schumann 

Bizet 


Debussy 

Rachmaninoff 

de  Falla 


The  green-eyed  dragon 
The  bonnie  Earl  of  Moray 
Deep  river 
Land  uv  degradashun 


Yvollesley 
arr.  by  Kreisler 
arr.  by  Burleigh 

MacGimsey 


Howard  Vanderburg 


UNIVERSITI  OF  DELAV^ARE 
Newark,  Delaware 

Thursday,  November  17,  193cj  at  6:00  P.M. 

Sol  Kaplan,  Piano 
Noah  Bielski,  Violin 
Nathan  Stutch,  Violoncello 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 


First  movement  from  Trio  in  B  flat 
major.  Opus  99 
Allegro  moderato 


Schubert 


II 


Grand  adagio 

Valse 

Etude  in  thirds 


Glazounov,  arr.  by  Zimbalist 

Tschaikovsky 

Scriabin,  arr.  by  Szigeti 

Noah  Bielski 


III 

Polonaise  in  A  flat  major,  Opus  63 
Canco  i  dansa 

Etude  d' execution  transcendante. 
No.  10  in  F  minor 

Sol  Kaplan 

IV 


Chopin 
Mompou 

Liszt 


Trio  in  C  minor.  Opus  101 
Allegro  energico 
Presto  non  assai 
Andante  grazioso 
Allegro  molto 


ijrahms 


Um   CENTURY  CLUB 
Kennett  Square,  Pennsylvania 

Tuesday,  November  Z2,   1938  at  6:15  P.M. 

Robert  Gay,  Baritone 

Eugene  Bossart,  at  the  Piano 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 


Nacht  und  Traume 
Ich  grolle  nicht  ) 

Die  Rose,  die  Lili%  die  Taube) 
V.enn  ich  in  deine  Augen  seh  ) 
M  or  gen  I 

Robert  Gay 
II 

Jesu,  joy  of  man's  desiring 

Etude  in  E  major 

Rondo  from  Sonata  No.  1  in  C  major 

Eugene  Bossart 

III 

"Vision  fugitive"  from  "Herodiade" 
Nebbie 

Robert  Gay 

IV 

Homing 

Do  not  go,  my  love 

Kills  of  home 

Blo7v,  blow,  thou  winter  wind 

The  sleigh 

Clouds 

Robert  Gay 


Schubert 

Schumann 

Strauss 


Bach-Hess 

Paganini-Liszt 

von  T^eber 


Massenet 
Respighi 


Del  Riego 

Hageman 

Fox 

Quilter 

Kountz 

Charles 


LINDEN  HALL 
Lititz,  Pennsylvania 

Monday,  November  28,  1938  at  3:00.  P.M. 

Howard  Vanderburg,  Baritone 
Annette  Elkanova,  Pianist 
Louis  Shub,  Accompanist 


of 


THE  CURTIS  INSTITUTE  OF  .^SIC 


Programme 


Dank  sei  Dir,  Herr 
0  liebliche  Vitangen 
Die  beiden  Grenadiere 
Chanson  du  Toreador 

Howard  Vanderburg 
II 

Berceuse 

Scherzo  in  C  sharp  rainor^ 

Annette  Elkanova 
III 

The  green-eyed  dragon 

The  hills  of  home 

The  bonnie  Earl  of  Moray         arr. 

Deep  river  arr. 

Land  uv  degradashun 

Howard  Vanderburg 

IV 

L'isle  joyeuse 

Prelude  in  E  flat  major 

Toccata 


Handel 

Brahms 

Schumann 

Bizet 


Chopin 


Wollesley 

Fox 

\}y   Kreisler 

by  Burleigh 

MacGimsey 


Debussy 

Rachmaninoff 

Ravel 


Annette  Elkanova 


V,OMAN'S  CLUB 
West  Pittston,  Pennsylvania 

Tuesday,  November  29,  1938  at  2:50  P.M. 

Reba  Robinson,  Harp 
Burnett  Atkinson,  Flute 
Nathan  Stutch,  Violoncello 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 


Pieces  en  concert 


Rameau 


II 


Le  cygne 

Menuet 

Serenade  espagnole 


Saint-Saens 

Debussy 
Glazounov 


Nathan  Stutch 
III 


Sonata  in  C  minor 
Allegro  vigoroso 
Andantino  espressivo 
Presto 
Gavotte  from  "Armide" 
Theme  and  variations 


Pescetti 


Gluck 

Haydn 


Reba  Robinson 

IV 

First  and  second  movements  of  Sonata 
in  F  major 

Adagio 

Allegro 
Habanera 
En  bateau 

Burnett  Atkinson 


Marcello 


Ravel 
Debussy 


WiAM'S  CLUB 
West  Pittston,   Pennsylvania 
(continued) 


V 


First  movement  of  Trio  Sonata  in 

B  minor 

The  little  windmills 

Menuet 

Dorienne  from  "Divertissement  grec" 


Loeillet 

Couperin 

Valensin 

Mouquet 


THE  MARY  GASTON  BAR1JV\'ELL  FOUNDATION 
Philadelphia,  Pennsylvania 

Thursday,  December  i,  1938 

Phyllis  Moss,  Piano 
Robert  Gay,  Baritone 
Frederick  Vogelgesang,  Violin 
Louis  Shub,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 

Ballade  in  A  flat  major,  Opus  47  ) 
Nocturne  in  F  sharp  major.  Opus  15,  No.  Z) 
Waltz  in  A  flat  major.  Opus  42  ) 

Phyllis  Moss 

II 


Chopin 


On  the  road  to  Mandalay 

Homing 

Without  a  song 

Hills  of  home 

The  sleigh 

Robert  Gay 

III 

Variations  on  a  theme  by  Corelli 
Ave  Maria 
Alt-V,ien 
Tambourin  chinois 


Speaks 

del  Riego 

Youmans 

Fox 

Kountz 


Tartini-Kreisler 

Bach-Gounod 

Godowsky-Heifetz 

Kreisler 


Frederick  Vogelgesang 


ELIZABETHTOlft'N  COLLEGE 
Elizabeth town,  Pennsylvania 

Friday,  December  Z,   1938  at  3  P.M. 

Howard  Vanderburg,  Baritone 
Frederick  Vogelgesang,  Violin 
Louis  Shub,  Accornpanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 
I 


Dank  sei  Dir,  Herr 
0  liebliche  Viiangen 
Feldeinsamkeit    ) 
Der  Husar,  trarai 


Howard  Vanderburg 
II 


Handel 

Brahms 
Schumann 


Bach 


Arioso 

Variations  on  a  theme  by  Corelli  Tartini-Kreisler 

Mo to  perpetuo,  Opus  11  Paganini 

Frederick  Vogelgesang 
III 


Tu  lo  sai 

0  del  mio  amato  ben 

Sotto  il  ciel 

"Quand'ero  paggio"  from  "Falstaff" 

Howard  Vanderburg 

IV 

Romance  in  G  major,  Opus  40 
Hymn  to  the  sun 
Introduction  et  Tarantelle 


Torelli 

Donaudy 

Sibella 

Verdi 


Beethoven 

Rimsky-Korsakov 

Sarasate 


Frederick  Vogelgesang 
V 


Pilgrim's  song 
None  but  the  lonely  heart) 
Little  David,  play  on  your  harp 
Land  uv  degradashun 


Tschaikovsky 

arr,  by  Johnson 
MacGimsey 


Howard  Vanderburg 


VvOMN'S  CLUB  AUDITORIUM 
Lynchburg,  Virginia 

Friday,  December  9,  1933  at  3:30  P.M. 

Florence  Kirk,  Soprano 
Eugene  Bossart,  at  the  Piano 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 


Gretchen  am  Spinnrade 

Marienwurmchen 

Ein  Schwan 

Hat  dich  die  Liebe  beruhrt 

Florence  Kirk 

II 

Madchenlied  ) 

Auf  dera  Kirchhofe  ) 

Der  Tod,  das  ist  die  kuhle  Nacht) 
Vergebliches  Standchen         ) 

Florence  Kirk 

III 

Jesu,  joy  of  man's  desiring 

Etude  in  E  major 

Rondo  from  Sonata  No.  1  in  C  major 

Eugene  bossart 
IV 

Viiild  geese 

Danny  boy 

The  little  shepherd's  song 

The  daisies 

At  the  well 

Florence  Kirk 


Schubert 

Schumann 

Grieg 

Marx 


Brahms 


Bach-He ss 

Paganini-Liszt 

von  7iieber 


Rogers 

Old  Irish  Air 

v;atts 

Barber 
Hageman 


II  pleure  dans  mon  coeur 
Green  ) 

"Ritorna  vincitor"  from  "Aida" 


Debussy 
Ravel 


Florence  Kirk 


DuPONT  COUNTRY  CLUB 
PENNSGROVE,  UEW   JERSEY 

Sunday,  December  11,  1938  at  5:00  P.M. 

Reba  Robinson,  Harp 
Burnett  Atkinson,  Flute 
Nathan  Stutch,  Violoncello 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 

Pieces  en  concert 


II 


Le  cygne 

Menuet 

Serenade  espagnole 


Rameau 


Saint-Saens 

Debussy 

Gla2,ounov 


Nathan  Stutch 
III 

Sonata  in  C  minor 

Allegro  vigoroso 

Andantino  espressivo 

Presto 
Gavotte  from  "Armide" 
Zephyrs 

Reba  Robinson 

IV 

First  and  second  movements  of 
Sonata  in  F  major 

Adagio 

Allegro 
Habanera 
En  bateau 

Burnett  Atkinson 

V 

First  movement  of  Trio  Sonata  in  B  minor 

The  little  windmills 

Dorienne  from  "Divertissement  grec" 


Pescetti 


Gluck 
Salzedo 


Marcello 


Ravel 
Debussy 


Loeillet 
Couperin 

Mouquet 


SLEIGKTON  FAMS 
Darling  P.O.,  Pennsylvania 

Thursday,  December  15,  1938  at  7:50  P.M. 

Robert  Gay,  Baritone 

Phyllis  Moss,  Piano 

Eugene  Bossart,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 

Tu  lo  sai  Torelli 

Donzelle,  fuggite  Cavalli 

Nebbie  Respighi 

"Quand'ero  paggio"  from  "Falstaff"  Verdi 

Robert  Gay 

II 

Ballade  in  A  flat  major.  Opus  47        ) 
Nocturne  in  F  sharp  major.  Opus  15,  No.  2)        Chopin 
TJaltz  in  A  flat  major.  Opus  42  ) 

Phyllis  Moss 

III 

Preach  not  me  Arne,  arr.  by  Endicott 

Drink  to  me  only  with  thine  eyes    arr.  by  Quilter 


Passing  by 

Blow,  blow,  thou  winter  wind 

Robert  Gay 

IV 

Prelude  in  A  minor 
Clair  de  lune     / 
Gncraenreigen 
Polonaise  in  E  major^ 

Phyllis  Moss 

V 

Homing 

Do  not  go,  my  love 

Pilgrim's  song 

None  but  the  lonely  hearth 


Edward  Purcell 
Quilter 


Debussy 
Liszt 


Del  Riego 
Hageman 

Tschaikovsky 


Robert  Gay 


GEORGE  SCHOOL 
George  School,  Pennsylvania 

Saturday,  January  7,  1939  at  8:00  P.M. 

Robert  Grooters,  Baritone 

Phyllis  Moss,  Piano 

Eugene  Bossart,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 

Recitative  and  Aria  from  "The  Messiah": 

"Thus  said  the  Lord."  "But  who  may  abide"    Handel 

Have  yoa  seen  but  a  whyte  lillie  grow?   Old  English 

A  shepherd  in  a  shade 

I  must  complain      )  Dowland 

Robert  Grooters 
II 


Chopin 


Ballade  in  A  flat  major,  Opus  47  ) 
Nocturne  in  F  sharp  major.  Opus  15,  No,  2) 
Vnaltz  in  A  flat  major,  Opus  42  ) 

Phyllis  Moss 

III 

Aui  dem  Viasser  zu  singen  Schubert 

Mondnacht  Schumann 

V»enn  du  zu  den  Blumen  gehst  vVolf 

Robert  Grooters 
IV 


Prelude  in  A  minor 
Clair  de  lune     ) 
Gnomenreigen 
Polonaise  in  E  major' 


Pilgrim's  song 

Jean 

The  glory  road 


Phyllis  Moss 
V 


Debussy 
Liszt 


Tschaikovsky 
Spross 

Wolfe 


Robert  Grooters 


SOROPTIMIST  CLUB 
Philadelphia,  Pennsylvania 

Saturday,  January  7,  1939  at  d:50  P.M. 

Howard  Vanderburg,  Baritone 
Frederick  Vogelgesang,  Violin 
Louis  Shub,  Accompanist 

of 

Tffi  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 


Dank  sei  Dir,  Herr 
Fischervveise 
Ruhe,  meine  Seele 
Der  Kusar,  traral 


Handel 

Schubert 

Strauss 

Schumann 


Howard  Vanderburg 

II 

Arioso  Bach 

Variations  on  a  theme  by  Corelli  Tartini-Kreisler 

Hymn  to  the  sun  Rimsky-Korsakov 

Introduction  et  Tarantelle  Sarasate 


Frederick  Vogelgesang 


PALMYRA  HIGH  SCHOOL 
Palmyra,  New  Jersey 

Tuesday,  January  51,  1939  at  6:40  A.M. 

Noah  Bielski,  Violin 
Louis  Shub,  at  the  Piano 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 

Concerto  in  D  major  Paganini-Kreisler 

(a  transcription  of  the  original  concerto  by 

Fritz  Kreisler) 

Noah  Bielski 

II 

First  movement  of  Waldstein  Sonata,  Opus  53 

Beethoven 
March  from  "The  love  of  three  oranges"  Prokofiev 
Gnomenreigen  Liszt 

Louis  Shub 

III 


Nocturne  in  C  sharp  minor 
Hungarian  dance 
Etude  in  thirds 
Tzigane 


Chopin-Milstein 

Brahms-Kreisler 

Scriabin-Szigeti 

Ravel 


Noah  Bielski 


UNIVERSITY  OF  DELA\URE 
Newark,  Delaware 

Thursday,  February  16,  1939  at  6:00  P.M. 

Robert  Gay,  Baritone 
Frederick  Vogelgesang,  Violin 
Eugene  Bossart,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 
I 


Tu  lo  sai 

Che  fiero  costume 

Sotto  11  ciel 

Nebbie 

Robert  Gay 

II 

Arioso 

Variations  on  a  theme  by  Corelli 
Romance  in  G  major.  Opus  40 
Praeludium  and  Allegro 


Torelli 
Legrenzi 

Sibella 
Respighi 


Bach 

Tartini-Kreisler 

Beethoven 

Kreisler 


Frederick  Vogelgesang 

III 

"Credo  di  lago"  from  "Otello" 

Robert  Gay 

IV 

Concerto  No,  1  in  D  major 

Frederick  Vogelgesang 

V 

Eifersucht  und  Stolz 
Der  Neugierige      ^ 
Traum  durch  die  Daramerang 
Du  bist  so  jung 


Verdi 


Paganini 


Schubert 

Strauss 
Violff 


Robert  Gay 


JEPTHA  ABBOTT  CHAPTER  OF  THE  D.A.R. 
International  House 
University  of  Pennsylvania 

Friday,  February'  k4,   1939  at  8:15  P.M. 

Herbert  Baumel,  Violin 
Louis  Shub,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 


Second  and  third  movements  from 
Concerto  in  D  major,  Opus  6 

Lar ghetto 

Rondo 

Allegretto 

Nigun 

Roumanian  folk  dances 


Beethoven 


Kreisler 

Bloch 

Bartbk-Szekely 


PEMbERTON  MUSIC  CLUB 
Pemberton,  Nev;  Jersey 

Thursday,  March  9,  1939  at  8:15  P.M. 

Veda  Reynolds,  Violin 

Donald  Coker,  Tenor 

Eugene  Bossart,  Accompanist 


of 


THE  CURTIS  INSTITUTE  OF  MUSIC 


Sonata  No.  4  in  D  major 
Adagio 
Allegro 
Larghetto 
Allegro 


Handel 


Veda  Reynolds 

II 

Tu  lo  sai 
Donzelle  fuggite 
Lasciatemi  morire 
Spirate  pur,  s pirate 

Donald  Coker 
III 

Andante 

Variations  on  a  theme  by  Corelli 


Torelli 

Cavalli 

Monte verde 

Donaudy 


J.  S.  Bach 
Tartini-Kreisler 


Veda  Reynolds 

IV 

"E  lucevan  le  s telle"  from  "Tosca" 

Puccini 

Donald  Coker 

V 

Impromptu 

La  fille  aux  cheveux  de  lin 
Caprice  after  the  etude  in  form  of 
a  waltz  of  Saint-Saens 

Aulin 
Debussy 

Ysaye    . 

Veda  Reynolds 


PEMBERTON  MUSIC  CLUB 
Pemberton,  New  Jersey 
(continued) 


VI 

Drink  to  me  only  arr.  by  Quilter 

The  sailor's  life  Old  English 

Now  sleeps  the  crimson  petal  Quilter 

The  sleigh  Kountz 

Donald  Coker 


STATE  TEACHERS  COLLEGE 
Kutztovm,  Penns;,  Ivania 

Wednesday,  iyiarch  29,  1939  at  10:50  A.M. 

Reba  Robinson,  Harp 
Burnett  Atkinson,  Flute 
'True  Chappell,  Violoncello 

of 

THE  GJRTIS  INSTITUTE  OF  MUSIC 
Programme 


Adagio  from  Sonata  No.  8 

Leclair 

Andante  grazioso 

Haydn 

First  and  second  movements  of  Trio 

Sonata  in  B  minor 

Loeillet 

Largo 

Allegro 

II 

Ballade 

Reba  Robinson 
III 
First  and  second  movements  of  Sonata 


Salzedo 


in  F  major 

Mar cello 

Adagio 

Allegro 

En  bateau 

Debussy 

Chanson 

Burnett  Atkinson 
IV 

Camus 

Menuet 

Ravel 

Traumerei 

Strauss 

Russian  songs 

Glinka 

STATE  TEACHERS  COLLEGE 
Millersville,  Pennsylvania 

V.ednesday,  April  Ik:,  1939  at  6:00  P.M. 

Reba  Robinson,  Harp 
burnett  Atkinson,  Flute 
Nathan  Stutch,  Violoncello 

of 

THE  CURTIS   liNSTITUTE  OF  ivrjSIC 

PrO£,ramine 

I 

First  and  second  movements  of  Trio  Sonata 

in  B  minor  Loeillet 

Largo 

Allegro 

II 


Prayer  from  "Jewish  life" 

Menuet 

Serenade  espagnole 


Bloch 

Debussy 

Glazounov 


Ballade 


Nathan  Stutch 
III 

Reba  Robinson 
IV 


Salzedo 


First  and  second  movements  of  Sonata 


in  F  major 

Marcello 

Adagio 

Allegro 

En  bateau 

Debussy 

Habanera 

Burnett  Atkinson 
V 

Ravel 

Russian  songs 

Glinka 

Menuet 

Ravel 

WOMAN'S  CLUB  AJDITORIUM 
Lynchburg,  Virginia 

Friday,  April  14,  1939  at  3:30  P.M. 

Donald  Coker,  Tenor 

Eugene  Bossart,  at  the  Piano 

of 

THE  CURTIS  INSTITUTE  OF  wIUSIC 

Programme 

I 

"But  Thou  didst  not  leave  His  soul 

in  hell"  from  the  "Messiah"  Handel 

Donzelle,  fuggite  Cavalli 

Lasciatemi  morire  Monteverde 

Donald  Coker 


II 


Toccata  and  fugue  in  D  minor 

Jesu,_joy  of  man's  desiring 

The  music  box 

Scherzo  in  B  minor 

Rondo  from  Sonata  No.  1  in  C 


major 


Bach-Tausig 

Bach-Hess 

Liebach 

Chopin 

von  Weber 


Eugene  Bossart 


Note:  Mr.  Coker  was  unable  to  sing  his  complete 
program  because  of  laryngitis. 


THE  MARY  GASTON  BARUV/ELL  FOUNDATION 
Philadelphia,  Pennsylvania 

Friday,  April  14,  1939 

Marguerite  Kuehne,  Violin 
Annette  Elkanova,  Piano 
Howard  Vanderburg,  baritone 
Louis  Shub,  Accompanist 

of 

THE  CaRTIS  INSTITUTE  OF  ;;IUSIC 

Progranirne 

I 

Praeludium  and  Allegro 

La  fille  aux  cheveux  de  lin 

Zigeunerweisen 

Margiaerite  Kuehne 

II 


Kreisler 

Debussy 
Sarasate 


Fantaisie-Improinptu,  Opus  66 
La  valse  oubliee 
L'isle  joyeuse 


Chopin 

Liszt 
Debussy 


Annette  Elkanova 

III 

He,  Zigeuner  ) 

Lieber  Gott,  du  weisst     ) 
Roslein  dreie,  in  der  Reihe) 


Brahms 


"Nemico  della  Patria"  from  "Andrea  Ch^nier"  Giordano 


Gwine  to  Hebb'n 
Down  to  de  river 


Wolfe 

MacGimsey 


Howard  Vanderburg 


ALL-URSINUS  CONFERENCE 
Collegeville,  Pennsylvania 

Sunday,  April  16,  1939  at  ^:00  P.iVi. 

Marguerite  Kuehne,  Violin 
Howard  Vanderburg,  Baritone 
Louis  Shub,  Accompanist 

of 

THE  CURTIS  INSTITUTE  Of  MUSIC 
Progratnrae 


Romance  in  G  major,  Opus  40 
Praeludiura  and  Allegro 

Marguerite  Kuehne 

II 

Dank  sei  Dir,  Herr 
He,  Zigeuner  ) 

Lieber  Gott,  du  weisst  ) 
RBslein  dreie,  in  der  Reihe) 
Rote  Abendwolken  zieh'n    ) 

Howard  Vanderburg 

III 

La  Folia 


Beethoven 
Kreisler 


Handel 


Brahms 


Corelli-Kreisler 


Marguerite  Kuehne 

IV 

Preach  not  me  Arne,  arr.  by  Endicott 

Sheila  Kellogg 

y.hen  I  think  upon  the  maidens               Head 

Gwine  to  Hebb'n  Wolfe 

Dovm  to  de  river  i'^cGimsey 

Howard  Vanderburg 


V70MAH'S  CLUB 
Bryn  Mawr,   Permsi^lvania 

Monday,  April  17,  1939  at  2:4£  P.M. 

Annette  Elkanova,  Pianist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 

Organ  choral  prelude  -  "Ich  ruf'zu 
dir,  Herr" 

Prelude  in  E  minor,  Opus  35,  No.  1 
Rondo  capriccioso.  Opus  14       ' 

II 

P'antaisie-Impromptu,  Opus  66  ) 
Waltz  in  A  flat  major.  Opus  69,  No.  1) 
Waltz  in  D  flat  major.  Opus  64,  No.  1) 
Scherzo  in  C  sharp  minor.  Opus  39    ) 

III 


Bach-Bus oni 
Mendelssohn 


Chopin 


Rush  hour  in  Hong  Kong 
La  valse  oubliee 
L'isle  joyeuse 


Chasins 

Liszt 

Debussy 


RAVENHILL  ACADEVII   CHAPEL  FUND 

Recital  at  the  home  of  Mrs.   Langdon 

GermantoiMi,   Pennsylvania 

Saturday,  April  ^2,  1939  at  4  o'clock 

Lynne  Wainwright,  Harp 
Burnett  Atkinson,  Flute 
Nathan  Stutch,  Violoncello 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 

I 

First  and  second  movements  of  Trio  Sonata 
in  B  minor 

Largo 

Allegro 

Flute  solos:  Chanson 

Allegretto 

The  little  windmills 


Loeillet 


Camus 
Godard 

Couperin 


II 


Ave  Maria 

Harp  solos:  Bourree 

Fraicheur 

Panis  angelicus 


Bach-Gounod 

Bach 
Salzedo 

Franck 


III 


Violoncello  solos:  Praver  from  "Jewish  life"  Bloch 

Serenade  espagnole     Glazounov 


Menuet 

Adagio  from  Sonata  No.  8 

Tambour in  I  and  II 


Bach 

Leclair 

Rameau 


BETHLEHHVI  FRIENDS  OF  MUSIC 
Bethlehem,  Pennsylvania 

Tuesday,  ApriQ  25,  1939  at  3:30  P.M. 

Reba  Robinson,  Harp 
Burnett  Atkinson,  Flute 
Nathan  Stutch,  Violoncello 
Donald  Coker,  Tenor 
Eugene  bossart,  Accompanist 


of 


THE  CURTIS  INSTITUTE  OF  MUSIC 


Programme 


Adagio  from  Sonata  No.  6  in  D  major 
Andante  grazioso 

First  and  second  -movements  from  Trio 
Sonata  in  B  minor 

Largo 

Allegro 


Leclair 
Haydn 

Loeillet 


II 


Where  e'er 

you  wal 

k 

Handel 

Lasciatemi 

morire 

Monteverde 

"E  luce van 

le  stelle"  from  "Tosca" 

Puccini 

Donald  Coker 

III 

Ballsde 
Zephyrs) 

Reba  Robinson 
IV 

Salzedo 

Drink  to  me  only 
Sea  fever 

arr.  by  Quilter 
Ireland 

A  sailor's 

life 

Old  English 

The  sleigh 

Donald  Coker 
V 

Kountz 

Menuet 

Ravel 

Russian  songs 

Glinka 

WOODbaRI  MLE  CHORUS 
Woodbury,  New  Jersey 

Thursday,  April  27,  1959  at  3:15  P.M. 

Lynne  Wainwright,  Harp 
Burnett  Atkinson,  Flute 
Nathan  Stutch,  Violoncello 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 
I 


First  and  second  movements  of  Trio 
Sonata  in  B  minor 

Largo 

Allegro 

Flute  solos:  Chanson 

Allegretto 

The  little  windmills 


Loeillet 


Camus 
Godard 

Couperin 


II 


Menuet 

Harp  solos:  Bourree 
Giga 

Divertissement  grec 


Vaiensin 

Bach 
Corelli 

Mouquet 


Deep  river 


III 


arr.  by  Sal7.edo 


Violoncello  solos:  Prayer  from  "Jewish  life"   Bloch 

Serenade  espagnole      Glazo^onov 


Menuet 


Ravel 


SCHUI^NN   CLUB 
VVildiNood,  Nevv  Jersey 

Tuesday,  May  k,   1939  at  8:30  P.M. 

Nathan  Stutch,  Violoncello 
Howard  Vanderburg,  Baritone 
Louis  Shub,  at  the  Piano 

of 

THE  CURTIS  INSTITUTE  OF  ivIUSIC 
Programme 


Handel 

Leoncavallo 

Torelli 

Verdi 


Second  and  first  movements  from  Concerto 

in  B  flat  major  Boccherini 

Adagio  (non  troppo) 

Allegro  moderate 

Nathan  Stutch 

II 

"Ombra  mai  fu"  from  "Xerxes" 

Mattinata 

Tu  lo  sai 

"Quand'ero  paggio"  from  "Falstaff" 

Howard  Vanderburg 

III 

Rondo  from  Sonata  in  C  major,  Opus  53      Beethoven 
Ballade  in  G  minor,  Opus  25  Chopin 

Louis  Shub 

IV 

Prayer  from  "Jewish  life"  Bloch 

Menuet  Debussy 

Serenade  espagnole  Glazounov 

Nathan  Stutch 

V 


Preach  not  me 

Myself  when  young 

Sheila 

Gwine  to  Hebb'n 

Down  to  de  river 


Arne,  arr.  b>  Endicott 

Lehraann 

Kellogg 

Wolfe 

MacGimsey 


GIRARD  COLLEGE 
Philadelphia,  Pennsylvania 

Saturday,  Ma;^  6,  1939  at  8:15  P.M. 

Noah  Bielski,  Violin 
Howard  Vanderburg,  Baritone 
Louis  Shub,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 
I 


Grand  adagio 

Valse 

Etude  in  thirds 


Glazounov,  arr.  by  Zimbalist 

Tschaikovsky 

Scriabin,  arr.  by  Szigeti 


Noah  bielski 

II 

"Orabra  raai  fu"  from  "Xerxes" 

Mattinata 

Sotto  il  ciel 

"Quand'ero  paggio"  from  "Falstaff" 

Howard  Vanderburg 

III 

Noah  Bielski 
IV 


Tzigane 


Handel 

Leoncavallo 

Sibella 

Verdi 


Ravel 


The  blind  ploughman 
The  green-eyed  dragon 
The  trumpeter 
Gwine  to  Hebb'n 


Clarke 

Wolleeley 

Dix 

Vkolfe 


Howard  Vanderburg 


WOMM'S  CLUB 
Bryn  Mawr,   Pennsylvania 

Monday,  May  15,  1939  at  2:30  P.M. 

Howard  Vanderburg,  Baritone 
Eugene  Bossart,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 

Programme 

I 

"Blick'  ich  uraher"  from  "Tannhauser" 
He,  Zigeuner  ) 

Lieber  Gott,  du  weisst  ) 
RSslein  dreie,  in  der  Reihe) 
Rote  Abendwolken  zieh'n    ) 

II 

"Orabra  mai  fu"  from  "Xerxes" 

Mattinata 

"Quand'ero  paggio"  from  "Falstaff" 


Wagner 


Brahms 


Handel 

Leoncavallo 

Verdi 


III 


Song  of  the  open  road 

My  message 

Deep  river 

Down  to  de  river 


Malotte 

d'riardelot 

arr.    by   Burleigh 

MacGirasey 


Note:  As  part  of  the  above  program,  the  Vnoman's 
Club  presented  a  Reader,  who  was  assisted 
by  Phyllis  Moss,  Piano. 


f 


POLYPHONIC  GKOIR 
Gernaantown,  Pennsylvania 

Tuesday,  May  16,  1939  at  3:30  P.M. 

Veda  Reynolds,  Violin  (assisting) 
Eugene  Bossart,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  mSlC 
Programme 
I 


Rondo 

Zephir 


Mozart-Kreisler 
Hubay 


II 


Nigun 

Sea-murraurs 

Caprice,  after  an  etude 

in  form  of  a  waltz  by  Saint-Saens 


Bloch 
Castelnuovo-Tedesco-Heifetz 


Isaye 


WOMAN'S  CLUB 
Downing town,  Pennsylvania 

Wednesday,  May  17,  1939  at  2:50  P.M. 

Robert  Grooters,  Baritone 
Frederick  Vogelgesang,  Violin 
Eugene  Bossart,  Accompanist 

of 

THE  CURTIS  INSTITUTE  OF  MUSIC 
Programme 


Caro  mio  ben 

0  del  mio  dolce  ardor 

"Infelicel  e  tuo  credevi"  from  "Ernani" 

Robert  Grooters 

II 


Giordani 
Gluck 
Verdi 


La  Folia 


Corelli-Kreisler 


Frederick  Vogelgesang 

III 

Have  you  seen  but  a  whyte  lillie  grow? 
Blow,  blow,  thou  winter  wind 
A  maid  of  Alcala 
Birthday  song 

Robert  Grooters 

IV 

Romance  in  F  major,  Opus  50 
Rondo  capriccioso.  Opus  28 


Old  English 

Quilter 

Messager 

MacFadyen 


Beethoven 
Samt-Saens 


Frederick  Vogelgesang 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,   October    },   193  8    —   3.00   to   3.45    P.   M. 

CURTIS  STRING  QUARTET 

Tascha  Brodsky/^,.  ,.  Max  Aronoff,  Viola 

•'  >•  Violins 

Charles  Jaffe  )  Orlando   Cole,   Violoncello 


I 

Quartet,   Opus    18,   No.    1    Beethoven 

Allegro  con  brio 

Adagio  aflettuoso  ed  appassionato 
-)f  Scherzo 
Allegro 

II 

First   and  second  movements   from  Quartet   in  Jp  minor Barber 

Allegro   appassionata 
Adagio 

III 

Second   movement   from   Quartet   No.    1 ,   Opus    10 Debussy 

Assez  vif  et  bien  rhythme 

Columbia  Broadcasting  System 

•Jt-  Not  played 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  October   10,   193  8  —  3.00  to  3.45  P.  M. 

Sol  Kaplan,  Pianist 
Frederick  Vogelgesang,  Yiolinist 


I 

Chromatic  fantasy  and  Fugue  in  D  minor J.  S.  Bach 

Sol  Kaplan 

II 

Chaconne  in  G  minor    VlTALi 

Frederick  Vogelgesang 


III 

Nocturne  in  E  major.  Opus  62,  No.  2    f  Chopin 

Polanaise  in  A  flat   major.  Opus  ^^3) 
Sol  Kaplan 

IV 


Malagueiia,  Opus  21,  No.    1  , 

.Sarasate 


Introduction  et  Tarantella,  Opus  43  f      

Frederick  Vogelgesang 


Louis  Shub,  Accompanist 
Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  October  31,  1938  —  3.00  to  4.00  P.  M. 

Barbara  Thorne,  Soprano 

Samuel  Mayes,  Violoncello 

Genia  Robinor,  Piano 

I 

"Quando  mj'n  vo"  from  "La  Boheme" Puccini 

Caro,  caro  el  mio  bambin    Guarnieri 

Barbara  Thorne 
II 

Concerto  in  A  minor Schubert 

Allegro  moderato 

Adagio 

Allegretto 

Samuel  Mayes 

Genia  Robinor 

III 

Sonata  in  D  major  f Scarlatti 

Sonata  in  C  major  ) 

Prelude  in  G  minor    Bach-Siloti 

Genia  Robinor 
IV 

L'oasis      FOURDRAIN 

"Depuis  le  jour"  from  "Louise" Charpentier 

In  the  silent   night    Rachmaninoff 

I  am  the  wind    Calbreath 

Barbara  Thorne 

James  Shomate,  Accompanist 
Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  November  7,   1938  —  3:00  to  4:00   P.  M. 

Noah  Bielski,  Violin 
Robert  Gay,  Bfiriione 

Eugene  Bossart    (  Accompanists 
Louis  Shub  ) 

I 

Grand   adagio    Glazounov,  arr.   by  Zimbalist 

Valse     TscHAiKOVSKY 

Etude  in  thirds Scriabin,  arr.   by  Szigeti 

Scherzo  from  "L'Oiseau  de  feu" Stravinsky,  arr.  by  Dushkin 

Noah  Bielski 
II 

"Vision    fugitive"    from    "Herodiade" Massenet 

"Quand'ero    paggio"    from    "Falstaff"    Verdi 

Robert  Gay 
III 

Jesu,  joy  of  man's  desiring    Bach-Hess 

Etude   in    E    major Paganini-Liszt 

Rondo  from  Sonata  No.   1   in  C  major voN  Weber 

Eugene  Bossart 
IV 

Tu   lo  sai    ToRELLi 

Donzelle,  f uggite    Cavalli 

Sotto   il    ciel Sibella 

Nebbie Respighi 

Robert  Gay 
V 

Kaddisch  (, Ravel 

Tzigane    ) 

Noah  Bielski 
VI 

Drink  to  me  only  with  thine  eyes    arr.  by  Quieter 

Air  from  "Comus" Arne,  arr.  by  Endicott 

Passing   by    Edward  Purcell 

Blow,   blow,   thou   winter   wind Quieter 

Robert  Gay 
Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  November   14,   1938  —  3:00  to  4:00  P.  M. 

Annette  Elkanova,  Piano 
Donald  Hultgren,  Tenor 


Prelude  and  Fugue  in  A  minor Bach-Liszt 

Annette  Elkanova 

II 

"Che  gelida   manina"   from   "La   Bohcmc" Puccini 

O  del  mio  amato  ben    ) Donaudy 

Vaghissima  sembianza  C 

Donald  Hultgren 

III 

Berceuse,  Opus  W  I Chopin 

Scherzo  in  C  sharp  minor,  Opus  3  9  j 

Annette  Elkanova 

IV 

Where-e'er   you   walk    Handel 

The  lament  of  Ian   the  proud * Griffes 

My  lady  walks  in  loveliness Charles 

Roadways     Rose 

Donald  Hultgren 

V 

Prelude  in  E  flat  major.  Opus  23,  No.  6    Rachmaninoff 

L'isle  joyeuse  /      Debussy 

Reflets  dans  I'eau  ^ 

"Toccata"  from  "Tombeau  de  Couperin"  Ravel 

Annette  Elkanova 

Eugene  Bossart,  Accompanist 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

StuJenfs  in  Clkamljer  Music  of  Dr.   Louis  Bailly 

Monday,  November  21,   193  8 — 3:00  to  4:00  P.  M. 

I 

Quintet  in  A  major,  Opus  114 Schubert 

Allegro  vivace 
Andante 
Scherzo — -Presto 
Thema  con   variazioni 
Finale — Allegro  giusto 
Annette  Elkanova,  Piano 
Rafael  Druian,  Violin  True  Chappell,  Violoncello 

George  Brown,  Viola  Ferdinand  Maresh,  Double  Buss 

II 

La  oracion  del  torero Turina 

Marguerite  Kuehne  /  y;o//,/J  ^^^^  Chappell,  Violoncello 

Broadus   Erle  )  Bernard   Milofsky,   Viola 

III 

Trio  in  E  flat  major,  Opus  1,  No.  1 Beethoven 

Allegro 

Adagio  cantabile 
Scherzo.    Allegro  assai 
Finale.     Presto 
Thelma  Cohen,  Piano 
Marguerite   Kuehne,   Violin  True  Chappell,  Violoncello 

Columbia  Broadcasting  System 


New  programme 

THE  CUHTIS  INSTITUTE  OF  MUSIC 

Radio  Prograjiiiie 

Monday,  November  23,  1938  -  Z'.ji.'   to  4:00  P.M. 

Eudice  Shapiro,  Violin 
John  Simms,  Piano 


I 

Adagio  in  E  major  (K261) Mozart 

(Originally  for  violin  and  orchestra) 
Sonata  No .  6  in  G  minor  Bach 

Allegro 

Adagio 

Allegro 

Eudice  Shapiro 

II 

Sonata  in  E  flat  major,  ^pus  27,No.l....  Beethoven 

Zephyr Saperton 

Toccata  from  "Le  tombeau  de  Couperin"  Ravel 

John  Simms 

III 

Symphonie  espagnole Lalo 

Ariette Martinu 

Pantomime  from  "El  a^nor  brujo"..De  Falla-Kochanski 
Rondo  in  E  flat Hummel-Heif etz 

Eudice  Shapiro 


Vladimir  Sokoloff ,  Accompanist 
Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  December    5,    1938  —  3:00  to  4:00   P.   M. 

Howard    Vanderburg,    Barifone 
John  Simms,  Piano 
Herbert  Baumel,  Violin 

I 

Dank   sei   Dir,   Herr    Handel 

Fischerweise     Schubert 

Ruhe,    meine   Seek    Strauss 

Der   Husar,   trara! Schumann 

Howard  Vanderburg 
II 

u  major.  Opus  ^27,  No.   1      Beethoven 

Zephyr     ^^^^~'~~~~^~~— ^— — ________^^^         Saperton 

Toccata  from  "Le  tombeau  de  Couperin" 
John  Simms 
III 

"O  vin,  dissipe  la  tristesse"  from  "Hamlet" Thomas 

The  Bonnie  Earl  o'  Moray    Arr.  by  Kreisler 

Gwine   to   Hebb'n Wolfe 

Land    uv    degradashun MacGimsey 

Howard  Vanderburg 
IV 

Allegretto      Porpora-Kreisler. 

Baal  Shem    Bloch 

Roumanian   Folk-dances    Bartok-Szekely 

Herbert  Baumel 

Ralph  Berkowitz,  Accompanist 
Columbia  BROAncASTiNc  Svsthm 

^fU-,l.i.  -  —  _^ 

Toccata  and  Fugue  in  D  minor... Bach-Tausig 
Ballade  in  A  flat,  Opus  47         ) 
Nocturne  in  F  sharp  major,  ) 

Opus  15 ,No . 2  ) . . . .  .Chopin 

Waltz  in  A  flat  major.  Opus  42) 

Phyllis  Moss 


The  Curtis  Institute  of  Music 


CURTIS  SYMPHONY  ORCHESTRA 
Fritz  Reiner,  Conductor 


Radio  Programme 

Monday,  December   12,  193  8  —  3:00  to  4:00  P.  M. 


Three    Choral    Preludes Bach 

Transcribed  for  orchestra  by  Vittorio  Gui 


II 

Symphony  No.    5   in  E  minor.  Opus  9  5 

"From   the   new   world" Dvorak 

Adagio 

Largo 

Scherzo.     Molto  vivace 

Allegro  con  fuoco 


Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  December   19,    1938  —  3:00   to  4:00  P.   M. 

I 

Silent    niglit  Gruber-Purvis 

II 

While  all   things  were  in   quiet   silence    Bishop 

A  babe   lies  in   a   manger Arr.   Davies 

Glory   be   to   God   on    high Karg-Elert 

III 
The  little  Jcsu  of  Braga Arr.   Gaul 

IV 
Electa    ut    Sol    Dallier 

V 

See    amid    the    winter's    snow  Olmsted 

Fantasy    on    old    Christmas    carols    Holst 

VI 

Dormi    Jesu     Rubbra 

Christians   rejoice    J.    S.    Bach 

While   good    St.    Joseph    slept      Maryyott 

VII 

An    old    carol Quilter 

VIII 
Many    years    ago Sharpe 

IX 
Sleep   Holy    Babe McCollin 

X 

In    dulci    jubilo J.    S.    Bach 

The    holly    and    the    ivy Boughton 

XI 
Masters    in    this    hall Arr.    Candyln 

Programme  arranged   by  Dr.   Alexander  McCurdy 

Ensemble   of   mixed    chorus,    string    orchestra,    organ,    bells    and    celeste 
St.   James's  Choir   Boys  Dr.    John    Mockridge,    Reader 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  December  26,   193  8  —  3:00  to  4:00  P.  M. 

Martha  Halbwachs  Massena,  Pianist 
Samuel  Barber,  Baritone 

1 

Vingt-deuxieme  ordre    Franqois  Couperin 

1.  Le  trophee  J.      L'anguille 

2.  Premier  air  pour  la  suite  6.      Le   croc-en-jambe 
du  trophee                                          7.      Menuets  croises 

3.  2e  air  8.      Les  tours  de  passe-passe 

4.  Le  point  du  jour.  Allemande 

Martha  Halbwachs  Massena 

II 
O  waly,  waly English  Folk-song 

The  deaf  woman's  courtship  t    Kentucky  Folk-song 

Brother  Greene,  or.  The  dying   soldier  ) 

2u   dir    Tyrolean   Folk-song 

Batti,  batti  f Tuscan  Folk-song 

Chi  ti  ci  fa  venir  ) 

Samuel  Barber 

III 

Etude  No.  9  in  D  flat  major Liszt 

Jeux  d'eau    Ravel 

Etude  in  C  minor,  Opus  25,  No.    12 Chopin 

Martha  Halbwachs  Massena 
IV 

In  der  Fremde Schumann 

1st   es   wahr? Mendelssohn 

Nonnelied    C.   P.   E.   Bach 

Der  Gang  zum  Liebchen  f Brahms 

Der  Tod,  das  ist  die   kiihle  Nacht    ) 

Der  Jiingiing  am  Bache:     An  der  Quelle Schubert 

Samuel  Barber 

Mr.  Barber  plays  his  own  accompaniments 

Columbia  Broadcasting  System 


1 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  January  9,    1939  —  5:00  to  4:00   P.   M. 

Victor    Gottlieb,    Violoncello 
William  Harms,  Piatio 

1 

Sonata  in   C   major Havdn' 

Allegro 
Menuctto 
Moderato 
Victor  Gottlieb 

II 

Intermezzo  in  B  flat  minor.  Opus   1 17,  No.  2 Brahms 

General  Lavinc-eccentric   (  , Debussy 

Poissons  d'or  S 

Funcrailles    Liszt 

William  Harms 

III 

Adagio  in  E  flat  major    (K.2  87) Mozart 

Transcribed  by  Ralph  Berkowitz 

The    little    white    donkey IberT 

Valse  sentimentale    Tschaikovskv 

Guitarre    Moszkowski 

Victor  Gottlieb 
IV 

Rhapsody  in  E  flat  major,  Opus   119,  No.  4 Brahms 

Pastourelle  I PouLEXC 

Toccata        \  William  Harms 

Ralph   Berkowitz,  Accompanist 
Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Mondnv,   Janu-iry    16,    1959   —   3:00    to   4:00    P.    M. 

Abbey  Simon,  Pidiio 
Marguerite    Kuehne,    Violin 
DoxAi.D  Coker,   Tenor 

I 

Abcgg   v.iri.uioMN,   Opus    1        StllLMANX 

Abbey  Simox 
II 

Lasciaicmi    morire    Mox  i  e\  erue 

Spiratc    pur,    spirate Donaldy 

"M'appari  tutt'  amor"   from  "Martha"  Flotow 

DoxAi  D  Coker 

III 

Siciliano J.   S.   Bach 

Gavotte   from   Sonata  in   E   major         Bach-Kreisler 

Romance   in  G   major Beethoven' 

Hungarian   dance   in   F   minor  Brahms-Kreisler 

Marglerite  Kuehne 
IV 

Sea    fever    Ireland 

Sailor's  life Old   English 

The    sleigh     Kouxrz 

DoxAiD  Coker 
V 

Music    box    GoDOw  SKY 

Xocturne   in   F  sli.irp   minor,   Opus   4S,   Xo.    2       Chopix 

Alborada    del    gracioso Ravel 

Abbey  Simon 

Vladimir  Sokoloff    (   .  ,      .  , 

t-  r>  I  Arco  III  pit  lusts 

Eugene  Boss  art  )  ' 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  January  23,  1939 — 3:00  to  4:00  P.M. 

Nathan   Goldstein,   Charles   Libove,   Violinhts 
BiANCA  PoLACK,  Gary  Graffman,  Dtio-Pianisfs 

I 

Concerto  in  D   minor  for  two  violins      Bach 

Vivace 

Largo,  ma  non    tanto 
Allegro 
Nathan  Goldstein  and  Charles  Libove 
II 
Prelude  in  E  major    (from  the  Sixth  Sonata  for  violin 

solo  arranged  for  two  pianos)  .  .  Bach-Saar 

First  and  third  movements  from  Sonata  in  D  major  for 

two   pianos    Mozart 

Allegro   con  spirito 
Allegro  molto 
BiANCA  Polack  and  Gary  Graffman 
III 

Chaconne     Vitali-Auer 

Charles  Libove 
IV 

Siciliano     and     Rigaudon Francoeur-Kreisler 

Nathan  Goldstein 
V 
Third   Suite    (Variations   for   two   pianos   in    C   major)  Arensky 

Theme.     Dialogue 
Valse 

Marche  triumphale 
Menuet 
Scherzo 

Hopak     Moussorgsky-Hesselberc 

Bianca  Polack  and  Gary  Graffman 

Eugene  Helmer,  Accompanht 

Columbia  Broadcasting  Sy'stem 


The  Curtis  Institute  of  Music 
Radio  Programme 

Mjnd.iy,  January    30,    1939  —   3:00   to   4:00   P.   M. 
Students  in  GnamDer  Music  of  Or.    JLouis  Bailly 

I 

Six    Dances   of    the   Renaissance    Claude    Gervaise 

Revised    and   adapted   for   string   ensemble   by   Rosario   Scalero 
Branle    de    Bourgogne  Branle  gai 

Branle    de    Poitou  Branle  double 

Branle  de  Champagne  Gaillarde 

II 

String    Quintet    in    C    minor    Mozart 

Allegro 

Andante 

Menuetto  in   canone 

Allegro 

Frederick  Vogelgesang  f  yjolim    George  Brown         f  VioLn 
George  Zazofsky  )  Stephen  Katsaros  ) 

Nathan   Stutch,  Violottccllo 

III 

First   three   movements   from   Piano  Trio  in 

E    flat   major,   Opus    100 Schubert 

Allegro 

Andante  con    moto 
,    Scherzo  —  Allego  moderato 
John  Simms,  Piano 
George  Zazofsky,  Violin  True    Chappell,    Violoncello 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  February  6,   1939  —  5:00   to  4:00  P.  M. 

CURTIS  STRING  QUARTET 

Jascha   Brodsky  r  Yigiiij^  Max  Aronoff,  Viola 

Charles  Jaffe     )  Orlando  Cole,  Violoncello 

and 

Edith  Evans  Braun,  Piano 


I 

Piano  Quintet  in  E  flat  major.  Opus  44 Schumann 

Allegro   brillante 

Un    poco   largamente    (in   modo   d'una   marcia) 

Molto  vivace    (Scherzo) 

Allegro,  ma  non  troppo 

II 

Quartet  in   B  flat  major    ("The  Hunting")    (K.  45  8) Mozart 

Allegro  vivace  assai 
Menuetto 
Adagio 
Allegro   assai 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 


CURTIS  SYMPHONY  ORCHESTRA 
Fritz  Reiner,  Conductor 


Radio  Programme 

Monday,  February   13,   1939  —  3:00   to  4:00  P.  M. 


I 

Overture   from    "Rouslane   ct    Ludmila" Glinka 

II 

Der   Schwan   von   Tuonela ' Sibelius 

III 

Marche  from  "Karelia  Suite" SlBELIUS 

IV 

Habanera    < Aubert 

V 

First  movement  of  Violin  Concerto  in  D  major. 

Opus  61    Beethoven 

Allegro  ma  non  troppo 
Oscar  Shumsky,  Soloist 

VI 

Prelude  to  "Die  Meistersinger  von  Nurnberg" Wagner 

Columbia  Broadcasting  System 


New  Programme 

THE  CURTIS  INSTITUTE  OF  MUSIC 

RADIO  PRbGRAMME 

Monday,  February  20,  1959  -  3:15  to  4:00  P.  M. 

Robert  Cornman,  Pianist 

Jacob  Krachraalnick  )  Violinists 

Paxil  Shure        ) 

I 

La  Folia Corelli-Kreisler 

Jacob  Krachmalnick 

II 

Ondine Ravel 

Nocturne  in  C  sharp  minor.  Opus  27,No.l) 
Three  Etudes  ) 

A  minor.  Opus  10,  No. 2  ).. Chopin 

F  minor  (posthumous)  ) 

C  sharp  minor.  Opus  10,  No. 4       ) 

Robert  Cornman 

III 

Two  movements  of  Concerto  in  D  major 

Opus  56 Tschaikovsky 

Canzonetta 

Allegro  vivacissimo 

Paul  Shure 

Ralph  Berkowitz,  Accompanist 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  February  27,   1939  —  3:00  to  4:00  P.  M. 
Siudenis  of  Dr.    Louis  Bailly  in  Cnamter  Music 

I 

Quartet  in  E  flat  major  for  piano,  violin, 

viola  and  violoncello     Beethoven 

Grave  —  Allegro,  ma  non  troppo 
Andante  cantabile 
Rondo  —  Allegro,  ma  non  troppo 
Mary  Norris,  Piano  Albert  Falkove,  Viola 

Veda  Reynolds,  Violin  Nathan  Stutch,  Violoncello 

II 

Trio  in  E  flat  major,  Opus  100, 

for  piano,  vijlin  and  violoncello Franz  Schubert 

Allegro 

Andante  con  mote 
Scherzo — Trio 
Allegro   moderato 
John  Sfmms,  Piano 
George  Zazofsky,  Violin  True  Chappell,  Violoncello 

Columbia  Broadcasting  System 


i 


The  Curtis  Institute  of  Music 
Radio  Programnae 

Monday,  March  6,   1939  —  3:00  to  4:00  P.  M. 

Lynne  Wainwright,  Harpist 
Nathan     Stutch,     Violoncellist 
Bernard  Milofsky,  Violist 
Ensemble  of  9  Violinists 

I 

Variations  on   a   theme  in   ancient   style Salzedo 

Lynne  Wainwright 

II 

rirst  and  second  movements  of  Concerto  in  B  flat  major     Boccherini 

Adagio    (non  troppo) 

Allegro    moderato 

Nathan  Stutch 

III 

Arioso   et    allegro    de    concert    Golestan 

Bernard  Milofsky 
IV 

Short    stories    in    music Salzedo 

At    church 

Goldfish 

On  donkey-back         ^ 

Night  breeze 

Pirouetting  music  box 

The   mermaid's   chimes 

Skipping   rope 

Lynne  Wainwright 
V 

Prayer   from   "Jewish   life" Bloch 

Menuet    Debussy 

Spanish    serenade    Glazounov 

Nathan  Stutch 
VI 

Fugue    (For  9  stands  of   1st  violin  section) Dubensky 

Ensemble  of  9  Violinists 


Genia  Robtnor       I  Accompanists 
Ralph  Berkowitz  ) 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,    October    17,    1938    —    3:00    to    3:45    P.    M. 

FoLRENCE  Kirk,  Soprano 
Richard  Purvis,  Organist 

I 

Vergebliches  Standchen  )  Brahms 

Auf  dem  Kircbhofe         J 

Ein    Schwan Grieg 

"Voi    lo    sapete"    from    "Cavalleria    Rusticana" Mascagni 

Florence   Kirk 

II 

Prelude   and  Fugue,   in  G   major J-   S.   Bach 

Chorale    Prelude    "Thy    will    be    done" Karg-Elert 

Sortie  from  "Messe  basse" Vierne 

Richard  Purvis 

III 

A   brown   bird   singing Wood 

My  laddie Thayer 

The     star Rogers 

At    the    well Hageman 

Florence  Kirk 

IV 

O   Lord    most    holy Franck 

Florence  Kirk  and  Richard  Purvis 

Joseph   Levine,   Accompanist 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  October   24,    193  8   —  3:00   to   3:45    P.  M. 
Robert  Grooters,  Baritone 
Lynne  Wainwright,  Harp 
Burnett  Atkinson,  Flute 
Nathan    Stutch,    Violoncello 

I 

Mondnacht  \ 

Die   Meerfee  > Schumann 

Du  bist  wie  eine  Blume/ 

Dcr  Ton  Marx 

Robert  Grooters 
II 
Pieces    en    concert Rameau 

Lynne  Wainwright 

Burnett  Atkinson 

Nathan  Stutch 
III 

Have  you  seen  but  a  whyte  lily  grow Anonymous 

A  shepherd  in  the  shade  I    Dowland 

I  must  complain  ) 

Trottin'  to  the  fair Stanford 

The   birthday   song MacFaydex 

Robert  Grooters 
IV 

First  movement  of  Trio  Sonata  in  B  minor Loeillet 

The    little    windmills Couperin 

Menuet     Valensin 

Dorienne   from   "Divertissement   grec" MouQUET 

Lynne  Wainwright 

Burnett  Atkinson 

Nathan  Stutch 
Elizabeth  Westmoreland  at   the  Piano 
Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 

CURTIS  SYMPHONY  ORCHESTRA 
Fritz  Reiner,  Conductor 

Radio  Programime 

Monday,  March   13,   1939  —  3:00  to  4:00  P.  M. 

I 

"Egmont"  Overture,  Opus   84 Beethoven 

II 

She  never  told   her  love    Haydn 

Wie   froh   und   frisch   mein   Sinn Brahms 

Allerseelen    Strauss 

Soloist: 
Conrad  Thibault,  Baritone 

III 

Symphony  No.   6,  Opus  68    ("Pastorale") Beethoven 

Allegro  ma  non  troppo 

Andante  molto  moto 

Allegro 

Allegro 

Allegretto 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  March   20,   1939  —  3:00  to  4:00  P.  M. 

Veda     Reynolds,    Violinist 
Zadel  Skolovsky,  Pianist 

I 

Sonata  No.  4  in  D  major       Handel 

Adagio 
Allegro 
Larghetto 
Allegro 
Veda  Reynolds 

II 

Ballade  in  A  flat  major  f  Chopin 

Mazurka  in   A  minor      ) 

Etude   in   D   flat   major Liszt 

Etude  in  E  flat  major Paganini-Liszt 

Devotion    Godowsky 

Ballet   music   from   "Rosamunde" Schubert-Godowsky 

Jeux  d'eau    Ravel 

Feux  d'artifice    Debussy 

Zadel  Skolovsky 

III 

Impromptu     Aulin 

The  girl  with  the  flaxen  hair Debussy-Hartmann 

Caprice   (After  an  etude  in  the  form  of  a  waltz 

by    Saint-Saens)     Ysaye 

Veda  Reynolds 

Eugene  Bossart,  Accompanist 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Students  oi  ^Ir.    i^larcel  TaLufeau    in 
W  ooawina  Ensemble 

Monday,  March  27,   1939  —  3:00  to  4:00  P.   M. 

I 

Quintet  in  E  flat  major,  Opus  16 

for  piano,  oboe,  clarinet,  French  horn  and  bassoon    .      Beethoven 

II 

Serenade  in  E  flat  major.  Opus  7 

for  two  flutes,  two  oboes,  two  clarinets,  four  French   horns, 

two  bassoons  and  contrabassoon R.   Strauss 

III 

"Les  petits  moulins  a  vent" 

for   flute,   oboe   and    bassoon Couperin 

"Tourbillon"  from  "Pastorale  variee" 

for  flute,  oboe,  clarinet,  French  horn  and  two  bassoons  Pierne 

"Aubade" 

for  flute,  oboe   and  clarinet DE  Wailly 

Allegro  scherzoso.  Opus  90 

for  two  flutes,  oboe,  clarinet   and   bassoon HuGUES 

IV 

Prckidio  et  Fughetta,  Opus  40,  No.   1 

for  two  flutes,  oboe,  clarinet,  French  horn  and 

two    bassoons    Pierne 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  April   },   1959  —  3:00   to  4:00   P.  M. 


Phylms  Moss,  Pianist 
Robert    Gay,    Baritone 


I 


"Hear  me,  ye  winds  and  waves"  from  "Scipio"    f Haxdel 

"Wlierc-c'cr  you  walk"  from  "Scmcle"  ) 

Robert  Gay 

II 

Fantasie  and  Fugue  in  G  minor      Bach 

Phyllis  Moss 
III 

Eifersucht   und   Stolz Schubert 

Am   Sonntag   Morgen Brahms 

Rulie,  meine  Secle    R.  Strauss 

Du  bist  so  jung Erich  Wolff 

Robert  Gay 

IV 

Rondo  capriccioso  }    Mendelssohn 

Spinning  song  i 

Ballade  in  D  minor Brahms 

Scherzo  in  C  sharp  minor    Chopin 

Phyllis  Moss 

V 
Deep  river  ^ 

Swing  low,  sweet  chariot  )■ Arr,   by 

Didn't  it  rain  )  H.  T.  Burleigh 

Sweet  little  Jesus  boy MacGimsey 

Robert  Gay 

Eugene  Bossart,  Accompanist 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  April   10,   1939  —  3:00  to  4:00  P.  M. 

Vera  Resnikoff,  Soprano 
Frederick    Vogelgesang,   Violinist 

I 

Bergere    legere      Arr.    by    Weckerlin 

The  sleep  chat  flits  on  baby's  eyes    Carpenter 

Heimkehr   vom   Feste    Blech 

Fiocca  la  neve    Cimara 

Caro,  caro  el  mio  bambin    Guarnieri 

Fa  la  nana  bambin Sadero 

Dos    cantares    populares Obradors 

Vera  Resnikoff 

II 

Praeludium    Bach-Kreisler 

Sicilienne     Paradis-Dushkin 

Caprice    No.    20    Paganini-Kreisler 

Frederick  Vogelgesang 
III 

The    answer    Rachmaninoff 

Oriental    song    Glazounov 

Again     alone     Tschaikovsky 

Snowflakes    Gretchaninov 

Cradle   song    Gretchaninov 

Hopak    MoussoRGSKY 

Vera  Resnikoff 

IV 

Concerto  No.   1   in  D  major  Paganini-Wilhelmj-Zimbalist 

Frederick  Vogelgesang 

Vladimir  Sokoloff,  Accompanist 
Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  April   17,  1939  —  3:00  to  4:00  P.  M. 

Marian    Head,    Violinist 

Donald  Coker,  Tenor 

I 

Recitative  and  Aria:     "He  was  cut  off  out  of  the  land 

of  the  living"  and  "But  thou  didst  not  leave  His 

soul  in  Hell"  from  "The  Messiah" Handel 

Tu  lo  sai ToRELLi 

Donzelle,    fuggite    Cavalu 

Donald  Coker 

II 

Sonata   in    C   sharp   minor,   Opus   21 Dohnanyi 

Allegro   appassionato 

Allegro   ma   con   tenerezza 

Vivace  assai 

Marian  Head 

Eugene  Helmer  at  the  Piano 

III 

Drink  to  me  only  with  thine  eyes Arr.   by  Quieter 

The  happy   lover  /  ^        t- 

.       .,      I       J      I        > Old   English 

A  sailor  loved  a  lass    \ 

Donald  Coker 

IV 

First  movement  of  Concerto  No.  9,  in  D  minor,  Opus  5  5    Spohr 

Nana    (Berceuse)    de  Falla 

Danse  espagnole  from  "La  vida  breve" de  Falla-Kreisler 

Marian  Head 

V 

Blow,  blow   thou   winter  wind Arr.   by  Quilter 

Old    Mother    Hubbard Hely-Hutchinson 

(Set  in  the  manner  of  Handel) 

When  I  think  upon  the  maidens Head 

Donald  Coker 

Eugene  Bossart,  Accompanist 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday.  April  24,   1939  —  3:00  to  4:00  P.  M. 

An  Ensemble  of  Ten  Harps 

Marian  Head,  Violinist 

Lynnl  Wainwright,  Solo  Harpist 

Robert  Grooters,  Baritone 

Henry  Beard,  Organist 

I 

Sixth    French    Suite Bach 

Allemande  Polonaise 

Courante  Gavotte 

Sarabande  Mcnuet 

Bourree 
The  Harp  Ensemble 
II 

"God   is   my   Shepherd"    from    "Biblische   Liedcr" Dvorak 

Thanks  be  to  thee    Handel 

RouuRT  Grooters 
with  organ  accompaniment  by  Henry  Biaru 

Fugue  in  B  minor Bach 

Henry   Beard 

"Lord  God  of  Abraham"  from  "Elijah" Mendelssohn 

Robert  Grooters 

with  organ  accompaniment  by  Henry  Beard 

III 

Fantaisie  for  harp  and  violin Saint-SaI^ns 

Lynne  Wainwright  and  Marian  Head 
IV 

On   wings   of   song Mendelssohn 

Snow    Lie 

Sylvelin    Sinding 

Robert  Grooters  and  The  Harp  Ensemble 
V 

Clair    de    lune Debussy 

Spanish    dance    No.    5 Granados 

Behind   the   barracks Salzedo 

The  Harp  Ensemble 
Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 
Radio  Programme 

Monday,  May  1,   1939  —  3:00  to  4:00  P.  M. 

CURTIS  MADRIGAL  CHORUS 
Directed  by  Samuel  Barber 

AND 

RALPH  BERKOWIT2  AND  VLADIMIR  SOKOLOFF,  Pianists 

I 

Sonata  in  F  major  for  one  piano,  4  hands  (K.  479)       Mozart 

Ralph  Berkowitz  and  Vladimir  Sokoloff 

II 

Lasciatemi  morire 

A'  un  giro  sol 

Amor:  the  lament  of  a  nymph 

For  soprano  solo  and  men's  chorus  with 

harpsichord   accompaniment  (  Monteverdi 

Hor  ch'el  ciel  e  la  terra 

For  six-part  chorus  with   2  violins,  'cello, 
double-bass   and  harpsichord 
III 

Trois  beaux  oiseaux   du  Paradis Ravel 

For   chorus  with  soprano,  contralto,   tenor 
and  baritone  soli 

Now   is    the   month   of   maying Morley 

The    Virgin    Martyrs    Barber 

For  women's  voices 
(First  time  on  air) 

Echo  Song    di  Lasso 

For  double  chorus 
Eugene  Bossart  at  the  Harpsichord 

Comments  by  Gama  Gilbert  of  The  New  York  Times 

Columbia  Broadcasting  System 


The  Curtis  Institute  of  Music 

CURTIS  SYMPHONY  ORCHESTRA 
Fritz  Reiner,  Conductor 

Radio  Programme 

Tuesday,  May  2,  1939  —  3:00  to  4:00  P.  M. 


I 

Overture  to  "Der  Freischutz" Weber 

II 

Concerto  No.  4  in  G  major.  Opus   J  8 

for  piano  and  orchestra Beethoven 

Allegro  moderato 
Andante  con  moto 
Rondo:     Vivace 
Ezra  Rachlin,  Soloisi 

III 

Navarra    (Orchestration    by    Arbos) Albeniz 

IV 

Wiener  Blut    Johann  Strauss 

Columbia  Broadcasting  System 


4 


The  Curtis  Institute  0/ Music 


SIXTH  COMMENCEMENT 

AND 

CONFERRING  OF  DEGREES 


CASIMIR  HALL 

Tuesday,  May  the  ninth 

One  Thousand,  Nine  Hundred  and  Thirty-nine 
at  Three  o'clock  in  the  Afternoon 


Order  of  Ceremonies 


♦ 


Organ  Prelude 


Chorale  Vorspiel Johannes  Brahms 

"O  Welt,  ich  muss  dich  lassen" 


Prelude  and  Fugue  in  A  major J.  S.  Bach 


Alexander  McCurdy,  Mus.D. 


Order  of  Ceremonies 


Graduate  Procession 

Triumphal  March Sigfrid  Karg-Elert 

Introduction 

President  Mary  Louise  Curtis  Bok,  Mus.  D.,  L.H.D. 

Address 

The  Right  Reverend  Joseph  M.  Corrigan,  S.T.D. 
Rector  of  the  CathoUc  University  of  America 

Awarding  of  Diplomas  of  The  Curtis  Institute  of  Music 

Conferring  of  Degrees  in  Course 

President  Mary  Louise  Curtis  Bok,  Mus.D.,  L.H.D. 
Secretary  Cary  W.  Bok,  A.B. 

Hymn — The  Star-Spangled  Banner 

Graduate  Recession 

Finale  from  "Grande  piece  symphonique" Cesar  Franck 


[4] 


DIPLOMAS  OF  THE  CURTIS  INSTITUTE  OF  MUSIC 

Piano 


Mary  Addison  Norris 


Abbey  Simon 


Accompanying 
Oscar  Eiermann 


Isidore  Gralnick 

(in  absentia) 


Violir 


Frederick  Lawrence  Vogelgesang 


Viola 
George  Brown 


Composition 


Charles  Bacharach 

(in  absentia) 
Miriam  Farnsworth  Brunner 
Marvin  Duchow 


Andre  Constant  Vauclain 
Hugo  Weisgall 
Frederick  Charles  Werle 
(m  absentia) 


Carl  Bowman 
Sol  Kaplan 


Conducting 


Vincent  Ludwig  Persichetti 
Irven  Andrew  Whitenack 
(in  absentia) 


Music  Criticism 
John  Gurney  Briggs,  Jr.  Edward  O'Gorman 

(in  absentia) 


Flute 
Burnett  F.  Atkinson 
Albert  Nevin  Tipton 


Oboe 
Martin  Fleisher 


Clarinet 
William  McCormick 


Trombone 
William  Gibson 


French  Horn 
El  WOOD  S.  Cauler 


[5] 


DEGREES  IN  COURSE 


Bachelor  of  J^usic — in  Organ 
Walter  Benjamin  Baker 


Bachelor  of  M^usic — in  Composition 

Charles  Bacharach  Andre  Constant  Vauclain 

(in  absentia) 


Bachelor  of  .M.usic — in  Conducting 

Irven  Andrew  Whitenack 
{in  absentia) 


Marshal 

Hans  Wohlmuth,  Ph.D.  (_Vitnnj') 

Assistant  Marshals 

Henry   Beard,   A.B.  (iPmnsyUania  Start  Collect') 

Lester  EnGLANDER,    A.B.   (Umversirj  of  Pmosjlvaniay,  MuS.B. 

CuRTIN    WiNSOR,   A.B.    {Princeton  Univtrsitx)',  LL.B.  (_Umptrsilj  of  Pmnsylpanij  Law  Scheef) 


[7] 


(1) 

LIST     OF     CONCERTS 
FACULTY  RECITALS 
Casimir  Hall 


First.... Mr.  Felix  Salmond,  Violoncellist 

November  21,  1938 


Second. . .Madame  Elisabeth  Schumann,  Soprano 

April  Zl,   1959 


(2) 

STUDENTS'  CONCERTS 
Casimir  Hall 

Student  of  Mr.  de  Gogorza 

(Lester  Englander) December  1,  1958 

Students  of  Mr.  Salzedo December  9,  1958 

Students  of  Madame  Miquelle January  24,  1959 

Student  of  Madame  Vengerova 

(Sol  Kaplan) February  15,  1959 

Students  of  Dr.  Bailly February  16,  1959 

Students  of  Mr.  Salzedo March  2,   1959 

Students  of  Mr.  Kaufman April  19,  1959 

Students  of  Madame  Luboshutz April  20,  1959 

Students  of  Madame  Vengerova May  2,  1959 

Students  of  Mr.  Torello May  5,  1959 

Students  of  Mr.  Hilsberg May  5,  1959 


(5) 

SPECIAL  CONCERTS 

The  Historical  Series 

9  concerts (  October  18,  1958 

(November  1,  1958 

(November  25,  1958 

(December  7,  1958 

(  January  4,  1959 

(  January  20,  1959 

(February  24,  1959 

(   March  8,  1959 

(   March  51,  1959 

Miss  Genia  Robinor  and 

Dr.  Louis  Bailly  in  a 

Piano  and  Viola  recital December  14,  1958 

Mr.  Rudolf  Serkin,  Pianist February  7,  1959 

Miss  Jeanne  Behrend,  Pianist (February  16,  1959 

(February  22,  1959 
(   March  1,  1959 

Trio  of  New  York March  21,  1959 

Carl  Friedberg,  Pianist 
Daniil  Karpilo?;sky,  Violinist 
Felix  Salmond,  Violoncellist 

Mrs.  Edith  Evans  Braun,  Pianist  and 

Madame  Lea  Luboshutz, Violinist.  .March  28,  1959 


CONCERTS  ELSEV.TIERE 

The  Philadelphia  Forum,  Philadelphia 

The  Curtis  Symphony  Orchestra. . .April  10,  1959 

Compositions  of  Rosario  Scalero 
At  the  Plays  and  Players 
Philadelphia May  4,  1959 


(4) 

CONCERT  COURSE 

State  Teachers  College, 

Kutzto^Ti,  Pennsylvania (October  19 

(  -March  29 
State  Teachers  College, 

Millersville,  Pennsylvania (October  26 

(  April  IE 
Woman' s  Club  Auditorium, 

Lynchburg,  Virginia (November  4 

(December  9 
(  April  14 
Juniata  College, 

Huntingdon,  Pennsylvania, ..... .November  5 

The  Convent  of  the  Sacred  Heart, 

Over  brook,  ■'Pennsylvania November  8 

Washington  College, 

Chestertovjn,  Maryland November  10 

Westtown  School, 

If^'esttoTMi,  Pennsylvania..,. November  12 

The  duPont  Country  Club, 

Pennsgrove,  New  Jersey (November  13 

(December  11 
University  of  Delaware, 

Newark,  Delaware (November  17 

(February  16 
New  Century  Club, 

Kennett  Square,  Pennsylvania. . .November  22 
Linden  Hall, 

Lititz,  Pennsylvania November  28 

Woman*  s  Club, 

West  Pittston,  Pennsylvania. ., .November  29 
Central  High  School, 

Philadelphia,  Pennsylvania, . . , (December  1 

(  April  14 
Elizabethtovna  College, 

Elizabeth town,  Pennsylvania. .. .December  2 
Sleighton  Farms, 

Darling  P.O.,  Pennsylvania December  15 

George  School, 

George  School,  Pennsylvania January  7 


(5) 

CONCERT  COURSE  (continued) 


Soroptimist  Club, 

Philadelphia,  Pennsylvania January  7,  1939 

Palmyra  High  School, 

Palmyra,  New  Jersey January  31,  1939 

Jeptha  Abbott  Chapter  of  the  D.A.R. 

International  House, 

University  of  Pennsylvania February  24,  1939 

Peraberton  Music  Club, 

Pemberton,  New  Jersey...., March  9,  1939 

All-Ursinus  Conference, 

Collegeville,  Pennsylvania April  16 ,  1939 

Woman' s  Club, 

Bryn  Mawr,  Pennsylvania , ,  (April  17,  1939 

(  May  16,  1939 

Raven  Hill  Academy  Chapel  Fund, 

At  the  home  of  Mrs.  Langdon, 

Germantown,  Pennsylvania April  22,  1939 

Bethlehem  Friends  of  Music 

Bethlehem,  Pennsylvania April  26 ,  1939 

Woodbury  Male  Chorus, 

Woodbury,  New  Jersey April  27,  1939 

Schumann  Club, 

Wildwood,  New  Jersey May  2,  1939 

Girard  College, 

Philadelphia,  Pennsylvania May  6 ,  1939 

Polyphonic  Choir, 

GermantoY.n,  Pennsylvania May  16 ,  1939 

Woman*  s  Club, 

Downingtovm,  Pennsylvanifi  * * .  * . .  i^/iay  17 ,  1939 


RADIO  PROGRMMES 
October  3,  1938  to  May  2,  1939 


Sixth  Commencement  and  Conferring 

of  Degrees May  9,  1939 


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