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THE CURTIS INSTITUTE OF MUSIC

CAS1MIR HALL, SEVENTEENTH SEASON I94O-4I

FACULTY RECITAL BY
MR JORGE BOLET, PIANIST

TUESDAY EVENING, OCTOBER 1$, 1940, AT 8:00 O'CLOCK

PROGRAMME

Sonata in A major (Posthumous) Franz Schubert

Allegro

Andantino

Scherzo. Allegro vivace

Rondo. Allegretto

Seven etudes Frederic Chopin

C major, Opus 10, No. 1
E major, Opus 10, No. 3
C minor, Opus 10, No. 12
F major, Opus 25, No. 3
C major, Opus 10, No. 7
F minor (Posthumous)
F major, Opus 10, No. 8

Mr Bolet plays these etudes according to the manuscript version published
by the Oxford University Press.

Ill

Intermezzi, Opus 117 Johannes Brahms

E flat major, No. 1
B flat minor, No. 2
C sharp minor, No. 3

Three preludes Claude Debussy

La puerta del vino

La terrasse des audiences du clair de lune

General Lavine: eccentric

IV
Etudes symphoniques, Opus 13 Robert Schumann

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

FACULTY RECITAL BY
MR RUDOLF SERKIN, PIANIST

TUESDAY EVENING, JANUARY 7, 1941, AT EIGHT O'CLOCK

PROGRAMME

Fantasia and Fugue in C, Kochel 394

Wolfgang Amadeus Mozart

II
Sonata in C, Opus 53 (W aid stein) . . Ludwig Van Beethoven

Allegro con brio

Introduzione. Adagio molto

Rondo. Allegretto moderato. Prestissimo

III

Variations and Fugue on a theme by

Johann Sebastian Bach, Opus 81 Max Reger

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94.O-4I

FACULTY RECITAL BY
DR ALEXANDER McCURDY, ORGANIST

TUESDAY EVENING, JANUARY 14, 1941, AT EIGHT O'CLOCK

PROGRAMME

WORKS OF JOHANN SEBASTIAN BACH

Prelude and Fugue in A major

Allegro, from First Trio Sonata

Three Chorale Preludes:
Lord, hear me call
Christ lay in the arms of death
In Thee is joy

Prelude and Fugue in E minor

Three Chorale Preludes:

Hark, a voice saith, All are mortal
Our Father who art in Heaven
O God have mercy

Vivace, from Second Trio Sonata

Prelude and Fugue in A minor

AEOLIAN-SKINNER ORGAN

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4O-4.I

FACULTY RECITAL BY
MR EFREM ZIMBALIST, VIOLINIST

Mr Vladimir Sokoloff at the Piano
WEDNESDAY EVENING, JANUARY 15, 1941, AT EIGHT O'CLOCK

PROGRAMME

I
Sonata in D major Vivaldi-Respighi

Moderato (a fantasia)
Allegro moderato
Largo
Vivace

Sonata in G minor (for violin alone) Eugene Ysaye

Grave

Fugato

Allegretto poco scherzoso

III

Concerto in D minor Max Bruch

Adagio ma non troppo

Recitativo

Finale

Poeme Ernest Chausson

Sarasateana (Suite of Spanish dances) Efrem Zimbalist

Tango
Polo

Habanera
Playera

Malaguena
Zapateado

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

FACULTY RECITAL BY
MR STEUART WILSON, TENOR
assisted at the Piano by
MR HARRY KAUFMAN

WEDNESDAY EVENING, JANUARY 22, 1941, AT EIGHT O'CLOCK

PROGRAMME

Song cycle for voice and piano:

Dichterliebe Robert Schumann

(poems by Heinrich Heine)
II

Two English ballads:

Phillida flouts me (1600) arranged by Beryl Price

Yarmouth Fair (1900) arranged by Peter Warlock

Three songs of satire on:

The Bachelor arranged by Zoltan Kodaly

The Inconstant Man W. A. Aikin

The Parasite on Society Modeste Moussorgsky

III

Song cycle for voice, string quartet, and piano:

On Wenlock Edge Ralph Vaughan Williams

(poems from A Shropshire Lad by A. E. Housman)

Herbert Baumel ) T7. ,. Joseph de Pasquale, Viola

)■ Violins __. , „

Rafael Druian ) Arthur Winograd, Violoncello

Ralph Berkowitz, Piano

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

FACULTY RECITAL BY
JEANNE BEHREND, PIANIST

WEDNESDAY EVENING, MARCH 19, 1941, AT EIGHT O'CLOCK

PROGRAMME

I
Sonata Alexander Reinagle

(Composed in U. S. about 1800. Ms. at Library of Congress)
Allegro
Adagio
Allegro

Sonata, Opus 90 Ludwig van Beethoven

Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Nicht zu geschwind und sehr singbar vorzutragen

Sonata Charles T. Griffes

Feroce. Allegretto con moto. Molto tranquillo
Allegro vivace

III

Two preludes (canons) Rosario Scalero

Intermezzo, Opus 118, No. 3

(in form of canon) Johannes Brahms

La puerta del vino {

Pastourelle Francis Poulenc

Three preludes George Gershwin

Claude Debussy
Feux d artifice

Scherzo Jeanne Behrend

Nocturne, Opus 51, No. 3 Jan Sibelius

Prelude, Opus 32, No. 8 Serge Rachmaninov

Three Brazilian folk songs: Heitor Villa-Lobos

A Condessa

Passa, passa, gaviao

Senhora Dona Sancha

Miss Behrend uses the Baldwin Piano
The Steinway is the Official Piano of The Curtis Institute

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4O-4.I

AN EVENING OF BACH
presented by

Lea Luboshutz Marian Head

Edith Evans Braun William Kincaid

Chamber Orchestra conducted by
Curtis Bok Louis Vyner

THURSDAY EVENING, MARCH 20, 1941, AT EIGHT O'CLOCK

PROGRAMME

Concerto in D minor for two violins

Vivace

Largo, ma non tanto
Allegro
Mme Luboshutz

Mr Vyner

Miss Head

Concerto in A minor for violin

Allegro
Andante
Allegro assai
Mme Luboshutz

Judge Bok

III

Brandenburg concerto in D for violin, flute and piano

Allegro

Affettuoso

Allegro
Mme Luboshutz Mrs Braun

Mr Kincaid Mr Vyner

PERSONNEL OF THE CHAMBER ORCHESTRA

First violins:
Herbert Baumel
Baruch Altman
Sidney Sharp
Alvin Herlich
Veda Reynolds
Tibor Zelig

Second violins:
Morris Shulik
Charlotte Cohen
Ernest Goldstein
Alfred Breuning

Violas:

Joseph de Pasquale
Abraham Cherry
Francis Tursi
Herbert Wortreich

Violoncellos:
Esther Gruhn
Rohini Coomara
Richard Kapuscinski

Contrabasses:
Edward Arian
Harry Safstrom

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

FACULTY RECITAL BY
MR RUDOLF SERKIN, PIANIST

SUNDAY AFTERNOON, MARCH 30, 1941, AT FIVE O'CLOCK

PROGRAMME

Variations and fugue on a theme of Handel, Opus 24

Johannes Brahms

Two impromptus, Opus 90: \

No. 3 in G flat / Franz Schubert

No. 2 in E flat )

Rondo capriccioso, Opus 14 Felix Mendelssohn

III

Two Czech dances: \

A minor / Bedrich Smetana

F major "

Barcarolle in F sharp, Opus 60
Polonaise in A flat, Opus 5 3

steinway piano

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

FACULTY RECITAL BY
MADAME ELISABETH SCHUMANN, SOPRANO

MR LEO ROSENEK at the Piano
THURSDAY EVENING, APRIL 17, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME

I
Abendempfindung v

_ __ .. , ) Wolfgang Amadeus Mozart

Das Veilchen (

Der Zauberer /

Das Madchen \

Der Timeline und der Tod f _ _

. > Franz Schubert

Geheimes I

Das Lied im Grunen /

III

Abendlied { T

> Ivan Langstroth

wiegenlied ;

Rain comes down 1

Mariposa / Efrem Zimbalist

One, two, three /

Gluckes genu^g

Ich schwebe

\ Richard Strauss

Morgen

Mein Vater hat gesagt

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4.O-4I

GRADUATION RECITAL BY
MR SIDNEY FOSTER
Student of Mr Saperton

TUESDAY EVENING, OCTOBER 22, 1940, AT 8:00 O'CLOCK

PROGRAMME

I
Sonata in A flat, Opus 110 Ludwig van Beethoven

Moderato cantabile molto espressivo

Allegro molto

Adagio, ma non troppo

Fuga. Allegro, ma non troppo

Four ballades, Opus 10 Johannes Brahms

No. 1 in D minor (Edward)
No. 2 in D major
No. 3 in B major
No. 4 in B minor

III
Waltz in A flat, Opus 34, No. 1 )

Mazurka in B minor, Opus 33, No. 4 / Frederic Chopin

Five etudes from Opus 10 /

No. 4 in C sharp minor
No. 9 in F minor
No. J in G flat major
No. 6 in E flat minor
No. 8 in F major

Prelude and fugue in D from The Well-Tempered Clavichord ,
Book II Johann Sebastian Bach

Poissons d'or j

La terrasse des audiences du clair de lune / Claude Debussy

General La vine: eccentric /

Naila waltz Delibes-Dohnanyi

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON — IQ4.O-4I

AN EVENING OF SHAKESPEARE IN OPERA
BY STUDENTS OF DR WOHLMUTH

Mr Joseph Levine at the Piano

THURSDAY EVENING, NOVEMBER 21, 1940, AT EIGHT O'CLOCK

♦

PROGRAMME

I
The Tempest Henry Purcell

Ariel MURIEL ROBERTSON

Fernando GORDON SAYRE

Off-stage chorus of members of the Opera Class

Conducted by Mr Levine

Mr Leo Luskin at the Piano

Hamlet Ambroise Thomas

Hamlet GORDON SAYRE

King JAMES COSMOS

III

Romeo and Juliet Charles Gounod

Romeo DONALD COKER

Juliet MARGARET LILLY

Tvbalt DONALD HULTGREN

Capulet THEODORE UPPMAN

Mercutio ROBERT GROOTERS

Paris JAMES COSMOS

Otello Giuseppe Verdi

Desdemona WILLA STEWART

Emilia MARGARETTE GODWIN

Falstaff Verdi

Lady Alice ELEANOR MURTAUGH

Falstaff THOMAS PERKINS

VI
The Taming of the Shrew Hermann Goetz

Petruchio GORDON SAYRE

Catharine DORIS LUFF

VII

Macbeth Verdi

Lady Macbeth BARBARA TROXELL

Physician ROBERT GROOTERS

Court Lady MURIEL ROBERTSON

VIII

The Merry Wives of Windsor Carl Otto Nicolai

Lady Anna MARIA MANSKI

Fenton DONALD HULTGREN

Dr Caius ROBERT GROOTERS

Sparrow NORMAN ROSE

All the scenes this evening are sung in English. The translations of Hamlet,

The Taming of the Shrew and The Merry Wives of Windsor have been

made by Mr Steuart Wilson.

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4.O-4I

RECITAL OF MUSIC FOR THE HARP
BY STUDENTS OF DR SALZEDO

WEDNESDAY EVENING, NOVEMBER 27, 1940, AT EIGHT O'CLOCK

PROGRAMME

Impromptu-caprice Gabriel Pierne

May Night Selim Palmgren

Prelude in C, Opus 12, No. 7 Serge Prokofieff

La Desirade

}

. (1927) Carlos Salzedo

Chanson dans la nuit ;

ANNA BUKAY

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

Theme — Double — Bourree
Staccati — ■ Butterfly — Flux and Chords
Jumps — Trills — Scales and Arpeggios
Barcarolle — Prelude — Fugue
Cadenza — Conclusion

RUTH DEAN

III

Sonata in C minor Giovanni Battista Pescetti

Allegro vigoroso 1704-1766

Andantino espressivo

Presto

Ballade (1910) Carlos Salzedo

JANET PUTNAM

LYON & HEALY HARPS

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94.O-4I

RECITAL OF MUSIC FOR THE HARP
BY STUDENTS OF DR SALZEDO

THURSDAY EVENING, JANUARY 30, 1941, AT EIGHT O'CLOCK

PROGRAMME

The Harmonious Blacksmith Georg Friedrich Handel

1685-1759

Giga Arcangelo Corelli

1653-1713

Bourree Johann Sebastian Bach

1685-1750
CHERYLL YODER

Five poetical studies (1918) Carlos Salzedo

Flight
Mirage
Idyllic poem
Inquietude
Communion
ELEANOR MELLINGER

Lamentation
Quietude
Iridescence
Introspection '
Whirlwind

III

(1917) Carlos Salzedo

REBA ROBINSON

LYON & HEALY HARPS

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

AN EVENING OF OPERA BY
STUDENTS OF HANS WOHLMUTH

THURSDAY EVENING, FEBRUARY 13, 1941, AT EIGHT O'CLOCK

PROGRAMME

I
Act three of Armide Christophe Willibald Gluck.

Armide Muriel Robertson

Hate, a fury Barbara Troxell

Phenice Helen Worrilow

Sidonie Margarette Godwin

Apparitions and furies

Leo Luskin at the piano

Finale of The knight of the rose Richard Strauss

Princess von Werdenberg Barbara Troxell

Octavian, Count Rofrano Katharine Harris

Faninal, a wealthy parvenu Robert Grooters

Sophie, daughter of Faninal Willa Stewart

Joseph Levine at the piano
III

The false Arlecchino C. Francesco Malipiero

Donna Rosaura Doris Luff

The false Arlecchino Thomas Perkins

Don Trifonio Gordon Sayre

Don Florindo Donald Coker

Don Ottavio Theodore Uppman

Don Paoluccio Norman Rose

Colombina, maid to Rosaura Margaret Lilly

Characters without speaking parts:

Brighella Kathryne Kero

The tailor Mary Davenport

Assistant to the tailor Helen. Worrilow

The dancing master Muriel Smith

The hairdresser Margarette Godwin

Guests

Chamber orchestra conducted by Mr Levine
STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94.O-4I

GRADUATION RECITAL BY
PHYLLIS MOSS, PIANIST
Student of Madame Vengerova

FRIDAY EVENING, MARCH 21, 1941, AT EIGHT O'CLOCK

PROGRAMME

Prelude and fugue in E minor

Sonata in C major,

Opus 53 (W aid stein)

Felix Mendelssohn

Ludwig van Beethoven

Allegro con brio
Introduzione: Adagio molto
Rondo: Allegretto moderato

Polonaise in E flat minor
Waltz in G flat major
Nocturne in E major
Scherzo in B minor

Frederic Chopin

III

Rhapsodie in B minor Johannes Brahms

The little white donkey Jacques Ibert

Prelude in E flat major Serge Rachmaninov

Two etudes: Paganini-Liszt

E major
A minor

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON 1940-41

GRADUATION RECITAL BY
ROBERT GROOTERS, BARITONE

Graduate Student of Mr de Gogorza
MR VLADIMIR SOKOLOFF AT THE PIANO

MONDAY EVENING, MARCH 24, 1941, AT EIGHT O'CLOCK

PROGRAMME

Thanks be to Thee Georg Friedrich Handel

A shepherd in a shade _. _

_ . ,e , ,. , r , f John Dowland

Say love, 11 ever thou didst nnd ;

Anakreons Grab ^

Wenn du zu den Blumen gehst > Hugo Wolf

Auf dem griinen Balcon

Die Mainacht

O liebliche Wangen

/• Johannes Brahms

III

Les yeux , .

,r. .,, . , f Jacques Aubert

Vieille chanson espagnole )

Phidyle Henri Duparc

Camaval Felix Fourdrain

pnere 1 Gabriel Faure

Fleur jetee J

I hear an army Samuel Barber

Night and the curtains drawn Giuseppe Ferrata

When you go David Guion

The captive Alexander Gretchaninov

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IO4O-4.I

RECITAL OF VOCAL MUSIC
BY STUDENTS OF MME SCHUMANN

Miss Elizabeth Westmoreland at the Piano
TUESDAY AFTERNOON, APRIL 1, 1941, AT FOUR O'CLOCK

PROGRAMME

Se tu m'ami Giovanni Battista Pergolesi

The lass with the delicate air Michael Arne

KATHRYNE KERO

Chi vuol la zingarella Giovanni Paisiello

Ich liebe dich Edvard Grieg

MURIEL SMITH

III

Star vicino Salvator Rosa

Non so piu, from

The marriage of Figaro Wolfgang Amadeus Mozart

MARGARETTE GODWIN

Tu lo sai Giuseppe Torelli

Depuis le jour, from Louise Gustave Charpentier

KATHARINE HARRIS

V
O luce di quest' anima, from

Linda di Chamounix Gaetano Donizetti

Les oiseaux dans la charmille, from

Tales of Hoffmann Jacques Offenbach

MARGARET LILLY

Die Forelle Franz Schubert

Auf Fliigeln des Gesanges Felix Mendelssohn

The wren Julius Benedict

(With flute obbligato played by Eleanor Mitchel)
HELEN WORRILOW

VII

Dich, theure Halle, from Tannhauser Richard Wagner

Marienlied ) Joseph Marx

Hat dich die Liebe beruhrt )

BARBARA TROXELL

VIII

Wieder mocht ich dir begegnen [ Franz Liszt

Oh! quand je dors )

C'est des contrebandiers, from Carmen Georges Bizet

WILLA STEWART

Miss Mitchel is a student of Mr Kincaid

Miss Worrilow and Miss Stewart are candidates

for the Diploma, Commencement, 1941.

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IO4O-4I

RECITAL OF MUSIC FOR THE PIANO
BY STUDENTS OF MR SAPERTON

WEDNESDAY EVENING, APRIL 2, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME

I
First movement of Sonata in C minor,

Opus 10, No. 1 Ludwig van Beethoven

Allegro molto e con brio

Waltz in A flat major, Opus 64, No. 3 Frederic Chopin

RUDOLF FAVALORO

Intermezzo in B flat major,
Opus 76, No. 4

r, - ■ )

Three capnccios: ^ Johannes Brahms

F sharp minor, Opus 76, No.

B minor, Opus 76, No. 2

C sharp minor, Opus 76, No. 5

FLORENCE CAPLAN

Choral prelude, Ich ruf zu dir, Herr Bach-Busoni

Two pieces from Triakontameron: Leopold Godowsky

Sylvan Tyrol

Music-box

Scherzo in C sharp minor, Opus 39 Chopin

EDNA LARSON

Two three part inventions: Johann Sebastian Bach

B flat major

G minor
First movement of Sonata in B flat major, Opus 22 Beethoven

Allegro con brio

Two mazurkas: Chopin

A flat major, Opus 24, No. 3
B flat minor, Opus 24, No. 4

SEYMOUR LIPKIN

La cathedrale engloutie

La fille aux cheveux de lin Claude Debussy

La serenade interrompue

La danse de Puck

Alborada del gracioso Maurice Ravel

ROBERT CORNMAN

Miss Caplan, Miss Larson and Mr Cornman are
candidates for the Diploma, Commencement, 1941.

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

RECITAL OF MUSIC FOR THE PIANO
BY STUDENTS OF MR KAUFMAN

THURSDAY EVENING, APRIL 3, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME

Concerto in the Italian style Johann Sebastian Bach

Allegro moderato

Andante

Presto

VIRGINIA PARKER

Reflets dans l'eau Claude Debussy

Nocturne in F minor, Opus 5 5, No. 1 )

Etude in F minor, Opus 25, No. 2 > Frederic Chopin

Scherzo in B minor, Opus 20 )

LEO LUSKIN

III

Sonata quasi una fantasia in E flat major,

Opus 27, No. 1 Ludwig van Beethoven

Andante

Allegro molto e vivace
Adagio con espressione
Allegro vivace

Sonatine in F sharp minor Maurice Ravel

Mod ere

Mouvement de menuet

Anime

ELEANOR HARSHMAN

Variations on the name, Abegg, Opus 1 Robert Schumann

Fantaisie in F minor, Opus 49 Chopin

EUGENE BOSSART

Sonata in F minor, Opus 5 Johannes Brahms

Allegro maestoso

Andante espressivo

Der Abend dammert, das Mondlicht scheint,

Da sind zu/ei Hersen in Liebe vereint

Und halten sich selig umjangen. (Sternau)

Scherzo: Allegro energico

Intermezzo: Andante molto (Riickblick)

Finale: Allegro moderato ma rubato

WALTER HAUTZIG

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

RECITAL OF ORGAN MUSIC
BY STUDENTS OF DR MC CURDY

MONDAY EVENING, APRIL 7, 1941, AT EIGHT O'CLOCK

PROGRAMME

Toccata, Thou art Peter and the gates of

Hell will not prevail against thee Henri Mulet

Scherzo, from Symphony No. 2 Louis Vierne

Chorale prelude, Nun freut euch Johann Sebastian Bach

Vivace, from Second Trio Sonata Bach

Cortege et litanie, Opus 19, No. 2 Marcel Dupre

WILLIAM WORMAN

Prelude and fugue in D major Bach

Pastorale Jean Roger-Ducasse

Toccata, from Suite, Opus 5 Maurice Durufle

CLARENCE SNYDER

AEOLIAN -SKINNER ORGAN

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94.O-4I

RECITAL OF MUSIC FOR THE VIOLIN
BY STUDENTS OF MR HILSBERG

Vladimir Sokoloff at the Piano
WEDNESDAY EVENING, APRIL 9, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME

Poeme, Opus 25 Ernest Chausson

JACOB KRACHMALNICK

Concerto in A minor, Opus 82 Alexander Glazounov

PAUL SHURE

III

Concerto in D major, Opus 3 5 Peter Ilich Tschaikovsky

Allegro moderato
Canzonetta. Andante
Finale. Allegro vivacissimo

JACOB KRACHMALNICK

Concerto No. 1 in D major, Opus 6 Niccolo Paganini

BARUCH ALTMAN

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4.O-4I

RECITAL OF MUSIC FOR WOODWIND ENSEMBLE
CONDUCTED BY MR TABUTEAU

THURSDAY EVENING, APRIL 10, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME

Serenade in E flat (K. 375) Wolfgang Amadeus Mozart

Allegro maestoso Menuetto

Menuetto Allegro

Adagi

Ralph Gomberg 1 James Chambers \

MacLean Snyder jOboes Joseph Eger J

Nathan Brus
James Rettew

Nathan Brusilow 1 Sanford Sharoff 1

^Clarinets Walter Maciejewicz )'

Trio Francis Poulenc

Presto Andante Rondo

Ralph Gomberg, Oboe Sanford Sharoff, Bassoon Waldemar Dabrowski, Piano

III

Quintet in E flat, Opus 71 Beethoven-Stark

Adagio. Allegro Menuetto. Quasi allegretto

Adagio Rondo. Allegro

Eleanor Mitchel, Flute Sanford Sharoff, Bassoon

Ralph Gomberg, Oboe James Chambers, Horn

Mitchell Lurie, Clarinet

IV
Serenade in E flat, Opus 7 Richard Strauss

John Krell 1 ; James Chambers \

Eleanor Mitchel J f '"'« Joseph Eger I

Ralph Gomberg \ Marcus Fischer (Horns

MacLean Snyder J Oboes Boone Shaw

Nathan Brusilow \ Sanford Sharoff

James Rettlu / Clarinets Walter Maciejewicz

John Shamlian

Pastorale variee dans le style ancien, Opus 30 Gabriel Pierne

John Krell, Flute Marcus Fischer, Horn

Ralph Gomberg, Oboe Sanford Sharoff 1

Nathan Brusilow, Clarinet Walter Maciejewicz j Bassoons
James Tamburini, Trumpet

VI
Petenera (Spanish Ballet Scene) William Strasser

Allegro vivace Andante molto Allegro vivace

Eleanor Mitchel ) James Chambers "J

John Krell > Flutes Joseph Eger l

Anton Winkler ) Marcus Fischer f norns

Ralph Gomberg \ , Boone Shaw /

MacLean Snyder j Oboes Sanford Sharoff )

Charles Gilbert, English Horn Walter Maciejewicz > Bassoor,

Nathan Brusilow ) John Shamlian J

James Rettew > Clarinets Jack Behrend, Tambourin

Mitchell Lurie ) Joseph Friedman, Castagnettes

STEINWAY piano

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4O-4.I

CHAMBER MUSIC RECITAL BY
STUDENTS OF MR KAUFMAN

FRIDAY EVENING, APRIL 18, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME

Three movements from Quintet in A major,

Opus 114 (Forelle) Franz Schubert

Allegro vivace

Andantino mit Variationen

Allegro giusto

Veda Reynolds, Violin Robert Ripley, Violoncello

Warren Signor, Viola Harry Safstrom, Contrabass

Phyllis Moss, Piano

First movement of Trio in B, Opus 8 Johannes Brahms

Allegro con moto

Sol Ovcharov, Violin
Esther Gruhn, Violoncello
Eugene Bossart, Piano

III

Quartet No. 2 in G minor, Opus 45 Gabriel Faure

Allegro molto moderato
Allegro molto
Adagio non troppo
Allegro molto

Morris Shulik, Violin Arthur Winograd, Violoncello

Joseph de Pasquale, Viola Waldemar Dabrowski, Piano

Quintet No. 2 in E flat minor,

Opus 26 Ernst von Dohnanyi

Allegro non troppo
Intermezzo: Allegretto
Moderato

/ v. ,. Joseph de Pasquale, Viola

^ Violins WlNIFRED Schaefer, V ioloncello

Rafael Druian
Marguerite Kuehne I

Barbara Jane Elliott, Piano

steinway piano

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4O-4.I

RECITAL OF COMPOSITIONS

STUDENTS OF MR SCALERO

MONDAY EVENING, APRIL 21, 1941, AT 8:30 O'CLOCK

STEINWAY PIANO
AEOLIAN-SKINNER ORGAN

PROGRAMME

Sonata in G minor for violoncello and piano

Moderate*. Allegro
Andante appassionata
Allegro con moto

LELA MAKI

Orlando Cole, Violoncello
Ralph Berrowitz, Piano

Compositions for voices:
Two rounds:

RUDOLPH SCHIRMER

Heigh-ho! sing, heigh-ho!
Unto the green holly.
Most friendship is feigning,
Most loving mere folly.
Then heigh-ho! the holly!
This life is most jolly.

— William Shakespeare

I fear thy kisses, gentle maiden,
Thou needest not fear mine.

— Percy B. Shelley

Canon:

CURTIN WINSOR

(An old time Western gambler and his partner, Bill
Nye, attempt to fleece a Chinaman, Ah Sin, at a
game of cards — euchre — with unexpected results.)

Which we had a small game

And Ah Sin had a hand:

It was euchre, the same

He did not understand,

But he smiled as he sat by the table

With a smile that was childlike and bland.

But the hands that were played

By that heathen Chinee,

And the points that he made

Were quite frightful to see;

Till at last he put down a right bower,

Which the same Nye had dealt unto me.

Then I looked up at Nye,

And he gazed upon me,

And he rose with a sigh,

And said: "Can this be?

We are ruined by Chinese cheap labor!"

And he went for that heathen Chinee.

— Bret Harte

Round: CURTIN WINSOR

DRUM TAPS

Beat! beat! drum!

Blow! bugles! blow!

Over the traffic of cities,

Over the rumble of drums in the streets;

Through the windows, through the doors,

Burst like a ruthless force into the school,

Into the church, into the school.

Beat! beat! drums!

Blow! bugles! blow!

— Walt Whitman

Two rounds: ROBERT KELLY

ELISHA JOE

Elisha Joe, the parson's right hand man, I know,
Elisha Joe, whose life was ebbing mighty low,
Was sent to dig a grave a little, little bigger.
No task too hard for this old kindly, cheerful nigger.
Elisha Joe, the parson knew would be no mo'e,
And now, I know, who dug the grave for Elisha Joe.

— Robert Kelly

TO CHERRY BLOSSOMS

Ye may simper, blush and smile,

And perfume the air awhile,

But, sweet things, ye must be gone;

Fruit ye know is coming on.

Then, ah! then, where is your grace,

Whenas cherries come in place?

— Robert Herrick

Barbara Troxell Muriel Robertson

Helen Worrilow Margarette Godwin

Katharine Harris Martha Flynn

Willa Stewart Gordon Sayre

Eleanor Murtaugh Theodore Uppman

Doris Luff Thomas Perkins

Conducted by Samuel Barber

Chorale preludes for organ:

Nun lasset uns den Lieb begrab'n ALFRED MANN

O Herzensangst, O Bangigkeit RUDOLPH SCHIRMER

William Worman, Organ

Freu' dich sehr, O mcine Seek / __-..- „.^.,^^»

tv. ^ u w i u- a C FRANCESCO CARUSO

Du, O schones weltgebaude )

Clarence Snyder, Organ

Three songs: CONSTANT VAUCLAIN

Proud Maisie — Sir Walter Scott

The Miller's Daughter — Alfred Lord Tennyson

Song — Richard Le Gallienne

Barbara Troxell, Soprano
Eugene Bossart, Piano

Eight variations for strings and piano on a theme
by Antonio Caldara (1670-1736)

EDITH EVANS BRAUN

THE CURTIS STRING QUARTET

Jascha Brodsky i Max Aronoff, Viola

Charles Jaffe \ Viol"ts Orlando Cole, Violoncello

The Composer at the piano

Messrs Kelly, Winsor, Schirmer, Mann and
Caruso are in the second year of their
composition course. Miss Maki, Mrs Braun
and Mr Vauclain are graduates of Mr Scalero.

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4.O-4I

RECITAL OF MUSIC FOR THE VIOLIN

BY STUDENTS OF MADAME LUBOSHUTZ

Ralph Berkowitz at the Piano

TUESDAY EVENING, APRIL 22, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME

Sonata in A major Antonio Vivaldi

Ballade in D minor for violin alone Eugene Ysaye

HERBERT BAUMEL

II
Havanaise, Opus 83 Camille Saint-Saens

SIDNEY SHARP

III

La campanella Niccolo Paganini

Etude in thirds Scriabin-Szigeti

TIBOR ZELIG

Finale of Fantasy, Opus 46 (Scotch) Max Bruch

Allegro guerriero

NATHAN GOLDSTEIN

Sonata in B flat for violin and viola unaccompanied (K. 424)

Wolfgang Amadeus Mozart

Adagio

Allegro

Andante cantabile

Tema con variazion: Andante grazioso

MORRIS SHULIK and JOSEPH DE PASQUALE

Sonata No. 3 in D minor, Opus 108 Johannes Brahms

Allegro

Adagio

Un poco presto e con sentimento

Presto agitato

HERBERT BAUMEL
Mr de Pasquale is a student of Mr Aronoff in Viola

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

RECITAL OF MUSIC FOR VOICE

BY STUDENTS OF MADAME GREGORY

Eugene Bossart at the piano

WEDNESDAY EVENING, APRIL 23, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME

Care selve Georg Friedrich Handel

Gebet 1 Hugo Wolf

Fussreise j

O Lisbona, from Don Sebastiano Gaetano Donizetti

Gordon Sayre, Baritone

Poesia persiane, No. 3 Francesco Santoliquido

In quelle trine morbide, from Manon Lescaut... Giacomo Puccini
Eleanor Murtaugh, Soprano

III

Recitatif et air, from Uenfant prodigne) Claude Debussy
Chevaux de bois j

At the well Richard Hageman

Doris Luff, Soprano

Vaghissima sembianza) Stefano Donaudy

Spirate, pur, spirate j

Che gelida manina, from La Boheme Puccini

Donald Coker, Tenor

Der Tod das ist die kuhle Nacht Johannes Brahms

Wohin? Franz Schubert

Ozean! Du Ungeheuer!, from Oberon... Carl Maria von Weber
Muriel Robertson, Soprano

The tryst Jan Sibelius

Visions SVANTE SjOBERG

Cielo e mar!, from La Gioconda Amilcare Ponchielli

Donald Hultgren, Tenor

Mr Bossart is a student of Mr Kaufman in Accompanying.
STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

RECITAL OF CHAMBER MUSIC
BY STUDENTS OF DR LOUIS BAILLY

THURSDAY AFTERNOON, APRIL 24, 1941, AT FIVE O'CLOCK

Sol Ovcharov ) Albert Falkove, Viola

Morris Shulik j Arthur Winograd, Violoncello

PROGRAMME

Quartet in E flat major, Opus 76, No. 6 Joseph Haydn

Allegretto
Fantasia. Adagio
Menuetto. Presto
Finale. Allegro spirituoso

Quartet in A minor, Opus 132 Ludwig van Beethoven

Assai sostenuto. Allegro

Allegro ma non tanto

Molto adagio

(Canzona di ringraziamento, in modo
lidico, offerta alia divinita da un guarito.)

Alia marcia, assai vivace. Allegro appassionato

III

Quartet in B flat major, Opus 67 Johannes Brahms

Vivace

Andante «

Agitato

Poco allegretto con variazioni

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

THE BEGGAR'S OPERA

by
JOHN GAY and JOHANN PEPUSCH

performed by the Opera Class
of Dr Hans Wohlmuth.

Conducted by Joseph Levine
THURSDAY EVENING, APRIL 24, 1941, AT EIGHT-THIRTY O'CLOCK

Dramatis Personae

Mr Peachum Thomas Perkins

Lockit Robert Grooters

Macheath Gordon Say re

Filch Norman Rose

Jemmy Twicher ...Robert Grooters
Crookfinger'd Jack... James Cosmos
Robin of Bagshot... Thomas Perkins
Mat of the Mint... Theodore Uppman

Beggar Muriel Smith

Player Kathryne Kero

Mrs Peachum Muriel Robertson

Polly Peachum Margaret Lilly

Lucy Lockit Doris Luff

Diana Trapes Mary Davenport

Women of the town:

Mrs Coaxer Barbara Troxell

Dolly Trull Kathryne Kero

Mrs Vixen Willa Stewart

Betty Doxy Eleanor Murtaugh

Jenny Diver Helen Worrilow

Mrs Slammerkin Martha Flynn

Suky Tawdry Katharine Harris
Molly Brazen. .Margarette Godwin

Act I — Peachum's house

Act II — A tavern near Newgate
Newgate

Act III — Newgate

A gaming house

Newgate

The condemn'd hold

Personnel of the Orchestra

Jacob Krachmalnick
Charlotte Cohen
Warren Signor, Viola
Robert Ripley, Violoncello

lv*

Violins

Roger Scott, Contrabass
Eleanor Mitchel, Flute
MacLean Snyder, Oboe
Joseph Levine, Cembalo

COSTUMES BY VAN HORN AND SON

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

GRADUATION RECITAL BY

ALBERT FALKOVE AND PHILIP GOLDBERG

Students of Dr Louis Bailly

GENIA ROBINOR AT THE PIANO
FRIDAY EVENING, APRIL 2 5, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME OF MUSIC FOR VIOLA AND PIANO
BY CONTEMPORARY COMPOSERS

Sonata No. 4, Opus 11 (played without pause)

Paul Hindemith

Fantasie

Thema mit Variationen

Finale (mit Variationen)

Albert Falkove
II

Sonata Rebecca Clarke

"Poete, prends ton luth; le vin de la jeunesse

Fermente cette nuit dans les veines de Dieu."

Alfred de Musset — La nuit de Mai

Impetuoso

Vivace

Adagio. Allegro

Philip Goldberg

III

Suite Ernest Bloch

Lento. Allegro (In the jungle)
Allegro ironico (Grimaces)
Lento (Night in Java)
Molto vivo (In the sun country)

Albert Falkove
STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

RECITAL OF MUSIC FOR CHAMBER ORCHESTRA
CONDUCTED BY DR FRITZ REINER

MONDAY AFTERNOON, APRIL 28, 1941, AT FIVE O'CLOCK

PROGRAMME
I

Symphony in A, Kochel 201 Wolfgang Amadeus Mozart

Allegro moderato

Andante

Menuetto

Allegro con spirito

Siegfried. Idyll Richard Wagner

.Alfredo Casella

III
Pupazzetti (Five pieces for marionettes)

Marcetta

Berceuse

Serenata

Notturnino

Polka

The bourgeois gentleman (after Moliere) Richard Strauss

1. Overture to Act I (Jourdain, the bourgeois)

2. Minuet

3. The fencing master

4. Entrance and dance of the tailors

8. Introduction to Act II (Intermezzo)

9. The dinner. Dinner music and dance of the scullery boys

PERSONNEL OF THE ORCHESTRA

First violins :

George Zazofsky
Herbert Baumel
Jacob Krachmalnick
Sidney Sharp
Sol Ovcharov
Eugene Campione

Second violins :
Baruch Altman
Morris Shulik
Tibor Zelig
Charlotte Cohen
Ernest Goldstein
Elliott Fisher

Violas :

Albert Falkove
Philip Goldberg
Joseph de Pasquale
Francis Tursi

Violoncellos :

Arthur Winograd
Esther Gruhn
Winifred Schaefer
Rohini Coomara

Contrabasses :
Roger Scott
Jane Tyre

Flutes :

Eleanor Mitchel
John Krell

Oboes :

Ralph Gomberg
MacLean Snyder

Clarinets :

Nathan Brusilow
James Rette\t
Mitchell Lurie

Bassoons :
Sanford Sharoff
Walter Maciejewicz

Horns :
James Chambers
Joseph Eger

Trumpet :

Leo Gomberg
Trombone :

Richard Shill
Tympani :

Irvin Duer
Battery :

Edgar Curtis

Walter Hendl

Piano .'

Leonard Bernstein
Walter Hendl

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I 94O-A I

RECITAL OF MUSIC FOR THE PIANO
BY STUDENTS OF MADAME VENGEROVA

WEDNESDAY EVENING, APRIL 30, 1941, AT EIGHT-THIRTY O'CLOCK

PROGRAMME

I
Nocturne in C sharp minor, }

Opus 27, No. 1 I , ,

Etude in F major, Opus 10, No. 8 i Fran?ois Frederic Chopin
Scherzo in B minor, Opus 20 /

JACOB LATEINER

Impromptu in B flat major, Opus 142 Franz Schubert

Etude in D flat major { Franz Liszt

Waldesrauschen )

BARBARA JANE ELLIOTT

III

Two movements

from the Concerto in E minor, Opus 11 Chopin

Allegro maestoso
Rondo: Vivace

EILEEN FLISSLER
Leonard Bernstein at the second piano

Two pieces from Le tombeau de Couperin: Maurice Ravel

Prelude

Rigaudon
Fifth sonata (in one movement) Alexander Scriabin

Timid, trembling whisperings of life —
Mysterious forces deeply, darkly drowned
In creative will, — I summon you to being;
I bring you strength; I make you manifest!
From The Poem of Ecstasy
LEONARD BERNSTEIN

Passacaglia Lukas Foss

Apres une lecture du Dante. Fantasia quasi sonata Liszt

LUKAS FOSS

Two movements

from the Concerto in C major, Opus 26... Serge Prokofd2FF

Andantino (Theme and variations)
Andante. Allegro

ANNETTE ELKANOVA
Leonard Bernstein at the second piano

STEINWAY PIANOS

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IO4O-4.I

RECITAL OF MUSIC FOR THE PIANO
BY STUDENTS OF MR SERKIN

THURSDAY AFTERNOON, MAY 1, 1941, AT FIVE O'CLOCK

PROGRAMME

Prelude and fugue in D minor, from The Well-Tempered

Clavichord, Book II Johann Sebastian Bach

SHERMAN FRANK

Sonata in F, Kochel 332 Wolfgang Amadeus Mozart

Allegro
Adagio
Allegro assai

VIVIENNE KESSISSOGLU

III

Sonata in F sharp Ludwig van Beethoven

Adagio cantabile. Allegro, ma non troppo
Allegro assai

EUGENE ISTOMIN

Ballade in F minor Francois Frederic Chopin

BYRON HARDIN

V
Three intermezzi from Opus 119: Johannes Brahms

No. 1 in B minor
No. 2 in E minor
No. 3 in C major

Scherzo in B minor Chopin

MYRA GHITIS

Phantasie in F minor Chopin

Etude in A minor Paganini-Liszt

RUTH HILDE SOMER

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I940-4I

HISTORICAL SERIES

of
SOLO AND CHAMBER MUSIC

presented by Ralph Berkowitz

THIRD SEASON— FIRST CONCERT

PURCELL-BACH

♦

WEDNESDAY EVENING, NOVEMBER 6, 1940
AT EIGHT O'CLOCK

AEOLIAN-SKINNER ORGAN
STEINWAY PIANO

Programme

HENRY PURCELL — 1 6 5 8 - 1 69 5

1. Fantasia in five parts, upon one note 1 StH orchestra

rantasia in four parts, No. 3 1

Conducted by Joseph Levine

2. When Myra sings t

Let the fifes and the clarions > Vocal duets

I spy Celia )

Barbara Troxell, Soprano Donald Coker, Tenor

Thomas Perkins, Baritone James Cosmos, Bass

Leo Luskin, Piano

3. He that drinks is immortal )

Since time so kind to us does prove / Rounds for voices

I gave her cakes j

Steuart Wilson, Tenor Theodore Uppman, Baritone

Norman Rose, Tenor Thomas Perkins, Baritone

James Cosmos, Bass

4. The Bell Anthem: Rejoice in the Lord alway

Voices, strings and organ

Barbara Troxell, Soprano Steuart Wilson, Tenor

Margaret Lilly, Soprano Donald Coker, Tenor

Mary Davenport, Contralto Thomas Perkins, Baritone

Ann Nisbet, Contralto James Cosmos, Bass

William Worman, Organ

Conducted by Joseph Levine

JOHANN SEBASTIAN BACH — 1685-1750

1. Sonata in G Flute, violin and piano

Largo — Vivace — Adagio — Presto

Eleanoi Mitchel, Flute Paul Shure, Violin

Leo Luskin, Piano

2. Chorale prelude: Vor deinen Thron tret' ich hiemit \ Or a
Fugue in E flat (St Anne) f °

William Worman, Organ

3. Concerto in D minor Piano and string orchestra

Allegro risoluto — Adagio — Allegro moderato
Played and conducted by Joseph Levine

MEMBERS OF THE STRING ORCHESTRA

First Violins: Second Violins: Violas: Violoncellos:

PAUL SHURE BARUCH ALTMAN PHILIP GOLDBERG ESTHER GRUHN

VEDA REYNOLDS ELLIOTT FISHER JOSEPH DE PASQUALE ROBERT RIPLEY

JACOB KRACHMALNICK CHARLOTTE COHEN WARREN SIGNOR RICHARD KAPUSCINSKI

SIDNEY SHARP EUGENE CAMPIONE FRANCIS TURSI

sol ovcharov Contrabass:

MORRIS SHULIK ROGER SCOTT

Programme Notes

by Ralph Berkowitz
HENRY PURCELL

The Restoration is the second period in England when music reached
heights which nearly three centuries of later English composition have not
succeeded in equalling.

As a reaction against Puritanism which had ruled England for two bit-
ter decades, the Restoration of the Monarchy ushered in an era of vigorous
political and artistic activity. But so effective had the Puritans been in their
hostility to music, with their banishment of it in churches and their destruc-
tion of organs and other musical instruments, that by 1660 when new forces
arose in political life, the continuity of English music had already been broken.

With the renewal of the art, the old polyphonic style which had flowered
during Elizabeth's reign was now superseded by a type of music in which
the solo was of prime importance. Charles II, the Merry Monarch, who had
been attracted by the new music of France, indoctrinated his Royal Band
and the choir of the Chapel Royal with methods more 'tuneful and sprightly'
than had existed earlier in the century.

Purcell, as a student in the Chapel, came under the influence of Pelham
Humphrey (1647-74), a musician who had gone to France with the express
purpose of bringing back the newest developments of Lully's French ballet
and opera.

The freshness of this style immediately achieved an enormous success
and the impulse it gave to men like Matthew Locke (1630-77), John Blow
(1648-1708) and Purcell, allowed England, at about the time of Bach's birth,
to stand in the forefront of European music.

The anthem and duets on tonight's program, like the Sonatas for two
violins and piano heard on former programs of the Historical Series, are
examples of Purcell's use of what was for him the newest contemporary
musical thought.

Polyphonic music, however, had not completely lost its attraction for
musicians, and part-songs, as Pepys reports, continued as a pleasant feature
of social life. Therefore, it is not surprising that Purcell, even though his
music 'in the new style' was achieving much success, should turn, as in the
Fantasias on this program, to the characteristics of the Elizabethan poly-
phonists. Here, in purely instrumental music of startling originality, he
reverted to a type of composition which in his opinion must have appeared
of permanent value. But modern as this music sounds to us, listeners in Pur-
cell's day thought it old-fashioned. They demanded tunes unhindered by old
contrapuntal devices and would have nothing but the latest works patterned
on Italian and French models.

Roger North, in his Memoires of Music, speaks sadly of the older works
which were then being ignored: "Of these Fancies whole volumes are left,
scarce ever to be made use of but either in the air for kites or in the fire
for singeing pullets."

The Fantasia as an art-form is well described in Thomas Morley's, A
Vlaine and Easie introduction to Practicall Musicke (1597): "The most
principal and chiefest kind of music which is made without a ditty is the
fantasie, that is when a musician taketh a point at his pleasure, and wresteth
and turneth it as he list, making either much or little of it according as
shall seem best in his own conceit."

With Purcell's death at the age of thirty-seven the outburst of musical
accomplishment faded rapidly and soon English music was to pass, as one
historian has remarked, 'under the splendid but alien domination' of Handel.

With all musical geniuses who have died at an early age, such as Mozart,
Schubert and Purcell, it is impossible to imagine what their music, and what
the history of music would have been, had they lived longer. George Dyson,
in a recent work, is probably near the truth in his belief that "If Purcell
had had the opportunities of some of his contemporaries in Italy and France,
every opera-house in Europe would have clamored for his music. He might
in due time have been imported back into England, and given the status
rarely bestowed on an Englishman-born."

JOHANN SEBASTIAN BACH

Bach composed two Sonatas for flute, violin and continue The one in
C minor is part of Dai Musikalisches Opfer and was heard in last season's
performance of that work. The other, in G major, which is heard on to-
night's program dates from Bach's Cothen period (1717-23) when the greater
part of his sixty-seven chamber-music compositions were written. Apart from
the Sonata's inherent beauty it is interesting to observe that the bass through-
out the work is identical with that of a Sonata, also in G major, for violin
and continue

The Sonata's construction follows the usual plan of alternating slow
and quick movements which is characteristic of the so-called Sonata da
chiesa. This and the Sonata da camera (all the Bach Suites and many of the
Partitas belong in this category) are forerunners of the classical sonata.

The chorale-prelude Vor deinen Thron tret' ich hiemit is reputedly
Bach's last work. It was dictated by him to his son-in-law Altnikol, and
the, scene of this occasion has been left us in the touchingly simple words
of Anna Magdalena Bach.

"Our dear son-in-law Christoph [Altnikol] told me later that Sebas-
tian, after he had for perhaps an hour lain so still that he seemed
asleep, suddenly lifted himself up in bed and said: 'Christoph, go and
fetch paper. I hear music in my head; pray write it down for me.'
Quickly Christoph fetched paper, a goosequill, and an inkwell, and
wrote according to Sebastian's dictation. When he had finished, Sebas-
tian lay down again, with a sigh, and whispered, so softly that Chris-
toph could only just make out what he was saying: 'That is the last
music I shall make in this world.'"

Bach's ability to instill the utmost expressiveness into any of the con-
ventional forms with which he worked is one of the miracles of art. Per-
haps nowhere in his music is this more remarkable than in his Fugues. The
mechanically rigid construction which this type of music can acquire is
always avoided by Bach and in its place arises a singularly vivid and expres-
sive work.

The title St Anne, which the E flat major Fugue bears, was given to it
because of the resemblance of its theme to the first line of St Anne's Tune,
a famous English Hymn published in 1708.

The D minor Piano Concerto was originally a concerto for violin. This com-
position has been lost and we know it only from an editor's version, of which
Professor Donald Francis Tovey has said: "The restored text of the work
as a violin concerto unfortunately was done in the Dark Ages as regards
Bach-scholarship, and it is demonstrably wrong in every possible way besides
several impossible ways."

There are also in existence two earlier keyboard versions which clearly
point to the work's origin. But of greater interest is the fact that Bach
used the first movement as an overture to the Cantata, Wir miissen durch
viel Triibsal. Referring to the second movement, Professor Tovey says:

"This is one of the most stupendous tours de force in) all musical
history. The slow movement is arranged with the transposition of
the solo part an octave lower and with additional wind-parts; but
all this is the mere accompaniment to a totally independent four-part
chorus! If the result were confused or unnatural there would be
little more to be said for it than for Raimondi's four complete simul-
taneous fugues in four different keys, or for his three simultaneous
oratorios, or for many other scholastic tomfooleries which may be
played backwards and upside down without sounding noticeably more
sensible than when played rightend foremost. But Bach's result is
of the same Greek simplicity, for all its ornamentation, as his orig-
inal; in fact, it is just as much an original inspiration as if no earlier
or simpler version had existed."

The finale was also used by Bach as the prelude to the Cantata, Ich
habe meine Zuversicht, and here again extra instrumental voices were added
to the texture of the original work.

This concerto, aside from being one of the most interesting works in all
music from the historical point of view, is also one of the noblest and most
arresting. It is of a quality which can only be associated with one composer —
Johann Sebastian Bach.

Next concert in the Historical Series December 12th
HAYDN-MOZART PROGRAMME

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4O-4.I

HISTORICAL SERIES

of
SOLO AND CHAMBER MUSIC

presented by Ralph Berkowitz

THIRD SEASON— SECOND CONCERT

HAYDN-MOZART

THURSDAY EVENING, DECEMBER 12, 1940
AT EIGHT O'CLOCK

P r o .2 r a m m e

FRANZ JOSEF HAYDN— 1732-1809

String quartet in F major. Opus 77, No. 2

Allegro moderato

Menuetto. Presto ma non troppo

Andante

Finale. Vivace assai

Rafael Druian, Violin
Sol Ovcharov, Violin

Julius Weissman, Viola
Winifred Schaefer, Violoncello

London trio in C major. No. 1

Allegro moderato
Andante
Finale. Vivace

Eleanor Mitchel, Flute

John Krell, Flute

Winifred Schaefer, Violoncello

WOLFGANG AMADEUS MOZART— 175 6-1791

String quintet in G minor. Kochel 516

Allegro

Menuetto. Allegretto

Adagio ma non troppo

Adagio

Allegro

Herbert Baumel, Violin Julius Weissman, Viola

Baruch Altman, Violin Joseph de Pasquale, Viola

Francis de Pasquale, Violoncello

Divertimento in F major. The Musical Jest. Kochel 522

Allegro
Menuetto
Adagio cantabile
Presto

Ezra Rachlin, Conductor

♦

MEMBERS OF THE CHAMBER ORCHESTRA

First Violins:

GEORGE ZAZOFSKY

PAUL SHURE
MARGUERITE KUEHNE
SIDNEY SHARP
SOL OVCHAROV
CHARLOTTE COHEN

Second Violins:

BARUCH ALTMAN
MORRIS SHULIK
EUGENE CAMPIONE
ELLIOTT FISHER
NATHAN GOLDSTEIN
ERNEST GOLDSTEIN

Violas :

JOSEPH DE PASQUALE
PHILIP GOLDBERG
FRANCIS TURSI
■WARREN SIGNOR

Violoncellos:

ESTHER GRUHN
RICHARD KAPUSCINSKI
ROHINI COOMARA

Contrabass:

WILFRED BATCHELDER

Horns:

JAMES CHAMBERS
MARCUS FISCHER

Programme Notes

by Ralph Bf.rkowitz

'Could I only impress in the soul of every music-lover, the
inimitable uorks of Mozart as deeply and with such musical under-
standing as I myself feel and comprehend them. . . .'

. Franz Josef Haydn

The extent to which one musical genius can influence another has
always been a fascinating problem in musical aesthetics. Great interest
has surrounded the relationship of Haydn and Mozart, and
various interpretations have been set forth by many authorities in an
effort to weigh the products of each man in the light of the other's art.
Analyses of chamber-works produced at about the same time by both
have led to interesting generalities. Professor Donald Francis Tovey
once remarked that, '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. . . .'

Musicians have also found truth in Dr Ernest Walker's famous
epigram which claimed that 'Haydn first showed Mozart how to write
string quartets, whereupon Mozart showed Haydn how string quartets
should be written.' But it is unlikely that we can ever subscribe to
Charles Lamb's view. He writes:

Some cry up Haydn, some Mozart,
Just as the whim bites; for my part,
I do not care a farthing candle
For either of them, or for Handel. *

Haydn was born twenty-four years before Mozart and outlived
him by eighteen. But through some peculiar chain of circumstances,
during a whole decade neither composer wrote for string quartet —
Haydn from 1772 to 1781 and Mozart from 1773 to 1782.

Haydn's first quartets after resuming work in this form, are the
six of the so-called Russian set, opus 33, dedicated to the Grand Duke
Paul. These quartets, incidentally, are the first in which Haydn used
the term, scherzo, in place of the usual minuet.

Mozart was apparently stimulated by these works, for between
1782 and 1785 he composed six quartets, dedicated to Haydn, which he
himself described as the fruit of 'langen, beschwerlichen Arbeit.' It
was upon hearing some of these for the first time that Haydn said to
Mozart's father, 'Your son is the greatest composer known to me,
either personally or by reputation.'

Analysis points out, and our ears prove, that from then on Haydn
willingly sought Mozart's influence. He was far too great a man not
to be willing to learn from a much younger artist.

*To show that Haydn, Mozart and Handel were not the only composers he found
uncongenial, Lamb continues:

The devil, with his foot so cloven,
For aught I care, may take Beethoven;
And, if the bargain does not suit,
I'll throw him Weber in to boot.

Haydn and Mozart lived lives typical of the 18th century musician,
but with one enormous difference. Haydn was always employed as
Kapellmeister by some princely family — such as the Esterhazys, for
whom he worked for twenty-nine years — and was thus enabled to
compose without the constant fear and insecurity that Mozart faced
throughout his mature life. For after Mozart's years as a Wundcrhiud,
during which he was the darling of every European capital, he never
succeeded in obtaining a position such as Haydn's which would have
saved him from being overwhelmed by the tyranny of poverty.

The two men knew each other fairly well and at times spent an
evening together making music. Michael Kelly, the singer, speaks in
his memoirs of attending a 'quartett party' at someone's home in
Vienna; his experience that evening has undoubtedly been the envy of
many generations of musicians. He writes: 'The players were tolerable,
not one of them excelled on the instrument he played; but there was
a little science among them, which I dare say will be acknowledged
when I name them. The first violin, Haydn, the second violin, Ditters-
dorf, the viola, Mozart and the cello, Vanhall. ... I was there and a
greater treat or a more remarkable one cannot be imagined.'

The last years of Haydn's life were filled with honours and adul-
ation; he was, in fact, one of the most renowned figures of the time.
It is doubtful whether any composer since then has been so adequately
complimented as Haydn was on one occasion by an admirer who sent
him six pairs of stockings into which were worked favorite themes from
his compositions! Toward the end of his life he could well say: 'I
know that God has bestowed a talent upon me, and I thank Him for it;
I think I have done my duty, and been of use in my generation by my
works; let others do the same.'

Compare this with a letter of Mozart written a few months before
his death. 'My head is confused, I reason with difficulty. ... I go on
because composition wearies me less than resting. ... I know from
what I feel that the hour sounds; I am on the point of expiring; I have
finished before having enjoyed my talent. Life was so beautiful, my
career began under such favourable auspices, but none can change his
destiny. . . .'

The works on tonight's program need little comment. The quartet
of Haydn and Mozart's quintet are among the truly remarkable ex-
pressions in all the art of music.

Haydn's C major Trio dates from 1794, the year of his second
visit to London and is thus contemporaneous with several of the great
Salomon symphonies.

The F major Divertimento Mozart himself called Ein imisikaliscbcr
Spass. It is suggestive of a performance by a village band, but at the
same time points a scornful finger at the formulas and devices of some
well-known composers of Mozart's day. The close of the final move-
ment is a humorous use of polytonality 125 years ahead of its time.

Nc\t concert in the Historical Scries January 2 1st
BEFTHOY I. N - B R A H M S PROGRAMME

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

HISTORICAL SERIES

of
SOLO AND CHAMBER MUSIC

presented by Ralph Berkowitz

THIRD SEASON— THIRD CONCERT

BEETHOVEN-BRAHMS

TUESDAY EVENING, JANUARY 21, 1941
AT EIGHT O'CLOCK

AEOLIAN-SKINNER ORGAN
STEINWAY PIANO

Programme

LUDWIG VAN BEETHOVEN— 1770-1827

Scotch, Irish, and Welsh folksongs

Up! Quit thy bower Scotch

Love without hope \

The damsels of Cardigan > Welsh

Waken lords and ladies gay \

The sweetest lad was Jamie \

Again my lyre \ Scotch

Oh! Thou art the lad of my heart )

Since greybeards inform us \

The kiss, dear maid > Irish

Paddy O'Rafferty )

Duncan Gray Scotch

Barbara Troxeii., Soprano George Zazofsky, Violin

Norman Rose, Tenor Rohini Coomara, Violoncello

Thomas Perkins, Baritone Waldemar Dabrowski, Piano

Variations and Fugue in E flat, Opus 35

Jorge Bolet, Piano

III

Recording of the Finale from Symphony No. 3 in E flat, Opus 5 5

Felix Weingartner, conducting the
Vienna Philharmonic Orchestra

JOHANNES BRAHMS— 1833-1897

Two chorale-preludes, Opus 122:

Herzlich tut mich verlangen
Es ist ein Ros' entsprungen

Clarence Snyder, Organ

Quartet in C minor, Opus 51, No. 1

Allegro

Romanze. Poco adagio

Allegretto molto moderato e comodo

Allegro

Herbert Baumel, Violin
Baruch Altman, Violin

Julius Weissman, Viola
Arthur Winograd, Violoncello

Programme Notes

by Ralph Berkowitz

George Thomson holds a place in music history as the most
enthusiastic collector and publisher of Scotch, Welsh, and Irish folk-
music. He began this work in his youth and for forty years con-
tinued the search for what he described as 'all the fine airs both of the
plaintive and lively kind, unmixed with trifling and inferior ones.'

Thomson engaged men like Sir Walter Scott, Sir Alexander Bos-
well, and Robert Burns to supply poems for those melodies having no
English text, while he obtained instrumental accompaniments from
some of the finest musicians of Europe. From 1791, when he started
this enterprise, Thomson had Pleyel, Kozeluch and Haydn writing
folksong settings for voices, piano, violin, and 'cello, and after long
negotiation finally persuaded Beethoven to undertake the same type of
work. At first Beethoven's interest was mainly commercial, for he
hardly ever refused a sound offer if his artistic integrity permitted,
but soon after commencing work on these pieces he developed a whole-
hearted enthusiasm for them. 'The Scottish songs show how uncon-
ventionally the unusual melody can be harmonized,' he once remarked.

Shortly afterward Beethoven submitted an idea to Thomson calling
for similar treatment of Portuguese, Spanish, Italian, and Russian folk
music, but this Thomson declined and Beethoven's collection of music
from these countries was later published by Schlesinger of Berlin.
Beethoven was also willing to compose a piano sonata or chamber work
based on Scotch and Irish folk music, but this Thomson also declined
because of Beethoven's high fee. Between 1809 and 182 3 Beethoven
finished 164 folk settings, of which Thomson published 120. For this
Beethoven received a total of £5 50.

These works are not, by and large, masterpieces comparable to
those we associate with Beethoven's name. They are nonetheless a
charming and little known side of a composer of whom we gen-
erally think as occupying some remote Olympian height. The folk
songs unquestionably exerted a strong influence upon Beethoven for
the remainder of his life; this can be felt in such works as the Opus 59
quartets as well as in the last four symphonies.

In 1801 Beethoven wrote a ballet, The Men of Prometheus, which
was produced with much success at the Court Theatre in Vienna.
For one of the contredanses in the work Beethoven felt great affec-
tion. The following year he used it as the theme for the set of varia-
tions that we hear on tonight's program, and a year or two later he
apparently was still sufficiently fond of it to incorporate the theme and
much of the material from the variations into the finale of the Eroica
Symphony.

The variations begin with the bare bass of the theme, a bass
which is probably the best-known in all music. Despite being made
from less than a handful of notes it is somehow unmistakably charac-
teristic of its creator. There follow three short sections marked a 2, a 3
and a 4 (i.e. duet, trio, and quartet) in which contrapuntal material
is added to the reiterated bass. The theme itself then appears with an
innocent dance-rhythm accompaniment, and fifteen variations full of
brilliance, humor, and beauty are built upon it. The final fugue is
constructed along lines different from the fugue passages in the finale

of the Eroica. It is founded upon the first four notes of the bass —
later employing them in inversion — and brings to a wonderful climax
one of Beethoven's true masterpieces for the piano.

The eleven chorale-preludes for organ are Brahms' last works.
They were composed in May and June of 1896 in memory of his
dearest friend, Clara Schumann. It is strange that both Brahms and
Bach should have expressed their final musical thoughts in organ
chorale-preludes. *

Walter Niemann has written beautifully of these last Brahms
works. He says: 'They are a retrospect and an epilogue, a salutation
to youth and its musical ideals, and a farewell to this world, which is,
in spite of all, so fair. And over all this — both retrospect and pros-
pect— Brahms throws that fine, tender veil of resignation which is all
his own. It is from this personal point of view that we shall most
readily learn, not only to understand and deeply love these chorale-
preludes, but also to feel for ourselves what it is that distinguishes them
essentially from the organ chorales of Bach and his predecessors:
namely, the whole subjective modern art of atmosphere and resigned
Weltschmerz.'

* Bach's final chorale-prelude, Vor deinen Thron tret' ich hiem'it, was heard at the
first concert of this season's Historical Series.

Brahms once said that he had sketched out at least twenty string
quartets before completing one which fully satisfied him.

His natural tendency was to express himself in terms of what a
recent writer has called his 'massive harmony and polyphony' and
the enormous difficulty Brahms faced was the necessity to reduce these
to the limits of four stringed instruments. Brahms himself said that
'it is not hard to compose, but what is fabulously hard is to leave the
superfluous notes under the table.'

The C minor quartet and its companion in A minor, Opus 51
No. 2, were composed during the summer of 1873.

In the construction of the C minor, his first published quartet,
Brahms used cyclic elements as an important means of dramatic expres-
sion. It is a device Beethoven brought to artistic perfection in his
later years and its influence upon Brahms is unmistakable. The open-
ing themes, for example, of the first, second, and fourth movements
are all derived from the same motive, and throughout the work many
subtle uses of this cyclic material serve to create a beautiful sense of
unity. Thus the second subject of the last movement, though based
on the same notes as the first subject, is of an entirely different nature.
Only the allegretto is without thematic relationship to the other move-
ments, making it serve as an effectively contrasting intermezzo.

The quartet, as a whole, is one of the most wonderful in all
chamber-music literature and, as an expression of the fusion of
classicism and romanticism, is perhaps a perfect example of nineteenth-
century art.

Next concert in this series February 19

Mr Felix Salmond will collaborate in a programme of French

chamber music which will include the Faure piano quartet in

C minor, the Debussy sonata for violoncello and piano, and the

Franck piano quintet.

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4.I

HISTORICAL SERIES

of
SOLO AND CHAMBER MUSIC

presented by Ralph Berkowitz

THIRD SEASON— FOURTH CONCERT

FRENCH CHAMBER MUSIC

WEDNESDAY EVENING, FEBRUARY 19, 1941
AT EIGHT O'CLOCK

STEINWAY PIANO

Programme

Gabriel Faure Quartet No. 1 in C minor, Op. 15

1845-1924 for piano and strings

Allegro molto moderato
Scherzo. Allegro vivo
Adagio
Allegro molto

Rafael Druian, Violin
Joseph de Pasquale, Viola

Felix Salmond, Violoncello
Ralph Berkowitz, Piano

Claude Debussy Sonata for violoncello and piano

1862-1918

Prologue
Serenade et Finale

Felix Salmond, Violoncello

Ralph Berkowitz, Piano

III

Cesar Franck Quintet in F minor

1822-1890 for piano and strings

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

Herbert Baumel, Violin Julius Weissman, Viola

Baruch Altman, Violin Felix Salmond, Violoncello

Ralph Berkowitz, Piano

Programme Notes

by Ralph Berkowitz

A great musical work can, in some mysterious fashion, convinc-
ingly express that nebulous quality which we call the soul of a people
— the atmosphere of a time and a place; it conveys a clear impression
of the mental climate which nurtured and brought it forth. An opera
like Boris Godounov, for instance, could hardly have sprung from any
culture but that of Czarist Russia, just as a certain form of religious
life was necessary to permit the creation of a Palestrina Mass.

The three chamber-works on tonight's program are all highly
personalized expressions. The reticent delicacy of Faure, the impas-
sioned voice of Franck, and Debussy's charm and color are indelibly
marked in these compositions, yet at the same time, and above all in-
dividual eloquence, there is an element through all the works which
speaks of what is most secret and intimate in the French soul of

their time.

* * *

No composer has been more successful than Faure in solving the
problem of a natural balance between strings and piano in chamber-
music. The writing in the C minor Quartet is always characteristic-
ally transparent and the whole work glows with a fresh and utterly
beautiful lyricism, which, like a painting of Renoir, seems to be
bathed in sunlight.

Although the new poetic currents of Baudelaire and Verlaine in-
fluenced him greatly, Faure in many ways remained a classicist. 'He
accommodates himself,' wrote Roger Ducasse, 'with the greatest ease
to the simplest traditional forms. . . . How is it that, in this novelty-
seeking age, he never disappoints us? The reason is that, with Gabriel
Faure, the one important thing is the music itself. The scheme he
follows is well-known? Granted; but he was endowed by the Muses
with the gift of ideas full of youth and beauty. Be the flask of cry-
stal, earth, or gold, what matters it if the imperishable scent be there?'

* * *

After his string quartet, which he composed in his thirty-first
year, Debussy wrote no chamber-music until, toward the end of his
life, he completed three of a projected group of six sonatas; the Sonata
for viola, flute and harp, the violin and piano Sonata, and the one on
tonight's program, for violoncello and piano. This, which was com-
pleted first, Debussy finished during the summer of 1915. He at first
intended to call it Pierrot fdche avec la lune, which allows us to be-
lieve that the work is more directly related to the main body of De-
bussy's music than that it is, as some critics have claimed, an effort
to return to the French classicism of Couperin and Rameau. In fact,
Leon Vallas, the biographer of Debussy, rightly considered the cello
Sonata as 'the supreme musical expression of the doctrines Debussy
preached as a critic and illustrated as a composer for over thirty years.'

At the time these sonatas were composed Debussy wrote a par-
ticularly touching letter, (as doubtless many French artists are writing
today) , which he sent to his publisher, Durand. 'I want to work, not
so much for myself, but to give proof, however small it may be, that
even if there were thirty million Boches French thought will not be
destroyed.'

;:- # *

The Franck Quintet, like the Faure Quartet, was composed in
1879. Thirty-six years before, Franck had written four piano trios,
but since then no other chamber-music had come from his pen. The
appearance of a work so masterly in its construction as the Quintet is
indicative of an inward development of style which Vincent d'Indy
calls 'a phenomenon almost without parallel in the history of music'

The work is built on several cyclic themes which appear in each
movement. This is a device Franck used in most of his larger com-
positions, and permits an intensely dramatic, unified structure to be
evolved.

The first performance of the Quintet was given in 1880 by the
Marsick Quartet with Saint-Saens playing the piano part. 'At the end
of the concert,' d'Indy writes, 'good old Father Franck, in great de-
light (he was always pleased with any performance, however poor, of
his works) went up to Saint-Saens and, handing him the manuscript
of the Quintet, exclaimed with generous warmth, "Thank you, my
friend! Since you have interpreted my work so wonderfully, it is
yours; accept my dedication of it and keep my manuscript in memory
of this delightful evening!" Saint-Saens with a wry smile — grimacant
tin sourire — twirled round and made off towards the exit, leaving the
precious score on the piano. Long afterwards, an employe of the firm
of Pleyel found it among a heap of waste paper.'

Next concert in this series: March 8th at 2:30 in

the Foyer of the Academy of Music, as part of the

Philadelphia Schubert Festival.

SATURDAY AFTERNOON, MARCH 8th, 1941—2:30 P. M.

CHAMBER MUSIC PROGRAM
(See page 28)

The Curtis Institute of Music

Historical Series

Under the Supervision of

Ralph Berkowitz

Cantata, "Sanger, der von Herzen singet"

(For Solo Soprano, Tenor and Bass with Piano)
Barbara Troxell, Soprano Donald Hultgren, Tenor
James Cosmos, Bass Eugene Bossart, Piano

Piano Solos —

Two Impromptus: B flat, Opus 142, No. 3

F minor, Opus 142, No. 4
Barbara Jane Elliott, Piano
Quintet in C Major for Strings, Op. 163
Allegro ma non troppo

Adagio
Scherzo :

Presto

Allegretto

Herbert Baumel

!■ Violins

Baruch Altman

Julius Weissman

Viola

Winifred Schaefer
Esther Gruhn

I Violoncellos

Steinway Piano

Program

Notes

Henry S.

Drinker

The Philadelphia Choral Festival Society

In the Fall of 193 1, James Allan Dash, with a group of about 25
Bach devotees, founded the Bach Society of Delaware County, which
later merged with the Bach Choir of Philadelphia to form the Phila-
delphia Bach Festival Chorus.

In 1939 the Philadelphia Choral Festival Society was organized,
consisting of Singing Members (including the Bach Chorus and the
present Schubert Chorus) and Sustaining Members. The Constitution
and By-laws provide for membership branches to perform and support
Choral Festivals from time to time in Philadelphia comprising the
Choral Works of the great composers.

The Bach branch of the Society has organzed and conducted two
Bach Choral Festivals on May 5th and 6th, 1939, and on May 3rd and
4th, 1940, at St. James's Church, at the first of which were performed
Cantatas 1, 11, 21, 54, 106, 140, 142 and 180, and at the second Can-
tatas 4, 6, 27, 50, 64, 65, 79, 198 and the Magnificat.

The expenses of these Festivals were met through the dues of the
Sustaining Members and by a growing list of Guarantors and Patrons
— who are given first choice of available seats for the performances.
Mr. Dash's modest salary has so far been provided through grants from
the Oberlaender Trust and the Carnegie Corporation.

At the close of the 1940 Bach Festival, Mr. Dash organized, from
the waiting list for the Bach Chorus, the nucleus of the present Schu-
bert Chorus and during May and June, 1940, began rehearsals of the
Ab Mass. When rehearsals were resumed in September the member-
ship of the Schubert Chorus had increased to 1 70.

Coincident with the rehearsals for the present Schubert Festival,
the Bach Chorus of 150 members has been rehearsing for the Third
Annual Bach Festival, to be held May 2nd and 3rd, 1941, in St. James's
Church, 22nd and Walnut Streets, Philadelphia, at which will be per-
formed choruses and movements from seven Cantatas done at the two
previous Festivals (Cantatas 11, 21, ij, 50, 65, 140 and 180), and five
entire Cantatas not heretofore performed at these Festivals (Cantatas
34, 68, 104, 105 and 150).

For the present Festival our Society has the cooperation of the
Philadelphia Orchestra, which on Friday afternoon and Saturday eve-
ning, March 7th and 8th, will play (Eugene Ormandy conducting) the

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON — I94O-4I

HISTORICAL SERIES

of
SOLO AND CHAMBER MUSIC

presented by Ralph Berkowitz

THIRD SEASON— SIXTH CONCERT

MODERN AMERICAN MUSIC

FRIDAY EVENING, APRIL 4, 1941
AT EIGHT THIRTY O'CLOCK

STEINWAY PIANO
LYON & HEALY HARP

Programme
I

Roy Harris Passacaglia from the Quintet

1898- for piano and strings

BaruchAltman I V V Albert Falkove, Viola

Ernest Goldstein \ '° ms Rohini Coomara, Violoncello

Waldemar Dabrowski, Piano

Samuel Barber A nun takes the veil

1910- Sure on this shining night

The secrets of the old
Nocturne

( first performances )
Barbara Troxell, Soprano Eugene Bossart, Piano

III

Charles Martin Loeffler Rhapsodie for viola, oboe,

1861-1935 and piano

L'Etang (The Pool). After the poem
of Maurice Rollinat

Albert Falkove, Viola Ralph Gomberg, Oboe

Renee Longy Miquelle, Piano

IV
Randall Thompson Little prelude

1899- Song after sundown
David Guion Country Gig

1895-

Jeanne Behrend, Piano

V
Jeanne Behrend Five songs (Sara Teasdale) :

1911- Faults

The look
Late October

I shall not care

Hilda Morse Debt

Will a Steweb.t, Soprano
The composer at the piano

L&J^im^ ??^V^..B..^

4.9^) — Jewish theme

Eudice Shapiro, Violin VnnavrG'i'lTi.ihu'rVioiaTTreHv

The composer at the piano

Carlos Salzedo Concerto for harp and seven

1885- wind instruments (1926)

Prelude. Allegro vivo
Nocturne
Quartre danses:

Menuet, Farandole, Pavane, Gaillarde

Janet Putnam, Harp
Anton Winkler, Fhi/e Sanford Sharoff, Bassoon

Ralph Gomberg, Oboe Marcus Fischer, Horn

Mitchell Lurie ( clarinets Joseph Fischer, Trumpet

James Rettew \

Conducted by the composer

Programme Notes

by Ralph Berkowitz

The music on tonight's program represents forty years in the
process of creating an American musical art. In these decades, after
a long history of composition in this country, composers finally be-
gan to feel that they were taking part, as Americans, in the world-
scene of music. They not only wished to express themselves in terms
of music's great heritage, but at the same time sought to speak of
America's life and spirit.

It is possible to consider the composers on this program — varied
as their artistic tendencies may appear — as largely belonging to that
group which a recent writer has called the Eclectics, the artists who
maintain that all groups or schools contribute to music as a universal
language.

The same writer, Dr Randall Thompson, in an article in The
Musical Quarterly for January, 1932, speaks with an insight which
has done much to clarify our position toward the American composer.
He says:

'When viewed from a distance, the process of the world's
composers resembles a vast spectrum in which one color blends im-
perceptibly into the next. But if an American composer ventures to
join the procession, he is caught in the act and disqualified. On one
hand, he is condemned if his work reveals a similarity to that of any
other American. How then shall we ever create an American School?
And on the other: woe to the American composer who exhibits any
kinship with the musical lights of Europe! Yet a glance at musical
history will show that many composers, working at the same time but
in different countries, reveal the most striking resemblances. Indeed
it is with their uninhibited use of current artifice that they have ex-
pressed the spirit of their times and, sometimes, achieved universality.
Is it not then patently absurd to be blinded in the appreciation of
our own music by the presence of this natural process of evolution?'

It is just fifteen years that Roy Harris' name has been known
in American music. During this period he has been fairly prolific,
producing much orchestral and chamber-music. 'The music of Har-
ris,' writes Arthur Farwell, one of his teachers, 'rests upon form as its
securest stronghold. He creates and brings up a profoundly earnest
and authentic art of music, wherein music shall speak of and for
itself, and weave its own dreams and messages out of its own material
and in its own terms. And what, by the nature of the case must be
his chief weapon in this strife? Certainly it can be nothing else than
form. . . .'

The Piano Quintet was composed in 1937 and published last year.

Loeffler was born in Alsace and lived as a boy in Russia and
Hungary. He at first intended to become a professional violinist
and studied with Joachim in Berlin, and Massart in Paris. Coming to
America he joined the Boston Symphony Orchestra and from 188 5
to 1903 shared the first violin desk with Franz Kneisel. Composition
soon became the sole interest of his life, and retiring to Medfield,
Massachusetts, he devoted himself to it until his recent death. His
art has been described as the cultivation of 'the mystical, the macabre
and the idyllic' Although a naturalized American, he remained to
the end under the influence of French impressionism as well as of
East European music which he heard in his youth.

Little need be said here of the work of Dr Thompson and Mr
Barber. Both composers are in the forefront of today's American

music and their works are frequently performed by the leading or-
chestral associations and choral societies.

Dr Thompson's pieces are from a set published by Carl Fischer
called Masters of Our Day, to which several composers have con-
tributed. Mr Barber's songs have just been published by G. Schirmer
and are here heard for the first time.

Jeanne Behrend, a pupil of Rosario Scalero, has become well-
known for her pioneer work in the study and performance of Amer-
ican piano music, both old and modern. She has devoted many recitals
to this music and recently recorded an album of it for the Victor
Company.

Miss Behrend's piano suite, Prom Dawn until Dusk, was recently
played in San Francisco in her own orchestration, and the Curtis String
Quartet earlier this year gave the first performance of a new quartet.

The Teasdale songs on tonight's program were composed between
the years 1932 and '38.

Aaron Copland studied with Rubin Goldmark and Nadia Boulan-
ger. He was among the first of America's younger composers to
utilize music of the early twenties' Jazz Age. Virgil Thompson has
said of him: 'Copland's music is American in rhythm, Jewish in
melody, eclectic in all the rest. ... The subject matter is limited
but deeply felt. Its emotional origin is seldom gay, rarely amorous,
almost invariably religious.'

Dr Salzedo gives the following notes on his Concerto for Harp
and wind instruments:

'Like other works of mine in which the harp plays a leading
part (The Enchanted Isle, symphonic poem for harp and orchestra;
Preambule et Jetix, for harp and chamber orchestra; Sonata for harp
and piano) sonorously, this Concerto is based upon the new orchestral
balance that can be obtained by taking advantage of all the resources
of the harp, which today can produce thirty-seven tone colors and
effects, as described in my Modern Study of the Harp. I have chosen
the concerto form for this work because the contemporary literature
of the harp did not possess a concerto. This work, however, does not
adhere strictly to the traditional form of concerto any more than
my Sonata for harp and piano adhered to the traditional sonata form.
My Concerto is in three movements. The first movement is divided
into three connected parts: Prelude, Cadenza, Allegro vivo. The second
movement is a Nocturne. The third movement is made up of four
dances on the same theme: Menuet, Farandole, Pavane, Gaillarde. The
Gaillarde is written in its usual 6/8 time. The Menuet, the Farandole
and the Pavane, which are traditionally in 3/4, 2/4 and 4/4 respec-
tively, are all written in 5/4 time. I have written these dances in a
rhythmical medium which I have employed in most of my works
since 1917. The character of a dance is to be determined by its
rhythmical motion and not by the number of beats contained between
two measure bars. The rhythmical motion of these dances is in ab-
solute accord with their respective characters represented by the old
titles.'

This Concerto is scored for harp, flute (alternating with pic-
colo) , oboe, two clarinets, bassoon, horn and trumpet. It was com-
posed in 1926 and was played for the first time at a concert of the
International Composers' Guild (Edgar Varese, founder) at Aeolian
Hall, New York, April 17, 1927, by the composer and the first wind
players of the Philadelphia Orchestra, Artur Rodzinski conducting. It
has since been played by other contemporary music societies as well
as by leading symphony orchestras.

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON 1 940-4 I

RECITAL

MR JOSEPH BONNET

Organist of the Grand Orgue de Saint Eustache in Paris

SUNDAY EVENING, OCTOBER 6, 1940, AT 8:00 O'CLOCK

AEOLIAN-SKINNER ORGAN

PROGRAMME

WORKS OF JOHANN SEBASTIAN BACH (1685-1750)

Prelude and Fugue in D major

In this pompous Prelude there is somewhat of the majesty of the
French Overture. The Fugue is a piece whose clarity and brilliance of
movement remind one of a joyous fanfare.

Choral Prelude, O Lamm Gottes, unschuldig (Grand Agnus Dei)

This monumental composition comprises three versets in which the
liturgical melody is sung first by the soprano, then by an inner voice,
and last by the pedal, which affirms it with an authority all the more
engaging because it has until then kept silence.

In the first two versets varied contrapuntal figures, wherein the
theme appears in diminution, are entwined around the cantilena. The
third is reinforced by melodies declaimed with greater breadth, in
which every detail of the suppositious text is set forth. A pathetic
motive, repeated in all the voices, brings to mind the burden of the
sins of mankind, under which the Saviour succumbs. A descending
chromatic figure, ending with a cry of anguish, plaintively typifies the
thought, "Without Thee we were lost indeed." But at the conclusion,
"Dona nobis pacem", the rising and falling scales recall the angels
ascending and descending on Jacob's ladder, and the work ends with
an upward soaring into the light.

Ill

Passacaglia and Fugue

The names, Passacaglia and Chaconne, are applied to measured
compositions in triple time constructed upon a basso ostinato. This
latter does not necessarily remain in the bass, in the primitive form,
but may pass over to the other parts and into related keys. Upon the
theme of this Passacaglia by Bach, which theme is found still earlier
in the works of the French organist, Andre Raison (see Guilmant,
Archives des Maitres de I'Orgue, vol. II, page 37), there flourish, like
branches of the tree of Jesse, twenty variations crowned by a fugue
on the same theme.

Sonata No. 3 in D minor

Andante
Adagio e dolce
Vivace

Bach's aim in composing his Sonatas for the organ was to make
his son, Wilhelm Friedemann, an accomplished organ virtuoso. As a
good father, and an expert in the matter, he chose a type of difficulties
whose mastery would give the virtuoso the key to all the problems of
organ-playing. Therefore, he did not hesitate to select the form of
the Trio for two manuals and pedal. This species of composition gives
an equal amount of technical work to each hand and to the feet, and
obliges the player to acquire, in the midst of the most delicate com-
plications, that independence and clarity which form the touchstone of
organ-playing.

But while there is nothing in organ literature more difficult of
execution than these Sonatas, it must be added that they are full of
musical charm and poetry. The third, in D minor, is one of the most
perfect.

Two Preludes on Liebster Jesu, wir sind heir

(a) Four part harmonization of the chorale

(b) Canon at the Fifth (in five parts) for three manuals and
pedal

To perform this Canon, Mr Bonnet uses a cornet on the soprano,
a cromorne for the alto, the right hand playing on two different
manuals. In the three other parts, the left hand and pedal accompany
with softer stops.

Fantasia and Fugue in G minor

In the Fantasia, of a highly varied character, recitatives, entreaties,
and the most audacious harmonic progressions are opposed one to the
other amidst a formidable unloosing of sonorous resources. The Fugue
contrasts with the Fantasia by the uninterrupted flow of its virile good
humor. The wonderfully clean-cut subject of this splendid piece was
already famous some years before the Fugue appeared.

THE CURTIS INSTITUTE OF MUSIC

CAS1MIR HALL, SEVENTEENTH SEASON I94O-4I

PIANO RECITAL BY
MR SHURA CHERKASSKY

FRIDAY EVENING, OCTOBER 11, 1940, AT 8:00 O'CLOCK

PROGRAMME

Passacaglia Bach-d'Albert

Sonata in F minor, Opus 57

( Appassionato ) Ludwig van Beethoven

Assai allegro
Andante con moto
Allegro, ma non troppo

Scherzo in E major, Opus 54 \

Nocturne in E minor, Opus 72, No. 1 /
Valse in F minor, Opus 70, No. 2 Frederic Chopin

Andante spianato et grande polonaise
brillante, Opus 22

III
Sonatine Maurice Ravel

Modere

Mouvement de menuet

Anime

Autrefois Cecile Chaminade

Toccata Francis Poulenc

Wine, women and song

( Waltz-paraphrase ) Strauss-Godowsk y

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4O-4.I

VIOLIN RECITAL BY
MR HENRI TEMIANKA
assisted at the Piano by
MISS GENIA ROBINOR

THURSDAY EVENING, NOVEMBER 14, 1940, AT EIGHT O'CLOCK

PROGRAMME

Sonata in E flat major,

Opus 12, No. 3 Ludwig van Beethoven

Allegro con spirito

Adagio con molt' espressione

Rondo. Allegro molto

II
Partita in B minor for violin alone Johann Sebastian Bach

Allemande

Double

Corrente

Double

Sarabande

Double

Tempo di bourree

Double

III

Rondo in A major for violin with

string quartet accompaniment Franz Schubert

Assisted by
Solomon Ovcharov, Violin Albert Falkove, Viola

Morris Shulik, Violin True Chappell, Violoncello

This almost unknown work was composed by Schubert in 1816.
It bears the title of Rondo fiir Violine mit Begleitung des
Streichquartetts, and was published by Breitkopf and Hartel in
the supplement to the Gesamtausgabe.

Notturno e tarantella, Opus 28 Karol Szymanowski

Un poco triste

Burleska

Introduction et Rondo capriccioso,

Opus 28 Camille Saint-Saens

STEINWAY PIANO

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

RECITAL OF ORIGINAL MUSIC
FOR FOUR HANDS AT ONE PIANO BY
RALPH BERKOWITZ and VLADIMIR SOKOLOFF

WEDNESDAY EVENING, DECEMBER 18, 1940, AT EIGHT O'CLOCK

PROGRA MME

oni \

. 501) I

Andante con variazioni

in G major (K. 501)

Wolfgang Amadeus Mozart
Fantasie No. 1 in F minor

(K. 594)

Variations sur un theme original

in A flat major, Opus 35 Franz Schubert

Sonata (1918) Francois Poulenc

Prelude

Rustique

Finale

Paraphrases on a well-known theme.

Valse Cesar Cui

Fughetta on B. A. C. H.) NlCHO]LAS Rimsky-Korsakoff

Menuetto \

Gigue An atole Liadow

Mazurka Alexander Borodin

Valse Liadow

Sonata (1938) Paul Hindemith

Massig bewegt
Lebhaft
Ruhig bewegt

III

Five Hungarian dances Johannes Brahms

F minor, No. 4

F major, No. 3

D minor, No. 11

A minor, No. 8

F sharp minor, No. 17

steinway piano

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON I94O-4I

AN EVENING OF
MODERN MUSIC
presented by members of the
TWENTIETH CENTURY MUSIC GROUP

SECOND SEASON

FIRST ANNIVERSARY CONCERT

THURSDAY EVENING, JANUARY 9, 1941, AT 8 O'CLOCK

STEINWAY PIANO

PROGRAMME

Three pieces WALTER PISTON

(1894- )
Albert Tipton, Flute
Bernadette Giguere, Clarinet
Sanford Sharoff, Bassoon

Walter Piston is one of those composers whom America may be
proud to call a master. He has not been prolific (what professor at
Harvard could be?), but every work of his has shown the same
impeccable taste, rich invention, sensitive orchestration and formal
clarity. He is above all a great contrapuntist, a fact well demon-
strated in the three woodwind pieces (1923) on tonight's program.
(L. B.)

Variations AARON COPLAND

(1900 - )
Leonard Bernstein, Piano

The piano variations (1930) have been called by some the great-
est work yet penned by an American, and by others an impossible
sequence of intolerable dissonance. This much can safely be said, how-
ever: it is futile to accept the amazing sounds that come from the
piano as mere sounds; every note has its preordained function in the
formal pattern. Intelligent listening is particularly essential, therefore,
and can be rewarded by a thrilling emotional experience. (L. B.)

Ill

Litanies a la vierge noire FRANCIS POULENC

(1899- )
First Soprano Mezzo Soprano Alto

Doris Luff Sally Pestcoe Elsie MacFarlane

Helen Worrilow Margarette Godwin Rosamonde Cole

Renee Longy Miquelle, Piano

Francis Poulenc first came into prominence as one of a young
group of French composers known as les Six, which also included
Milhaud, Tailleferre, Honegger, and so forth. Poulenc's earliest composi-
tions are motivated by facile inventiveness and a return to simple
charm and pleasure in music, eschewing all profundities. More recently
he has turned towards the religious, as exemplified by the work on
tonight's program. La vierge noire is a statue in Rocamadour in cen-
tral France, whose reputed miraculous powers have attracted pilgrims
for many centuries. (L. L.)

IV
Three pieces IGOR STRAVINSKY

(1882 - )
Bernadette Giguere, Clarinet

One commonly hears that Stravinsky's art has been on the down
grade ever since Le sacre dti printemps. The charge is sterility, result-
ing from the absence of the orchestral lushness and post-Debussyan

harmony that characterized his early ballets. This has given way in
Stravinsky's later works to a neo-classic approach to music, a reversion
to the "stringent freedom" of the eighteenth century. It is a mistake
to regard this metamorphosis as backsliding; it has provided a new
impetus for many contemporary composers and indicates a healthy
reaction to the overdressed Romanticism of the first years of this
century.

The clarinet pieces heard tonight, dating from 1919, display in
the very choice of medium that uncluttered, terse, elegant and
minutely calculated style of which Stravinsky is the greatest living
master. (L. B.)

String quartet No. 3, Opus 22 PAUL HINDEMITH

(1895 - )
Largo

Allegro. Molto energico
Tranquillo. Sempre mosso
Allegro moderato
Commodo e con grazia

Raphael Druian, Violin Albert Falkove, Viola

Broadus Erle, Violin Hershev Kay, Violoncello

Paul Hindemith is internationally known as a vigorous teacher of
practice and theory, as a composer of the first rank, and author of
an important theoretical work. As a composer, Hindemith has been
amazingly prolific. However arduous the task in hand, however bold
the wager he may have made with himself in the case of a particular
composition, music seems to flow from the man in an effortless stream.

The third Quartet was completed in 1922 and dates from Hinde-
mith's early-middle period. It is among his most inspired creations and
contains some of his finest pages. There are five movements, of which
all but one are characterized by great freedom of metric design. Except
in the case of the third movement, which is in 6/4 time, signatures
are omitted. Tyranny of the bar-line plays no part in this music,
yet the general impression is one of metric integration and rhythmic
force. No detailed analysis is necessary in order to recommend to the
listener the abundant contrast of mood and movement which the five
sections afford. The work also belies the accusation sometimes leveled
at Hindemith's idiom, that it is devoid of melos. Those who hold
even to the most conventional interpretation of this term will find in
the third Quartet much that is worthy of their further examina-
tion. (C. B.)

TWENTIETH CENTURY MUSIC GROUP

In January 1940 a group of students and music lovers with eager
and inquisitive minds joined forces for the performance and discussion
of music written since 1900, whence the name under which the group
has since become known. Five evenings of live and recorded music and
discussion were presented, and memorable arguments enlivened several
of the meetings. From its inception the Group has received the
enthusiastic support of listeners, composers and performers alike, and
now boasts an advisory committee consisting of Randall Thompson
and Aaron Copland.

Tonight's anniversary concert, which in large measure owes its
realization to Dr. Thompson's friendly interest, has for its aim the
presentation of a few highlights of last season's programs. The Group's
plans for the current season include four concerts of modern music at
the Art Alliance, dates and programs to be announced.

THE CURTIS INSTITUTE OF MUSIC

CASIMIR HALL, SEVENTEENTH SEASON IQ4.O-4I

RECITAL BY
THE CURTIS STRING QUARTET

Jascha Brodsky J .. Max Aronoff, Viola

Charles Jaffe j Orlando Cole, Violoncello

assisted by
Felix Salmond, Violoncello

WEDNESDAY EVENING, JANUARY 29, 1941, AT EIGHT O'CLOCK

PROGRAMME

Quartet in E flat, Opus 127 Ludwig van Beethoven

Maestoso. Allegro

Adagio, ma non troppo e molto cantabile

Scherzando vivace

Finale: Allegro

Quintet in C, Opus 163 Franz Schubert

Allegro non troppo
Adagio

Scherzo: Presto
Allegretto

THE BALDWIN SCHOOL
Bryn Mawr, Pennsylvania

Saturday evening, October 5, 1940, at 8:00 o'clock

Janet Putnam, Harp
Esther Gruhn, Violoncello
Eleanor Mitchel, Flute

THE CURTIS INSTITUTE OF MUSIC

Programme

La pantomime )
La timide )
Tambourin )

First movement from Trio Sonata
in B minor

Largo
First and second movements from
Sonata No. 8 in D major

Adagio

Allegro

Impromptu-caprice
"Gavotte" from "Armide"
La fille aux cheveux de lin
Chanson dans la nuit

Janet Putnam

Rameau

Loeillet

Leclair

Pierne

Gluck

Debussy

Salzedo

III

Arabesque No. 1
"Dorienne" from

"Divertissement grec"
Spanish dance, No. 5

Debussy

Mouquet
Granados

FOREMEN'S AND SUPERVISOR'S CLUB
Gibbstown, New Jersey

Thursday evening, October 17, 1940, at 9:00 o'clock

Doris Luff, Soprano
Donald Coker, Tenor
Waldemar Dabrowski, Accompanist

THE CURTIS INSTITUTE OF MUSIC

Programme

I'll sing thee songs of Araby Clay

Le Nil Leroux

Les papillons Chausson

"Vissi d'arte" from "Tosca" Puccini
Doris Luff

Dank sei Dir, Herr Handel

Sea fever Ireland

The sleigh Kountz

Roll along cowboy King
Donald Coker

III

"Deep in my heart dear"

from "The student prince" Romberg

Miss Luff and Mr Coker

SALEM COUNTY FEDERATION OF MEN'S BIBLE CLASSES
Woodstown, New Jersey

Sunday afternoon, October 20, 1940, at 2:50 o'clock

Theodore Uppman, Baritone

THE CURTIS INSTITUTE OF MUSIC

Programme

He that dwelleth in the

secret place (Psalm 91)

Come ye to the mountains
of the Lord

III

The Lord is my shepherd
(Psalm 23)

MacDermid

Spross

Liddle

CONTEMPORARY CLUB
Trenton, New Jersey

Tuesday afternoon, October 22, 1940, at 2:30 o'clock

Barbara Troxell, Soprano
Eugene Bossart, Piano

THE CURTIS INSTITUTE OF MUSIC

Programme

Tu lo sai

Vo' cercando in questa valli

Tre giorni son che Nina

Ungeduld )

StSndchen )

Die junge nonne )

Barbara Troxell

Torelli
D'Astorga
Pergolesi

Schubert

"Leise, leise" from
"Der Freischiitz"

Barbara Troxell

Weber

III

Fantasie in F minor, Opus 49
Eugene Bossart

Chopin

Love's philosophy
The unforseen
Animal crackers
Lilacs )

Floods of spring )

Barbara Troxell

Quilter

Scott

Hageman

Rachmaninov

DELAWARE COUNTY TEACHERS' INSTITUTE
Media, Pennsylvania

Monday afternoon, October 28, 1940, at 1:30 o'clock

Donald Hultgren, Tenor
Eugene Bossart, Accompanist

THE CURTIS INSTITUTE OF MUSIC
Programme

Musica proibita
0 del mio amato ben
Non piu
La danza

Gastaldon

Donaudy

Cimara

Rossini

Roadways

In the steppe

In the silent night

The star

Rose

Gretchaninov

Rachmaninov

Rogers

WASHINGTON COLLEGE
Chest ertown, Maryland

Thursday morning, October 31, 1940, at 11:00 o'clock

Herbert Baumel, Violin
Thomas Perkins, Baritone
Phyllis Moss, Piano

THE CURTIS INSTITUTE OF MUSIC
Programme

First movement from

Concerto No. 7 in D major Mozart

Allegro maestoso

Herbert Baumel

"0 du, me in holder Abendstern"

from "Tannhauser" Wagner

"Toreador song" from "Carmen" Bizet

Thomas Perkins

III

Prelude in E minor, Opus 35, No. 1 Mendelssohn
The little white donkey Ibert

Waltz in C sharp minor, Opus 64, No. 2)
Waltz in G flat major, Opus 70, No. 1 ) Chopin
Scherzo in B minor, Opus 20 )

Phyllis Moss

Arioso Bach-Franko

Two etchings Spalding

Hurdy gurdy

Ghosts
Presto from Suite in A minor, Opus 10 Sinding
Herbert Baumel

The swapping song

John Riley Kentucky Mountain Songs

Toad's courtship

Thomas Perkins

VILLANOVA COLLEGE
Villanova, Pennsylvania

Wednesday evening, November 6, 1940, at 7:30 of clock

Eileen Flissler, Piano
Marguerite Kuehne, Violin
Winifred Schaefer, Violoncello

THE CURTIS INSTITUTE OF MUSIC

Programme

Second and third movements from
Trio in D minor, Opus 49

Andante con moto tranquillo
Scherzo: Leggiero e vivace

Mendelssohn

Apres un reve
Serenade espagnole

Winifred Schaefer

Faure*
Glazounov

Arioso
Gypsy airs

III

Marguerite Kuehne
IV

Bach-Franko
Sarasate

Trio in D major, Opus 70, No. 1
Allegro vivace e con brio
Largo assai ed espressivo
Presto

Beethoven

FRIENDS' SELECT SCHOOL
Philadelphia, Pennsylvania

Thursday morning, November 7, 1940, at 10:30 o'clock

Phyllis Moss, Piano
Thomas Perkins, Baritone

THE CURTIS INSTITUTE OF MUSIC

Programme

Waltz in C sharp minor, Opus 64, No. Z

Waltz in G flat major, Opus 70, No. 1

The little white donkey

Clair de lune

Danse rituelle du feu

Phyllis Moss

Chopin

Ibert

Debussy

de Falla

"0 du, mein holder Abendstern"

from "Tannhauser" Wagner

"Toreador song" from "Carmen" Bizet

The swapping song )

John Riley ) Kentucky Mountain Songs
The toad's courtship )

Thomas Perkins

THE JUNIOR OCTAVE CLUB

OF NORRISTOWN, PA.

Annual Ewtttng dJonrrrt

e^rs

Y. W. C. A. Auditorium
Thursday Evening, November the Seventh

Nineteen Hundred and Forty
At 8.15 O'clock

Program
t

"NOCTURNE"

A One Act Play (Excerpt from the life of CUopia)

by
Sheldon Sackbtt

Characters
Madam Aurore Dudevant (George Sand) Betty O'Hara

Selange Dudevant (her daughter)

Mary Lou Mulhelland

Frederick Chopin William Rehrer

Time 1847
Place, Madam Dudevant'* Study

Presented by
"The Dramateurs"

Directed by Miss BettyMary McCloskey

Part II

Phyllis Moss, Piano
Thomas Pbbkins, Baritone

of
THE CURTIS INSTITUTE OF MUSIC

FROGRA/A

Waltz in C sharp minor, Opus 64, No. 2

Waltz in G flat major, Opus 70, No. 1

Nocturne in F sharp major, Opus 15, No. 2 ( " Chopin

Scherz© in B minor, Opus 20

Phyllis Moss

O du, mein holder Abendstern, from Tannhauser

Wagner
Toreador song, from Carmen Bizet

Thomas Perkins

Dance

1 Variations from Swan Lake

2 Entff'act

Fern Sironi

The swapping song ~)

John Riley > . Kentucky Mountain Songs

The Toad's courtship J

Thomas Perkins

Patrons and Patronesses

Mr. and Mrs. John K. Johnson
Mr. and Mrs. Walter Jones

Mr. and Mrs. Wallace M. Keely
The Rev. and Mrs. J. Garrett Kell
Mr. and Mrs. Karl K. Kite
Mr. and Mrs. Walter A. Knerr
Hon. and Mrs. Harold G. Knight
Mr. and Mrs. Oscar F. Krebs

The Rev. and Mrs. Wm. Lanigan
Mr. and Mrs. John L. Larzelere
Mr. and Mrs. Victor Lawrence
Miss Sue B. Lees
Mr. and Mrs. W. Nolan Leonard
Mr. and Mrs. Edward E. Long-
Mr. and Mrs. John A. Longacre
Mr. and Mrs. H. J. Longenecker
Mr. and Mrs. J. Walton Lysinger

Dr. and Mrs. B. J. Martin, Jr.

Miss Bettvmary McCloskey

Mr. and Mrs. Earl L. McCoy

Mrs. Joseph B. McDivitt

Mis. Elbridge McFarland

Mr. and Mrs. Charles W. Miller

Miss Catharine Morgan

Mr. and Mrs. Eugene Muller

Dr. and Mrs. Kenneth E. Neiman

The Rev. James M. Niblo

Dr. and Mrs. S. Lehman Nyce

Mr. and Mrs. Earl Oberholtzer

Dr. and Mrs. Frank C. Parker
Dr. and Mrs. Richard Parry

Mr. and Mrs. Joseph A. Ranck

Mr. and Mrs. Donald K. Rittenhouse

Mr. and Mrs. L. K. Rothermel

Mr. and Mrs. John W. Royer
Mr. and Mrs. W. Arthur Runk

Mrs. Harry B. Scattergood

Dr. Charlotte Seasongood

Dr. Eleanor Seidler

Mr. and Mrs. M. Eugene Seltzer

Mr. and Mrs. Robert E. Sheldon

Mr. and Mrs. Wm. J. Shilliday

Mr. and Mrs. J. Ralph Shuler

Mr. and Mrs. Charles Silliman

Mr. and Mrs. Harlow C. Simpson

Mr. and Mrs. R. G. Sironi

Mis. Charles C. Smith

Miss Lillian Smith

Mrs. C. N. Snyder

Miss Marion G. Spangler

Mr. and Mrs. Lylburn H. Steele

Mr. and Mrs. Harold Steinbright

Mr. and Mrs. Wm. M. Stout

Mrs. Henderson Supplee

Mr. and Mrs. Aaron S. Swartz

Mr. and Mrs. Percy Teal

Dr. and Mrs. H. Ernest Tompkins
The Rev. and Mrs. James L. Tonkin
Mr. and Mrs. Henry W. Topley, Sr.

Miss Dorothy Wagner

Misses Isabella and Hannah Walker

Mrs. J. J. Webster

Miss Mary R. Webster

Miss Anna D. Whitcomb

Mr. and Mrs. Wm. L. White

Dr. and Mrs. Wm. R. Wiedinmyer

Mrs. Walter A. Wilson

Mr. and Mrs. Nathan H. Wolf

Mr. and Mrs. H. Walton Wood

Mr. and Mrs. Franklin L. Wright

Mr. and Mrs. Herbert S. Wyers

Lt. and Mrs. E. J. Youngjohns, Jr.

THE CONVENT OF THE SACRED HEART
Overbrook, Pennsylvania

Tuesday afternoon, November 12, 1940, at 3:45 o'clock

Veda Reynolds, Violin
Gordon Sayre, Baritone
Leo Luskin, Accompanist

THE CURTIS INSTITUTE OF MUSIC
Programme

The happy lover )
The pretty creature )
"Preach not me your musty rules"

from Milton's "Comus"
Blow, blow, thou winter wind
Gordon Sayre

Old English arranged by Wilson

Arne-Endicott
Quilter

Sarabande (English suite)
Praeludium and allegro

Veda Reynolds

Bach-Heifetz
Pugnsni-Kreisler

III

"Notte e giorno faticar" )
from "Don Giovanni" )

"Den vieni alia finestra" )
from "Don Giovanni" )

With rue my heart is laden

Pilgrim's song

Gordon Sayre

La fille aux cheveux de lin

Scherzo tarantella, Opus 16

Veda Reynolds

Mozart

Barber
Tschaikovsky

Debus sy-Hartmann
Wieniawski

YOUNG MUSICIANS SERIES
Philadelphia, Pennsylvania

Tuesday afternoon, November 12, 1940, at 4:00 o* clock

Phyllis Moss, Piano

THE CURTIS INSTITUTE OF MUSIC

Programme

Romance in A flat major Mozart

Etudes symphoniques Schumann

Waltz in G flat major, Opus 70, No. 1 )

Nocturne in F sharp major, Opus 15, No. 2) Chopin

Scherzo in B minor, Opus 20 )

III

The little white donkey Ibert

Clair de lune Debussy

Danse rituelle du feu de Falla

THE NEW CENTURY CLUB
Wilmington, Delaware

Wednesday afternoon, November 13, 1940, at 3:00 o'clock

Paul Shure, Violin
Leo Luskin, Accompanist

THE CURTIS INSTITUTE OF MUSIC
Programme

Prelude in E major
Rondo, Opus 53
La fille aux cheveux de lin
Perpetuum mobile

Bach

Schubert-Friedberg

Debus sy-Hartmann

NovaSek

WOMEN »S CLUB
Allentown, Pennsylvania

Tuesday afternoon, November 19, 1940, at 2:00 o'clock

Barbara Troxell, Soprano
Eugene Bossart, Piano

THE CURTIS INSTITUTE OF MUSIC
Programme

Ich trage meine Minne

Cacilie

Morgen

StSndchen

Barbara Troxell

Strauss

Fantasie in F minor, Opus 49
Eugene Bossart

III

Tell me, oh blue, blue sky

Lullaby

Little brother's lullaby

Sea moods

Barbara Troxell

Chopin

Giannini

Scott

Broeckx

Tyson

MUHLENBERG COLLEGE
Allentown, Pennsylvania

Thursday morning, November 21, 1940, at 11:30 o'clock

Janet Putnam, Harp
Esther Gruhn, Violoncello
Eleanor Mitchel, Flute
Leo Luskin, Accompanist

THE CURTIS INSTITUTE OF MUSIC
Programme

La pantomime )
La timide )
Tambourin )

First movement from Trio Sonata
in B minor

Largo
First and second movements from
Sonata No. 8 in D major

Adagio

Allegro

Rameau

Loeillet

Leclair

"Dance of the blessed spirits"

from "Orpheus and Euridice"
Piece en forme de Habanera
Orientale

Eleanor Mitchel

Gluck

Ravel

Gaubert

III

Arioso

Mazurka No. 1, Opus 11, No. 3
Esther Gruhn

Bach
Popper

Ballade (1910)

Janet Putnam

Salzedo

MUHLENBERG COLLEGE
Allentown, Pennsylvania
(continued)

Arabesque No. 1 Debussy
"Dorienne" from

"Divertissement grec" Mouquet

Spanish dance, No. 5 Granados

WESTTOWN SCHOOL
Westtown, Pennsylvania

Saturday evening, November 23, 1940, at 7:30 o'clock

Norman Rose, Tenor
Theodore Uppman, Baritone
Thomas Perkins, Baritone
James Cosmos, Bass
Eleanor Mitchel, Flute
Eugene Bossart, Accompanist

THE CURTIS INSTITUTE OF MUSIC

Programme

The pilgrim's song

James Cosmos
The vagabond

Theodore Uppman
"0 ruddier than the cherry"
from "Acis and Galatea"
Thomas Perkins
Flute obbligato by Eleanor Mitchel

Tschaikovsky
Vaughan Williams

Handel

"Dance of the blessed soirits"

from "Orpheus and Euridice"
Piece en forme de Habanera
Orientale

Eleanor Mitchel

III

My bonny lass

The trysting place

"0 Isis and Osiris"

from "The Magic Flute"
Messrs Rose, Ur>pman, Perkins and Cosmos

Gluck

Ravel
Gaubert

Morley
Brahms

Mozart

WESTTOWN SCHOOL
Westtown, Pennsylvania
(continued)

Zueignung R. Strauss

Norman Rose
All day on the prairie Guion

Theodore Uppman
The toadTs courtship Kentucky Mountain Song

Thomas Perkins

Now is the month of Maying

He that drinks is immortal )

I gave her cakes and I gave her ale )

Messrs Rose, Uppman, Perkins and Cosmos

Morley
Purcell

YOUNG MUSICIANS SERIES
Ritz Carlton Hotel

Monday afternoon, November 25, 1940, at 1:30 o* clock

Herbert Baumel, Violin
Phyllis Moss, Piano

THE CURTIS INSTITUTE OF MUSIC
Programme

Sonata in A major

Preludio a capriccio

Corrente

Adagio

Giga

Herbert Baumel

Prelude in E minor, Opus 35, No. 1
Rhapsody in G minor, Opus 79, No. 2
Waltz in A flat, Opus 34, No. 2
Phyllis Moss

III

Rumanische Volkstanze

Herbert Baumel

Vivaldi

Mendelssohn
Brahms
Chopin

Bart<5k

RELIGHTING THE

LAMPS OF CHINA

CHINA AID
CONCERT

THE FOYER OF THE ACADEMY OF MUSIC

Wednesday Evening, November 27, 1940, 8:30 o'clock

•

AMY MAYE WANG, Pianist
HILDA MORSE, Soprano
MARGUERITE KUEHNE, Violinist
MACKEY SWAN, Baritone
EUGENE BOSSART, Accompanist

•

From the sonata in A, Opus 2, No. 2 Beethoven

3. Scherzo. Allegretto

4. Rondo
Nocturne in F sharp, Opus 15, No. 2)

Impromptu in F sharp, Opus 36 \ Chopin

Amy Maye Wang

Visi a" arte from Tosca Puccini

Ohie meneche ! Giannini

Hilda Morse

III

La folia Corelli-Kreisler

From the concerto in G minor Bruch

2. Adagio

3. Finale: Allegro energico

Marguerite Kuehne
— INTERMISSION —

Vision fugitive from Herodiade Massenet

My lady walks in loveliness Charles

Mackey Swan

La ci darem la tnano from Don Giovanni Mozart

Miss Morse and Mr. Swan

steinway piano

•

Please visit our office FIRST for your Christmas cards and gifts.

THE PEDDIE SCHOOL
Hightstown, New Jersey

Sunday afternoon, December 1, 1940, at 4:30 o* clock

Jean Seward, Contralto
Eugene Bossart, Accompanist

THE CURTIS INSTITUTE OF MUSIC

Programme

Ave Maria

Laughing and weeping

Who is Sylvia?

Schubert

Deep river )
Swing low )
The old maid's song
Kishmul's galley

Negro spirituals

Kentucky Mountain Song
Song of the Hebrides

EARL HENSON, Director
H. OLIVER WILLIAMS, Accompanist

EIGHTEENTH SEASON

EIGHTEENTH ANNUAL
FALL CONCERT

given by

The Roxborough Male Chorus

Assisted by

MATHILDE LEHMANN, Soprano

WINIFRED SCHAEFER, Violoncello

ELIZABETH DICKINSON, Piano

MEMBER CLUB

ASSOCIATED GLEE CLUBS

AMERICA

ROXBOROUGH HIGH SCHOOL

Tuesday evening, December Third

Nineteen Hundred Forty

...Program...

OFFICIAL SALUTATION OF THE
ASSOCIATED GLEE CLUBS OF AMERICA

"Hail, Friends of Music! In her praise we gather
To do her honor in fellowship together;
Music's fair muse each human heart rejoices,
We join our voices here in praise of song!"

Wm. Bentz.

"SONGS AFTER SUN-DOWN"

(a)

Winter Song

Bullard

(b)

All Through the Night Old Welsh Melody

(c)

I Hear a Thrush at Eve

The Chorus

Cadman

Two Movements from Sonata in G

Sammartini

Grave Allegro

Miss Schaefer

Ballatella (from "Pagliacci")

Leoncavallo

Miss Lehmann

"IN PRAISE TO GOD"

(a)

Pilgrims' Chorus (from "Tannhauser";

) Wagner

(b)

Steal Away

Johnson

(c)

Ave Maria (with Miss Lehmann)
The Chorus

Bach-Gounod

(a)

Menuett in C

Haydn

(b)

Apres un reve

Fuure

(c)

Etude-Caprice

Miss Schaefer

Goltermann

(a)

Morning Hymn

Henschel

(b)

A Brown Bird Singing

Wood

(c)

Since First I Met Thee

Rubinstein

(d)

Venetian Song

Tosti

Miss Lehmann

"LIFE AND LOVE"

(a) Vagabond Song Protheroe

(b) Liebestraum Liszt

The Chorus

CHORUS SELECTIONS

Program Annotations by Stanley Hart Cauffman

Winter Song Frederick Field Bullard

This is a song of good fellowship. A Scandinavian concep-
tion of the comaraderie about the roaring Are while the
demons of frost and cold struggle vainly without.

Ho, a song by the fire! Pass the pipes, pass the bowl;

Ho, a song by the fire! With a skoal, with a skoal!

For the wolf-wind is wailing at the doorways,

And the snow drifts deep along the road,

And the ice-gnomes are marching from their Norways,

And the great white cold walks abroad.

But here by the fire we defy frost and storm.

Ha, Ha! we are warm, and we have our hearts desire.

For here we're good fellows, and the beechwood and the bellows,

And the cup is at the lip in the pledge of fellowship.

Pile the logs on the fire! Fill the pipes, pass the bowl;

Pile the logs on the fire! With a skoal, with a skoal!

For the fire-goblins flicker on the ceiling,

And the wine-witch glitters in the glass,

And the smoke-wraiths are drifting, curling, reeling,

And the sleighbells jingle as they pass.

Oh, a god is the fire! Pull the pipes, drain the bowl;

Oh, a god is the fire! With a skoal, with a skoal!

For the room has a spirit in the embers,

"Tis a god, and our fathers knew his name,

And they worshipped him in long forgot Decembers,

And their hearts leaped high with the flame.

All Through the Night Arr. by F. J. Smith

For centuries Wales has been celebrated as producing the
most beautiful male voices of any country in the world.
This is no doubt due to the climate, and the melodic Welsh
language. This traditional song is well over a thousand
years old. It had been preserved in the Welsh musical
terminology, the key to which was not discovered until
about two hundred and forty years ago. The song was
then introduced in a light opera in England about 1725,
under the phonetic title of "Ah, Hide Your Nose!" The
Welsh words for "All Through the Night" are "Ar hyd y
nos."

Sleep my love and peace attend thee, all through the night;

Guardian angels God will lend thee, all through the night.

Soft the drowsy hours are creeping.

Hill and vale in slumber sleeping,

Love alone his watch is keeping, all through the night.

Though I roam a minstrel lonely, all through the night;

My true harp shall praise thee only, all through the night.

Love's young dream alas! is over,

Yet my strains of love shall hover,

Near the presence of my lover, all through the night.

Hark a solemn bell is ringing, clear through the night;

Thou my love art heavenward winging home through the night.

Earthly dust from off thee shaken,

Soul immortal thou shalt waken

With thy last dim journey taken home through the night.

I Hear a Thrush at Eve Charles Wakefield Cadman

Charles Wakefield Cadman haa devoted much of his life to
the study of American Indian music. His setting of this
madrlgal-llke poem by Eberhart Is unusual in that the
melody Is always introduced on the second half of the
initial beat of the bar.

I hear a thrush at eve wild noteB upfiinging;

Twilight and rapture weave snares for his singing.
Yet soars his song afar seeking his golden star;

I hear a thrush at eve, thrilling and singing.

So through the dark to thee my song is springing;

Throbbing with ecstasy, love notes are winging.
Lean from thy tower above, lean forth with eyes of love,

For through the dark to thee, my heart is singing!

Pilgrims' Chorus Richard Wagner

This celebrated chorus is sung in the second scene of the
first act of the opera "Tannhauser," the setting being a
lovely valley near Wartburg, where a shepherd boy watches
the passing of a group of pilgrims traveling to Rome. As
they pass, chanting their deep-toned harmonies, the child
kneels, and begs them to carry with them his earnest
prayers to the Holy See.

Once more, with Joy, Oh my home 1 may meet.

Once more ye fair flowery meadows I greet ye;

My pilgrim staff henceforth may rest,

Since heaven's sweet peace is within my breast.

The sinner's plaint on high was heard,

Accepted by a gracious Lord,

The tears I laid before His shrine.

Are turned to hope and joy divine,

Oh Lord, eternal praise be Thine!

The blessed source of Thy mercy o'er flowing,

Our soul repentant who seek Thee bestowing,

Of hell and death I have no fear,

My gracious Lord is ever near.

Hallelujah! Eternally.

Steal Away Arr. by Hall Johnson

One of the most beautiful of all Negro spirituals.

Steal away to Jesus, steal away home;

0 aln' got long to stay here.

My Lord, He calls me by de thunder!
De trumpet soun's with-in-a my soul;

1 aln' got long to stay here.

Green trees abendin', po* sinner stan' atremblln'
De trumpet soun's wlth-ln-a my soul;
I ain' got long to stay here.

There is not any musick of instruments whatever compared
to that which is made of Voices, when ye voices are good and
ye same are well sorted and ordered. — William Bird (1542-1623)

Ave Maria Bach-Gounod

This composition has a very remarkable history. The ac-
companiment was written about 1720 by John Sebastian
Bach, a German, as his "First Prelude for Clavichord."
The melody for the voice was composed over this Prelude
by Charles Gounod, a Frenchman, almost a century and
half later. It represents the collaboration of two men of
genius, one born in 1685 and the other In 1818.

Lord, O Lord my God, be not far from me,
O God I trust In Thee, unto Thee 1 lift my soul;
Show me Thy way Lord, lead me In Thy truth.
O save me for Thy mercy's sake,
O hear my prayer, O Lord.

Lord, O Lord my God, be not far from me,

O God I trust in Thee, unto Thee I lift my soul;

Lord make haste to help me.

Hide not Thou Thy face from me O Lord.

Pardon my iniquity, all my hope I rest on The*.

Save for Thy Name's sake;

O Lord be Thou my help forever. Amen.

Vacabond Song Daniel Protheroe

It's ho! for a song as wild and free

As the swash of the waves in the open sea;

It's ho! for a song as unconflned

As the hawk that sails in the summer wind;

A song for a vagabond's heart and brain,

Refreshing and sweet as the roving rain

That chants to the thirsty earth.

A song of rollicking mirth,

A song of the grass and grain!

It's ho! for a vagabond's life say I!

A vagabond live, and a vagabond die;

It's ho! to roam in the solitudes.

And chum with the birds in the vagrom woods,

To sleep with flowers, and wash In dew,

And dream of love that is ever new,

A love that never grows stale,

Like a cask of rum or ale.

It's ho! for a stretch of the dusty road,
Or here a meadow, or there a lode;
It's ho! to hear in the early morn
The yellow allegro of tasselled corn;
To sail in fancy the golden main
Where breezes billow the seas of grain.
And the swallows that skim the tips
Are richly cargoed ships,
Outbound for the ports of Spain.

It's ho! for the smell of the sap that swims,
When the maples sweat like an athlete's limbs;
It's ho! for the joys that crowd the spring,
The brawl of brooks, the birds that sing;
To wander at will the summer through,
Indifferent to blame, careless of due;
In winter the kiss that slips, To ho!
From a nut-brown naiad's lips, Yo ho!
And the love that lies in her eyes of blue!

"Such is Thy Power Divine,
Oh Music, Heavenly Art!"

I greet you, well beloved and trusty,
Assembled here from far and wide.

Goethe.

LlEBESTRAUM (DREAM OF LOVE) Franz Liszt

My Dream of Love will linger on forever

Although we are far apart.

My Dream of Love will linger, though I know

It may not come true, sweetheart.

When nights are dark and still

I feel your magic thrill;

Feel your nearness dear,

Until, comes the dawn,

I awake and find you are gone.

My Dream of Love is filled with tender kisses,

Close to your heart you hold me it seems.

Each night is bliss beneath the pale moonbeams;

I'm happy with my Love Dreams.

Italian Street Song Victor Herbert

Although the flag of Ireland is probably the only national
standard which has a musical instrument as its principal
design, the harp, and while this land has produced many
beautiful traditional folk melodies, the names of but two
Irish-born composers are in any way well known, Michael
William Balfe and Victor Herbert. Both were prolific com-
posers of melodic light operas; but both left Ireland to
study, and made their success away from their native land:
Balfe in Paris and Herbert in America. "Naughty Mari-
etta," the opera in which this composition was sung was
written by Herbert while he was conducting the Pittsburgh
Symphony Orchestra in 1904.

Ah! my heart is back in Napoli,

And I seem to hear again in dreams her revelry,

The mandolinas playing sweet,

The pleasant fall of dancing feet,

Oh! could I return,

Oh! joy complete! Napoli!

Zing, boom, aye, mandolinas gay.

PAST PRESIDENTS

1923 T. W. Schofleld 1932 Leon Birkmlre

1924 T. W. Schofleld 1933 Mortimer W. Blair, M.D.

1925 T. W. Schofleld 1934 Albert R. Frame

1926 T. W. Schofleld 1935 Paul D. Missimer

1927 Ellwood G. Dungan 1936 Paul D. Missimer

1928 D. W. Bussinger, Jr. 1937 Paul D. Missimer

1929 D. W. Bussinger, Jr. 1938 Robert C. Williams

1930 Wayne R. Moyer 1939 William C. Cooper, Jr.

1931 William R. Ambler

Roxborou&h JMale Cn

orus

Three classes of membership

First: The Active (or Singing Members) who are admitted
by application to our Secretary. Such applicants
must be proposed by a member and pass an exam-
ination by our Director and Membership Commit-
tee. Dues are $1.00 a year.

Second: Membership in the Ladies' Auxiliary (recently or
ganized) which is open to any friend of the Chorus
— more especially relatives and friends of the Active
Members. Dues are $1.00 yearly and meetings are
held monthly.

Third: Associate Members or the Patrons of the Chorus, who
by payment of annual dues of $3.50 receive six tick-
ets to each of our two concerts. Applications should
be addressed to Melvin E. Marple, 461 Flamingo
Street; or to Miss Ruth G. Fleischer, 4351 Freeland
Avenue; or to any member of Chorus or Auxiliary.

THE LADIES' AUXILIARY

Mrs. Mathilda Ley
Mrs. Earl Henson
Miss Ruth G. Fleischer
Mrs. Gordon R. Virkler

President

Vice-President

Secretary

Treasurer

MEMBERS

Mrs. Mortimer W. Blair Mrs.

Mrs. D. W. Bussinger, Jr. Mrs.

Mrs. J. Raymond Christy, Jr. Mrs.

Miss Jane C. Clemens Mrs.

Mrs. E. Virgil Cooper Mrs.

Mrs. "William C. Cooper, Jr. Mrs.

Mrs. Thomas E. Coyle, Jr. Mrs.

Mrs. John C. Dotter, Jr. Miss

Mrs. James E. Eckersley Mrs.

Mrs. Harry D. Evans, Sr. Mrs.

Miss Ruth G. Fleischer Miss

Mrs. Walter Gaily Mrs.

Mrs. William H. Goshow Mrs.

Mrs. Kathleen M. Grow

Ralph E. Helss
Earl Henson
Mathilda Ley
Melvin E. Marple
Paul D. Missimer
P. S. Parkinson
Frank Robinson
Lily V. Smith
Helen L. Smith
Gordon R. Virkler
Grace Williams
H. Oliver Williams
Robert C. Williams

OFFICERS OF THE CHORUS

Oliver W. Grow
E. Virgil Cooper
Gordon R. Virkler
Melvin E. Marple
William H. Goshow
John G. Carley
Harry D. Evans, Jr.
Earl Henson
H. Oliver Williams

President

Vice-President

Secretary

Secretary for Associate Members

Treasurer

Librarian

Assistant Librarian

Musical Director

Accompanist

ACTIVE MEMBERS

TENORS

Elmer A. Barthold
Mortimer W. Blair
John G. Carley
J. Raymond Christy, Jr.
E. Virgil Cooper
William C. Cooper
Thomas E. Coyle, Jr.
James E. Eckersley
Vinton A. Fish
Alfred P. Fleischer
John J. Fry
Walter H. Gaily

Frank Beswick
Howard Blackburn
John G. Breyer
D. W. Bussinger, Jr.
Walter Candlin
Ellwood G. Dungan
Harry D. Evans, Jr.
Wm. H. Goshow
Oliver W. Grow
J. William Heath
Ralph E. Heiss
William J. Hendren
Richard C. Henry

Alfred A. MacMoran
Paul D. Missimer
P. S. Parkinson
George B. Radcllff
Frank Robinson
William Robinson
Leon H. Smith
William T. Smith
William N. Snyder
Fletcher D. Street, Si
W. Edward Voss
J. Clifford Williams

BASSES

Herbert C. Hunsworth
F. Oliver Keely, Jr.
Paul T. Levins
Robert W. MacMoran
Melvin E. Marple
J. Singleton McGee
William H. Smith
Fletcher D. Street, Jr.
Martin A. Suhy
Harry H. Sykes
Gordon R. Virkler
Robert C. Williams

Associate Members

Mrs. Thomas Acaster

Mr. Samuel F. Houston

Misses Grace & Esther Allebach Mr. George E. Hunter

Mr. & Mrs. O. W. Ames
Mr. J. Ellwood Barrett
Mrs. George Barthold
Dr. Mortimer W. Blalr
Mrs. Mortimer W. Blair
Mr. George W. Blumenauer
Mr. Thomas F. Boon
Mr. George M. Bovard
Mrs. D. W. Busslnger, Jr.

Mr. Dunton J. Irwin
Mr. Edward A. Jeffries
Mr. & Mrs. Harry T. Jones
Mr. & Mrs. H. Wilson Knoelke
Dr. Leon Adam Kowalskl
Mr. Wm. R. Kurtz
Mr. Adolph Lang
Mr. & Mrs. Wm. M. Lange
Mrs. Matilda Ley

Mr. & Mrs. Stanley H. BusslngerMrs. Melvln E. Marple

Rev. & Mrs. N. H. Caley

Mr. & Mrs. B. F. Calverley, Jr.

Mr. Walter Candlln

Mr. Stanley Hart Cauffman

Mrs. Warren Chllds

Dr. & Mrs. Raymond Christy

Mrs. E. Virgil Cooper

Mrs. Wm. T. Cooper, Jr.

Mr. Randolph De Wald

Mr. G. Alfred Dietrich

Mrs. Ellwood G. Dungan

Mrs. Elmer E. Dungan

Mr. James E. Eckersley

Mr. Harry E. Elsenhardt

Mr. Harry D. Evans, Sr.

Mr. Hllbert S. Felton

Mr. George B. McClennen
Mrs. George Mlsslmer
Mr. G. Dundore Mlsslmer
Mrs. Paul D. Mlsslmer
Mrs. Reed A. Morgan
Miss Margaret H. Oliver
Mr. & Mrs. Wallace F. Ott
Mrs. P. S. Parkinson
Miss Almeda Probasco
Mr. Albert S. Propper
Mrs. John H. Robinson
Mrs. George B. Radcllff
Rox.-Myk. Lions Club
Rox. Symphony Orchestra
Mr. Russell P. Schofield
Mr. William E. Shappell

Mr. & Mrs. J. Elliott Flanagan Mr. & Mrs. Edward S. Siddall

Mr. Wm. B. Forney, Jr.
Mr. Wm. W. Frazler, 3rd.
Mrs. John J. Fry
Dr. Hans C. Funch
Mr. J. Wesley Glanding
Mr. & Mrs. W. Heath Gordon
Mr. Wm. H. Goshow
Mrs. Roy B. Greene
Mr. Albert W. Grow
Mrs. Kathleen M. Grow
Mr. Wilbur H. Hamilton
Mr. & Mrs. William J.

Hamilton, Jr.
Mr. & Mrs. George Hansell
Mr. Charles G. Hauschlld
Miss Blanche L. Heldlnger
Mr. & Mrs. Ralph E. Helss
Mrs. Arthur Henson
Mrs. Earl Henson
Dr. Robert H. Hirsh

Mr. B. Mitchell Simpson

Mr. A. F. Skrobanek

Mr. & Mrs. Leon E. Smith

Mr. Wm. T. Smith

Mr. Edgar S. Stafford

Mr. Arthur M. Stetler

Captain J. G. Strain

Mr. & Mrs. F. D. Street

Mrs. Albert H. Virkler

Mrs. Gordon R. Virkler

Mrs. S. G. von Bosse

Mr. Charles H. Whlteman

Mr. F. A. Wilkinson

Mr. & Mrs. H. Oliver Williams

Mr. Harry S. Williams

Wlssahickon Home &

School Council
Mr. Charles A. Woerner
Rev. & Mrs. Edmund B. Wood
Dr. Carl B. Young

Our Nineteenth Annual Spring Concert will be given in this
Auditorium on Tuesday evening, May 6, 1941. We will be
assisted by the Boys of St. Timothy's Choir under the direc-
tion of Edward S. Siddall, Choirmaster.

THE FESTIVAL FOUNDATION CHORUS
Moorestown, New Jersey

Wednesday evening, December 4, 1940, at 8:15 o* clock

Marguerite Kuehne, Violin

THE CURTIS INSTITUTE OF MUSIC

Programme

"Waltherfs prize song"

from "Die Meistersinger" Wagner-Wilhelmj

Tango Zimbalist

Burleska Suk

La folia Corelli-Kreisler

YOUNG MUSICIANS SERIES
Feasterville, Pennsylvania

Saturday evening, December 7, 1940, at 9:00 o'clock

Herbert Baumel, Violin
Phyllis Moss, Piano

THE CURTIS INSTITUTE OF MUSIC
Programme

Sonata in A major Vivaldi

Preludio a capriccio

Corrente

Adagio

Giga
Rumanische Volkstanze Bart ok

Herbert Baumel

Prelude in E minor, Opus 35, No. 1 Mendelssohn
Rhapsody in G minor, Opus 79, No. 2 Brahms
Waltz in C sharp minor, Opus 64, No. 2) .
Waltz in G flat major, Opus 70, No. 1 ) Chopin
Etude in A minor Paganini-Liszt

Phyllis Moss

III

Sonata in A major Franck

Allegretto ben moderato
Allegro

Recitative - fantasia
Allegretto poco mosso

Miss Moss and Mr Baumel

THE FESTIVAL FOUNDATION CHORUS
Burlington, New Jersey-
Wednesday evening, December 11, 1940, at 8:15 o'clock

Veda Reynolds, Violin
Leo Luskin, Accompanist

THE CURTIS INSTITUTE OF MUSIC
Programme

Sarabande (English suite)
Rondino on a theme

by Beethoven
Variations on a theme

by Corelli

Carmen fantasy

Bach-Heifetz

Kreisler

Tartini-Kreisler

Sarasate-Zimbalist

THE YOUNG MUSICIANS MUSICALES
Main Line Afternoon Club

at the home of
MRS. HOWARD SELLERS

Wynnewood, Pa.
Thursday, December 12th, at 3.30 o'clock

WINIFRED SCHAEFER, Violoncello
WALDEMAR DABROWSKI, Piano
NORMA MacIVOR, Voice

PROGRAMME

Concerto No. 1 in A minor, Opus 33 Saint-Saens

Allegro non troppo
Allegro con moto
Allegro non troppo

First movement from Sonata in G Samartini

Allegro

Winifred Sckaefer

Non so piu cosa son

The marriage of Figaro Mozart

Vorborgenheit Wolf

Vergebliches Standchen Brahms

Norma MacIvor

Menuett in C Haydn

Apres un reve Faure

Etude— Caprice Qoltermann

Winifred Schaffer

The Nightingale and the rose Korsakoff

The night has a thousand eyes Hageman

I dream of Jeanne Foster

Norma MacIvor

The Committee for Young Musicians wish to inform you that our
artists are available for private engagements at a nominal fee. Please
apply to Mrs. Howard Longstretb, Telephone Ardmore 249.

YOUNG MUSICIANS SERIES
Chestnut Hill, Pennsylvania

Thursday afternoon, December 12, 1940, at 3:00 o'clock

Janet Putnam, Harp
Esther Gruhn, Violoncello
Eleanor Mitchel, Flute

THE CURTIS INSTITUTE OF MUSIC

Programme

La pantomime )
La timide )
Tambourin )

First movement from Trio Sonata
in B minor

Largo
First and second movements from
Sonata No. 8 in D major

Adagio

Allegro

Sonata in C minor
Impromptu-caprice
Night breeze

Janet Putnam

Rameau

Loeillet

Leclair

Pescetti

Pi erne*

Salzedo

III

Arabesque No. 1
"Dorienne" from

"Divertissement grec"
Spanish dance, No. 5

Debussy

Mouquet
Granados

GEORGE SCHOOL
George School, Pennsylvania

Saturday evening, December 14, 1940, at 8:00 o'clock

Gordon Sayre, Baritone

Esther Gruhn, Violoncello

Robert Cornman, Piano

THE CURTIS INSTITUTE OF MUSIC
Programme

The happy lover ) ~, , _ , . . jvtt-t
The pretty creature ) 01d ^llsh arr9nSed * w^lson
"Preach not me your musty rules"

from Milton's "Comus" Arne-Endicott

Blow, blow, thou winter wind Quilt er

Gordon Sayre

Arioso

Sonata in D minor, Opus 5, No. 8
Esther Gruhn

Bach
Corelli

III

Preludes :

C major, Opus 28, No. 1

D flat major, Opus 28, No. 15

G major, Opus 28, No. 3

B flat minor, Opus 28, No. 16

Rhapsody in G minor, Opus 79, No. 2

Alborada del gracioso

Robert Cornman

Chopin

Brahms
Ravel

GEORGE SCHOOL

George School, Pennsylvania

(continued)

The swan

Mazurka No. 1, Opus 11, No. 3
Allegro appassionato, Opus 43
Esther Gruhn

Saint-Saens

Popper

Saint-Saens

"Notte e giorno fat i car" )
from "Don Giovanni" )

"Den vieni alia finestra" )
from "Don Giovanni" )

With rue my heart is laden

The birthday of a king

Gordon Sayre

Mozart

Barber
Neidlinger

None but the lonely heart

Mr Sayre, Miss Gruhn and Mr Cornman

Tschaikovsky

STATE TEACHERS COLLEGE
Kutztown, Pennsylvania

Wednesday morning, January 8, 1941, at 10:30 o'clock

Willa Stewart, Soprano
Robert Cornman, Piano

THE CURTIS INSTITUTE OF MUSIC

Programme

Wohin? )
Nacht und TrSume)
Wir wandelten )
Vergebliches Standchen)

Willa Stewart

Ballade in G minor )

Etude in A minor, Opus 25, No. 11)
Alborada del gracioso

Robert Cornman

III

"The last rose of summer"

from "Martha"
Floods of spring
Sleep now
The sleigh

Willa Stewart

Schubert
Brahms

Chopin
Ravel

von Flotow

Rachmaninov

Barber

Kountz

NEW JERSEY STATE TEACHERS COLLEGE
Glassboro, New Jersey-
Thursday morning, January 9, 1941, at 10:30 o'clock

George Zazofsky, Violin
Annette Elkanova, Piano

THE CURTIS INSTITUTE OF MUSIC
Programme

Sonata No. 5 in F, Opus 24 Beethoven

Allegro

Adagio molto espressivo
Scherzo
Rondo
Miss Elkanova and Mr Zazofsky

Prelude in E major Mendelssohn

La soiree dans Granade)

L'isle joyeuse ) Debussy

Annette Elkanova

III

Second movement from

Concerto No. 2 in D minor, Opus 22 Wieniawski
Romance
Burleska Suk

George Zazofsky

YOUNG MUSICIANS SERIES
Chestnut Hill, Pennsylvania

Thursday afternoon, January 9, 1941, at 3:00 o'clock

Willa Stewart, Soprano
Eugene Bossart, Piano

THE CURTIS INSTITUTE OF MUSIC

Programme

Spirate pur, spirate )
Ah, mai non cessate )
Sommi Dei

"Che fiero costume"
from "Eteocle"

Willa Stewart

Donaudy
Handel

Legrenzi

I call on Thee, Lord )
Rejoice, beloved Christians )
Variations on the name, "Abegg"
Eugene Bossart

III

Wohin? )
Macht und Traume )
Wir wandelten )
Vergebliches Standchen )

Willa Stewart

Bach-Bus oni
Schumann

Schubert
Brahms

Fantasie in F minor, Opus 49
Eugene Bossart

Chopin

YOUNG MUSICIANS SERIES
Chestnut Hill, Pennsylvania
(continued)

Sleep now Barber

Floods of spring Rachmaninov

Spirit flower Campbell-Tipton

The sleigh Kountz
Willa Stewart

YOUNG MUSICIANS SERIES
Feasterville, Pennsylvania

Saturday evening, January 11, 1941, at 9:00 o'clock

Theodore Uppman, Baritone

Eugene Boss art, Piano
Solomon Ovcharov, Violin
Esther Gruhn, Violoncello

THE CURTIS INSTITUTE OF MUSIC

Programme

Trio in B flat (K. 502)
Allegro
Larghetto
Allegretto
Miss Gruhn, Messrs Ovcharov and Bossart

Mozart

From the "Dichterliebe"

Im wunderschonen Monat Mai
Aus meinen Thranen spriessen
Die Rose, die Lilie, die Taube
Wenn ich in deine Augen sen*
Ich grolle nicht

Minnelied )

Die Mainacht )

Weigenlied )

Bright is the ring of days )

Vagabond )

Silent noon )

Theodore Uppman

III

Schumann

Brahms

Vaughan Williams

Three movements from Trio in D minor,
Opus 49

Molto allegro agitato
Andante con moto tranquillo
Scherzo. Leggiero e vivace
Miss Gruhn, Messrs Ovcharov and Bossart

Mendelssohn

YOUNG MUSICIANS SERIES
Philadelphia, Pennsylvania

Tuesday afternoon, January 14, 1941, at 4:00 o'clock

Janet Putnam, Harp

Esther Gruhn, Violoncello

Eleanor Mitchel, Flute

THE CURTIS INSTITUTE OF MUSIC

Programme

La pantomime )

La timide ) Rameau

L'agacante )

Third movement from Trio Sonata

in B minor Loeillet

Adagio
Sonata in G minor Marcello

Adagio

Allegro

Largo

Allegro

"Gavotte" from "Armide"
Sonata in C minor
Impromptu-capr i ce

Janet Putnam

Gluck

Pescetti

Pierne

III

Arabesque No. 1
"Dorienne" from

"Divertissement grec"
Spanish dance, No. 5

Debussy

Mouquet
Granados

^s^

3Ttoentp=jFifti) glnmfaevgarp

is>ong; Recital

partmra GTroxell
Robert (grooter*
Cugene JSoasart

- Soprano

- baritone
Accompanist

flE&e Curtis Jtostitute of JfluSic

Wednesday, two-thirty o'clock

January Fifteenth

Ninteen Hundred Forty-one

Montgomery County

Medical Society

Building

Ehe <£ctabe Club

Norristown, Pennsylvania
MRS. STANLEY B. DIETRICH, President

ULtomty-tf iftfj &nntoeraarp

Mrs. Benjamin F. Evans - - - Chairman of the Day
Fourth President— 1925-1928

PROGRAM

Die Lotosblume 1

Schumann

Widmung

Morgen

Y R. Strauss

Standchen

}•

Dich, theure Halle from Tannhailsey Wagner

Miss Troxell

L'invitation au voyage Dtiparc

En priere Faitre

Les yeux 1

> Aubert

Vieille chanson espagnole J

Vision fugitive from Herodiade Massenet

Mr. Grooters

PROGRAM

III

The Unforeseen Scott

The Little Shepherd's Lullaby Somervell

Spendthrift Charles

Sea Moods Tyson

Miss Troxbll

Drink to Me Only with Thine Eyes arr. Quitter

At Night Rachmaninov

For You Alone Geehl

Glory Road Wolfe

Mr. Grooters

La ci darem la mano from Don Giovanni Mozart

I Passed by Your Window Brae

Trot Here, Trot There from Veronique Messager

Miss Troxell and Mr. Grooters

MRS. KARL KENT KITE

MRS. CHARLES H. BRUNNER
MRS. E. FREDERICK BROUSE
MRS. ALLAN M. HAAS
MRS. WILLIAM C. SKEATH

Next Meeting, February Nineteenth

Explanatory Piano Forte Recital

HORACE ALWYNE

Mrs. Warren L. Irish Chairman of the Day

SLEIGHTON FARM SCHOOL FOR GIRLS
Darling, Pennsylvania

Sunday evening, January 19, 1941, at 7:30 of clock

Eleanor Mellinger, Harp

THE CURTIS INSTITUTE OF MUSIC

Programme

The harmonious blacksmith

Giga

Theme and variations

Impromptu-caprice, Opus 9
Chanson de Guillot-Martin
Le bon petit roi d'Yvetot

III

Handel

Corelli

Haydn

Pierne

Pe*rilhou-Miller

Grand j any

Mirage
Idyllic poem

Concert variations on Adeste Fideles
(1938)

Salzedo

FOREMEN'S AND SUPERVISOR'S CLUB
Gibbstown, New Jersey

Thursday evening, January 23, 1941, at 9:00 o'clock

Norman Rose, Tenor

Theodore Uppman, Baritone

Thomas Perkins, Baritone

James Cosmos, Bass

Waldemar Dabrowski, Accompanist

THE CURTIS INSTITUTE OF MUSIC

Programme

The trysting place Brahms

"0 Isis and Osiris"

from "The Magic Flute" Mozart

My bonny lass Morley

Messrs Rose, Uppman, Perkins and Cosmos

All day on the prairie
The vagabond

Theodore Uppman

III

Let the fifes and the clarions

Messrs Perkins and Cosmos

The angler's song

Messrs Rose and Uppman

Sound the trumpet

Messrs Perkins and Cosmos

Guion
Vaughan Williams

Purcell

Lawes

Purcell

The swapping song )
The toad's courtship )

Thomas Perkins

Kentucky Mountain Songs

FOREMEN'S AND SUPERVISOR'S CLUB

Gibbstown, New Jersey

(continued)

He that drinks is immortal )

I gave her cakes and I gave her ale ) rurcell

Now is the month of Maying Morley

Messrs Rose, Upoman, Perkins and Cosmos

SAINT JAMES SCHOOL
Washington County, Maryland

Saturday evening, January 25, 1941, at 8:30 o'clock

Eileen Flissler, Piano
Marguerite Kuehne, Violin
Winifred Schaefer, Violoncello

THE CURTIS INSTITUTE OF MUSIC

Programme

Trio in B flat (K. 502)
Allegro
Lar ghetto
Allegretto

Apres un reve
Etude-caprice

Winifred Schaefer

III

Second and third movements from
Trio in D minor, Opus 49

Andante con moto tranquillo
Scherzo: Leggiero e vivace

Mozart

Faure
Goltermann

Mendelssohn

Scherzo in B flat minor, Opus 31 )
Mazurka in A minor, Opus 17, No. 4)
The little white donkey

Eileen Flissler

Chopin
Ibert

"Walther's prize song" from

"Die Meistersinger"
Tango
Burleska

Marguerite Kuehne

Wagner-Wilhelmj

Zimbalist

Suk

SAINT JAMES SCHOOL

Washington County, Maryland

(continued)

Trio in D major, Opus 70, No. 1 Beethoven

Allegro vivace e con brio
Largo assai ed espressivo
Presto

THE YOUNG MUSICIANS'
LUNCHEON MUSICALES

Ritz-Carlton Junior Ball Room
Monday, January 27, 1941, at 1 o'clock

|v,

VEDA REYNOLDS , .

)■ Viol i
PAUL SHURE

PHILIP GOLDBERG, Viola

ROHINI COOMARA, Violoncello

THE CURTIS INSTITUTE OF MUSIC

PROGRAMME

Quartet in G, Opus 76, No. 1 Haydn

Allegro, con spirito

Adagio sostenuto

Menuetto: Presto

Finale: Allegro ma non troppo

First movement from Quartet in G minor,

Opus 1 0, No. 1 Debussy

Anime et tres decide

The Committee for Young Musicians wishes to inform you that our
young artists are available for private engagements at a nominal sum.
Please apply to Mrs. Philip W. Amram, Telephone, Somerton 8212, or
Mrs. William W. Arnctt, Locust 12} 1.

czSiitu—

<=?4-tUtL\

NEW CENTURY CLUB

Wednesday, January twenty-ninth

Nineteen hundred forty-one

Programme
o

Invocation - The Rt. Rev. Arthur R. McKinstry
O
LUNCHEON
Welcome .... Mrs. William T. Hughes
Presentation of Guests ... Mrs. Hughes
Introduction of the Toastmistress,

Mrs. L. Mulford Taylor - - Mrs. Hughes
Greetings .... Mrs. S. Blair Luckie
Message .... Mrs. J. Paul Green

Greetings .... Mrs. Clarence Fraim
Greetings . . . Mrs. John L. Whitehurst
Address ... Mrs. Horace Bonar Ritchie
O
PRESIDENT'S TABLE

Mrs. John L. Whitehurst, First Vice-President, General

Federation of Women's Clubs.
Mrs. Horace Bonar Ritchie, Recording Secretary of the

General Federation of Women's Clubs.
Mrs. Clarence Fraim, President of Past State Presidents'

Club, General Federation of Women's Clubs.
The Right Reverend Arthur R. McKinstry, Bishop of

the Protestant Episcopal Diocese of Delaware.
Mrs. A. D. Warner, Sr., Honorary President of Delaware

State Federation of Women's Clubs.
Mrs. L. Mulford Taylor, Director for Delaware, General

Federation of Women's Clubs.
Mrs. J. Paul Green, President Delaware State Federation

of Women's Clubs.
Mrs. S. Blair Luckie, Pioneer Clubwoman of Pennsyl-
vania.
Mrs. Henry J. Stubbs, President Board of Directors.
Mrs. Frank L. Frost, Jr., President of Junior Section.
Mrs. William T. Hughes, President.

Programme
o

MUSIC - 2.30 P. M.
Anna Bukay, Harpist

Impromptu Caprice ..... Pierne

May Night Palmgren

Prelude inC Prokofiejf

La Desirade ....... Sahedo

Chanson dans la nuit ..... Sahedo

"HEART ATTACK"
o

A Comedy in One Act

Frances Homer

Cast of Characters

Alice Pennock, socially prominent - Mrs. George E. Cox

Sidney Kelsey, her sister - Mrs. Emmett S. Hickman

Carol Pennock, her daughter - Mrs. J. Morton Baxter

Virginia Pennock, her youngest daughter

Mrs. J. Robert Frederick

Emilie Tomlinson, her mother - - Mrs. Edgar Hare

Mamie, the family servant - Mrs. Irvin S. Taylor

Place: The reception room of Emilie's home.

Time: Summer

Stage setting courtesy of Ellwood Souder & Sons Co.

ition

dUSIC

Play under the direction of
Mrs. Charles F. Wentz, Chairmanof Dramatic Committee
assisted by
Mrs. Edgar Hare, Vice-Chairman
and
Mrs. A. J. Abrams Mrs. John G. Leach

Mrs. W. C. Blatz Miss Jessie Seaman

Mrs. George E. Cox Miss Ruthanna Taylor

Mrs. Ivan Culbertson Mrs. Henry M. Chambers

ANNIVERSARY COMMITTEE
o

Mrs. A. J. Abrams, Chairman
Mrs. Ella C. Mode, Vice-Chairman
Mrs. H. R. Bartenslager Mrs. Fin Sparre
Miss Marian B. Gray Mrs. Charles F. Wentz

Miss Edith N. McConnell Mrs. Ernest S. Wilson
Mrs. Alice P. Negendank Miss Helen E. Woodward

®tj? ulyninr (Emtrrrt AsBorialtmt

Tyrone, Pennsylvania

Presents

JlttHtrumPtttal (Frio

JANET PUTNAM, Harp
ESTHER GRUHN, Violincello
ELEANOR MITCHEL, Flute

of
THE CURTIS INSTITUTE OF MUSIC

of
Philadelphia

f . m. (£. A. Airimnrimn

January 30th 1941
8:45 P.M.

i$Irngramnt£

La pantomime )

La timide >• Rameau

L'agacante \

First movement of Trio Sonata in B minor Loeillet

Largo

Sonate No. 8 in D major Leclair

Adagio
Allegro

The Trio

The swan Saint-Saens

Miss Gruhn and Miss Putnam

Minuet, from L'arlesienne suite Bizet

Miss Mitchel and Miss Putnam

III

Sonata in G minor Marcello

Adagio
Allegro
Largo
Allegro

The Trio

flrngramm?

Gavotte, from Armide Gluck

Sonata in C minor • Piscetti

Allegro vigoroso
Andantino espressivo
Presto

Impromptu-caprice Pierne

Miss Putnam

Dorienne, from Divertissement grec • Mouquet

Intermezzo, from Carmen Bizet

Spanish dance, No. 5 • Granados

The Trio

LYON & HEALY HARP

THE HILL SCHOOL
Pott st own, Pennsylvania

Saturday afternoon, February 1, 1941, at 12:30 o'clock

Baruch Altroan, Violin
Robert Cornman, Piano

THE CURTIS INSTITUTE OF MUSIC

Programme

Praeludium and allegro
Air on the G string
Rigaudon

Baruch Alt man

Ballade in A flat, Opus 38, No. 3
Alborada del gracioso

Robert Cornman

III

Second movement from Concerto
in E minor
Andante
Burleska

Baruch Altman

Kreisler

Bach-Wilhelny

Kreisler

Chopin
Ravel

Mendelssohn
Suk

NEW JERSEY STATE TEACHERS COLLEGE
Glassboro, New Jersey

Thursday morning, February 6, 1941, at 10:30 o1 clock

Theodore Uppman, Baritone
Barbara Jane Elliott, Piano

THE CURTIS INSTITUTE OF MUSIC

Programme

Care selve
Silent noon

11 Di Proven za" from "La Traviata"
Theodore Uppman

Handel

Vaughan Williams

Verdi

Rondo capriccioso
Arabesque in E major
Etude in D flat major

Barbara Jane Elliott

III

Mendelssohn

Debussy

Liszt

The vagabond Vaughan Williams

The sailor's life Old English arranged by Wilson
Love went a-riding Bridge

Theodore Uppman

THE YOUNG MUSICIANS'
LUNCHEON MUSICALES

Ritz-Carlton Junior Ball Room
Monday Afternoon, February 17, 1941, at 1 o'clock

PHYLLIS MOSS, Piano
GEORGE ZAZOFSKY, Violin
ARTHUR \TINOGRAD, Violoncello

PROGRAMME

Trio in G Major Mozart

First movement
Allegro

Trio in A Minor TsCHAIKOWSKY

First movement
Moderato assai

The Committee for Young Musicians wishes to inform you that our
young artists arc available for private engagements at a nominal sum.
Please apply to Mrs. Philip W. Antrum, Telephone, Somerton S212, or
Mrs. William W. Arnett, Locust 1231.

• - *

UNIVERSITY OF DELAWARE

NEWARK, DELAWARE

(Under the auspices of the Newark Music Society)

Monday evening, February 24, 1941, at 8:00 o'clock

MURIEL ROBERTSON, Soprano
DONALD HULTGREN, Tenor
WALDEMAR DABROWSKI, Accompanist

of
THE CURTIS INSTITUTE OF MUSIC

PROGRAMME

Musica proibita Gastaldon

O del mio amato ben Donaudy

Non piu Cimara

La danza Rossini

DONALD HULTGREN

Von ewiger Liebe Brahms

Wohin? Schubert

Lust der Sturmnacht Schumann

Dich, theure Halle, from Tannhauser Wagner

MURIEL ROBERTSON

III

Where-e'er you walk Handel

Iris Wolf

Do not go, my love Hageman

The star Rogers

DONALD HULTGREN

Heart cry Giannini

When children pray Fenner

At the well Hageman

MURIEL ROBERTSON
• •

KAPPA DELTA PI
Atlantic City, New Jersey

Tuesday evening, February 25, 1941, at 6:50 o1 clock

Eleanor Mellinger, Harp

Theodore Uppman, Baritone

Waldemar Dabrowski, Accompanist

THE CURTIS INSTITUTE OF MUSIC

Programme

The harmonious blacksmith Handel

Mirage Salzedo

Impromptu-caprice,

Opus 9 Pierne*

Eleanor Mellinger

Silent noon

"Deh vieni alia finestra"

from "Don Giovanni"
I attempt from love's sickness

to fly

Theodore Uppman

Vaughan Williams

Mozart

Purcell

WOMAN'S CLUB
Swarthmore, Pennsylvania

Tuesday afternoon, February 25, 1941, at 2:30 o'clock

Winifred Schaefer, Violoncello
Eugene Bossart, Piano

THE CURTIS INSTITUTE OF MUSIC

Programme

Sonata in G major
Allegro
Grave
Vivace

Sammartini

Concerto in A minor

Allegro non troppo
Allegretto con moto
Allegro non troppo

III

Variations on the name,

"Abegg", Opus 1
Fantaisie in F minor, Opus 49
Etude in C sharp minor, Opus 2 )
Etude in D sharp minor, Opus 8, No. 12)
Eugene Bossart

Menuetto, from Sonata in C
Apres un reve
Etude caprice

Saint-Saens

Schumann
Chopin

Scriabin

Haydn-Piatti

Faure

Goltermann

THE
HAGERSTOWN

SYMPHONY ORCHESTRA

BART WIRTZ, CONDUCTOR

SEASON 1940-41

Eleanor Mitchell and Reba Robinson

Flutist Harpist

THURSDAY, FEBRUARY 27th

8:30 P. M.

PROGRAM NOTES

PART I

THATCHER .... March of the Gargoyles

(1870- )

Howard Rutledge Thatcher has spent most of his life in his native city,
Baltimore. He studied at the Peabody Conservatory and later became a
teacher there. Composer of church music and a string- quartet, he has
also written a number of piano pi< c< -

"The March of the Gargoyles," one of Mr. Thatcher's earliest composi-
tions, is considered one of his best. It was written in 1905, soon after the
composer returned from a trip to Europe where he had seen the gargoyles
thai decorate so many <>f" th>- building's there. Although the march con-
tains little of the grotesquery associated with the gaping gargoyles, it is
pleasingly varied and rhythmic.

BIZET L'Arlesienne Suite

(1838-1875)

Daudet's drama, "The Woman of Aries." is uniquely developed around
tin- contrasting themes of furious passion and pure love. The play is con-
spicuous in literature because i is heroine, who gives the work its title, is
never seen on the stage. George Bizet wrote a good deal of descriptive
music for the drama and he himself later arranged certain portions of it
as a suite.

The four movements heard tonight are a complete suite, although
another movement entitled "Dance Provencale," is often heard following
the Adagietto.

The PREMDE tells of a French peasant. Frederi, who is compellingly
infatuated with L'Arlesienne: gay, dancing, honorless L'Arlesienne. Real-
izing the undesirability of his passion, Frederi turns to Vivette, a friend

of his child! d who lias always loved him. This first movement describes

the thrilling poignancy of Frederi's memories as he recalls L'Arlesienne
to his mind.

In the MIMETTO two new characters emerge. They are Mere

Renaud and Balthazar, the sheep herder. Romantically interested in each
other for the oast fifty years, these two meet after a long separation, at
the festivities being held to announce the betrothal of Vivette and Frederi.

The ADAfilKTTO, for strings alone, continues the tender mood of the
older couple's love.

True to its title, the ("Alt II, I, OX movement is marked by the joyous
bells that ring to celebrate the coming wedding of Vivette and Frederi.
There is a temporary return to the farandole rhythm which recalls the
dancing woman of Aries, and it is here that we are given a suggestion of
the tragedy which climaxes the drama; Frederi, unable to discard his
passion for L'Arlesienne and obsessed with thoughts of her, casts himself
from the loft of a farmhouse, crushing his skull on the pavement below-.

IN TE RM ISS ION

PART II

MOZART . . Concerto in C for Flute and Harp

(1756-1791)

Eleanor MITCHELL, Flute
Reba ROBINSON, Harp

Allegro
AiHluiitino
Rondo: Allegro

From his endless, incredible store of melody, Mozart selected sixteen
golden, scintillating themes to fashion this concerto for a ducal patron who
liked to play the flute and whose daughter was an accomplished harpist.
Although the flute had already been recognized by composers as a versatile

instrument, it had never previously found favor with the incomparable
Mozart who \vrote concertos at the command of his own inspiration or at
the demand of his purse.

Now, however, once the Concerto in C was completed, the young'
genius turned serious attention to the flute and composed five major
works for it.

The harp was destined to remain in the composer's disfavor, for the
harp of the eighteenth century had such limited possibilities that its
adaptability was practically nil. It is interesting to note that Mozart,
true to his inherent gift for visualizing the progress that was to come
many years later, wrote passages for the harp that the instrument could
not then attempt to encompass. Some of the passages in the Rondo are
even now considered unplayable, the physical limitations of modern harps
being what they are.

It is in the Andantino that the harp is at its luxuriant best.

SAINT-SAENS Le Deluge

(1835-1921)

Lyric, molten melody for strings by the composer of "Samson and
Delilah." Influenced by the Liszt tone poems, Saint-Saens has written
much chamber music and many concert pieces that are overshadowed by
his success as a composer of operas.

"Le Deluge," a number for strings, is marked by a hauntingly beauti-
ful solo for violin.

SIBELIUS WalseTriste

(1865- )

Written as incidental music to the drama "Death," from the pen of
Sibelius' brother-in-law, Arvid Jarnefelt, this waltz has a ghostly, fantastic
program as given to us on the score by Rosa Xewmarch:

"It is night. The son who has been watching by the bedside of his sick
mother has fallen asleep from sheer weariness. Gradually, a ruddy light
is reflected through the room; there is a sound of distant music; the glow
and the music steal nearer until the strains of a valse melody float dis-
tinctly to our ears. The sleeping mother awakens, rises from her bed, and
in her long white garment, which takes the semblance of a ball dress,
begins to move slowly and silently to and fro. She waves her hands and
beckons in time to the music, as though she were summoning a crowd of
invisible guests. And now they appear, these strange, visionary couples,
turning and gliding to an unearthly valse rhythm. The dying woman
mingles with the dancers; she strives to make them look into her eyes,
but the shadowy guests, one and all, avoid her gaze. Then she sinks ex-
hausted on her couch, and the music breaks off. Presently, she gathers
all her strength and invokes the dance once again with more energetic
gestures than before. Back come the shadowy dancers, gvrating in a
wild, mad rhythm. The weird gaiety reaches a climax; there is a knock
at the door, which flies wide open; the mother utters a despairing: cry; the
spectral guests vanish; the music dies away — Death stands on the
threshold."

BRAHMS Hungarian Dance No. 5

(1833-1897)

Exposed to the influence of Hungarian Magyar-gipsy music when he
became a protege of Franz Liszt, and again when he toured Germany with
the gipsy violinist. Remenyi, Johannes Brahms arranged a number of
Hungarian dances as piano duets and a book containing twenty-one of
them was issued in 1869.

These dances won immediate and immense popularity — one of the first
times in the history of music that a musician had actually realized a size-
able monetary profit as a result of his artistic endeavors. The success of
these dances furnished the foundation for Brahms' accumulation of a not
inconsiderable fortune.

The Dance Xo. 5, sometimes listed as No. 3, is thought to be one of the
three which Brahms himself orchestrated.

The Orchestra wishes to express its appreciation to the Tryad Club, the
Junior Chamher of Commerce, the Hotel Alexander, the Chamber of Com-
merce and Potomac Edison Company for their various acts of cooperation.

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